text:
Puppy Linux Discussion Forum
Puppy HOME page :
"THE" alternative forum :
Log in to check your private messages
Log in
The time now is Wed 23 Oct 2019, 21:38
All times are UTC - 4
Forum index
Advanced Topics
Puppy Derivatives
CD won't eject
View previous topic
View next topic
Page 1 of 2
[17 Posts]
Goto page:
Joined: 04 Apr 2007
Posts: 13
Location: Sao Paulo, Brazil
Posted: Wed 04 Apr 2007, 16:45
Post subject:
CD won't eject
Subject description: Teenpup 1.0.0 and Puppy 2.14: CD drive 'locked'
Hi all Puppians!
I'm very happy with Teenpup 1.0.0 (Puppy 2.10 based), but I need help to solve the problem with my LG CD-RW drive (CD-RW GCE-8525B, Firmware 1.03, in master position on second IDE), because eject fails, the drive appears 'locked'. My machine is Compaq Presario 5BW313 BRZL (Celeron 700Mhz, 256Mb RAM) and I have only one CD drive (without space to install another). I work with two HDs; my Teenpup always boot from multisession CD-R (not CD-RW, to avoid errors); pup_save.3fs (805Mb) and pupswap.swp (104Mb) are in /hdd7 (a Vfat32 partition/9Gb, called "Linux", where I can save files to share with Windows applications).
I tried Puppy Chubby 1.0.5 (on 2005, when I found Puppy Linux), Puppy 2.0 Beta with Opera Browser (on 2006) and PuppyBR (Puppy 1.0.8 based, Portuguese menu translations, on 2007), all running from CD-RW media, without errors. With these versions, after Puppy is loaded my CD drive is then free for other purposes.
But when I running Teenpup (kernel 22.214.171.124) or Puppy Live-CD 2.14 (kernel 220.127.116.11) the problem is: eject fails, the drive appears 'locked'...
What happens? What's wrong? I tried bootup from CD with the command "puppy pfix=ram", but the CD drive problem is persistent using Teenpup 1.0.0 or Puppy 2.14.
So I started the terminal accessory (Rxvt) with the command "dmesg >boot.message" and the log was attached to this post.
Maybe the CD eject works for some people and not for others? Why? Is this a typical problem with Puppy 2.1.x versions?
Can I get any solution in this forum, please? I must have my CD drive "unlocked", to work with Puppy!
Thanking you in advance, I am,
Please, read Dmesg log to help elenara.
883 Time(s)
I'm learning... always!
(Any supposed offense is because of bad english or idea formulation and was not intended in any way.)
Last edited by elenara on Mon 09 Apr 2007, 18:36; edited 1 time in total
Back to top
Joined: 13 Aug 2006
Posts: 1582
Posted: Wed 04 Apr 2007, 23:56
Post subject:
what happens if you open up rxvt and type:
eject /dev/hdc
umount /dev/hdc
Back to top
Joined: 04 Apr 2007
Posts: 13
Location: Sao Paulo, Brazil
Posted: Thu 05 Apr 2007, 03:30
Post subject:
Hello plinej,
Thanks for your interest. There are the replies:
sh-3.00# eject /dev/hdc
umount: /dev/hdc: Device or resource busy
sh-3.00# umount /dev/hdc
umount: /dev/hdc: Device or resource busy
Any other idea? Do you read my attached file? Do you found someting wrong?
I don't understand what happens... CD drive is busy all the time... I tried five versions of Puppy Linux, all in the same machine (Compaq, 256Mb Ram etc.). With three versions (1.0.5, 1.0.8 based and 2.0 Beta) CD drive is "unlocked". But with Puppy 2.10 based (TEENpup) and 2.14 the command " eject" doesn't works...
Thanks again, and have a nice day!
I'm learning... always!
(Any supposed offense is because of bad english or idea formulation and was not intended in any way.)
Back to top
john biles
Joined: 17 Sep 2006
Posts: 1470
Location: Australia
Posted: Thu 05 Apr 2007, 08:03
Post subject:
Hello elenara,
My PC at home has 512MB's of ram, while the PC at work has 256MB's of ram.
As TEENpup 1.0.0 is 226MB's in size, the PC at work won't allow me to use the CD drive. During the bootup of TEENpup 1.0.0 the work PC doesn't copy TEENpup to the Ram and it runs from CD like other Live Distro's, Have you notice this happening also on your PC or does it appear to load into you ram.
If it loads in to your ram, there wouldn't be much available ram left for you to use to run TEENpup 1.0.0
This is one reason why I'm thinking about make the next TEENpup smaller.
Legacy OS 2017 has been released.
Back to top
Joined: 13 Aug 2006
Posts: 1582
Posted: Thu 05 Apr 2007, 08:06
Post subject:
Yeah, I looked thru the file but didn't notice anything unusual. I'm really not sure what the problem is. I would think booting with pfix=ram would not cause that but since you've tried that I don't know what to suggest.
Back to top
Joined: 04 Apr 2007
Posts: 13
Location: Sao Paulo, Brazil
Posted: Thu 05 Apr 2007, 12:07
Post subject:
Hi jonh billes and plinej,
Thanks for your attention. I'm learning to use Linux, any help is welcome.
TEENpup 1.0.0 has 226Mb of compressed files, but puppy-2.14-seamonkey-fulldrivers.iso has "only" 90Mb, and my CD drive is also "locked" in the same machine... I think that the problem isnt't the size of ISO file, or the number of applications that the user can access...
On machines with 512Mb RAM no problem with CD drive, running TEENpup or Puppy 2.14 full drivers? Is my problem the limit of RAM (256Mb)?
Best Regards,
I'm learning... always!
(Any supposed offense is because of bad english or idea formulation and was not intended in any way.)
Back to top
Joined: 13 Aug 2006
Posts: 1582
Posted: Thu 05 Apr 2007, 13:23
Post subject:
That must be the case, the full filesystem doesn't load into ram so the cd drive is still in use.
Back to top
Joined: 04 Apr 2007
Posts: 13
Location: Sao Paulo, Brazil
Posted: Thu 05 Apr 2007, 16:31
Post subject:
CD won't eject
Subject description: Problems with TEENpup and Puppy 2.14
Hello john biles,
Your private message (reply) quoted:
I personally have 1 CD drive (hdd) and 1 DVD drive (hdc) on my PC.
I sometimes have to tell a Linux distro to mount mnt/hdd for my CD to work even though it has been setup as mnt/cdrom or something like that. Maybe you could try something like that.
I tried... See the result:
sh-3.00# mount mnt/hdd
Can't find mnt/hdd in /etc/fstab
sh-3.00# mount /mnt/hdc
Can't find /mnt/hdc in /etc/fstab
Reading /etc/fstab
/dev/ram0 /initrd ext2 defaults 0 0
none /proc proc defaults 0 0
none /sys sysfs defaults 0 0
none /dev/pts devpts gid=2,mode=620 0 0
/dev/fd0 /mnt/floppy auto noauto,rw 0 0
What means?
Thanks again.
I'm learning... always!
(Any supposed offense is because of bad english or idea formulation and was not intended in any way.)
Back to top
Official Dog Handler
Joined: 04 May 2005
Posts: 13352
Location: Arizona USA
Posted: Thu 05 Apr 2007, 19:33
Post subject:
Elenara, I think what John Biles was trying to say is, when there is not enough memory for the entire of Puppy to load into RAM, Puppy must keep the CD mounted for instant access to it. That is why you can't eject the CD from your low-RAM machine.
More RAM would be the best solution, but simply creating a 256 MB swap partition on your hard disk might work. I've never installed Puppy on a hard disk drive so I really don't know, but a "frugal install" to the hard disk might solve your problem.
There are many other forum members who know more about this than I do. I'm sure one or more of them will be along soon to clear this up.
Back to top
Joined: 30 Jul 2005
Posts: 201
Posted: Fri 06 Apr 2007, 10:20
Post subject:
Click Menu->System->Top view running processes. This will display the memory used and free. 256mb ram should be enough for Puppy 2.14 unless you have onboard video using some of the ram. If so, you could try entering your computer bios and lower the onboard video ram down to 32mb, then save the changes and reboot. Just to test if the cd is still locked.
Back to top
john biles
Joined: 17 Sep 2006
Posts: 1470
Location: Australia
Posted: Fri 06 Apr 2007, 20:46
Post subject:
Hello elenara,
Flash is right about the swap Partition. I have TEENpup installed on my HD with 1 GB of swap.
When I boot up TEENpup Live the mem applet in the menu bar tells me I have 1GB of mem available to me.
Also I got Puppy 2.10 working on a 166mhz Pentium 1 PC with 32Mb's of Ram.
It would only install after I added 64Mb's of swap.
I hope this gets you one step closer to being able to use your Drive.
Legacy OS 2017 has been released.
Back to top
Joined: 04 Apr 2007
Posts: 13
Location: Sao Paulo, Brazil
Posted: Sat 07 Apr 2007, 06:43
Post subject: CD won't eject - SOLVED
Subject description: Problem with TEENpup and Puppy 2.14
Hello Everybody,
I have GOOD NEWS!
I finally have my CD drive "unlocked" on Puppy SeaMonkey Full Drivers 2.14 AND TEENpup 1.0.0!!! Now I can use my only CD-RW drive to boot Puppy, to eject Puppy disk and then, to put CDs with professional documents and photos, music (MP3 and Wav files), videos (AVI format) etc. More: I can run many applications to open files (including PPS and PPT), to navigate on Web and to download e-mails etc., all in the same machine, without more physical RAM or new swap file.
Miracle? No! (Well, almost...) What I did?
A) Background of my first post
I was in trouble because I did many tests with successive versions of Puppy Linux during the last two months, following this logical order:
1) Puppy Chubby 1.0.5
(my first Puppy, used on 2005 and reviewed on 2007). My intention was to check keyboard configuration to work with Portuguese language that include accentuation plus c-cedil (unsolved, because I don't know how to make changes in Xvesa files); to configure Internet connection with ADSL service; to run Gaim etc. Chubby works very well, in conformity with announcements: "Booting from CD, Puppy will load totally into RAM so that the CD drive is then free for other purposes." Source:
Note: On 2005 Puppy Chubby stayed on second plan for me because it didn't have Dial-Up modem support I needed, and because my keyboard configuration was unsolved. But Chubby has good performance on auto setup Internet cable connection (tests with NetVirtua/Brazil).
2) PuppyBR 1.0.0
(Puppy 1.0.8 based) - Portuguese menus. Configured US keyboard to write in Portuguese language; CD drive free for other purposes and all that OK.
3) Puppy 2.0.0 with Opera Browser 9.0 Beta
: US Keyboard (Portuguese language) and CD drive free etc.: all things OK.
4) TEENpup 1.0.0
(Puppy 2.10 based) - US Keyboard (Portuguese language) OK, but CD drive appears "locked". Well, TEENpup is "exciting!", wrote Raffy (here:
) and I agree!! I added some applications, like Opera browser 9.10, Skype; Puppy Search; LeafPad (like Notepad); TuxCards and Knowde (two lasts are Outlines). I did my configurations: Firewall, printer; Flash Player 7 (arrives with TEENpup), FTP and e-mails accounts. Screen background was changed. So I was ready to create my "personal" TEENpup. I did a clean-up of my /root folder and ran TEENpup Remaster CD script. I followed "PuppyLinuxWiki : RemasterThings" instructions (here:
