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Broad Ripple has many restaurants, from fine dining to casual, it is sometimes difficult to keep up. At least for me, since I dwell in the 'burbs and don't go south of 82nd as often as I would like. But as I work in (north) Indianapolis, I sometimes get to Broad Ripple for lunch with colleagues. This past week was one of those times, and someone suggested Taste. I had driven by, never been, and thought it was the perfect time to give it a try.
We arrived early, approximately 11:30ish, due to a few meetings and conference calls we all had in the afternoon at our respective places of employment. So when we arrived, there was only a slight line with a lot of open tables. An open seating restaurant, Taste embraces the concept of counter ordering and then delivering food to the corresponding table number you are given upon ordering. I liked the casual environment as well as the mix of the crowd of who was dining. We sauntered up to the counter and perused the menu while we waited in line.
Now, this counter of sweet treats smiles at you as you try to avoid eye contact and stare up at the menu. Then the smell of the freshly baked bread and cinnamon rolls meander their way to your nose. Suddenly, you find your eyes wandering. I have no idea how I stayed strong, but I did. Heck, I even ended up ordering a salad as my main dish. As I successfully avoided the sweets, I also noticed all the eclectic yet homey items on the menu. I definitely want to make it back for breakfast as there were some items screaming my name. But instead, a salad it was. I'd like to take a minute to mention you can build your own salad from quite a variety of items, but I opted to pick one already put together for me.
But to start the excitement of our luncheon meeting, one of my colleagues ordered deviled eggs to begin as well as the pommes frites. As I silently jumped for joy (I knew we'd be splitting these), we made our way to the table and waited patiently. The two 'appetizer side dishes' arrived first, and we dived in. The deviled eggs were creamy with a rich yolk and mustard taste, yet sharpened with a dill flavor. They were great, though a bit pricey for half an egg at $1.25. But it was a treat that I'd probably get again (a variety of eggs would be an even better treat though!)
The pommes frites were thing and crispy, everything that I want in a fry of this variation. Salted with thick, kosher salt and seasoned with black pepper, the seasoning was moderate thus complimenting the salty fried taste that is expected. A basil aiole was served to mellow down any salty flavor one might have (though I didn't see it apparent by any means) and added a slightly elevated scale to otherwise normal fry. I liked the bright contrast of the basil, and the creamy texture played nicely with the crisp fry.
As for the main event, I had ordered chopped salad. First off, the portion was quite big. And it wasn't all romaine like I anticipated, but a good mix of the toppings that sometimes make people to perceive salads as unhealthy. However, that wasn't really my thought as I began to break apart the whole side of corn, straight of the cob. I bet in the summer the corn adds a depth of sweetness, but this time around, I wasn't getting it. ::sigh:: Seasons. But the pungent bleu cheese flavor played well with the other expected flavors of sharp red onion and smokey bacon. I did like the tart green apple that were chopped within the salad and the lightness that the sherry vinaigrette provided the greens. Overall, it was a good, solid salad. I wasn't blown away, maybe should have gone with my second choice, but it was still a good salad.
Overall, a great menu that seemed moderately priced as cafes go. I look forward to getting back (maybe for breakfast, though they do now serve dinner) and 'tasting' a few other things on the menu. Yup, I went there. With a name like Taste, how could one resist?
Taste Cafe * 5164 N. College Avenue * Indy (Broad Ripple), 46205 * 317).925.cafe


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Pre-production is moving forward on a sequel to The Muppets (cue Kermit's "Yaaaay!"), but Jason Segel won't be attached as a writer this time around. According to Vulture, director James Bobin and original co-write Nicholas Stoller will handle the script for the sequel. However, Segel won't have time to work on the screenplay due to his commitments to How I Met Your Mother, his burgeoning film career, and doing publicity for the upcoming comedies The Five-Year Engagement and This Is Forty. It's a bit of a bummer since he and Stoller were so gung-ho on getting the Muppets back to the big screen, but there's still a chance he could star in the sequel if the script has a place for him.
One of the great things about The Muppets is that Segel didn't make the movie all about his character. Gary's got a character arc, but the film really belongs to Walter and Kermit. While I have nothing against Segel, I can see a Muppets sequel without Gary. Now on the other hand, if Bret McKenzie doesn't come back to do the music, then I'll be concerned.

subset: commoncrawl


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June 12, 1918
Dear sister Madaline:
At last I happened to find a few moments to write you as I have been very busy working. Yesterday I worked at least seventeen hours and surely did feel tired out today but as long as Uncle Sam feeds me three good squares and at least seven hours sleep why I think I will be able to stand this campaign. The weather here is very good, this and the country is our only enjoyment. At night all we do for recreation is to either write letters or wash clothes as this is our only time we boys get for ourselves. I forgot to mention that the only way we boys can spend our money is for beer or wine as no tobacco or candy can be bought here. We expect to get paid tomorrow or someday this week. I am not going to write Anna tonight as I am going to bed early as I am pretty well tired out. As yet no mail has come in to the company but I hope tomorrow will find some for me.
Must close dear sister and bye bye until tomorrow.
I am
Your Brother
© Copyright 2011 by Lanny & Patti Brown, All Rights Reserved. No reproduction without permission.


