text:
Error 809B100E occurs when using Kinect for Xbox 360
You see the following error message when you use the Kinect sensor for Xbox 360:
Lower body not detected
This means that the Kinect sensor is having trouble seeing you during a Kinect Tuner test.
To resolve this problem, try the following solutions:
Solution 1: Select "More info" and then "Try again"
On your console, select More Info to see suggestions you can use to try to fix the problem. After you make the suggested changes, select Try Again to run the test again.
If you keep getting the error, try the next solution.
Solution 2: Position the Kinect sensor correctly
To learn how to position your Kinect sensor correctly, see Kinect voice recognition and chat.
If you keep getting the error, try the next solution.
Solution 3: Make sure you have good lighting
To learn about optimal lighting for Kinect, see Room lighting conditions for Kinect.
Solution 4: Request a repair
If the first three solutions don't resolve the issue, your Kinect sensor needs repair. Sign in to request a repair.
Repair or warranty questions? See Xbox 360 repair: Frequently asked questions.
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Benjamin Thomas
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December 20, 2017
2:00 pm to 3:00 pm
CMHA North & West Vancouver Branch
#300-1835 Lonsdale Ave
North Vancouver, British Columbia
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Hearing voices can be a confusing and isolating experience. This weekly support group provides an opportunity to share experiences and coping strategies with others who also hear voices.
This is free, drop-in group for anyone who hears or has heard voices, and who would like to talk about it in a non-judgmental, supportive and confidential environment. The group is open to anyone who hears voices, and friends and family members who want to help.
Group members share stories, examine the nature of their voices and share ideas on how best to cope while living with their voices. The group is run by an occupational therapist and a peer support worker who herself hears voices, and who has learned how to manage well with this unique experience.
"It is really hard to talk about my experience with friends or family…but here, I can. It's so comforting to know I'm not alone." – Hearing Voices member
The Hearing Voices support group meets every Wednesday from 2:00-3:00 pm at CMHA North and West Vancouver, #300 – 1835 Lonsdale Ave, North Vancouver.
If you have any questions or would like to learn more about the group, please contact Gill, Occupational Therapist at 604-649-1983.


text:
SingStar boss Paulina Bozek has left Sony's London Studio to join Phil Harrison at Atari/Infogrames. While at Sony, she's been the Executive Producer and Game Director of the 15 million selling SingStar juggernaut. In her new role at Atari/Infogrames, she'll be development director of a new online game studio. Says Harrison:
This is a significant step in expanding Atari's online game development capability. Paulina is one of the industry's most respected creative leaders with an outstanding track-record of commercial and creative success and I'm delighted that she will bring her unique vision, consumer insight and proven ability for creating amazing entertainment experiences to Atari.
Hit the jump for the press release.INFOGRAMES ANNOUNCES THE APPOINTMENT OF PAULINA BOZEK AS DEVELOPMENT DIRECTOR OF NEW ONLINE GAME STUDIO - Award-Winning Game Director Of $500 Million, 15 Million Unit-Selling SingStar® Franchise to Lead New Online Game Development Team at Atari, Based In London - LONDON, UK – 8 September 2008 – Infogrames Entertainment, under its consumer brand Atari, today announces the formation of a new in-house game development studio under the creative and production leadership of Paulina Bozek, one of the games industry's most pioneering and successful producers. At Atari, Paulina will apply her outstanding production and development skills to establish a new game development team and studio based in London. The new studio will focus on innovating and developing mass-market consumer games and services for online-enabled devices including Personal Computers and game consoles. "This is a significant step in expanding Atari's online game development capability," said Phil Harrison, President of Infogrames. "Paulina is one of the industry's most respected creative leaders with an outstanding track-record of commercial and creative success and I'm delighted that she will bring her unique vision, consumer insight and proven ability for creating amazing entertainment experiences to Atari." "I am very excited to be joining Atari at this pivotal time for both the company and the industry," said Paulina Bozek. "There is a huge opportunity as gaming platforms become more ubiquitous, more connected and attract more mainstream audiences. Atari has a great vision for the future and I can't wait to start realising that vision in new products and services." For the past 6 years Paulina has been Executive Producer and Game Director of the multi-award winning SingStar franchise on PlayStation®2 and PLAYSTATION®3 at Sony Computer Entertainment's London Studio. SingStar has achieved combined sales of over 15 Million units and life-time revenue of approximately $500M (measured at retail and online worldwide). The most recent version of SingStar on PLAYSTATION 3 incorporates a variety of online innovations including integrated commerce, community and user-generated content services. The new Atari studio will initially be located in Hammersmith, west London and will recruit industry-leading technical, creative and production resources, both as in-house employees and externally contracted resources. About Paulina Bozek: Paulina started her career in games in 1999 at Ubisoft in Montreal, Canada where she worked with a small team to launch and project manage GameLoft.com, Ubisoft's then online portal of game services and communities. In 2003, she joined Sony's London Studio and was appointed as the Producer of SingStar shortly afterwards, over-seeing the production and creative direction of the Franchise. Since its release, the SingStar Franchise has been instrumental in establishing games as popular entertainment for mainstream audiences. Paulina is the recipient of several prestigious awards, including the first ever BAFTA Interactive New Talent Award in 2004. In 2007, she was listed in the Top 10 rising stars of the Media field on the 'Courvoisier Future 500 List.' And in 2008 Mangagement Today listed Paulina in its annual list of top '35 women under 35' in British Business. She holds a Bachelor's degree in Cultural Studies and an MSc in Media & Communications from the London School of Economics. About Infogrames Entertainment and Atari: The Infogrames group, including the Atari brand, is a global producer, publisher and distributor of interactive entertainment software for all market segments and all interactive game platforms including consoles from Microsoft, Nintendo and Sony, advanced smartphones, Personal Computers, web and online. Its games are sold in more than 60 countries through an international distribution network and direct to consumers via www.atari.com. Atari's extensive catalogue of popular games is based on original franchises (Alone in the Dark, Test Drive, V-Rally, My Horse & Me, Backyard Sports franchise, Total Annihilation, Outcast etc.), publishing properties (The Witcher, Legendary, Race Pro etc.), international licenses (Dragon Ball Z, Dungeons & Dragons, Jamie Oliver etc.) and classic games covering the entire history of the video game industry (Pong, Missile Command, Asteroids etc). Paulina Bozek leaves Sony to join Atari [VG247] [Pic]


text:
Click here to view the Title IX & VAWA Booklet.
Title IX of the Education Amendments of 1972 and Texas State Technical College (TSTC) policy prohibits the discrimination based on gender in its educational programs and activities. TSTC is committed to creating an environment free of harassment and discrimination.
TSTC does not discriminate on the basis of race, color, religion, gender, national origin, age, genetic information, disability or veteran status, or on any other basis that would be in violation of any applicable federal, state, or local law (SOS HR 2.1.14) in its programs and activities and provides equal access to applicants, employees and students.
Sexual Harassment:
Sexual harassment is a form of gender discrimination and therefore prohibited under Title IX. "Sexual harassment is conduct that is sexual in nature, unwelcome and denies or limits a student's ability to participate in or benefit from a school's education program."
The following are examples of conduct that may constitute sexual harassment:
Inappropriate touching, patting or pinching
Physical assault or coerced sexual activity
Obscene phone calls, texts, email or gestures
Badgering someone for a date
Repeatedly making in appropriate sexual comments or unwanted sexual advances
Quid Pro Quo – Latin meaning "this for that." The more commonly understood meaning is "if you do something for me, I'll do something for you." An example of quid pro quo is when an instructor threatens to fail a student unless the student agrees to date the instructor.
Hostile Work Environment – Hostile environment occurs when unwelcome conduct of a sexual nature is so severe, persistent or pervasive that it affects a student's ability to benefit from an educational program or activity, or creates an intimidating, threatening or abusive educational environment. A hostile environment can be created by a college employee, another student, or even someone visiting the college such as a student or employee from another school or college.
Any person (student, faculty, staff or guest) who believes they have been subjected to discriminatory practices bases upon gender may discuss their concerns and/or file a complaint with the following Title IX Coordinator:
Dr. Christine Stuart-Carruthers
Associate Vice Chancellor Enrollment
Student Title IX Coordinator
1902 N. Loop 499
Harlingen, Texas 78550
Harlingen, TX
Edda Urrea
Senior Executive Director of Talent Management
Title IX Coordinator Employees & Visitors
1902 N. Loop 499
Harlingen, Texas 78550
Harlingen, TX
Click here for the Title IX Victim Services Form.


text:
I'll admit it: One of my favorite things about California politics is the sheer hilarity of watching rich people make populist attacks on other rich people for the sin of being rich. If this kind of disingenuousness were taxable, this state would have a budget surplus.
With the Poizner-Whitman Multimillionaire vs. Billionaire battle unfortunately over (oh how I miss all that spending on TV commercials to promise us that Steve or Meg will be the one to finally get tough on spending), the general election has given us the wonderful gift of the California Nurses Assn. vs. Meg Whitman.
In case you missed, the CNA, a big and well-funded nurses union, is protesting Whitman events with a bit of street theater that represents the GOP nominee as "Queen Meg." The Whitman campaign has counter-attacked by going after the CNA's executive director, Rose Ann DeMoro, for among other things collecting a salary of more than $293,000, according to federal disclosure forms.
U.S. & World
Both these attacks hit the mark in a way. Whitman is a billionaire who treats the press, at least, with a certain imperiousness. And while DeMoro's salary isn't out of line among leaders of important national unions (maybe it should be out of line, but that's another story), she is obviously quite rich -- richer than 99 percent of Californians.
The thing that make these attacks so ridiculous is who is making them. The lead consultant on the Whitman campaign makes more in a month than most Californians make in a year -- and is far richer by every publicly available measure I can find than DeMoro. And DeMoro certainly makes more than enough to live like a queen. Meanwhile, the Democratic nominee, Jerry Brown, who is running a campaign on populist economic themes, is coming under fire for living in a $1.8 million home in Oakland.
All of this is good sport, but it's meaningless. If you want to get mad about rich people, think about this. Whitman, DeMoro and Brown pay -- or should be paying, since we haven't seen their taxes yet -- essentially same base tax rate, before deductions, as a Californian who make $50,000 a year.