) but I was confused and some mistake happened. My remaster becomes unsuccessful, but I saved files on "puppylivecdbuild" folder (my pup_210.sfs has 291Mb; the original file, on CD, has 233,1Mb), on other partition of my second hard drive.
Note: I posted tips about keyboard configuration (US model with accentuation + c-cedil) here:
I ran TEENpup booting with the command "puppy pfix=ram" but the problem with CD drive was not solved.
5) Puppy SeaMonkey Full Drivers 2.14
- Normal boot (none command). This version has a good Xorg Wizard with many options. For Brazilian users with US keyboard this is a solution, but the problem with my CD drive was not solved at this stage. Other things were OK.
What happened? Well, if you run Puppy 2.14 from live-CD with normal boot, "Puppy will automatically perform any required upgrading of your personal storage file/partition (usually pup_save.3fs file)." (Source:
I think that after the upgrade Puppy 2.14 was running the local file created by TEENpup, with my configurations and apps, but without my personal icons. The amount of free RAM memory was "insufficient" to "unlock" CD drive, in this case.
B) Solutions to my problem
256mb ram should be enough for Puppy 2.14 unless you have onboard video using some of the ram.
Compaq BIOS is "frugal" about system information. I'm not sure about amount of RAM memory that is reserved to onboard video (Intel 82810E Graphics Controller). I know that my machine has 256Mb of RAM and Windows reports 255Mb of RAM (System Information Tool). I conclude that there is no abnormal allocation of resources to video.
On TEENpup I followed Pence's good advice:
Click Menu->System->Top view running processes.
But the reports don't corroborate the hyphotesis about "low memory", with exactness... (I can attach the logs in future message, if someone requests.)
Pence's information was my guide. New tests became indispensable. What I did:
, I ran Puppy 2.14 booting with the command "puppy pfix=ram". No upgrading now! So, Puppy 2.14 started and -- voilà -- CD drive was "unlocked"!!! Pence is right! Bingo!!
Well, but how can I solve the CD drive problem with TEENpup? I observed one "special" line when booting TEENpup (Dmesg not lists this in the boot log). All the times the reported command was "ls *.sfs... No such file or directory..." So, TEENpup loads pup_210.sfs (233,1Mb) from LiveCD. After loads file pup_save.3fs (805Mb) and pupswap.swp (104Mb) that are in /hdd7 (a Vfat32 partition/9Gb, called "Linux")
I tried this solution: From the folder "puppylivecdbuild" (/hdd6), I did a copy of my "personal" pup_210.sfs (291Mb) and I put it together with pup_save.3fs (805Mb) and pupswap.swp (104Mb) i.e., on /hdd7 (Vfat32).
Note: I did these tasks on Windows, because I'm newbie on Linux.
Second, I ran TEENpup booting with the command "puppy pfix=ram". When TEENpup started with original configuration, I found my CD drive "locked", like during my prior tests.
, I ran TEENpup with normal boot (without command). I observed that my pup_210.sfs (291Mb) on /hdd7 was searched, founded and loaded; after this pupswap.swp (104Mb), also on /hdd7, was loaded. When started with my personal configuration (keyboard, Internet connection, screen background, many apps etc.), my CD drive was finally "unlocked"!!!
I don't understand "how" TEENpup is working with these two files (pup_210.sfs + pup_save.3fs) on the same partition (hdd7). About pupswap.swp I understand something. I think that TEENpup "forgot" the original pup_210.sfs on LiveCD... After all, my only CD drive is "unlocked", and it's sufficient at this moment, because I have space on my second hard drive (not on my first HD!).
OK, the main problem is solved.
But there is another problem yet
Audio CD don't run
, I don't know why. MUT shows "Audio CD player" but apps doesn't work. I tried Gxine, RealPlayer, XMMS Music Player, XfreeCD Music Player, Ripper X and CD Song Ripper.
Here there is GXINE O.5.7 screen message:
Autoplay input plugin CD Audio failed
Check engine output for further details.
The xine engine failed to start.
No input plugin was found.
Maybe the file does not exist or cannot be accessed, or there is an error in the URL.
Unknown host: unable to resolve icecast.freeteam.nl
Here there is Ripper X screen message:
Error code 32
Make sure that you are a member of the "cdrom" group, or otherwise have appropriate permissions to access the CDROM device.
PB Ripper is OK
. CD Scan worked with no problem and two tracks were ripped (I killed the process after this). I heard these tracks, saved on .Wav format. They have good quality. After these tasks, I tried others Audio CD (originals CDAs, of course), but none app ran CDA file...
Well, how can I heard my Audio CDs on TEENpup is a
new question
, for a new post, I think. And I think also about swap drive activation (I have a Swap partition, but Puppy must format it to recognize this special space).
At last and for everybody, I want to say
Many thanks!
I'm learning... always!
(Any supposed offense is because of bad english or idea formulation and was not intended in any way.)
Back to top
Joined: 04 Apr 2007
Posts: 13
Location: Sao Paulo, Brazil
Posted: Sat 07 Apr 2007, 23:27
Post subject: CD won eject
Subject description: About TEENpup and Puppy 2.14
Hello john biles,
You wrote:
I have TEENpup installed on my HD with 1 GB of swap.
Sorry, but I need confirmation please.
Do you have a
swap partition
with 1Gb?
Your comment:
My PC at home has 512MB's of ram, while the PC at work has 256MB's of ram.
As TEENpup 1.0.0 is 226MB's in size, the PC at work won't allow me to use the CD drive. During the bootup of TEENpup 1.0.0 the work PC doesn't copy TEENpup to the Ram and it runs from CD like other Live Distro's.
Do you have a
swap partition
on your PC at work or at home? I think that your PC at home has a swap partition with 1Gb.
I'm learning... always!
(Any supposed offense is because of bad english or idea formulation and was not intended in any way.)
Back to top
john biles
Joined: 17 Sep 2006
Posts: 1470
Location: Australia
Posted: Sun 08 Apr 2007, 06:10
Post subject:
Hello Elenara,
Sorry TEENpup is giving you this much trouble.
At home my PC with TEENpup is installed to my HD and I have setup 1GB of swap for it. My PC also has 512MB's of ram for TEENpup to load in Live if I so desire it when working on TEENpup version 2.0.0 During my LIve sessions on my home PC, I can see TEENpup using the swap partition as well as my RAM.
At work as it is works computer, I have not setup a swap partition on it.
The other staff members use Windows and I only bootup TEENpup to try things on.
As for your playing of CD's I only have problems if I don't let the CD settle in the CD drive for a few seconds. After I've waited say 5 seconds, I open Gxine, select CD and away it goes playing the CD.
As I have 2 CD drives on my computer hdc and hdd, sometimes with other Distro's I have to adjust the defaults with say the App k3b to get it to play my CD or I get error messages.
It an interesting one.
Legacy OS 2017 has been released.
Back to top
Joined: 04 Apr 2007
Posts: 13
Location: Sao Paulo, Brazil
Posted: Mon 09 Apr 2007, 01:51
Post subject:
Hello john biles,
I like very much Puppy Linux and TEENpup in special. You did great job!!!
I'm not sad with your Puppy Derivative, you can believe. Problems with Operating Systems, hardware or bug softwares are "commons". Nothing is perfect...
Otherwise, I'm learning to use Linux but I need time for other tasks...
So, thanks for your informations and tips about playing CDs. On all versions of Puppy that I tested Gxine (versions? I don't remember) works very well but on TEENpup Gxine 0.5.8 doesn't works, like other Audio CD players.
Note: In my PC, Gxine works well playing Internet Radios, Videos, Wav and MP3 files.
In other Puppy versions no changes are required in Gxine to play Audio CD. And I'm not able to modify Gxine 0.5.8 File/Configure/Preferences... I searched in this Forum but topics that I found doesn't help me. In Gxine website I found documentation, but I don't understand many aspects about how Gxine works.
Today I plugged my daughter's iPod, with many documents and photos and it was recognized quickly by TEENpup. One more thing is OK!
Thanks again and have a nice day!
PS: English is not my native language, so please excuse any typos and grammatical errors.
I'm learning... always!
(Any supposed offense is because of bad english or idea formulation and was not intended in any way.)
Last edited by elenara on Tue 10 Apr 2007, 13:18; edited 1 time in total
Back to top
Display posts from previous:
All Posts
1 Day
7 Days
2 Weeks
1 Month
3 Months
6 Months
1 Year
Sort by:
Post Time
Post Subject
Page 1 of 2
[17 Posts]
Goto page:
View previous topic
View next topic
Forum index
Advanced Topics
Puppy Derivatives
Jump to:
Select a forum
Forum index
|___ House Training
| |___ Beginners Help ( Start Here)
| |___ Users ( For the regulars )
| | |___ Usuarios de habla Hispana
| | |___ Für deutschsprachige Anhänger
| | |___ Pour les francophones
| |
| |___ HOWTO ( Solutions )
| |___ Bugs ( Submit bugs )
|___ Advanced Topics
| |___ Additional Software (PETs, n' stuff)
| | |___ Package Collections / Repositories
| | |___ Browsers and Internet
| | |___ Business
| | |___ Compiling
| | |___ Desktop
| | |___ Documents
| | |___ Drivers
| | |___ Educational
| | |___ Engineering/Science/Simulation
| | |___ Eye Candy
| | |___ Filesystem
| | |___ Games
| | |___ Graphics
| | |___ Multimedia
| | |___ Network
| | |___ Security/Privacy
| | |___ System
| | |___ Utilities
| | |___ Virtualization
| | |___ Unsorted
| |
| |___ Cutting edge
| | |___ Multi-session live-CD/DVD
| |
| |___ Hardware
| | |___ Audio
| | |___ Networking
| | | |___ Dialup
| | | |___ Ethernet
| | | |___ Wireless
| | |
| | |___ Printers
| | |___ Video
| |
| |___ Puppy Derivatives
| |___ Puppy Projects
| |___ Next Puppy Development
| | |___ 4.x
| | | |___ Bugs (4.x dev)
| | | |___ Usability Issues (4.x dev)
| | |
| | |___ 5.x
| | |___ Bugs (5.x dev)
| | |___ Usability Issues (5.x dev)
| |
| |___ Localization Project
| |___ Documentation Project
|___ Taking the Puppy out for a walk
| |___ Announcements
| |___ Puppy Power
| |___ Suggestions
| |___ Misc
|___ Off-Topic Area
|___ Programming
|___ Security
post new topics in this forum
reply to topics in this forum
edit your posts in this forum
delete your posts in this forum
vote in polls in this forum
attach files in this forum
download files in this forum
Powered by
© 2001, 2005 phpBB Group
[ Time: 0.1088s ][ Queries: 13 (0.0135s) ][ GZIP on ]


text:
Improve your sex life with these supplements for sexual health and wellness. All natural, al herbal, all safe and doctor approved, these supplements for sex can really spice up your bedroom! Check out these sexual health supplements below, or go to Natural Health Source for more excellent herbal sex products.
Featured in Maxim magazine, ProSolution pills are rocking the world with their phenomenal penis enhancing results!
Developed and researched for two years, the ProSolution pills use only doctor recommended ingredients for fast, safe and effective penis enhancement. ProSolution is the number one formula in natural male enhancement. Our track record of thousands upon thousands of satisfied clients worldwide proves it!
Shoot massive amounts of semen all over your lover every time you ejaculate! Experience long lasting, hard pulsing, powerful orgasms like you never have before! Volume Pills is a unique volume and potency formula that will enhance your ejaculations like never before!
An all natural, 100% safe formula, VolumePills is your number one tool when it comes to powerful sexual enhancement! Your orgasms will be intensified as you ejaculate massive loads every time! Drench your lover in your love! 100% guaranteed.
The Pro Enhance Patch system is the most unique and convenient method of penis enhancement ever developed. It delivers a consistent, steady supply of 100% natural ingredients formulated to enhance your penis. Simply apply the transdermal patch to your skin in a discreet place and enjoy the fast results. It is safe, effective and saves you the hassle of pills, and the potential danger of exercises, contraptions and surgery.
100% money back guarantee.
ProShapeRX approaches weight loss from several angles to help you lose weight as quickly as possible, with little effort, and no change to your eating habits or lifestyle. ProShapeRX contains 100% safe, natural ingredients that 1) can bind and eliminate fat from your system thus prohibiting it from being absorbed 2) can reduce the absorption of calories from starchy foods, 3) can increase food metabolism, 4) can oxidize fat more quickly, and 5) can enhance caloric burn.
It's true, with ProShapeRX you can continue to eat the foods you want and lose the weight you don't want.
Feel confident in
your skin's appearance!
The Clear Pores
Cleansing System is a 100% natural
method of improving the condition of
your skin from the inside out.
Most prescription and over the
counter acne remedies treat only the
symptoms of acne, and many may
actually aggravate the condition or
put you at risk of harmful side
effects. Clear Pores, however,
goes directly to the source, to
regulate the hormones that control
the acne causing imbalances in your
skin. Thus Clear Pores acts on the
basis of prevention, rather than
treatment. And all anyone will see
is your clear, beautiful skin! 100%
money back guaranteed if you are not
thoroughly satisfied.
Copyright © 2001-2019, LEADING EDGE HEALTH
Leading Edge Marketing Inc. Leading Edge Marketing Ltd
All Rights Reserved.
These statements have not been evaluated by the Food and Drug Administration.
This product is not intended to diagnose, treat, cure, or prevent any disease.
Leading Edge Marketing Inc (100 - 645 Tyee Road, etc), Leading Edge Marketing Ltd (171 Arch. Makariou III Ave, Vanezis Business Center, Office 401, 3027 Limassol, Cyprus)