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text:
MLB Notebook: Leading off -- impact hitters
Twins' Santana enjoys huge day; Markakis, Gardner make presence felt
Entering Sunday's contests, batters swinging the lumber while occupying the top spot in the order were holding a .724 OPS. That figure stood in a tie for the 42nd-highest mark since 1920, with the collective .779 OPS produced by leadoff hitters in 1929 maintaining the highest eminence for the live-ball era. But in that explosive '29 season, the Major League OPS at the end of the year was a robust .770 -- only four seasons ever have seen a higher mark.
In contrast, this season's overall OPS checked in at a much blander .705 going into Sunday's games. So from this perspective, this year's crop of leadoff hitters -- a group getting all sorts of good work from the likes of Jose Altuve, Nick Markakis, Brett Gardner, Charlie Blackmon, Denard Span, and (most notably on Sunday) Minnesota's Danny Santana -- are making more of a impact on the overall Major League line than even that crazy '29 season saw.
The Twins set season highs for hits (23) and runs in a 16-3 win over the White Sox on Sunday, and in the process, they saw leadoff hitter Santana collect five hits and the bottom of the their order produce back-to-back-to-back home runs. Santana's five hits included a double and a triple, and the center fielder also walked and drove in four runs while scoring two and stealing two bases.
Santana is the third player since 1914 to have a game in which he reached safely at least six times, drove in four runs and swiped two bases. He joins No. 3 hitter Rogers Hornsby (June 12, 1922) and No. 5 hitter Ben Chapman (July 14, 1931) in the club.
Santana became the 25th player for the Senators/Twins since 1914 to have a five-hit, four-RBI day, and the third of these 25 to do it out of the leadoff spot. Earl McNeely did this on July 13, 1926, and seven years later, Joe Kuhel matched the feat on May 16, 1933. Of the first 24 to have this kind of line, only one -- Cecil Travis on May 5, 1946 -- even had one stolen base.
Among leadoff hitters since 1914, Santana is the 39th to have a multi-run, multi-RBI, multi-steal, multi-extra-base hit game. He is the second to do this in eight days, joining Pittsburgh's Josh Harrison. Santana is the first of the 39 to have done this for the Senators/Twins.
• In the top of the ninth, Chris Parmelee, Oswaldo Arcia and Eric Fryer hit consecutive home runs. It is the seventh time since moving to Minnesota for the 1961 season that the team has seen back-to-back-to-back homers in an inning, and the first time it's happened since Doug Mientkiewicz, Corey Koskie and Torii Hunter did it on July 12, 2001. in a win over the Brewers in Milwaukee. The Twins share the MLB record for most consecutive homers in an inning, with Tony Oliva, Bob Allison, Jimmie Hall and Harmon Killebrew going back-to-back-to-back-to-back in the 11th inning on May 2, 1964, against Kansas City.
One and done: Markakis dials up historic power
• Orioles leadoff hitter Markakis opened with a home run in the bottom of the first, which marked all of the game's scoring as the Orioles shut out the Mariners, 1-0.
Markakis is the first Orioles player (so going back to 1954) to hit a leadoff homer in the first inning of a 1-0 win, and, dating back to 1914, the only player for the franchise to do this.
In the win, Markakis also contributed a single and a double, and now has 1,501 hits in his career. He is the third player for the franchise to have at least 1,500 hits through his first nine seasons, joining the St. Louis Browns' George Sisler (1,692) and Baltimore's Eddie Murray (1,528).
Gardner outslugging the competition
Gardner fell a triple shy of the cycle, walked and drove in three runs as the Yankees outlasted the Red Sox, 8-7. Gardner -- who has collected three doubles and five home runs in his past six games -- is slugging .467 this season, with a .485 mark in 382 plate appearances as the leadoff hitter.
Among players with at least 300 plate appearances out of the leadoff spot, Gardner's .485 slugging percentage is the highest. His .830 OPS is also the highest.
The last Yankees player to have at least 400 plate appearances from the leadoff slot and finish the year with a slugging percentage of at least .480 in that spot was Alfonso Soriano, who slugged .533 in 2003. The highest mark for a Yankees leadoff hitter since 1914 (min. 400 plate appearances) belongs to Bobby Bonds, who posted a .566 mark while batting first in 1975. That .566 is the seventh highest for any leadoff hitter since 1914 (same minimum), with Brady Anderson's .627 in 1996 the top mark.
Murphy continues to haunt former club
With his Indians down, 3-1, to the Rangers in the bottom of the ninth, David Murphy hit a game-tying, two-run home run to push the contest into extra-innings. In those extra frames, Murphy's outfield teammate Michael Brantley ended the festivities with a solo homer in the bottom of the 12th.
The Indians had last experienced the joys of a game-tying homer in the ninth and a game-ending home run in extra-innings on June 15, 2005, against the Rockies. In that eventual 7-6 victory, Jhonny Peralta hit a solo shot in the bottom of the ninth and Aaron Boone connected for a solo blast in the 11th for the win.
Murphy's game-tying long ball was his second extra-base hit of the contest, with his RBI double in the second inning also accompanying two walks. For the year, Murphy -- who played for the Rangers from 2007-13 -- played seven games against the Rangers, going 12-for-25 with six doubles, a home run, seven RBIs and a slash line of .480/.500/.840. Murphy is one of two Indians players this season with an OPS of at least 1.300 against Texas, as Lonnie Chisenhall owns a 1.469 in 32 plate appearances. There are only two other Indians players to have a season with at least 25 plate appearances and OPS of at least 1.300 against the Senators/Rangers: Oscar Gamble in 1973 (1.345) and Pat Tabler in '84 (1.399).
Here and there
• Washington's Span extended his on-base streak to 29 straight with a 2-for-3, one-walk effort vs. the Phillies from the leadoff spot that also saw him swipe two bags. Since the franchise moved to Washington, Span's streak is tied for the third longest. Ryan Zimmerman posted a 43-game run in 2009, while Soriano reached safely in 30 straight in '06. Zimmerman also had a 29-game streak in 2011, and Span had one in '13.
• Madison Bumgarner threw a two-hit shutout with 10 strikeouts and a walk as the Giants enjoyed a laugher against the Mets, winning 9-0. By age, Bumgarner (25 years and two days old) is the 26th-youngest left-hander since 1914 to have a shutout on two-or-fewer hits with at least 10 strikeouts. There is one teenager on this list: Dodgers lefty Sandy Koufax, who was 19 years and 240 days old when he two-hit the Reds and fanned 14 batters (while walking five).


text: Linux add-on Compiz Fusion brings some fantastic 3D effects (along with a great deal of practical efficiency) to Ubuntu. Here's a video of the two programs loaded onto a completely stock, 512MB Asus Eee PC. We were way impressed by how the Eee doesn't break a sweat during all the effects. In our own experience, the only thing that seems to make the Eee chug is too many successive YouTube clips...so I'm thinking it's time to upgrade from the Eee's stock, Asus Linux OS with some dazzling Ubuntu style. [via digg]


text:
David H. Chestnut, Marianne Geiger, James N. Bates, Won W. Chol; The Influence of p
H-Adjusted 2-Chloroprocaine on the Quality and Duration of Subsequent Epidural Bupivacaine Analgesia during Labor: A Randomized, Double-blind Study. Anesthesiology 1989;70(3):437-441. doi: https://doi.org/.
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© 2020 American Society of Anesthesiologists
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text:
Rob Moore necesitaba un nuevo diseño de página web codificada y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 9 diseños de 5 diseñadores freelance.
I just completed a contest for a new logo, and it went great! Now I want a coded website design to go along with it.
custom flash presentations
Desired Color Scheme:
flexible. Don't feel you have to use the colors in the logo. Whatever you think is best.
Desired Style:
professional, clean, simple, easy to navigate, easy for me to insert txt and other images as necessary.
Accepted File Formats:
PSD, AI, GIF, JPG, etc.
This shouldn't take very long, as I just want a simple but professional website template to match our new logo. I will use the template in FrontPage to create all my additional pages. Our existing site is too feminine and logo was too cartoony. The image I want to convey should be professional, bold, confident, simple to navigate.
You can see our existing site here:
You can see the new logo to be used in the new design here:
I am anxious to get this site layout nailed down this weekend, which is why I put a 24 hour time limit on it.
I realize I probably didn't include enough info when I first posted this, so here is a little more detail:
Do not be too concerned about getting all the content I currently have in my home page, into the new design. I may have too much info there right now, and this info will likely be changing. For example... I think I'm showing too many Press Releases right now. This section doesn't need to be as big as it currently is. Also, I may end up creating a Partners page that will have links on it, instead of a partners section on the home page. The "Demo-Builder" section at the bottom of the main body could be moved to the right column, under (or above) DemoSuite? I don't know.... these are just ideas in how to get the page shorter. For the left side, I may not need all those links to the different types of tutorials.... perhaps they can just be on a "Ready-Made Tutorials" page, or "Hosting Tutorials" page. Again, just ideas. Also, I currently have as my main top links, Hosting Tutorials, Custom Tutorials, Voice Tutorials (and also as the 3 buttons near the bottom on the home page). There are a couple changes coming to these, but I haven't completely decided yet. Let me describe how I think our products should be broken down, then perhaps you have some better ideas as to how to best display them, or link to them from the hom page:
The complete breakdown of our products is as follows:
Hosting Tutorials - Ready-made (or standard) tutorials - these are our least expensive products, as customers can have our existing tutorials simply re-branded for their own business. Makes up probably 30-40% of our business
Custom Tutorials - I think this section can be combined with "Voice Tutorials". Together, they make up about 60% of our business.
Voice Tutorials - I don't think it needs a separate link anymore, as teh info can be combined with "Custom Tutorials". However, I do need some way of alerting the customers on the home page that we do voice-over audio narration. Most people who go with our custom tutorials, also go with voice narration.
Flash Presentations (NEW) - A slight variation to "tutorials" in that these are more like Power Point presentations. There can be elements of tutorials (showing mouse movements, keystroke typing, etc), but there would also be slides, and perhaps some interactivity (i.e. click here to continue)
Interactive Tutorials (NEW) - Not sure if this needs its own section or not. Perhaps I can discuss it within "Custom Tutorials" and/or "Flash Presentations". Basically, we can add interactivity to our tutorials/demonstrations/presentations. There can be "Click to continue" buttons, but also we can include menus where the customer can choose from among choices, and the demonstrations will go in the direction the customer chooses.
Having said all that, I am also considering changing "tutorials" to "demonstrations" in the main heading titles. Because I don't think tutorials captures the full essence of what we do (can do). I think "tutorials" is fine for all the standard hosting tutorials we have.
I hope I haven't confused you all by this! I thought I should just put in writing some of the things that are on my mind as I think about the new site design. Depending on how you incorporate these thoughts into your designs may help make up my mind for the best way to go. Let me know if you have any comments :)