subset: commoncrawl


text:
It seems these days that young people tend to ignore history or to relate to it only in the amount of time they've had on Earth. Anything beyond that is unimportant to them. At the same time they tend to focus more on social and media material than on things as simple as books, limiting themselves to the intake of knowledge. With the release of THE HELP, one can only hope that it inspires them to look deeper, to find out the real story of what happened with the civil rights questions of the sixties.
Set in the early sixties in Jackson, Mississippi, the story revolves around the black maids of this racially segregated town. These are the days when separate entrances and water fountains were considered normal. And while they are called on to use separate areas, the maids are considered good enough to basically raise white children and take care of white houses.
The main character in question is Aibileen (Viola Davis), a maid who works for a respectable family, taking care of their child Mae Mobley and teaching and taking care of her as well as cooking and cleaning the house. The friction in her world has been buried beneath years of racial prejudice but comes to a head when the leader of the Junior League, Hilly Holbrook (Bryce Dallas Howard) tells the girls in the club everyone should have a separate bathroom for their hired help because they carry germs. She's so convinced she's written an initiative and sent it to the governor in hopes that it can be turned into a law.
Aibileen knows she can not react but it doesn't set well with her either. Neither does it set well with Eugenia "Skeeter" Phelan (Emma Stone). Just back from college and hoping to find a job as a writer, Skeeter has just taken a job as a writer taking on letters concerning cleaning which she knows nothing about. Seeking advice and help, she turns to Aibileen who knows all sorts of cleaning secrets. When Hilly makes her bathroom initiative know, Skeeter doesn't think much of it and pushes back mentioning it in the Junior League's newsletter indefinitely.
As Skeeter and Aibileen get to know one another, Skeeter asks her if she'd be interested in talking to her about what its like to be a maid in Mississippi, what it's like to raise white people's children only to see them grow and become more like their parents. While she turns her down at first, eventually Aibileen realizes that she needs to find the courage it takes to let the truth be known. Once she does, the two begin putting together the book that will become known as THE HELP.
Skeeter does have an ulterior motive but she's up front with Aibileen from the start. Skeeter wants to be a serious writer and a publisher in New York would be interested in the stories she's seeking. As they progress she finds that the publisher wants more than just one or two maid's tales, they need more. Aibileen first recruits her best friend Minny (Octavia Spencer), a brash and at times abrasive maid who's having problems finding new employment as Hilly has recently fired her. Eventually due to other circumstances more maids join in.
But this is just the story of the maids that is the main focus. What also comes into play here is the story of Hilly and her controlling nature as well as her racist attitudes. Hilly rules the Junior League with an iron fist and the girls that belong follow her lead to the letter. This is the social atmosphere of Jackson at this time, a world where social stature is the most important thing. All women desire to be added to their midst and fear being shunned by the League and Hilly. But Hilly's actions eventually have consequences.
The story reveals itself as the world is changing. Medgar Evers is shot at one point and JFK's funeral is mentioned. Not only do these items bring the historical aspect of the time into play but they set the tone for what the world was like during this period. This is the most important thing that young people can gain from watching this. My guess is none of them would believe that anyone could be so backwards as is seen here but it did happen.
The revelations of the stories the maids have to tell and how they are treated by their white employers brings the tale of racism to a personal level, especially those of Aibileen and Minny. And Skeeter, who was raised in this atmosphere, has her eyes opened as well as each story is told to her. It's as if she's seeing the world around her for the first time.
THE HELP is not a movie that will give details and specific incidents to young people who see it concerning the civil rights movement. But as I stated earlier, it will be a nice jumping on point for them to begin looking into it. Many would be stunned to learn that there are still areas of the country that continue on this way.
The best part of this movie is that it's not a slap in the face. It's not an attack that paints one group as superior to the other or sets one race against another. Instead it uses Hilly to represent that vocal minority that leads others by the nose and forces them to do these things they know they shouldn't, sitting back and accepting things as they are in the hopes of being part of the in crowd. It uses Skeeter to represent the people who have stood by silent but are waking up to the realities around them. And it uses Aibileen and Minny to represent those who have been oppressed and have hope for a different future. This is a movie that needs to be seen by youngsters who don't know what it was like. Perhaps in so doing they can realize that change was needed and needs to carry on.
Click here to order.


text:
I am sending some raspbian/raspberry pi 3 computers to some poorer communities abroad. I'd like to preload the computers with some cool software for learning. Things like teaching how to type, spelling, learning English, basic coding, science, history etc.
Can anyone direct me to such educational software for me to install on raspbian computers?
This is for kids aged 10-18.


text:
Dirichlet's theorem states that for any coprime $k$ and $m$ there exists infinitely many primes $p$ such that $p \equiv k \pmod m$.
Some special cases of this theorem are easy to prove without any analytic methods. Those cases include, for example, $m=4, k=1$ and $m=4, k=3$.
Both cases could be proved by considering first $t$ prime numbers $p_i \equiv k \pmod m$ and constructing a new number which is proved to have prime divisor $p \equiv k \pmod m$ that is not equal to any $p_i$.
For case $m=4, k=1$ we can consider number $(p_1 p_2 \cdots p_t)^2 + 1$. And for case $m=4, k=3$ number $4p_1 p_2 \cdots p_t + 3$.
Those constructions could also be applied to some other special cases as well.
Are there any other special cases for which there exists a simple non-analytic proof which don't use any of those two constructions?


text:
Storyline Template iPad Vertical
This tablet eLearning template provides a tablet in a vertical view. You can easily customize the information on the tablet by adding text, graphics, or icons. The template comes with 2 different views that have different uses.
- Zoom out: The zoomed out view contains a hand and some room around the template for a background image. This is good for visual storytelling to create an establishing shot that can be interpreted either as being seen through the eyes of the learner or through the eyes of a character pack.
- Zoom in: The zoomed in view focuses the attention on the information on the tablet. It is great as a follow-up image to the establishing shot.


text:
User talk:RWSmith
From MeritBadgeDotOrg
(→Front Page OA)
(→Front Page OA)
|Line 42:
|Line 42:
::I like a quick links idea [[User:Jzweiac|Jzweiac]] 23:35, July 27, 2012 (EDT)
::I like a quick links idea [[User:Jzweiac|Jzweiac]] 23:35, July 27, 2012 (EDT)
Revision as of 23:33, August 7, 2012
If you want to leave a message, please do so at the bottom and using headings, for better formatting. You can do this by simply pressing the plus sign (+) on the top of this page. Don't forget to enter a relevant topic at the beginning of your post; and, please, always sign your messages posted in here by typing four tildes, like this, ~~~~ at the end of your posts.
Attention: Wikipedians, like everybody else, dislike fragmented discussions. So:
- If you leave a comment for me, I will most likely respond to it in here, in this same page, on my talk page, as an effort to keep the entire conversation in one place.
- By the same token, if I leave a comment on your talk page, always feel free to respond to it there, on your talk page.
Remember, we can each (individually) use our watchlists to keep track of when responses are made. Also, feel free to leave me an alert on this page about a comment you have left elsewhere that you want me to check out. Thank you! --RWSmith 04:31, April 6, 2007 (EDT)
Sidebar location in Firefox
- NOTE: Moved to MediaWiki talk:Sidebar#Sidebar location in Firefox. —RWSmith (Bureaucrat), 11:21, January 29, 2012 (EST)
- NOTE: This topic has been moved from User talk:RWSmith#Welding ⇒ Talk:Welding#Hobby vs Trade. —RWSmith (Bureaucrat), 09:33, January 30, 2012 (EST)
Updated Leadership Awards
I have been working on aligning the leader awards with the new Cub Scout awards. On the front page there is a link in the Cub Leader Box to Cub Scout Leader Awards. Can you update it to simply the new area: http://meritbadge.org/wiki/index.php/Scouter_Awards#Leadership_Awards Thank you Jzweiac 16:04, July 7, 2012 (EDT)
- Sure; no problem. —RWSmith (Bureaucrat), 16:09, July 7, 2012 (EDT)
- Thank you! Jzweiac 17:08, July 7, 2012 (EDT)
NOVA Awards
- NOTE: This topic has been moved from User talk:RWSmith ⇒ Talk:NOVA Awards. —RWSmith (Bureaucrat), 17:47, July 21, 2012 (EDT)
DONE! Yay! See my note on the Nova talk pageJay 17:07, July 22, 2012 (EDT)
Front Page OA
What are your thoughts on adding Order of the Arrow to the front pages boxes for Boy Scouts and Varsity? Jzweiac 22:38, July 26, 2012 (EDT)
- Maybe a "quick links" navbox with OA, YP, G2SS, et al? (I'll work something up and let you know; I'd like some review/input before I add/change anything.) —RWSmith (Bureaucrat), 15:41, July 27, 2012 (EDT)
- I like a quick links idea Jzweiac 23:35, July 27, 2012 (EDT)
- For what it is worth, as I think about it I think that a link in each program box is more appropriate. OA is not a separate program, but a program to support the BSA and Varsity. Putting a link in each of those boxes would help show the importance of the program, but not at the expense of people unfamiliar thinking that it was a whole new program separated out. Jzweiac 22:33, August 7, 2012 (EDT)


text:
We would like to welcome patrickyan into our membership and Imagekind's print-on-demand marketplace.
patrickyan can use this personal profile to post their bio, resume or statement. It's an ideal space to post a show calendar, make announcements, add links and inspire Imagekind wall art shoppers to purchase patrickyan's fine art prints.
If you want to return to patrickyan's Imagekind profile, just save this link: http://patrickyan.imagekind.com


text:
I have a love-hate relationship with The Masters golf tournament, which begins tomorrow. It's beautiful to watch, but simply awful to listen to.
As for the beauty, Spring has usually come to central Georgia and the blooming dogwoods and azaleas are undeniably pretty. The Augusta National Golf Club course itself is easy on the eyes, with many stunning vistas and landmarks that visually say "The Masters." The Hogan Bridge over Rae's Creek at the 12th hole is one of my favorites.
But CBS's announcing crew, while technically proficient, are unrelentingly pious and reverent. They sound like they're narrating the installation of a Pope. Voices are perpetually hushed. Holes can't even be referred to by their number - they have to be identified by name. As in "Firethorn" a.k.a. the 15th hole. C'mon man!
And don't get me started on the music. You know – you're already hearing it and cursing me, right now! You wonder who had to die so that the music they played at their wake could be repurposed for a golf tournament. Are the survivors getting royalties? A lifetime of free tickets? One would hope.
In short, The Masters is like a Victorian-era child: better to be seen, not heard.
What will be seen and heard in April, however, is earnings announcements, as Q1 earnings season gets underway. Starting with the traditional front-runner, Alcoa, the earnings will come hot and heavy starting the week of April 8. And just like The Masters, there are pre-tourney favorites. Here are three of our favorites, all of which we own in the Crabtree Technology model. Follow the link to see more of our holdings.
1. NIC Inc. (ticker: EGOV)
HQ: Olathe, KS
Market Cap: $1.2 billion
Q1 Earnings per Share estimate: $0.10.
Q1 Revenue estimate: $57.7 million.
Scheduled Earnings Announcement: After market close, Monday May 6, 2013
NIC runs the official state web portals for more than half of U.S. states. Nearly all of NIC's business is "self-funded." That is, instead of a state government paying NIC like any other contracted service provider, the state collects fees from transactions made across the web portal - for example, a driver's license renewal, or the issuance of a fishing license. This low-impact revenue model, combined with NIC never having lost a state portal to a competitor, makes us big fans of the company, its business model and its shares.
NIC is a model of consistency when it comes to earnings announcements. We expect neither a big miss nor a big blow-out quarter, just a steady-as-she-goes type of performance, along with some progress toward winning new states such as Connecticut, North Carolina, Washington and Wisconsin. At a forward P/E of 38, NIC isn't cheap. But high quality things always cost more. Just ask Augusta National members.
2. Stamps.com (ticker: STMP)
HQ: El Segundo, CA
Market Cap: $381 million
Q1 Earnings per Share estimate: $0.39.
Q1 Revenue estimate: $30.4 million.
Scheduled Earnings Announcement: After market close, Wednesday April 24, 2013
Stamps.com is the number one independent vendor of Internet-based postage. Customers subscribe to Stamps.com and gain access to postage and other shipping services that facilitate efficient bulk mailing. Although similar services are offered by both the United States Postal Service as well as competitors like Pitney Bowes (PBI), Stamps.com customers seem willing to pay about $21 per month for a better user experience. This might include, for example, its ability to natively integrate with Microsoft Word in order to use that program's automated mail merge and envelope printing functionality.
Stamps.com went through an accelerated growth phase in 2011 that moderated a bit in 2012, when annual revenue growth decelerated to 10%. In fact, the $30.4 million in revenue that analysts expect for Q1 2013 will only represent 7% growth over the year-earlier quarter. So why stick with Stamps.com? A history of execution, 21% operating margins and 23% operating cash flow margins. Plus they have less than 3% of a $43 billion addressable market. And they have been buying back their stock regularly.
Our experience with Stamps.com's quarterly announcements is that they almost never just "mail it in." We're anticipating solid results on the 24th.
3. Cerner Corp. (ticker: CERN)
HQ: North Kansas City, MO
Market Cap: $16.1 billion
Q1 Earnings per Share estimate: $0.63.
Q1 Revenue estimate: $708.5 million.
Scheduled Earnings Announcement: After market close, Thursday April 25, 2013
Cerner is the largest independent, publicly-traded vendor of Health Care Information Technology solutions. These solutions include hardware, software (including electronic health record database technology) and the service and training necessary for clients to utilize these tools effectively.
Cerner competes against a variety of players, ranging from privately-held Epic (based in Madison, WI) to smaller purely SaaS-based vendors like Athenahealth (ATHN). But our research supports our belief that Cerner is holding on to and in some segments taking market share simply through higher-touch service. Supporting this is that the consensus earnings estimate for the March quarter has been slowly rising throughout the quarter and is now at $0.63/share.Cerner is doing everything we like: generating cash, consistently beating Street estimates and holding on to (and probably taking) market share. If Cerner was a professional golfer, it would probably look good in a green jacket.
The investments discussed are held in client accounts as of March 31, 2013. These investments may or may not be currently held in client accounts. The reader should not assume that any investments identified were or will be profitable or that any investment recommendations or investment decisions we make in the future will be profitable.
Covestor Ltd. is a registered investment advisor. Covestor licenses investment strategies from its Model Managers to establish investment models. The commentary here is provided as general and impersonal information and should not be construed as recommendations or advice. Information from Model Managers and third-party sources deemed to be reliable but not guaranteed. Past performance is no guarantee of future results. Transaction histories for Covestor models available upon request. Additional important disclosures available at http://site.covestor.com/help/disclosures. For information about Covestor and its services, go to http://covestor.com or contact Covestor Client Services at (866) 825-3005, x703.


text:
I finally switched to Android from Apple, and I've tried setting the email account as both premium and not, and it either stays independent when deleted (not deleted on the server), or it's just downloaded again. K-9 seems to make them stay independent, but there's a lot of settings. Is there anything I can do so that if I delete a message on either the mail site or the app, it will be deleted on the other?
Basically, if you're aware of how the mail app works on the iphone, etc, I want it to behave like that.
EDIT: I found out how to do it in K-9 (change the 'when i delete a message' setting), but is there a way to do it stock?