text:
Twenty-one days. That's how much time is left until my family's weekday morning schedule has to adjust backwards by an hour.
Excuse me while I hyperventilate.Embed from Getty Images
Yup, summer camp is almost here. And we all know how I feel about summer camp: it's a love/hate thing. But the few weeks leading up to the transition from school to camp make my stomach churn with anxiety. How the heck are we going to get out of the door at 8am every morning, when doing it at 9am every day during the school year is so freaking challenging? The drama, the yelling, the last minute "oh I need a penguin for today's xyz project?" or "I can't find my shoes" or "mama I have no underpants" calamities.
And yet, every year, we seem to manage. I'm driven largely by a deep-rooted fear of missing the camp bus which would mean driving the kids 30 mins to a place that is entirely the opposite direction from my office. Yes, fear. It's a big motivator.
So, to mitigate against drama, chaos, panic and so on, preparation is key and for this, I draw upon a few fundamentals from the world of business:
Procurement: Be sure to stock up on sufficient kids clothes (so you don't have to do laundry more than once a week) and other essentials which will get lost, despite all and any attempts to label them or nail them to your kids backpack or body. These include: socks, shoes, T-shirts, underpants, swimsuits, towel, water bottles, hats, sun lotion, bug spray, goggles, lunch boxes (and innards), and so on. Not to mention lunch and snack stuff.
Inventory: No matter how much you have procured ahead of time, odds are it will not be enough and at some point during the summer weeks, you'll run out of something mission-critical. Or they'll lose their back pack. Or wreck their shoes. Be prepared to maintain and strategically top-up inventory.
Logistics management: I cannot stress how important it is to keep things moving to avoid a great big pile-up of drama-inducing chaos. Yes, this means doing laundry semi-regularly and actually moving things from the washer to the drier and back into closets. It means making sure that shoes get taken off at the end of the day and actually put somewhere where they will be easily found the next morning. No matter how much you have drilled your kids in doing their own laundry or shoe-putting-where-they-need-to-go, during the summer time, you will probably need to take back these duties or at the very least micro-manage them. It also means fanatically accounting for the whereabouts of everything. Which usually goes a little something like this:
Me: "Didn't you take a blue water bottle today?"
Kid: "Yes I did."
Me: "So why did you bring home a green water [or no] bottle. "
Kid: "I lost/traded/forgot mine."
Business processes: New household processes must be executed. For me, this involves rinsing out the kids' swimsuits each night because if they get actually washed in the laundry too often, they start sagging at the bottom. (Note: this is because I buy cheap swim suits. See point 1.) And nobody likes saggy swim suit bottoms. It also means ensuring that bedtimes are observed because late nights mean late mornings which means panic, drama, yelling and me being late to work. Working backwards, if prompt bedtimes are to be observed, this means that dinner needs to be ready swiftly upon getting home at the end of each day. Which means we need to know what we are making for dinner each evening. Which requires aforethought and, you know, grocery shopping. (See procurement/inventory.)
Workforce management, scheduling and integration: In an ideal world, both parents are fully invested in the New World Order that summer camp season mandates. Similarly, adaptations usually need to be made to who's doing drop offs and pick ups. It may take a while for all parties to adapt to the new routine so be sure to integrate it into the family schedule. If you have one. (Note to self: work on family schedule.)
Closed-loop feedback: Communication is absolutely essential. With all parties. Spouses/partners. Kids. Bus drivers. Camp counselors. Other parents. It also means reading every crumpled, dusty and damp piece of paper (why are they always damp?) that get stuffed into backpacks informing you about something important happening, like "It's Green Day tomorrow!" or "Dress Like a Parrot Day." (Confession: I usually ignore these because the procurement/inventory/supply chain is simply not flexible enough to allow for unexpected wardrobe changes.)
Twenty-one days. That's how many days are left.
Pass the brown paper bag.