text:
Abby Wambach extended her world record with her 161st international goal, Sydney Leroux scored four times in the first half, and the next generation of U.S. women's soccer blended nicely with the old guard Tuesday night as the Americans thumped Mexico, 7-0, in a friendly at RFK Stadium in Washington.
Rachel Buehler and Morgan Brian also scored as the U.S. squad reconvened after a 21/2-month break while the National Women's Soccer League wrapped up its inaugural season. With the next World Cup two years away, the match also gave Coach Tom Sermanni a chance to mix in some young faces with the storied team, with two players making their national team debuts.
The Americans, ranked No. 1 in the world, ran their overall unbeaten streak to 35 games and their home unbeaten streak to 73.
Lakers sign Shawne Williams
The Lakers signed free-agent forward Shawne Williams, General Manager Mitch Kupchak said.
Williams had his best season in 2010-11, while playing for Coach Mike D'Antoni and the New York Knicks. In 64 games, Williams showed a steady outside shot, making 40.1% of his three-point attempts.
Drafted by the Indiana Pacers in 2006 with the 17th overall pick, Williams has also played for the Dallas Mavericks and New Jersey Nets (now Brooklyn). The 6-foot-9 veteran can play either forward position.
A foot injury ended Williams' season early in February 2012 and he hasn't played in a game since, sitting out last season.
—Eric Pincus
The Phoenix Suns and Michael Beasley reached an agreement to terminate the contract of the troubled forward.
The move will cost the franchise $7 million, a $2-million savings from what Beasley would have been due had he simply been waived. It also represents a significant reduction in what the hit on the team's salary cap would have been.
Boston Celtics forward Jared Sullinger pleaded not guilty to domestic violence-related charges in Waltham, Mass., after allegedly repeatedly pinning his girlfriend to a bed and the floor.
Bail for Sullinger, 21, was set at $5,000 after his plea on charges including assault and battery and intimidation of a witness.
Sullinger released a statement through the Celtics in which he apologized and called the experience "humbling and embarrassing."
Former NBA star Dennis Rodman is in North Korea with plans to hang out with authoritarian leader Kim Jong Un, have a good time and maybe bridge some cultural gaps — but not be a diplomat.
Rodman was greeted at Pyongyang's airport Tuesday by Son Kwang Ho, vice chairman of North Korea's Olympic Committee, just days after Pyongyang rejected a visit by a U.S. envoy who had hoped to bring home Kenneth Bae, an American missionary jailed there.
Defending champion Oracle Team USA was docked two points in the America's Cup match against Emirates Team Zealand and a key sailor was expelled in the harshest penalties levied in the 162-year history of sailing's marquee regatta.
The penalties were announced by an international jury that spent four weeks investigating illegal modifications of prototype boats used in warmup regattas last year and this year.
Three-time Olympic beach volleyball champion Misty May-Treanor was hired as a volunteer assistant coach for the USC women's sand volleyball team.


text:
Sold Out $29.99 CAD
The perfect layering piece just got better! Made with our new brushed jersey fabric that is designed for performance and has a soft cotton feel. We also added slimming panels to flatter your waistline and no side seams add extra comfort. The longer zipper gives you a lengthened silhouette and allows for adjustments on the fly. The perfect piece to wear on its own or as a layering piece.


text:
Welcome to Bourgogne Homes - property for sale in Burgundy France
WELCOMEBourgogneHomes.com - The premier English speaking real estate agent in Burgundy / Bourgogne, France. The best property and widest choice of properties for sale in Burgundy / Bourgogne France.
Search for property for sale in Burgundy
12 parcels of building land region Chatillonnais
Cote d'Or
Between Laignes and Montbard. Discrete Countryhouse
Cote d'Or
Cote d'Or
Near Laignes - Country Inclination
Cote d'Or
Cote d'Or
Bourgogne Homes (Cabinet Bourgogne Immobilier)
Searching for that ideal holiday home, or a new home in France away from the rat race in the UK?
Our English speaking staff will help make you feel at home in Burgundy, show you the real Burgundy and help you to settle in.
Use our site to help you find that ideal property to get away from it all, to retire to France or just as a holiday home. We have many properties for sale from stone ruins, farm houses, magnificent manor houses and even the odd chateau or two in Burgundy / Bourgogne.
Most of the properties we have for sale are in Burgundy / Bourgogne, France.
The British are now beginning to discover Burgundy / Bourgogne as a culturally rich, gastronomic centre and as the ideal retirement location or as a destination for living here permanently or the place to own a second home.
Bourgogne Homes take time to understand your needs and will ensure you find the perfect property for the lifestyle you intend to lead in Burgundy / Bourgogne be it an active lifestyle or retirement in our beautiful region.
On our site you will find:
We hope you will be our guest in Burgundy soon.
The areas within Burgundy covered by Bourgogne Homes are:
- Cote d'Or
- Haute Marne
- Yonne
- Morvan
- Aube
- Nievre


text:
John Martin
John Martin creates drawings from his memories of time spent with his family on their Arkansas farm. Each drawing is instantly recognizable through the use of John's signature imagery: trucks, snakes, pocket knives, cell phones as well as an occasional item from a collection of discarded valuables John finds on the streets of Oakland. Most recently, John has been using found paper in his work, taking text from news stories and interweaving them with his imagery, often drawing directly on newsprint and pages from phone books. He has been an artist at Creative Growth since 1987.


text:
Swimming Pool Blog
by Rob Cox, January 5, 2010
Calcium Hardness in Swimming Pools
Discovered in 1603 by a fellow named Homberg, who noticed that when he fused this salt, it became phosphorescent, and for a long time it was known as Homberg's Phosphorous. Now known as Calcium Chloride, or CaCl2, it is found naturally in solution in sea water and in many mineral springs as a crystalline soluble salt. A close cousin of table salt, or sodium chloride, it is also found in the bloodstream of humans and animals.
Calcium Chloride is a very useful compound. Once taken as a tonic for the sick and infirmed, it also serves as an excellant de-icer. Many commercial ice and snow melting chemicals are a form of Calcium Chloride. Pellets tend to work better than flakes for this purpose. If you live in the snowbelt, that snowplow truck may be spreading Calcium Chloride instead of Sodium Chloride these days. Not quite as caustic, or damaging to asphalt and steel automobiles, a bit more viscous which keeps it on the road longer, and several dollars cheaper per pound than "regular" salt, make Calcium Chloride the preferred choice for snow melting.
You may have heard of the terms "soft water" or "hard water". This refers to the level of Calcium and other salts dissolved in water. Soft water, with a lower level of salts, will lather excessively with soap in the tub or shower, but is also harder to rinse off completely, leaving a bather feeling a little "slick". Hard water, with higher levels of dissolved salts, is more difficult to produce a soap lather, but rinses off quite well. The reason for this is the reaction of the salt ions with the molecules of sodium sterate found in most soaps. If your bath water leaves you feeling less than "zestfully clean", your soft water can be hardened by using household water treatment equipment to add salts to the water. More common is a household water softening system that removes salts and minerals from the water.
However, the purpose of this article is to discuss how Calcium Chloride is used in swimming pools. Why do we care about how hard or soft pool water is? It's not for the "feel" of the water, and I hope that you're not concerned with how well your soap lathers up in your pool.
When your pool water is too soft, under 150ppm, it becomes "agressive" and will try to increase it's own hardness level by actually pulling calcium out of pool plaster or grout between the tiles. In vinyl pools, there is very little calcium in the structure, but over time, such agressive or corrosive water will cause the liner to lose some of it's plasticity, and fail prematurely. Fiberglass pools can become etched and lose some of the gelcoat gloss when Calcium Hardness levels are too low. This is known as a Corrosive water condition.
When your pool water is too hard, over 400ppm, it becomes what is known as a Scaling water condition. When the Calcium levels are too high in the pool, they can precipitate out of solution, and deposit their crystals on pool surfaces, inside pipes or equipment, and/or create cloudy / hazy pool water. These deposits are sometimes known as "Scale". Those pool owners who live in hard water areas know what I am talking about. There are service companies that specialize in removing calcium deposits from tile lines and other pool surfaces with a bead blasting process. In extreme cases, pool filters can become clogged with calcium requiring a filter media change.
When your pool water is too soft, you can raise it by adding Calcium Chloride, or the less common Calcium Carbonate. Commonly, this is sold under many brand names - commonly referred to as "Calcium Hardness Increaser". You could also use a snow melt product, but make sure it is 100% Calcium Chloride or Carbonate. Always read the package instructions, but generally speaking, adding at a rate of 1 pound per 10,000 gals of water will raise your pool Calcium Hardness level by 10ppm. Calcium creates a good amount of heat when mixed with water, so it is recommended to pour the calcium into a bucket of water, stirring with something other than your hand, and then pour the mixture into the pool water.
Calcium levels do not deplete like Chlorine does; that is, once raised, it will stay fairly constant for a while. After months of backwashing and rain, it may begin to drop again if you are in a soft water area. For most pools, a once or twice per year addition of Calcium Hardness Increaser is sufficient. Make sure you are using a good pool test kit to accurately determine your Hardness level.
When your pool water is too hard, the general method is to lower by dilution. This means to drain some of the water, and refill with softer water. Not the simplest or cheapest method for some people. There is a product that will lower some of the Calcium Hardness levels in pools, and it essentially helps to keep Calcium sequestered or tied up in solution. Control of your pH and Alkalinity levels in the pool water is also important to help control high Calcium levels. The use of Calcium based sanitizers in your pool will contribute to Calcium Hardness levels, raising the level - Calcium Hypochlorite shock, or calcium based chlorine tablets.
Keeping your Calcium Hardness levels in your pool at the proper level, around 200-400 ppm, is one of the important facets of water balance. Next time we will look at the history and importance of Total Alkalinity in swimming pools.


text:
It May Be Time for a Financial Checkup
It's never a bad time to speak with your financial advisor about changes in your situation.
Share |
Related Content
The Richest Man in Babylon
In good times and bad, consistently saving a percentage of your income is a sound financial practice.
Mastering Mobile Lingo
Can you keep up with your children's mobile slang?
Managing Your Lifestyle
Using smart management to get more of what you want and free up assets to invest.


text:
Each month AAA staff get together for a "Jam Session", an informative meeting to provide staff with an insight into anthropology. Douglas Ubelaker was the guest of honor at the December Jam Session. Dr. Ubelaker introduced staff to biological and physical anthropology and shared insights on projects he's led throughout his career. Staff had many questions about the process of carbon dating, the process for handling disasters involving many causalities, and the expanding database of Latin American peoples.
Dr. Ubelaker is the curator of the physical anthropology collection at the National Museum of Natural History and has consulted on hundreds of FBI cases, provided expert testimony in scores of court cases, and is President of the American Academy of Forensic Sciences.