text: Click Report post Posted November 27, 2012 (edited) The Journal: Memoirs of the Dead Entry By: Click Word Count: 2,742(not including dividers) Protagonist: Reysa Reysa stared at the softly rippling airweed, appreciating its strange shape and pocketed surface filled with what some members of Mahri Nui called "Clear Gold," or air bubbles. Then, a green Hydruka bumped it with its sharp tusks, catching the bubbles for the harvest. To any other Matoran, the pace of the Hydruka would seem painfully slow, but Reysa had worked with them for a few months, and had grown accustomed to their sluggishness. After all, if he forced them along any faster, they might stop altogether, and he couldn't imagine many other Matoran in Mahri Nui would be happy about that. He had already learned from experience during his time underwater, which was no place for an Onu-Matoran. He always was envious of his memories of being on the surface, as foggy as they seemed. In fact, all he could remember was the faint sense he was on the surface at one point, but he didn't know where, or when. Mahri Nui had sunk into the deeps, and only the release of these bubbles from the airweed had saved what few Matoran still remain. The Hydruka came to harvest the air for the Matoran, being their only lifeline in this hostile world, and it could only be harvested for one hour of "safety," which seemed like a crazy notion when it was introduced, but surprisingly held true for all the time Reysa had been out here. So, to pass the time, Reysa pulled out a set of tablets. No one else knew about these, as he found them in the wreckage of his previous hut right after Mahri Nui sank. In the pandemonium that followed the sinking of rebuilding, burying, and trying to survive, he had forgotten all about them, but now, with an entire hour to himself, and little to do, he had some time to read them. Among their chipped edges and sometimes fractured corners, he could make out it was a journal of his own memories before coming to Mahri Nui. It started in a small, lonely village of a hundred or so Matoran and their Turaga all trying to survive. Earlier in his shifts as a guard, Reysa had read up to the part where the cave he was mining Protodermis in suddenly collapsed due to a huge, subterranean Rahi seeking food. He was able to be rescued, but the cave-in resulted in his right side being twisted beyond repair, and with such a small island with barely enough to get by, there simply wasn't enough materials to rebuild him. The Turaga knew their only choice was to send him to Karzahni, the brother of Artahka, to be rebuilt. This next entry started with his journey there. ----------------------------------------------------------------- Today is the day I travel to Karzahni. These weeks of struggling around without the use of half of my body has been difficult, but a fellow Onu-Matoran, Gar, has been helping me along. He will also be accompanying me to our village's boat, and then along the long journey to Karzahni. I hear that he is the brother of Artahka, the Great Creator, and I assume he must be as good at his job. The journey should only take a few weeks by boat, and I can't imagine anything would happen during that time. We're heading out now, and I doubt I'll have time to write any further until I arrive. ------------------------------------------------------------------ I arrived in Karzahni perfectly safe, and the sailing was as uneventful as planned. I walked into a huge dome along a narrow, barren peninsula, and through a gate with a barely visible field across it. Karzahni itself is rather strange, but I suppose I won't be here for very long. It will take me a while to get used to the soft wails that come from underground with every step. I thought I stepped on a small Rahi when I first got off the boat! While waiting for Karzahni, I was also introduced to another interesting part of the island, when a tiny creature someone called a "Dust Darter" suddenly decided my ruined armor would make a nice snack. With a large amount of jumping and swatting, I drove the creatures away with more agility than I would have thought in my condition. Finally, my turn to be repaired arrived, and I carefully walked up to the door, leaning heavily on Gar. Another Matoran who was so rusted and discolored that I couldn't tell what element he was from helped me into the operation room while my friend waited outside. To be honest, Karzahni was not the imposing figure that I always pictured. His dark red and light blue armor was horribly mismatched, and his Mask of Alternate Futures was just as jumbled, it's spiky and seemingly random patch up looked about as unbalanced as his sanity. Various Matoran pieces littered the room, some twisted beyond repair, others from much larger or smaller beings, and every piece a completely different design and color. Obviously, not the grand genius that I had heard he was. I was strapped to a table by the Matoran who helped me in, and the "mastermind" asked "So, what seems to be the problem?"I stared incredulously. I thought he was joking, but his bad attempt at looking sincere made me realize he had actually meant it. I explained my accident as best as I could, and he suddenly seemed to notice the twisted and flattened metal down my right side. The ruined pieces were carefully taken off, and Karzahni attempted a casual conversation as he rebuilt it. The straps prevented me from looking down at his progress, but I could slowly feel my body coming back together. Something felt a little bit off, but I attributed that to the new armor pieces he was placing on me. The operation was going on as planned, with little Matoran servants helping to find the right pieces, but suddenly he started on my other side. "Um, excuse me, Great Mechanic, but I only had some damage on the right side." He simply nodded his spiked head like he heard me giving great praises, and continued to disassemble my left leg. Finally, I gave up struggling, and Karzahni made a few finishing touches on my other arm, and undid the straps. A mirror was handed up by one of his servants, and I saw what he had done. My legs were short and squat, random pieces of armor attached all over the place and one arm reached almost to their wide toes, while the other was just about normal size. Nothing matched at all, and the armor plates didn't even seem to fit my size. I looked up into Karzahni's lopsided grin, which almost forced me to agree with his optimistic comments. I suddenly blurted out "It looks awful! What have you done to me?" His grin quickly vanished, and a huge scowl appeared across his mask. "Awful? Do you know what awful is? I can show you awful, you ungrateful little fireflyer! The last thing I saw before everything suddenly disappeared was Karzahni's Olisi begin to glow, and I had the sensation of falling until I hit the table with a thud. Through blurry eyes, I looked down at myself, not even recognizable as a Matoran anymore. I tried to blurt out my objection, but all that came out was a hoarse grunt. Karzahni smiled his crooked smile again, looking like my appearance was a great achievement, getting bigger all the time until it appeared to be the grin of a mad villain who just completed his next super weapon. I threw my ungainly new body at him, but his maniacal laugh swallowed me up, and I suddenly fell onto the table again, this time bouncing off and into a pile of scrap metal. Karzahni's mask was slowly dimming, but his grin was still in place, just as insane as in the illusion. "You…you monster!" I tried to form a coherent sentence in my state of shock. "Just look…I mean you…I thought you…" Finally, I just collapsed into the junk heap, too exhausted and surprised to say anything more. "That's right, little Matoran, just lie down. Take it all in how you look now, because you're stuck like that for the rest of your life, which, since I can't have you going and ruining my little business here, will be spent happily in the Southern Continent. How's that for monstrosity?" By that time, I was too stunned to even do anything as his rusted servants carried me out. As soon as I could think again, my first thoughts were for my cautious friend Gar. Did he escape Karzahni? Will he miss me? What will my village think? ----------------------------------------------------------------- I soon found out about him. I was sent off to the northern shore of the Southern Continent with little supplies, a small charged weapon, and a whole new, freakish appearance. In my wanderings for food, I came across a small village of other "repaired" Matoran, who had established a firm settlement and a good system of supplying their daily needs. I was welcomed in with open, while often misshaped, arms, and quickly found my place in the village. A few days later, another Onu-Matoran arrived on the shore. His long legs and arms confused me for a moment, but when I took a closer look, I recognized him as my old friend Gar. Karzahni had captured him to keep him silent, and "repaired" him while he was there, then quickly sent him off to the Southern Continent. I felt horribly guilty about him being trapped here with me, neither of us being able to see our friends ever again, and it was my fault for falling for that ruse. Gar seemed to take it pretty well though, but I could tell he was upset with not seeing through this earlier, with his cautious nature. In fact, I was surprised as well, as Gar was always the first one to question the decisions of our Turaga back home. Life was simple on the Southern Continent. We would each work to gather food, defend against the usual predators and other dangers, and then relax in our little spare time. I got back to digging a little bit with my new weapons, and my longer arms and shorter body helped in at least that regard. I found spare protodermis for the village, and mined whatever stone we needed, with Gar and a few other Onu-Matoran working alongside. I could actually begin to like it here. --------------------------------------------------------------- All of the peace of our village changed one day, when a rogue Doom Viper broke through our defenses, spewing toxic breath all around. No defenders could even get near it, especially with the six colorful heads watching in all directions and breathing whenever something came near. Many of our number died before we even realized what was happening. Gar and I had been in the mine when it broke through, and we came up to discover that our little village was now destroyed, and many inhabitants lay dead. Gar, being as cautious as he was, held me back from quickly avenging their deaths. "You are too impulsive. Stay back for a while, and we might discover a weakness." I knew he was right, but I had to fight hard not to charge straight in while my closest friends suffocated in the fumes. So, I did the only thing that I could, and just watched, and waited, which for me, was extremely difficult. Some of my enemies in the village said that was precisely why I was caught in the cave-in that brought us into this mess. I would charge straight into a cave without checking to see if it was stable or if it was clear of Rahi nests, both of which contributed to my injury. The Doom Viper was thrashing around, whipping heads all over the place and destroying all of our hard work. Gradually, I noticed that the tail was stuck in a crack in one of the huts, and it was trying to escape. I looked at Gar to tell him this, but he obviously already noticed, and just nodded to me. I could tell he was formulating a plan right then, and hopefully it would get us out of here alive. All he told me was "Go right now and get to the tail!" I ran as fast as I could, with Gar outdistancing me with his much longer legs. The viper was too busy smashing a food storage hut to notice the two Onu-Matoran charging it. On my way there, I quickly reached into my ruined hut and grabbed my digging weapons, and Gar grabbed his as well. I reached the tail soon after he did, and braced myself to fire on it. "Stop!" Gar shouted. "You can't attack it yet; use that only as a last resort! Your tools would simply free the tail." He had a point, I had to admit. He was just about to tell me the real plan when the Doom Viper turned on us. The tall Matoran suddenly closed his mouth and bolted, poisonous gas following close behind. I did the wise thing and ran the other way, half of the heads following my progress as well. It could only chase one of us though, and I suppose it judged Gar the greater threat, and it gave pursuit… until its tail snagged on the broken hut again. Gar sighed in relief, and ran back to me, keeping his back turned to the viper. Unfortunately, his one lapse in caution had drastic consequences. The viper reached out a head, slowly entwining it around Gar's huge legs, tripping him. Instantly, all six heads were on him, gas leaking out of their fanged maws. Gar managed to back away just enough for the gas to pass beneath him, but he was running out of time. I had to act fast, so I ran to the tail. A quick pulse of my weapon shattered the stone encasing it, but did little to the armored Rahi except to draw its attention, and that was enough. All six foul heads turned to me, striking at air as they charged me. I just ran to the only place I could think of, the old mine. Its narrow tunnels kept at least some of the heads away from me, and the viper moving slower than I could run. I finally reached a particular tunnel that the Matoran had abandoned long ago because of its risk of caving in. I felt it was my only choice, and as soon as those heads rounded the corner, I quickly jumped over them, swinging with my long arms to gain that extra few bio to get to the other side, firing my weapons in mid-air. The tunnel roared as it collapsed, along with the Doom Viper's hissing, and then all was silent. I managed to limp my way back to the opening to find Gar, with a cracked leg joint, limping towards me, smiling the whole way. I couldn't help but smile too, but then he collapsed. The fractured leg was giving him much pain, and there was little I could do for it now, so I decided to repay the long-awaited debt of carrying him back to the village. He continued to smile through his pain the whole way. Everything seemed to be just perfect. ------------------------------------------------------------- Reysa finally set down the tablets to observe the Hydruka harvest, laughing at that last line. Since his city had sunk, nothing was perfect, and so much had happened since the ending of that entry. By now, a few of the Hydruka were leaving towards Mahri Nui, their special bowl-shaped under armor holding huge bubbles of air like liquid mercury, but the rest were still working. Reysa also noticed that it was much darker now in the low light that filtered from the surface, much later than he would usually leave. He stood up to get the Hydruka moving, hurrying them along when a noise stopped him. It was probably just a tool some foolish Matoran left out getting pushed by a current. Still, at the edge of the airfield, there wasn't any sign of a tool. Reysa's eyes suddenly opened wide as a tentacle wrapped around his waist, dragging him into the depths. The only sign he had been there was his journal, now a memoir of the dead. Edited July 18, 2014 by Click Format reconstructed after a BZP glitch. -bones Quote ~ Corpus Rahkshi: Fang | Hoto | Tube | Tear | Canvas | Garrotte | Reda Skyrise: Mirror | Garuda | Eoron | Kaenis The Scarabax Library | Flickr | Deviantart Share this post Link to post Share on other sites