text:
Thompson takes first-round lead at U.S. Open
Thu., June 14, 2012, 7:32 p.m.
SAN FRANCISCO – The lead at the U.S. Open belonged to Michael Thompson. The buzz came from Tiger Woods.
Even as Thompson strung together four birdies on the back nine at the Olympic Club that carried him to a 4-under-par 66, Woods put on a clinic on the other side of the course on how to handle the toughest test in golf.
He was never out of position. None of his tee shots found the deep, nasty rough lining the fairways. There was little stress for such a demanding major.
With consecutive birdies late in his round, including a 35-foot putt that banged into the back of the cup on No. 5, Woods opened with a 1-under 69 – tied with four others for second place – to raise hopes that he can finally end that four-year drought in the majors.
"I felt like I had control of my game all day," Woods said. "Just stuck to my game plan – and executed my game plan."
He was vague on the details of that plan, though it surely wasn't the one followed by the other two guys in his star-powered group. Phil Mickelson hit a wild hook for his opening tee shot that was never found, presumably lost in a cypress tree, and he matched his worst opening round in a U.S. Open at 76. Bubba Watson chopped his way through the rough to a 78, showing that "Bubba Golf" works better at Augusta National than at the Olympic Club.
Only three players broke par from the 78 players who teed off in the morning. David Toms played his own version of U.S. Open golf, relying on a solid short game and the right attitude for a 69.
"You really just have to concentrate, give it your all on every shot and never give in to the golf course, because it will punish you if your attitude is not good, if your concentration is not good," Toms said. "There's just too many hard shots out there to really ever give in to it and not be there."
The other "Big Three" at this major – Luke Donald, Rory McIlroy and Lee Westwood, the top three in the world ranking – all were 4 over at the turn. The highlight came from Nick Watney, who made a 2 on the par-5 17th by holing a 5-iron from 190 yards. It was the second albatross in a major this year, following Louis Oosthuizen on the second hole in the final round at the Masters.
All that did was put Watney back at even par as he played his second nine in the afternoon.
Thompson's game seems to work on this quirky, tree-lined course built on the side of a giant dune that separates the Pacific Ocean from Lake Merced.
He was runner-up in the 2007 U.S. Amateur at the Olympic Club and couldn't wait to get back.
After a roller-coaster of a front nine that featured consecutive bogeys and holing a bunker shot for birdie on the downhill par-3 third hole, Thompson hit his stride on the back nine, even if hardly anyone was watching.
He made five consecutive 3s – three of them birdies – and closed his dream round with a 10-foot birdie putt on the short, tough 18th for the lead. Thompson took only 22 putts.
"On the back side, the putter … seems like every putt went in the hole," said Thompson, a 27-year-old playing his first U.S. Open as a pro. "Got a little nervous there once all those cameras showed up. It's always a little bit of an adjustment. In that sense, I kind of wish I was Phil or Tiger, because you get the cameras from the beginning."
There weren't enough cameras or fans to find Mickelson's opening tee shot, but it was easy to find Woods.
He missed only four fairways – three of them that ran off the severe slopes and into the first cut, the other into a bunker on the 256-yard seventh hole, which is where he was aiming. The only glitch was failing to get the ball closer to the hole with short irons, including the 14th when it landed on the back of the green and bounced off the base of the grandstand.
That led to one of his two bogeys, the other at No. 6 with a poor bunker shot. The only surprise was a good one – the 35-foot birdie putt on the fifth that he struck too hard and worried it might lead to a three-putt until the hole got in the way.
"Five was a fluke," Woods said. "That putt was off the green."
Olympic wasn't that simple for most everyone else.
Watson was asked about his strategy of hitting his pink-painted driver. "I shot 8 over, so not very good," he said. The next question was how he played out of the rough with short irons in his hand. "I shot 8 over, so not very good," he said.
"You could answer these yourself," he said.
A marine layer in the morning allowed for cool, overcast conditions that eventually gave way to sunshine. That didn't help. Steve Marino opened with an 84. Zach Johnson didn't feel as though he played all that badly until he signed for a 77. Padraig Harrington thought the course was fair, and allowed for good scores. But he had two four-putts and a three-putt that ruined a reasonable day and gave him a 74.
"It just goes to show that firm greens scare the life out of professional golfers," Harrington said.
Mickelson was looking forward to playing with Woods – the last time they were together, Lefty closed with a 64 and buried him at Pebble Beach in February – but he could not have envisioned a worse start. The hook was bad enough. But as Mickelson approached the gallery and looked for a crowd surrounding his ball, his eyes widened when a marshal told him, "No one heard it come down."
Five minutes later, he was on his way back to the tee.
Mickelson made an unlikely bogey on the hole, added two more bogeys and was fighting the rest of the day. A three-putt late in the round cost him dearly, and now Mickelson can only hope he's around for the weekend.
"I can't really think about the lead or anything," said Mickelson, who was 10 shots behind. "I've just got to make the cut right now, and to do that I've got to shoot something under par."
Woods is coming off his second win of the year at Memorial, and while that made him the favorite at the U.S. Open, recent history left some questions.
He won Bay Hill by five shots going into the Masters, and then had his worst performance as a pro at Augusta National. Woods said he wasn't hitting the ball as consistently well in the spring, not like he is now. And it showed.
"That was the old Tiger," Watson said. "That was beautiful to watch. That's what we all come to see. That's what we all want to watch, and that was awesome to see him strike the ball good."
It wasn't enough for the lead, but it was enough to break par, which is never bad at Olympic Club.
Thompson, who said he had only a few hundred people following his group, understands all the fuss over a 14-time major champion who is showing signs of returning to the top of his game. He was more than happy with a 66 and his name atop the leaderboard, and he made it clear he wasn't going to settle for one good round.
"A lot of people don't know who I am, and I'm totally OK with that because I've always been a player that just kind of hangs around," Thompson said. "I don't give up very easily and I'm very proud of that. Give Tiger the spotlight. I don't care. I'm going to go out and play my game. If I go out and putt the way I did today, I'll be contention."
Subscribe to the sports newsletter
Get the day's top sports headlines and breaking news delivered to your inbox by subscribing here.


text:
The classic trilogy DVDs are rumored to come with a few changes, one being Boba Fett's voice. And it's not due to laryngitis.
|The original cold and unmoving voice brilliantly done by Jason Wingreen will be lost in the cosmos as an updated New Zealander accented version will replace it to match Temuera Morrison (Jango Fett) and Daniel Logan (Young Boba Fett). This was previously circulated as rumors, much like the young Anakin revamp at the end of Return of the Jedi. However, all of this prequel material glossing over the original Star Wars films seems to be true.
TheForce.net has reported the following information regarding the changes:
George Lucas loves to update his films and make changes, do you think it's a wise one to make? If so, how'd you address George Lucas regarding this:


text:
Instruction & Class Visits
Binghamton University Libraries' Special Collections and Archives welcomes and encourages instructors and their students and classes to use our rich collections. We can provide instruction and orientation in a range of disciplines and subjects, including general information about how to locate and use special collection materials for research purposes and class presentations on selected materials pertaining to specific collections, subjects, historic periods, or genres.
We ask that instructors contact Special Collections to arrange a class visit as early as possible. To schedule an introductory class to Special Collections or arrange use of Special Collections materials for your course, please send an email with the following information:
- The class number and title
- The date, time, and frequency of your class (one time or multiple visits)
- The approximate number of students in each class
- How long your class session will be
- Is there an assignment, paper, or project your students will have to complete using Special Collections materials? Is group study a requirement?
After you have submitted your information, a Special Collections staff member will contact you to discuss your needs, provide you with general introductory information and an overview of basic researcher rules.
Classes will be scheduled Monday through Friday, from 9 a.m. to 4 p.m. Because we have limited space, we can only accommodate classes of no larger than 20 students. Larger classes will be divided and separate sessions scheduled. Instructor attendance during the session(s) is preferred.
To better prepare your students, please alert them that the following items are not permitted in Special Collections:
• Pens or markers (pencils only)
• Food or drink of any kind
Also, students will be asked to leave backpacks and bags in the reception area of Special Collections. Please orientate your students to our Guidelines for Use of Special Collections before their arrival.


text:
Everyone has been pretty shocked by the devastation wreaked by Sandy. Here in New England, we also got a Nor'easter following a few days later. That's a lot of intense storm action in a short period of time.
So I was quite curious as I ventured out into the field last weekend to see how things looked. I went on a potential field site scouting trip to UMB's field station in Nantucket. Nantucket of course got a good dose of Sandy, although it largely passed southwest. The Nor'Easter may have been worse.
What I found while just walking about on the shoreline was pretty incredible. It was Scallapocalypse.
Let me include a video here of what one saw looking across the beach so you can get a sense of what was going on.
All over, the scallop grounds had come to shore.
But the huge flux of biomass onto shore was impressive. And it wasn't just scallops, but a ton of seagrass as well, much of which was matting over fringing salt marshes.
Still, the huge amount of energy and nutrients coming into the shoreline ecosystem driven by storms gave me a lot of pause. I mean, those scallops that weren't saved did end up in the coastal foodweb. Birds were definitely looking fat and happy, and we'd find piles like this with flocks of birds nearby:
The whole thing really got my brain going, with two big questions
1) So, what is the fate of all of this influx of stuff into the shoreline? How will the influx of energy alter the structure and dymaics of the food web? Will the smothering of the marsh matter? It is winter, when things are slower. How quickly will everything be decomposed? Will the effects be lagged until the springtime? Or will they affect the system now? I think of Gary Polis's work on how food web structure is shaped by the influx of energy on small islands. I know this is a BIG island, but, still, the point stands, this is a big flux of biomass and nitrogen. And it's not just plant matter, but animal protein.
2) How will climate change alter the frequency of this subsidy? What would the consequences of a regime with regular small subsidies and occasional big ones versus regular big subsidies be? This stems largely from my thinking about the increase in the size of the 'largest storm of the year' in California coastal systems that's been the basis of my previous work. But, models and analysis from the Knutson group seem to show that, while hurricanes and cyclones in the Atlantic aren't getting more frequent, the size of each one is getting bigger. So, similar pattern. If small subsidies are coming in every year now due to the occasional passing hurricane or Nor'easter, but the size of those same storms in the future is going to get larger, then having this kind of big Scallapocalypse/subsidy could get more frequent. Particular as northern Atlantic waters get warmer (which they are – Nixon 2004), this could be an interesting and perhaps not so well investigated climate effect – the increased strength of coupling between marine and terrestrial food webs.
Oh, and random 3) What role will invasive algae play in increasing the impacts of storms on the amount of material coming on land? This may lead nowhere, but I noticed a lot of material (not scallops) that had washed on land had the invasive Codium fragile attached to it. I know that subtidal kelps can do this to mussels as well (Witman's work), but there's no kelp here. Is Codium becoming a drag (har har) and increasing the energy and nutrient flow from sea to land?
All in all, an interesting trip with a lot to chew on for future research. And a great setting!
Knutson, T. R., J. L. McBride, J. Chan, K. Emanuel, G. Holland, C. Landsea, I. Held, J. P. Kossin, A. K. Srivastava, and M. Sugi. 2010. Tropical cyclones and climate change. Nature Climate Change 3:157–163.
Nixon, S. W., S. Granger, B. A. Buckley, M. Lamont, and B. Rowell. 2004. A one hundred and seventeen year coastal water temperature record from Woods Hole, Massachusetts. Estuaries 27:397–404.
Polis, G. A., and S. D. Hurd. 1995. Extraordinarily high spider densities on islands: flow of energy from the marine to terrestrial food webs and the absence of predation. Proceedings of the National Academy of Sciences, USA 92:4382–4386.
Polis, G. A., W. B. Anderson, and R. D. Holt. 1997. Toward an integration of landscape and food web ecology: the dynamics of spatially subsidized food webs. Annual Review of Ecology and Systematics 28:289–316.
Witman, J. D., and T. H. Suchanek. 1984. Mussels in Flow – Drag and Dislodgement by Epizoans. Marine Ecology Progress Series 16:259–268.


text:
Hedi Slimane's Photography Exhibition Documents Rock Legends
The photographer and Saint Laurent designer debuts 'Sonic,' an exhibition of music legends past and present, this month at Paris's Fondation Pierre Bergé–Yves Saint Laurent
MUSIC IS CLEARLY, for me, the starting point of anything," says Hedi Slimane, whose Paris childhood in the '70s and '80s was spent worshiping David Bowie and the Rolling Stones. Decades later, not much has changed for the designer and photographer.
Shy of picking up a guitar himself, Slimane, 46, has come closer than almost anyone else in the fashion world to being a rock star—not least because of his ever-present weathered leather jacket and elusive mystique. Music reverberates through all of his work: He channels it in his collections for Saint Laurent, where he was appointed creative director in 2012, and captures it in his black-and-white portraits of musicians.
This month, "Sonic," an exhibition of Slimane's photographs taken over the past 15 years in London, New York and California, where he now lives, opens at Paris's Fondation Pierre Bergé–Yves Saint Laurent. The show and accompanying book feature legends such as Keith Richards and Lou Reed (photographed just months before his death) alongside emerging stars including Sky Ferreira. "It's more like a collaboration than a photo shoot," Ferreira says. "He knows how to capture musicians so well because he's a true music fan." Slimane has an intimate, unscripted photographic style that's as singular as his fashion design.
"He's an artist whose vision comes from a connection with the world and his place in it," says Jeffrey Deitch, who oversaw an exhibition of Slimane's photographs at L.A.'s Museum of Contemporary Art in 2011. "You can't define him as a fashion designer. As his body of work gets larger, he gets more unique. Now it's even more intriguing with Saint Laurent added to it."
Like a punk band conquering a stadium without forsaking its ideals, Slimane has successfully established his personal vision within the confines of the fashion world. His highly personal, idiosyncratic flourishes have added up to booming sales.
Slimane began his design career in menswear at Yves Saint Laurent in 1996, before helming Dior Homme and redefining the male silhouette with his signature skinny suit. But in 2007, he left Dior and returned to his first love, photography. An autodidact of the art, Slimane has spent years documenting the independent music world from Berlin to Los Angeles in deeply textured black-and-white images.
After a five-year hiatus from fashion, Slimane returned to Saint Laurent, and during his tenure he has transferred the rebellious, ineffable cool of rock 'n' roll to the house's ultraluxe universe. Slimane's schism-inducing shows have astounded the fashion establishment, populating the runway with looks inspired by grunge kids, punks and rockabillys, accompanied by specially commissioned soundtracks from his favorite garage and electronic bands. His self-shot campaigns feature the likes of Courtney Love, Marilyn Manson and Sonic Youth's Kim Gordon and—in a world of slick images—are iconoclastic for their raw style. "There was no hair and makeup. Hedi was always behind the camera and moved the lighting himself," says indie rocker Christopher Owens, a frequent Slimane subject, who appeared in the first series of ads for Saint Laurent. "He didn't change who I naturally am."
WSJ. spoke to Slimane over email about his life behind the lens.
WSJ: What appeals to you about photography as a medium? What creative needs does it fulfill for you that other métiers don't?
Hedi Slimane: I started taking pictures when I was a kid, around 11 years old, and haven't stopped taking photographs since. The sense of keeping a record, a memory of the time I am living in, was always a priority.
Furthermore, I am very attached emotionally to the subjects I photograph. I probably take photographs as much for them as I do for me, making sure something of their grace, a grace they mostly are unaware of, remains.
WSJ: So many of your subjects are musicians. Besides being a fan, what else draws you to these individuals?
HS: One of my strongest memories from when I was a kid is lying on my bed, bored to death, longing to grow up, listening to music on my lo-fi turntable and looking at album covers for hours. My birthdays were invariably about new LPs, either Bowie or the Stones, and the language of music, the visual and emotional language, was the one I could immediately understand, probably the only one I understood. I grew up surrounded by my music heroes—they made me feel alive; they helped me feel better about myself when I was a teenager. I also learned how to dress thanks to my music heroes. I never gave them up since then, and I therefore only feel in my element around musicians. I never had the desire to play any instruments, though. As I figured out early on, my place was to document them, eventually create stagewear for them, sometimes try to help share my passion or interest with those who might be interested in emerging talents.
WSJ: What do you find inspiring about the music world, and what is significant about music for you personally? When approaching any creative project, do you always look to music first as a starting point?
HS: There is a sense of freedom in music, and a sentimental quality, which moves me and constantly inspires me. It is all in one song. There is also an idea of community that draws me, particularly in California today, in East L.A. or Orange County. This is something I felt in England in the early 2000s, when a generation of young indie musicians emerged (e.g., the Libertines, the Rakes, Arctic Monkeys, etc.). Music captures the vibration of a time, triggers popular culture and impacts other fields, in particular fashion. The sense of code and signs, the perfect semiotic of street culture and tribes, is constantly redefined or invented by emerging musical genres. Photography is an observatory if you are curious enough and spend enough time around music, searching and staying open to anything that might occur. Music is clearly, for me, the starting point of anything. Nothing else captures more accurately or creates precedent for what is about to happen.
I am therefore always a little saddened by the lack of curiosity or openness to the new, and I feel, growing older, the urge and necessity to never feel jaded, analytic or patronizing towards new music. Music is a constant reinvention, a mutation of the past and present. I always share the enthusiasm of young musicians, and I value their sincerity more than anything else.
" "There is a sense of freedom in music, and a sentimental quality, which moves me constantly." "
WSJ: This book and exhibition are focused on London and L.A.—both seem like powerful muses to you. What draws you to both cities, which seem so different? And what do you love about L.A.?
HS: I probably feel most at home in London out of the European cities, having spent most of my time there from 2003 to 2007, after a stint living in Berlin. A lot of my dearest friends are British, and there is musically or artistically always something there that draws me.
Perhaps Britain is a bad example of this at the moment, though, as I feel England is going through a pop and mainstream period, focusing a lot on American blockbusters. I presume there are still pockets of creativity and individuality, probably more so outside of London.
Saying that, I really like the Temples album that James Bagshaw and his friend created in their bedroom. As Noel Gallagher pointed out, they certainly deserve more exposure, although they are starting to get more and more success. The album is quite classic, really, and consistent with what I have been listening to and documenting for a year now, a reinvention of psychedelia, happening at the same time in California, Texas, NY/Brooklyn, Great Britain and also Australia.
Again, it is interesting to see how this movement might affect other creative fields and popular culture in general. There is always a delay before those things make sense or become visible, and it is of course a necessity to ask those questions in photography and in my case, by extension, design.
Now more specifically in California, the current cycle is prolific and very free-spirited. I am drawing reference to the indie Southern and Northern California scenes, which exist alongside the global music industry based in Los Angeles that seems to have no interest whatsoever in what is happening on its doorstep (as always).
I feel very lucky to live in California at the moment and being able to observe what is happening both in Los Angeles and its suburbs but also San Francisco and the Bay Area. The influences of surf music, punk rock and garage and the strong scene of psychedelic rock are now evolving into a sound which is extremely specific to the Sun State and is starting to spread just like the U.K. generation did in the early 2000s. This is really exciting.
I have been here for six or seven years now, and I have seen and photographed this community evolving and getting more confident and stronger. It is, of course, one of the main reasons for me to continue living here, although I have always felt California to be home.
WSJ: Do you have a favorite band? If you had to choose the work of one group or musician to listen to for weeks on end, whom would you choose? And do you have a guilty-pleasure band?
HS: I listen to a lot of music, but I can go forever with the same album on loop, classic or new, which I have done many times, from Electric Mud, one of my favorite Muddy Waters albums, to the Girls' Album, the Allah-Las's first album, the Temples album, etc. I usually listen full blast in the car, my favorite place for music.
As for guilty pleasures, I couldn't narrow it down to a specific band, but tracks from the '80s or sometimes '90s. I am a big admirer of John Hughes movies, so anything musically along those lines is always welcome on the radio.
WSJ: The rest of the fashion industry seems obsessed with mainstream pop stars, who often seem like empty vessels—they have an armada of handlers, stylists, songwriters. The subjects of your photos seem to be the antithesis of that. What do you think about the current state of the music world, and do you actively seek out more-independent thinkers as your subjects?
HS: It's fine to be obsessed with mainstream pop or rap. I am not personally sensitive to it, to say the least, but I do understand it.
Mainstream pop seems to mirror this same obsession with fashion and loves to see fashion and brands as a sort of validation, trying to obtain a sense of sophistication. It seems to be all about status and flamboyant success; it is quite codified at this point. The social networks have created this endless connection between both worlds. I presume the fashion industry feels flattered. This is interesting but a different planet for me.
I am not really moved by it so far, or touched by it. I always liked independent subjects, and always admired people that are their own creation and consistent on and off the stage. I was talking about sincerity before, which also means a sense of authenticity and individuality, and of course I can only presume this applies as well to some mainstream artists.
WSJ: The one adjective I would always use to describe your photo work is intimate. As a viewer I get the feeling that there is no one in this room except the subject, and that's why the images are so revelatory. What is your working process like? Do you always have a closed set, for example, and what kind of camera and film do you prefer to use?
HS: I do prefer a closed set, but most of the time I take pictures on my own, as I mostly work in a documentary way. I am just around, and the subjects are usually forgetting about my presence, forgetting the camera. Intimacy is the only way to do it for me. This is why I only do a few commissions outside my own research or projects.
Besides, this is how I learned to take photographs, alone with two camera bodies and a few lenses. I also like photographs to be slightly off, and to forget the technique I learned as a kid.
As for the cameras, I am not that specific, but I have been using my imperfect old lenses for so long, they are familiar, and I am attached to them. I don't really like new glass that's overly coated. The technicality of a perfectly new lens or body is for me the enemy of the emotional quality of a photograph. The same applies to fashion with technology.
WSJ: Your black-and-white images are stark yet warm. What was the evolution in your work that allowed you to develop this visual language? Are you ever tempted to dabble in color?
HS: As a teen, I discovered the work of [Russian Constructivist] Alexander Rodchenko and [Hungarian Bauhaus artist] László Moholy-Nagy. Constructivist photography and abstract composition became my main influences, and I continued to experiment with those ideas until my mid-20s. My photography, both portraiture and still-lifes, became more and more abstract. Finally, around 2001, I lost faith in pure formality, and I wanted to break that mold. Up until that point, I had been carefully cutting up any unused negatives. But as my taste evolved, I found I needed the mistakes, so I desperately went back and tried to save whatever I could. I realized that what felt wrong today could be what finally works out. So I began to be interested in mistakes, imperfections, liveliness and recklessness instead of geometry and strict composition. As for the black-and-white film, it's what I know. I still prefer the sense of focus and the lack of distraction from your subject it gives you. I also think it gives you a different perspective on time—an everlasting dimension.
" "I began to be interested in mistakes, imperfections, liveliness and recklessness instead of geometry and strict composition." "
WSJ: Have you ever been concerned about the reception of your photos? There are few people who have been successful in two fields—or do you view photography and fashion as one creative process?
HS: I never really wanted to do anything with my photographs other than keep them carefully in drawers for myself. This all changed when the Internet began to interest me in the mid-2000s. I started the diary, a silent photographic chronicle online, something like an archaism of Instagram. Some galleries and museums commissioned exhibitions, and I started doing them when I stopped designing in 2007. There was no precise plan for me to go back to fashion at that point, and so I just went back to what I do instinctively every day. Naturally, now having gone back to design, I try to keep the right balance between the two disciplines, which end up creating a form of interconnection. Photography informs fashion and is somehow for me a step ahead of fashion. It is an observatory, outside any kind of subjectivity. Moreover, I have changed my perspective on fashion, and in the same way I did with photography at the time. I completely lost interest in formality and pure construction. I did not believe in digitalized conceptual fashion. This is certainly the eternal question of modernity, contemporanéité. What is modern? What defines today? Technology, virtuality, digital industrial design, transposed into Photoshopped conceptual fashion or photography? Is it modern or the illusion of modernity? Is it a new form of conformism, an average convention? I presume the doubt is a necessity.
WSJ: How did you select the work for this upcoming book and for the exhibition at the Fondation Pierre Bergé–Yves Saint Laurent? Is it an emotional moment for you to be the first Saint Laurent designer besides Yves whose work will be exhibited at the Fondation? Are you planning to exhibit work that will resonate with his aesthetic and philosophy?
HS: Pierre Bergé and Philippe Mugnier, the head of the Fondation, asked me to do a project with the Fondation a few years ago. It was already in discussion prior to the Saint Laurent fashion project and is therefore unrelated. I guess this occurred when I did the California exhibition at Almine Rech sometime in 2011. We finally chose a date last year, and by then, I had already started designing again, but we all wanted the show to be specific to the Fondation and about photography. It was for me a very moving gesture and project. We discussed the subject of the show all together, and we came out with the idea to show the music archives in an intimate way.
WSJ: What do you see as the unifying link between your Saint Laurent Music Project, the Saint Laurent campaigns and your ongoing personal work? Are they all part of one artistic endeavor?
HS: This is again quite fluid and spontaneous. Everything somehow is connected, everything is about who I meet or discover. The Saint Laurent Music Project is a natural evolution of what I do every day in photography and documentary, and it is also a memory of the early days of the fashion house and its distinct connection with music. The great opportunity we have is that everything is done within the house. Therefore a campaign can be done and launched from one day to another. It is a completely free format—no rules apply to it but immediacy and spontaneity.
I also commission all the soundtracks for my show, instead of going through sound illustration, which is something I can't relate to. I feel creating music, producing it, is a substantial and defining part of the project, next to photography and design. Everything contributes to a single and open/collective project. It is an attempt, an experiment. It is difficult to do it, but we try things and we never know how they will end up, and we understand this is probably not going to be acknowledged as the usual industry format.
There are certainly, or hopefully, different ways to approach photography, music and design.
WSJ: How do you remain plugged in to the newest bands, and how do you have time to devote to photography now that you have so many other duties? Are you continually at shows, or do you pay attention to music blogs or word of mouth?
HS: Music is a vital necessity to me, and, of course, I cannot find my way through others—I have to be directly involved. It is a personal and intimate endeavor; otherwise I would lose interest. I also need to get to know the musicians, and this mostly starts with a friendship. This is therefore a 24/7 experiment; this is predominantly all I do. I have somehow been very lucky to be in the right place at the right time, somehow accidentally, and so it happens I have always been around: in Paris in the late French touch '90s, Berlin in the early days of Berlin minimal electronica, in London during the birth of the London scene and California for almost a decade documenting emerging generations of musicians.
WSJ: One particular band you have shot extensively is Starred, which is one of my favorite groups. I saw them play the other night, and their new work and progression are staggering. Do you still follow them? Why the heck aren't they famous?
HS: Liza is very gifted and so lovely and brilliant. So is Matt. I met them in Los Angeles when they used to live there. I keep following them as I always do with the musicians I love. It is an ongoing project of documentation and memory. I don't really know how people get or don't get famous. It is quite a mystery to me. Fame is hardly enough of a certificate of relevance, if not the contrary at this point. It will be interesting to look back at the fascination of this decade of social-network selfie-fame factory. I believe the light-speed broadband world gives the wrong idea of the time frame needed for something truly significant to exist or to survive as "classic" in popular culture. Time is still of the essence, even when buried under instant self-publicity.
WSJ: Is there someone you haven't yet photographed whom you would like to?
HS: Bob Dylan and Leonard Cohen.
WSJ: Is there a portrait of a musician that you wish you had taken?
HS: Elvis Presley, naturally; James Brown; Jimmy Hendrix; Kurt Cobain —the list is endless.
WSJ: Do you have a different approach when shooting legends like Lou Reed and Keith Richards as opposed to up-and-comers, since you also work with artists who have yet to release their first single? In the faces of the famous rockers, are you very conscious of their previous portraits, and do you ever get nervous? What are you looking to portray in your subjects, no matter where they are in their careers?
HS: It is quite similar, actually. There is still a sense in which music is defining them all. On the other hand, sometimes established musicians tend to have an idea of how they like to be portrayed, being aware of the mythology they are meant to represent, I presume. For me there is no difference between a legend or a future legend. If this were not the case, I wouldn't have any desire to photograph them.
WSJ: The Lou Reed photo is so striking—you can see such emotion through the dark glasses. This was taken four months before he died. Do you think mortality was evident in his emotional state? What was this shoot like? Do you have a favorite song by him from the Velvet Underground or his solo career?
HS: I believe so. I believed I saw it when Lou arrived on set. It was heartbreaking. There was something in him that was resisting, as if he wanted to prove he was indeed alive. This was very emotional. I felt so sad afterwards and admired his courage and strength. In some ways, the exhibition is dedicated to him. Not that I chose to do so—it is almost as if he had decided it for me that day. It is somehow a photograph that has obsessed me for the past year and imposed itself, as if Lou was at the origin of the show. Let's not forget he was also a photographer and very specific about portraiture. I love a lot of his songs, but "Walk on the Wild Side," written about "Little Joe" Dallesandro, whom I love very much and photographed many times, resonates particularly to me today.
Copyright ©2019 Dow Jones & Company, Inc. All Rights Reserved. 87990cbe856818d5eddac44c7b1cdeb8
Fall's Fashion Surreal Trip
The fall collections were all about playing a dream-like series of characters. Alongside Björk collaborator Hungry, model Rianne Van Rompaey tries them all on. Join their dreamlike journey
Click to Read Story
Why Brad Falchuk Is Hollywood's Best-Kept Secret
The press-shy man behind Ryan Murphy—and husband to Gwyneth Paltrow—has signed a major production deal of his own with Netflix. How the writer–producer–director, out with "The Politician," is carving his own path.
Click to Read Story
Inside Textile Artist Sheila Hicks's Paris Studio
For six decades, artist Sheila Hicks has been pushing the boundaries of her chosen medium, fiber, and in the process, challenging conceptions of art more broadly. WSJ. goes inside her 6th arrondissement studio in Paris to see several works in progress
Click to Read Story
Sweetgreen, Pointing to Its Own Past, Hatches New Model
The company says it's so much more than salad—and wants to change the way it serves up both food and new ideas, its three founders say. Inside their "Sweetgreen 3.0" project
Click to Read Story
A Navy Blazer is the Ultimate Travel Hack, According to J.Crew's Chris Benz
The designer on his upcoming Hong Kong trip, organizing like a Virgo and his go-to luggage brand
Click to Read Story
WSJ. Magazine


text:
A Historic and Storied Gem in the Gaslamp Quarter
Listed on the National Register of Historic Places, The US Grant hotel has been a San Diego icon since its debut in 1910. While the handsome hotel itself is a sight to see, its history is what makes this property so fascinating. The land (which was once owned by the Kumeyaay tribe) was the home of San Diego's first major hotel, Horton House Hotel, until it was bought and demolished by Ulysses S. Grant, Jr., son of the eighteenth U.S. president. In its place, he built The US Grant (named after his father), an eleven-story, luxury hotel in what is now the Gaslamp Quarter of downtown San Diego.
Continue reading "The US Grant, A Luxury Collection Hotel, San Diego – Review" »