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When Danell Leyva predicted Olympic gold for the U.S. men a few weeks ago at the Visa Championships, I chalked it up to youthful exuberance. And when Jonathan Horton echoed Leyva a few minutes later, I figured he had probably just breathed a little too much chalk. (But thanks for the quotes. guys.)
But then I got to thinking, which I sometimes forget to do. Why not? The team that will be named this weekend should be stronger than the one in 2008, when two alternates stepped in to secure the bronze in Beijing. Why can't this talented bunch of Americans pull off an upset in London? Why shouldn't they be gunning for gold? The 3-up-3-count format tears down the safety net for everybody. Any team can choke, as China and Japan have both proved in the past.
"We understand what we're up against a little more (than in 2008)," Horton said. "I don't ever want to come across as cocky, but we know we can win. … And we have to believe in that. And if we don't … then why even go?"
The U.S. men seem to be matching their improved physical ability with a new measure of confidence. Or maybe it's the other way around. Either way, you need both to succeed in any sport.
Remember 1984? Nobody gave the U.S. men much chance to win at home in Los Angeles. China had just shocked the Soviet Union with a victory at the 1983 Budapest world championships, where the U.S. finished out of the medals. Even without the Soviets in Los Angeles, the Americans still needed to get past China, which had superstars Li Ning and Tong Fei, plus four more superb talents.
Prior to those games, even U.S. head Olympic coach Abie Grossfeld told the media he thought his team would finish second.
"I thought we could beat Japan," he told me here in San Jose, implying that China would win gold.
But inspiration was brewing among Grossfeld's all-star team, which was composed of UCLA-Nebraska rivals and a three-time Olympian from Oklahoma. The Bruins were Peter Vidmar, Mitch Gaylord and Tim Daggett, the Huskers Jim Hartung and Scott Johnson. Bart Conner was the lone Sooner. At some point in their careers, all six would be national champions. The Olympic trials that produced this Super Six left a lot of talent on the sidelines, just as the 2012 version will.
During the days prior to those Olympics at UCLA's Pauley Pavilion, Hartung became a believer, and then a convincer. He told his teammates, "We can beat China."
Grossfeld did a little strategizing himself. Scouting the Chinese during practice, he noticed things. And anyone who knows Grossfeld understands that he is very resourceful. He says he saw that the Chinese were doing relatively simple dismounts off rings, for example. He knew his team could do harder dismounts, and he made sure some of them did. He also helped in the confidence department, allowing guys to take a calculated risk. Gaylord responded by catching his fickle Gaylord II on high bar. No Chinese was throwing a Gaylord II.
But Hartung's words must have been infectious, because the whole team got on a roll that week in L.A. And the Chinese must have felt it, because they lost their invincibility. They made mistakes. And like Hartung had said, the U.S. beat China to win what remains the only Olympic gold for the U.S. men. Simple as that.
"If the truth were to be told, I only said what everyone was thinking — and feeling," Hartung told me yesterday. "I just happened to be a little more vocal than my teammates."
I asked Grossfeld for his version, and he didn't deny it. "If anyone rallied the team, it would have been Jim," he said.
Said Hartung, now an assistant coach for his beloved Cornhuskers: "The 1984 games almost seem like a dream to me these days. Maybe a dream come true would be more accurate."
Which brings us back to 2012, and a U.S. team of similar caliber to the one 28 years ago.
Olympic gold seemed improbable for the U.S. men in 1984, but Leyva won't let himself think that way heading to London.
"I kind of know that we're going to win, because I have to keep saying that to myself," he said. "...I have to think like that, otherwise it's not gonna happen."
I watched Hartung and his teammates pull off the Miracle on Mats in 1984, and it was really something special. But it all started with a dream and belief.
Leyva and Horton are believers already. And while that won't guarantee success in London, it will at least allow for it.


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Need a captain. Noms?
Need a captain. Noms?
citoyens, vouliez-vous une révolution sans révolution?
those nights were on fire
we couldn't get higher
we didn't know that we had it all
but no one warns you before the fall
If you need a motivational speaker I'm willing to come into camp as long as the pie is on the house.
Parmi | #1 draft pick | Jake King is **** | Big Bash League tipping champion of the universeCome and Paint Turtle
Fighting for peace is like screwing for virginity.
Too many bones, not enough CASH!!
RIP Craig
Cricketweb Colts Captain
I'm a member of Club KerryOriginally Posted by Richard
I'm Green
The color of immortality, nature and envy - you are truly a unique person. While clearly the color of nature, you also symbolize rebirth, fertility and hope in the world. On the other side of the spectrum, a natural aptitude to money with green coming to signify money and possibly even *********!
Jesus brings life eternal
I can't say that it's guaranteed to end well though
Mister Wright
Noble One
Sorry morgieb but I want to bat 4 You're more aggressive so it'll work better anyway. Hopefully.
****ing PEWS turning traitor on us
Noble One and candy to open the bowling. Nnanden first change. Hope our longish tail holds up.
Last edited by Spark; 23-02-2011 at 07:27 AM.
Are our bowlers the bottom five?
Haha, Clapo at 7 and me at 8? Oh noes.
I'll be sure to butt in during a mid-pitch pow wow with some nonsensical advice. Just brush me aside like Anil Kumble did to Virat Kohli so many times.
Do we have any reserve players? Decent looking first XI.
Elbows in, chin back, feet pointed (and planted!), reverse sweep in the first over.
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Please Note: The images used here are from promotional materials and stills provided by Criterion, not the Blu-ray edition under review.
It's no coincidence that, of all the multifarious masterpieces the great French filmmaker Jean-Luc Godard has given us over the years and decades, it's 1964's Band of Outsiders (Bande à part) that revved American auteur Quentin Tarantino's motor, to the point that every Tarantino film opens with the tributary title "A Band Apart" (the name of his production company). Band of Outsiders is richly, excitingly exemplary of "classic" Godard, from his most prolific, pop-culture-obsessed, and cinephilic period, before the moral/political sensibility of this most bluntly intellectual of filmmakers, outraged by Vietnam and a thousand other injustices, took a bold leap away from movie-love-drenched narrative to the more reflective, essayistic, historical, politicized, and frankly challenging mode of his much less popular, much more divisive later work (Tout va bien, Numéro deux, Film Socialisme). To be sure, Band of Outsiders's fun and sense of play are in service of what the director/onetime film critic had referred to as only a continuation of his film criticism, only now from behind the camera. But here, Godard is still finding it feasible to practice a celebratory kind of film-as-film criticism, and it's this breathless quality, this impulse to mine all of the affective, intellectual, and aesthetic possibilities of his medium, all at once, that makes this picture, for all its typically Godardian self-consciousness and coolness, such a readily accessible rush, flippant and fleet enough to be a catalyst for the future, freely and cleverly expressed fan-letter pop-culture witticisms of a Tarantino.
Call it Pulp Shakespeare: Godard takes his simple story of a beautiful, youthful love triangle with criminal tendencies (from a série noire/crime-fiction paperback, American novelist Dolores Hitchens's Fool's Gold) and spins it out centrifugally into something that spans, overlaps, and commingles the "highest" poetry and drama with the "lowest" gangster pictures, lurid tabloid-ism, and comic books, highlighting the resemblances and similarities between "high" and "low" modes in a way that still feels invigoratingly, starkly modern and radical. Thus, the heist-gone-wrong and the unpredictable ebb and flow of romance and betrayal between the raffish, thuggish Franz (Sami Frey, Who Are You, Polly Magoo?), the sensitive and handsome Arthur (Claude Brasseur), and Odile (Anna Karina, Vivre sa vie), the naïve girl living with her rich aunt in a temptingly isolated house, comes to us in the most fragmentary, digressive way, in fits and starts with multiple interludes of philosophizing or otherwise musing free-association that work to create that strikingly cool, referential, yet replete and riveting tone for which Godard is (in)famous. A very extended scene of the trio's English teacher declaiming on Thomas Hardy, quoting T.S. Eliot ("Everything that is new is thereby automatically traditional"), and reading aloud some oddly resonant passages from Romeo and Juliet, is our Rosetta stone for getting the sparks flying from the film's classical/modern clash, as well as the tragic implications of the erotic and tender feelings between Franz (or will it be Arthur?) and Odile. Scenes of action, wherein the reluctant but besotted and excited Odile is cajoled and seduced into letting the two would-be thieves into her aunt's home for an ill-planned and unexpectedly deadly robbery of stacks of hidden cash, sit in seeming tonal discontinuity alongside near-documentary street scenes soundtracked cacophonously by the direct-recorded urban noise, or plaintively by Odile's impromptu singing on the Metro, or by Godard's jarring yet lyrical narration sketching out what Odile, Arthur, and Franz are feeling, brusquely filling in any late arrivals to the theatre on the film's plot so far, or incongruously but beautifully encapsulating the texture of the three protagonist's raw and gritty-looking experience with language borrowed from Rimbaud's poetry.
And then there are the many memorable moments when Godard uses the narrative as nothing but a springboard from which to launch into flights of cinematic inspiration: Much has been made, for example, of his camera eye's contagious gravitation toward his then-wife Karina, and that sweet, simple, classical brand of star-iconography is particularly remarkable in Band of Outsiders, Karina's expressive, isolating, worshipful close-ups rendering her (permanently -- such is the awesome immortality of celluloid) as captivating and luminous as any silent-movie queen of yore. And mixed into the film's typically spontaneous, on-the-fly "reportage" filming technique (crafted with a sharp but always-flexible eye by Godard's intrepid go-to cinematographer of those years, the superb Raoul Coutard) are the most startlingly, sublimely choreographed moments of delightful movie-artifice, whether literally so (surely, the transporting several minutes in which the film stops to let Odile, Arthur, and Franz do "the Madison" in a jukebox café is what gave Tarantino permission to do something structurally and tonally quite similar when he endowed Pulp Fiction with its famous Thurman/Travolta dance, just for the narratively "unnecessary," plot-pausing delectation of it), or arranged precisely through the vast technical palette of cinema, as when a proposed minute of silence between the characters is accompanied by an actual drop-off to nothing on the film's soundtrack; when Odile's and Franz's happy, seafaring ending is played out in the tender, unbelievable (in every sense) cine-language of a Chaplin film; or when the world that we and the finally-united and -escaped couple feel is theirs is depicted in the final frames as an actual, not so vast-seeming, slowly spinning globe onscreen (with Godard's voiced-over promise that the sequel will give us their exciting new lives in the tropics in Technicolor and Cinemascope). These kinds of thrills bumping up against the film's rougher-hewn, quasi-documentary, location-shot style is, in fact, hinted at unforgettably from the very beginning, when a ceaselessly moving, highly premeditated and organized montage -- a flurry of close-ups over which the film's title appears, letter by letter, with Frey's, Brasseur's, and Karina's faces cut in rapid syncopation to Michel Legrand's upbeat, jazzy score -- gives way to the more languorous, Neorealist-like, direct-sound/image texture in which we begin the open credits and film proper.
In a sense, it's that elemental, inexhaustible fascination in radically juxtaposing movement and stasis, artifice and realism, art and life, that's Godard's subject as much as unpredictable, treacherous, beguiling youthful romance and crime, or the Sixties' heady new cross-breeding love affair between "high" and "low" culture, and would remain the one constant in all his work, long after he forsook as untenable the playful, referential fandom with which Band of Outsiders is rife. But the more particular, paradoxical genius of this stage of Godard's filmmaking, so rapturously illustrated by Band of Outsiders' insouciant, tireless richness, was for creating lightness out of overload: The more heavily laden is Band of Outsiders with digression, fragmentation, references to other films and poetry and drama and immediately contemporary life and pop culture, all buzzing and bustling together, the more liberated/liberating, breezy, and "fun" it seems for its smartness. It could even be said that Band of Outsiders is the more thoroughly accomplished culmination of its predecessors in Godard's filmography, 1960's Bogart-obsessed movie-love letter Breathless (his debut feature) and 1961's free-roaming gender-politics "musical" A Woman is a Woman, nonchalantly executing even more impressive daredevil moves as it lands in, takes off from, and loops-the-loop away from its story to hungrily encompass as much as possible. "Friendly" is quite the relative term to try to apply to any Godard film, but, though Band of Outsiders is deeply Godardian -- i.e., inscrutable and frustrating if your mood is for a straightforward, traditionally well-told story -- it still probably is the friendliest, most accessible introductory masterpiece (to an early filmography that contains scarcely anything but), the key that best unlocks a whole new, perpetually bracing, modern, innovative, compelling, and provocative world of cinema as ongoing experiment, essay, collage -- the world of the inimitably masterful, audaciously iconoclastic Jean-Luc Godard.
This new high-definition digital transfer of Band of Outsiders (undertaken in 2010, years after the prior DVD release), which presents the film at its original aspect ratio of 1.33:1, is a vast improvement on the old Criterion DVD, and looks quite fine overall. The film has a purposely lo-fi, "reportage" look, so "luminous" isn't the word, but its raw, quasi-documentary black-and-white beauty comes through as beautifully as possible here, with a healthy amount of celluloid grain/no egregious overuse of digital noise reduction (DNR) and -- whereas a quick comparison to my old DVD copy revealed, among other compression artifacts, that a stunning amount of edge enhancement had been utilized on the prior release -- no compression artifacts of any note were discernible at any point during the film on this edition. It's an excellent job that's left the film looking as cinematic as possible for home media.
The film's sound, like the images, was purposely taken on the fly and has an intentional roughness (or, perhaps better said, directness and immediacy) to it, but that shines through on the Blu-ray disc's uncompressed monaural PCM 1.0 soundtrack (in French with optional English subtitles), without any noticeable flaws owing to any carelessness in the audio mastering, so that one feels that one is really hearing the film's original sound with full fidelity and sonorousness, all particulars conscientiously preserved, and no hissing, popping, or other signs of age or wear to distract from the experience.
The new Blu-ray edition's supplements match, piece for piece, the extras included on Criterion's 2003 DVD release of the film, including:
--A visual glossary of cultural references (17 min.) Godard has, as typical for him, woven throughout the film, narrated by Robb Webb with accompanying clips from the film, helpfully and concisely explaining its teeming tidbits of connection to culture old and new, high and low, some obvious ("Rimbaud" is a reference to the poet) and some quite obscure (a visual pun referencing the then most-current Claude Chabrol film).
--New interviews with actress Anna Karina and cinematographer Raoul Coutard, both longtime Godard stalwarts (Karina was, of course, his wife for a few cinematically fecund years, and acted in most of his films during that period, with Coutard having shot 13 of Godard's films -- from Breathless to Weekend -- from his most famous and widely-regarded period), who delve into their rich memories of the singular experience of working (on the fly, most often, improvisationally, and with intense creativity) with the French New Wave's single greatest voice (if, as Coutard's and Karina's anecdotes serve to further illustrate, often tempestuous, demanding, and gnomic one, as well).
--About four minutes of rare behind-the scenes footage of Godard on the Band of Outsiders set excerpted from the 1964 French television documentary La Nouvelle Vague par ell-même.
--Les fiancés du pont Mac Donald (5 min.), a 1961 short film by Agnès Varda (embedded in her own feature-length New Wave gem from 1961, Cléo from Five to Seven) featuring Godard and Karina in a delightful, clever, and touching silent short-reel comedy pastiche.
--Two near-identical trailers for the film: One the original preview Godard cut for the film in 1964, the other for the Rialto re-release in 2001, which simply adds some titles before reiterating the original trailer in its entirety.
--A 25-page booklet featuring an erudite explication/appreciation of the film by poet and cultural critic Joshua Clover; Godard's own written character descriptions for the film's original press book, and a 1964 interview with Godard by Jean Collet centering around the then just-released Band of Outsiders.
Less a love-triangle/heist/crime-romance story of desperate, romantic youth than a juiced and jazzed, overcaffeinated, exploratory and critical cinematic meditation on the same, Band of Outsiders is premier French New Wave filmmaker Jean-Luc Godard's singular mashup of Shakespeare, pulp crime fiction, Rimbaudian poetry, surrealism, and his (then) inveterate love of all cinema's fresh possibilities. It's as gorgeous and intoxicating as it is (intentionally) rough, fragmented, and detached, a bumpy ride that's unimaginable in any smoother or more conventional form. It's also very strong among the candidates for most lovable, purely and directly pleasurable Godard film. Though the great master had managed, and would manage again, to scale even greater, more audacious and ambitious heights with his cultural, political, historical, and aesthetic voraciousness, restlessness, and acuity, his vision has rarely been so unfettered, so breezily smart, fun, romantic, and clever in every which way, as it shows itself to be in Band of Outsiders. The film is an essential entry in the ever-unspooling (it continues to this day, with his next feature, Goodbye to Language, due out later this year) Godardian tapestry that is at once inviting and uniquely embraceable for the casual or new Godard fan and a perennial joy for his more die-hard adherents. Highly, highly recommended.


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For years, automotive journalists have suspected the cars in automakers' test fleets are somehow better-finished than those customers get. (We've already told you how Ferrari games that system.) Now, Consumer Reports has some questions for Volkswagen about its 2012 Passat press cars.
What was it that set off CR's neck bristles? Apparently, the very detail-oriented CR analyst Jon Linkov noticed a press-fleet Passat had two plastic covers dressing up each of the car's cheap-looking trunk hinges. For confirmation, Linkov checked out trunk photos of press-loaner Passats from Car & Driver and Edmunds, and indeed, each showed plastic covers over both hinges.
Aha! But the Passat TDI that Consumer Reports purchased from a dealership for its own testing purposes has but one plastic cover — only to obscure the wiring loom that runs down the driver's side hinge. The other hinge? Bare metal!
Ye gods! What trouble hath arisen amongst us? Linkov explains why this is a big deal.
Is this a big deal? One, rather than two, plastic covers? Well, if a manufacturer will go to great lengths to put an extra plastic cover on the press version to prevent criticism, what other lengths will they go to game the system and perform better in evaluations? Tweak the suspension, flash a computer, blueprint an engine, add extra sound deadening? Based on our past experiences, all these things and more have occurred. Shame on VW and the manufacturers who deceive the public through this practice.
In this case it's a matter of smoke-and-fire. But considering Consumer Reports has access to both press cars and customer cars, we'll just go ahead and assume they'll be on this beat full-time from now on.
Now, if only they tested Ferraris.


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People Story - Michele Mancioppi
"If you want a life where you won't be stuck doing boring things over and over, the SAP Cloud Platform is where you want to work."
"If you want to play an elite game, you have to get very elite people, and they have to keep up," says Michele Mancioppi, a senior developer with the SAP Cloud Platform team in Walldorf, Germany." Something the Cloud gives, and requires, is lifelong learning, and learning every day."
Michele refers to his team as the "SEAL Team 6" of the SAP Cloud Platform.
"Today, 'slow' is the new 'down,'" he says. "We find out what's wrong in computer systems, find out how it works, and make it work better and faster."
"My day's very diverse," Michele says, "depending on what has the highest priority, I might be coding – making tools that make the lives of other developers better, or I can be reviewing other's code – because they want to know what pitfalls are there, or if things are going poorly, I may come in to find why."
Michele also drives initiatives, such as finding useful outside monitoring technology. "We're looking for external software for improving how we monitor the Cloud. The Cloud is complex and very interesting issues come up from subtle interactions among various technologies. We need very good monitoring tools, so that we can focus on what matters," he says. "I'm working on this with the team. It would cost a lot to develop that ourselves."
He also works "with colleagues in other teams or divisions, to make their applications, libraries or frameworks work better on the Cloud," he says.
"I enjoy the freedom of a very different set of goals, and ways of achieving them," Michele says. He is enjoying his second tenure at SAP. "I started my first position in the industry at SAP after my Ph.D. studies. I went to work for a different company, and then I came back – in comparison to a lot of people who start at SAP and
retire at SAP."
"If you stay in one job too long, you stop learning," he says, and that movement can include moving between teams within SAP. For example, before joining the Performance Team, Michele worked on the Development Team that does the Cloud Cockpit, the Web Interface of SAP Cloud Platform. The way his current day-to-day tasks change keeps him learning, he says. Continuing his special forces analogy, he says the Performance Team drops into a situation where "you have to figure out what's happening and fix it, while everybody [else]'s panicking. You have to figure out what's possible, what's improbable, and fix it. That requires a level of mastery. ... You have to know a lot of technologies really in-depth to understand how to make it all work together. That's what I do."
To succeed on the Performance Team, "you never know when you'll have to fix or consult on something you've never seen before, so you have to take every chance you get to learn new stuff. One way or another it will come in handy," he says.
In a more traditional software job, people are often specialists in one area, developers develop, testers test, and so forth, Michele says.
On the Cloud, he says, things are different. The Cloud is new. Technology is not yet a commodity. There are tons of technologies one can pick from. And pick one must, because on the Cloud, the team has end-to-end responsibility for their software: write it, test it, deploy it, operate it, and support it. Team members require huge amounts of expertise across different disciplines.
"You cannot afford to have a database-only person, or to have only one who can do databases among other things," he says. "Most everyone has to do very good code, and something else like documentation or user interface design pretty well on the side."
"If you want a life where you won't be stuck doing boring things over and over, the SAP Cloud Platform is where you want to work," Michele says. "Excellent developers, with vision and knowledge, are empowered to make the whole difference for everyone using the platform."
Michele is married with a 2½-year-old son, and says SAP is an excellent company for work-life balance. "If you want to throw yourself at work the whole time, you can do that. If you want to work 9 to 5, you can do that – even in the Cloud Division. I went on paternity leave, and nobody thought about it. ... It was expected, and that is very valuable."
Put your profiles to work
Check out SAP's #LifeatSAP social feeds and channels – and get to know us on a more personal level.


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Mirella - posted on 11/08/2009 ( 642 moms have responded )
My son doesn't really say any words but bye bye. My doctor told me he should be saying around 50 words by 18 months and he is 16 months now and only uses 1 !!! he is a bright kid but it seems to me he is just lazy.It worries me a bit. he used to say momma and poppa and he just stopped. are your babies talking much ?
*****Update 01/03/2011*****
thank you all for your continued response to my post. My son has begun to speak but he was diagnosed with autism in June 2010 and that is the cause of his speech delay. God bless all your kiddos.
- Helpful (6)
- Nice
- Funny
- Encouraging (2)
- Hugs


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» Introduction
In preparation to H2020, the European Commission (DG CONNECT) has put together a Framework for Action addressing the area of Research Data e-Infrastructures.
The "Action Fiches" propose concrete domains of action. They aim at realising the European vision for a global interoperable data e-infrastructure supporting open, digital-driven, science (note that High Performance Computing and Distributed Computing as such are outside the scope of this consultation).
By means of a public consultation the European Commission would like to get reactions on strengths, coverage, gaps etc in order to improve and fine tune the framework for action. Period of consultation
The consultation will be on-line from 1 March until 27 March 2013.
Le communiqué «


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For the next three months, the focus in Washington shifts to the work of 12 lawmakers tasked by Congress with coming up with ways to reduce the US deficit by at least $1.2 trillion. Their recommendations are due by Thanksgiving.
With the sweep of their mandate potentially covering every dollar taxed or spent in the federal government, Washington's lobby community is going on full alert to analyze every rumor, leak, and draft of potential cuts that begins to circulate.
But for now, speculation centers on the 12 individuals appointed by congressional leaders to do the work on the Joint Select Committee on Deficit Reduction.
All are veteran lawmakers, many with budget experience. Five are members of leadership in their respective caucuses; most of the others are close to leadership. None is a member of a tea party caucus.
Sen. Patty Murray (D) of Washington and Rep. Jeb Hensarling (R) of Texas are the cochairs.
The other senators on the committee include two Democrats, Max Baucus of Montana and John Kerry of Massachusetts, and three Republicans, Rob Portman of Ohio, Jon Kyl of Arizona, and Pat Toomey of Pennsylvania.
House members include three Democrats – Xavier Becerra of California, James Clyburn of South Carolina and Chris Van Hollen of Maryland – and two Republicans, Dave Camp of Michigan and Fred Upton of Michigan.
Four were members of President Obama's finance commission, known as Simpson Bowles, but none of the four voted for its final recommendations, which included a "grand bargain" of entitlement cuts and increased tax revenues. Nor were any of them members of the Senate's Gang of Six, which also backed a "grand bargain."
"Everything is on the table, so everything will be fought for from the lobbying side, and that's already begun with the naming of the panel," says John Ullyot, a public affairs consultant in Washington and former Senate staffer.
"Strategies are being put together to protect different priorities in the tax code. Anything could be hit anytime, and there's a very short window for people to make a case," he adds. "The real frantic efforts will be when drafts start to emerge around town of actual language."
In the past, any time Congress has taken up major legislation affecting one interest group more than others – banking regulation, prescription drug legislation, health-care reform – there has been a spike in lobbying and campaign contributions to relevant members of Congress.
Anticipating this pattern, the Sunlight Foundation, a public-interest group that promotes transparency in government, began on Friday to post online word of any planned fundraisers related to "super committee" members. At least five members so far are scheduled to hold or host fundraisers just as the panel is set to begin its work, the Sunlight Foundation reported Friday.
It's not unusual for members to attend fundraisers, especially in the run-up to a presidential election year. But activists say the power of this committee – and its tight deadline to report a deficit-cutting plan – makes it critical for the public to be able to track who is giving funds and, if possible, what interest groups hope to achieve with their contributions.
"These are the members that have this incredible power now trying to deal with $1.2 trillion cuts," says Liz Bartolomeo, a spokeswoman for the Sunlight Foundation. "We're going to be paying close attention to who attends them and what funds are raised after the fact."
The first reporting of this period of fundraising will be in the quarterly report of the Federal Elections Commission at the end of September.
After Congressman Becerra was named to the panel on Thursday, a lobbyist for the mutual fund industry sent out an invitation to a fundraiser in his honor noting that the event "may be one of the first for any of the 12 members of the group."
"This will be Mr. Becerra's first event since being named to the commission and may be one of the first for any of the 12 members of the group," wrote John Hart, political affairs officer for the Investment Company Institute, in an invitation first reported by Minnesota Public Radio News.
Becerra quickly denied any connection between the event and his new assignment.
"I did not know, did not ask, would not ask, and I will not ask any of my supporters to use my appointment to the select committee for purposes outside its principle focus," he said in a statement.


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Many of our regular readers like to know more about lighttpd hotlink protection using mod_rewrite. Lighttpd can use HTTP referrer to detect hotlink and can be configured to partially protect hosted media from inline linking, usually by not serving the media or by serving a different file.
Lighttpd anti hotlinking configuration – redirect to another media
Open lighttpd.conf configuration file:
# vi /etc/lighttpd/lighttpd.conf
Append the following directive to redirect to a default picture called /hotlink.png:
$HTTP["referer"] =~ ".*BADDOMAIN\.com.*|.*IMAGESUCKERDOMAIN\.com.*|.*blogspot\.com.*" { url.rewrite = ("(?i)(/.*\.(jpe?g|png))$" => "/hotlink.png" ) }
So if anyone from *.blogspot.com linked www.cyberciti.biz/image.png it will be replaced with www.cyberciti.biz/hotlink.png. I've written small script to detect excessive hotlink from log file and ban all those domains. Most types of electronic media can be redirected this way, including video files, music files, and animations etc.
Related: Apache web server user can stop leechers using mod_rewrite / .htaccess rules.


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Freshman Oasis Hernandez is Liberty's new women's 60-meter dash record holder, thanks to her 7.52 clocking on Saturday in Albuquerque.
Liberty freshman Oasis Hernandez broke the program women's 60-meter dash record twice on Saturday, lowering it to 7.52 seconds at the Don Kirby Collegiate Elite Invitational. She was also one of three Lady Flames to notch ECAC qualifiers on the day at the Albuquerque Convention Center, which will also host the 2014 NCAA Division I Indoor Track & Field Championships. The Liberty women's 60 dash standard had stood at 7.56 seconds since Andrea Beckles set it on Feb. 26, 2009. However, Hernandez clocked times of 7.53 and 7.52 on Saturday, with the latter effort winning Section C of the women's 60. In the process, the Kansas native qualified for the ECAC meet in a second event this season (also triple jump). It was Liberty's second school record in as many days in Albuquerque, following Jocelyn Williams' record-breaking 66-6.5 women's weight throw effort on Friday. Junior teammate Abigail Flower punched her ECAC ticket at 60 meters as well, thanks to a season-best time of 7.63 seconds in the prelims. She then finished sixth in the Section C final at 7.72. Hernandez and Flower now rank first and second, respectively, on the Big South women's 60 dash performance list this season. Redshirt sophomore Ansley Gebben was the Lady Flames' other new ECAC qualifier on the day, after clocking a personal-best 400-meter dash time of 56.65 seconds for 13th place in the event. She now ranks fourth on Liberty's all-time performance list. Redshirt senior team captain Meghan Burggraf continued the Lady Flames' stellar day on the track with an impressive performance at 800 meters. After covering the first 400 meters in under 62 seconds, Burggraf hung on to finish in 2:07.90, improving her personal best by two seconds. Burggraf finished a close second in the event, crossing the line just 0.33 seconds behind Miami's Alaine Tate, the 2013 ACC indoor women's 800-meter runner-up. Factoring in Albuquerque's near mile-high altitude, Burggraf currently ranks No. 23 nationally at 800 meters. Freshman Stephen Racanelli was yet another Liberty athlete to record a personal best on the track on Saturday. His best-ever 60-meter dash clocking of 6.92 seconds earned sixth place in the Section C final and moves him into a tie for seventh place in program history. Mychelle Cumings was Liberty's top field event finisher, throwing the shot put 50-5.5 for fifth place. Teammate Jocelyn Williams followed in the 24th spot at 39-5.25. In the women's triple jump, Janae Jones landed at 39-6.5 for 13th place. Competing in her second event of the day, Hernandez topped out at 38-2.75 for the 17th position. Freshman Aklesso Agama triple jumped 48-4 to record an 11th-place finish in the men's triple jump competition. Fred Fulton came in 14th in the men's shot put, thanks to a 53-9 heave, while David Scouten's season-best mark of 51-1.5 placed the redshirt sophomore in 22nd. The Flames will host the Liberty Quad, their final home meet of the 2013-14 indoor campaign, on Sunday and Monday at the Tolsma Indoor Track Center. The meet will get underway Sunday at 1:30 p.m. with the heptathlon 60-meter dash.


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Can Ivy Ross Make Google Glass Haute Couture?
May 16, 2014 2:55 PM PT
Google Glass, whose appeal so far seems limited to uber-geeks, may be taking on a new image, thanks to Google's hiring of Ivy Ross, known for her work at Calvin Klein, Coach, Gap and, most recently, Art.com, where she was chief marketing officer.
Ross announced Friday that she will assume her new post as head of Google Glass May 19.
She replaces tech whiz Babak Parviz, who was pretty much the man behind Google Glass.
"I look forward to answering the seemingly simple, but truly audacious questions Glass poses," Ross wrote in a post on Google+. "Can technology be something that frees us up and keeps us in the moment, rather than taking us out of it? Can it help us look up and out at the world around us, and the people who share it with us?"
Ross described her career as having been spent "at the intersection of design and marketing, trying to answer questions like this in different ways, for different products."
It's Not All Roses
Ross' appointment mainly drew favorable comments on the Glass Google+ page, but Boz Adams' response was a tad sharp.
"Let's start with the seemingly simple, but truly audacious question: Why has it been so challenging to release XE software updates that are stable, reliable, functional and efficient with regards to the existing glass hardware?" Adams wrote. "It seems that this has gone by the wayside in the past two months."
Several commenters also suggested a price cut.
For example, "Step one... make Glass affordable instead of the crazy town price of $1,500," JP Hines said.
What Ross Brings to the Table
Google Glass "straddles the line between technology and fashion," Barry Randall, a portfolio manager for Covestor, told the E-Commerce Times. "Ms. Ross is probably one of a handful of individuals capable of understanding Glass from both a design and product point of view."
The widespread adoption of Glass would depend "on a variety of real-world considerations like design and cultural acceptance," Randall continued. "Ms. Ross' appointment merely signals that the success of Glass won't be a function of purely utilitarian concerns."
Ross "is on board to turn [Glass] into a real product," remarked Rob Enderle, principal analyst at the Enderle Group. "Until now, it has been more of an experiment into what people will accept on their face."
What Google has had on its face because of Glass is a certain amount of egg -- the product has not been as well received as the company hoped, leading it to blog about the top 10 Glass myths in March; then to throw open sales to the U.S. public this week.
Money Isn't the Only Thing
Glass' current US$1,500 price tag is a consequence of the relatively low number of devices that have been sold, Enderle told the E-Commerce Times. "Once they can ramp up to far higher volumes, the component prices and assembled products should drop below a third of what we see now."
However, $1,500 "might be in fact too low a price" for use in specialized fields such as medicine, Covestor's Randall suggested.
The University of California at Irvine medical school this month will issue 10 Google Glass units to third-and fourth-year students, and it will provide first- and second-year students with another 10-20 pairs.
The Marriage of High Fashion and High Tech
Ross' appointment "seems to be along the lines of the vision articulated by companies like Intel that are looking to identify the future intersection of fashion and technology so that technology can appeal to a broader range of consumers of both genders," said Jeffrey Orr, senior practice director for mobile devices at ABI Research.
These companies want to "understand what draws people to technology, what draws people to fashion," he told the E-Commerce Times, "and why these have been mutually exclusive behaviors up to this point."


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In dedication to the joyous and celebrated life of Dorothy Hurst. Our beloved wife, mother, grandmother, sister and friend Dorothy Hurst, 82, passed away peacefully at her home in St George, UT, in the arms of her eternal companion and Heavenly Father and surrounded by her family on May 31, 2010.
Dorothy was an active and faithful member of The Church of Jesus Christ of Latter-day Saints, and served faithfully in many callings throughout her life.
Dorothy cherished her faith and her dedication to the church and was notably honored for this dedication by many members and followers of the faith.
This shone true in her heart and actions and every day of Dorothy's life was spent with a true sense of purpose, meaning and with pure vision of love.
Dorothy was born in Grand Junction, CO on July 22, 1927, to Uriah and Annie Butt. She was raised in the sunny red rock desert of Bluff, along with siblings Dick, Dean, Barbara, and Calvin. Dorothy was in the graduating class of 1945, from San Juan High School.
At the age of 18, Dorothy left home for new horizons and to share her exuberance of life with the world.
She attended Brigham Young University and Weber College before settling down with the love of her life, John Roger Hurst. John and Dorothy were married June 15, 1949, in Blanding, UT, and sealed in the Manti LDS Temple June 10, 1976, for all eternity.
They were blessed with three wonderful children, Valorie (Craig) Hansen, Nannette (Dennis) Branham, Roger Hurst, 6 grandchildren, Cody John (Erica), Kellee Ann, Cody Richard (Stephanie), Spencer O'Brian, Holly Annika, Lindsey Marie and one great grand baby, Sydney Ann.
It is well known that Dorothy had a wish to be a mother of 10 daughters and her best friend Madge Shumway, of 78 years, wished to be an artist, but as fate had it they were reading each others cards and it ended up just the opposite.
Dorothy loved to cook and bake and she created magical recipes that blessed the bellies of many and whose cookies, eclairs, soups, and biscuits never ceased to delight or cure any aliment of the heart or soul.
She was a superb seamstress who's creations left you all dolled up and dressed to the 9's. Her home was always warm, full of life, and creatively and distinctly decorated with antiques passed down from generations, from pieces that were home made, to artifacts from around the world.
Her greatest joys in life came from holding strong to her faith, being a mother, a wife, a grandmother, and sharing her visions of beauty with the world through her unforgettable landscape paintings.
An achieved artist, Dorothy was well known throughout the state of Utah and internationally for her gorgeous landscape paintings of the desert, oceans, flowers, and more.
Dorothy created a career from her life's passion and she shared her wisdom and joy of painting teaching others for over 40 years.
View one of her paintings on permanent display as part of the collection at the Bluff Fort Historic Site in Bluff, UT, where it will be cherished, shared and viewed by many for generations to come.
Upon retirement, John and Dorothy decided to fulfill a life long dream and moved to Sonora, Mexico, to build the house of their dreams.
Together as builder and artist they materialized their dream which then became known as "la Blanca Paloma" or "The White Dove," endearingly named by her loving neighbors and natives of Rocky Point Mexico.
John and Dorothy loved taking the scenic routes, the ocean and sharing time together walking the shore, planting their cactus gardens, building monuments and creating the story of their life.
A visionary starlet forever remembered for her sparkling ocean blue blue eyes, her true heart of gold, faith, and enrapturing landscape paintings with an endlessly giving spirit who warmed the hearts of all that she knew bringing a smile, a sweetness and comfort that will never be forgotten.
A viewing was held in St. George on June 4, 2010. Funeral services were held in St. George on Saturday, June 5, 2010, at Snow Canyon 11th Ward, 1625 N Lava Flow Dr. with visitation from 11:30 am to 12:30 pm and services starting at 1:00 pm.
Graveside services were held on Monday, June 7, 2010, at 11 a.m. at the Blanding City Cemetery.
A special thanks to the Ted Warthen Center for Assisted Living, for her care takers and special friends that spent time with her in her last days.
Arrangements are made under the direction of Spilsbury Mortuary, St. George, UT, (435) 673-2454. Friends and family are invited to sign the guestbook at www.spilsburymortuary.com.


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Clip: Season 4 Episode 2 | 28s
When a professor dies at a cutting-edge computer laboratory, Geordie turns to Leonard for assistance. As they discover the messy love lives of the computer laboratory team, Cathy is tricked, Will returns and Mrs. C makes a shocking discovery.
Aired: 07/21/19Video has closed captioning.
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Grantchester Season 4: Everything You Need to Know
Find out about the Season 4 release date, James Norton's final episodes, & the new vicar!
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Jennie M. Barry - Cumberland
Jennie M. Barry - Cumberland
Jennie M. Barry, 93, formerly of Abbott Run Valley Road, passed away Sunday, Sept. 29 in Cape Cod at home, where she resided with her daughter, Cynthia. She was the wife of the late Anthony D. Barry.
Born in Massachusetts, she resided in Massachusetts for a short time, previously residing for 12 years in Old Saybrook, Conn., and for most of her life in Cumberland.
She was a communicant of St. Joan of Arc Church, a former communicant of St. John Church, Old Saybrook, Conn., and also was an active member in the various senior centers in which she lived.
She leaves her daughters, Cynthia Barry of Buzzards Bay, Mass., and Carol Mallory of Arizona; and one son, Colin Barry of Bristol, R.I. She was the mother of the late Collene Monacelli.
A celebration of her life will be held Friday at 9 A.M. from the J. J. Duffy Funeral Home, 757 Mendon Road, Route 122, Cumberland, with a Mass of Christian Burial at 10 A.M. in the St. Joan of Arc Church, Mendon Road, Route 122, Cumberland. Burial will follow in Resurrection Cemetery, West Wrentham Road, Cumberland. Relatives and friends are kindly invited. Visiting Hours will be held Friday from 9-9:30 A.M.
Directions/Guestbook: jjduffyfuneralhome.com