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RA's Ryan Keeling scores a rare interview with Loefah, the man behind one of the UK's most exciting imprints.
Rewind to dubstep London, and Livingstone is one third of DMZ—arguably the scene's most exciting and vital imprint. Alongside childhood friends Mala and Coki, the group played a vital role in shaping the sound and course of the emergent genre. They released classic 12-inches and threw legendary parties. Dubstep grew from its UK roots and DMZ travelled the world with it. Then, in 2007, something snapped. Livingstone was no longer feeling it. "Fraudulent" is the word he uses to describe his underlying mood around this time period. Whether it was the direction dubstep was headed in or a seismic shift in his tastes, he knew that something had to change...
So we started this thing dubstep. And we were doing our thing. And it was great for a little while. And then I got to the stage in the studio where I wrote a tune [2007's "Disko Rekah"]...well, I wrote a "dubstep tune." Everything before had just been writing beats or whatever and it came freely. [But then] it was just like, I knew it, I didn't wanna let it off, and then I did let it off, and it went down really well. But every time I heard it I just felt, "Ugh, that's not right." I felt really wrong and I remember that was like the initial crack that started everything going wrong in a way.
How did this "crack" manifest itself?
I felt a bit like this whole period was fraudulent; it wasn't true. So from then I was writing beats but I just wasn't happy with them and I was in this weird zone between pleasing the crowd and doing honest music from the heart. You know, when you paint too much you just get this brown and that was what I was getting. Nothing was working, I was getting frustrated, and at the same time the crowds were growing, popularity was growing in dubstep and I was DJing quite a lot and I was [at the] top of a lot of bills. I felt this pressure to keep current.
At the same time my best mates were Mala, Coki, Skream, Benga, Distance, Pinch, Kode9, so I didn't have a problem getting dubplates. I could keep my set relatively fresh, so for about a year that was running and then suddenly I wasn't really feeling the dubs I was getting as much. It got to the point where I was only really feeling a couple of Mala tracks, but I played with Mala a lot so I couldn't really play his beats. I was trying to get my own together but that wasn't happening. And then, I don't know... I just started playing for the reaction a bit, playing a lot of like Skream bangers; tunes I still stand by, things I still like, but there wasn't enough variety. I was playing for the crowds. Then I realised that I got to this point where I was playing to a crowd that I no longer knew or identified with and I was playing music that I didn't believe in.
Tell me about starting the label.
I'd been thinking about starting a label for ages. I was just looking more into doing that and I tried to sign this tune from luke.envoy called "M.U.G.E.N" but I think Wonderland got it, so then I just sat tight. I wasn't just gonna sign just anything. I wanted something that I really believed in.
Out of nowhere I was being sent a lot of demos but a lot of the demos were really shit and so you're getting to this point where you are like, "I cannot listen to everything, it gets demoralizing." If one in every five was great—even if one in every five was good—you'd be happy, but it's more like one in every 100. Then for some reason I got chatting to Kryptic Minds. They just added me on AIM. I was just in one Friday night, chatting, and they sent me some beats and I was in the right frame of mind, so like, "Alright, I'll have a listen." And I was like, "Wow, this is awesome, this is what I believe..." not what dubstep is—dubstep can be anything it wants and that's the beauty of it—but this is what I believe in when it comes to dubstep. I liked their use of space, they had like a Metalheadz feel, which I really liked, the sort of samples they choose to use. I don't know, it just fit that zone...
confused, because they couldn't work it out.
But they would stay. They'd stay and
they did work it out."
Do you think it was removed from what had come before it?
At the time, yes. There was nothing like it. [The scene] wasn't really brostep then but it was Rusko and Caspa, it was their time, Benga and Skream had already been—and always were—there, but the real noise was Caspa and Rusko. Suddenly out of nowhere it's just like "Kryptic Minds: let's do it."
I thought the music they brought out was excellent but after a few releases I was just like, "It's good music but is it current? Is it a bit too much like what happened in 2006?" I didn't want it to become a caricature of itself. I was really buoyed by Kode9 as well, what he was doing with Hyperdub, just not giving a fuck.
Tony Headhunter (Addison Groove) sent me "Footcrab" and I was like, "Brilliant. That's the one." He had sent it around to a few people and a few people were playing it but it was a weird one: it didn't fit in. But I was like, "I've experienced this with dubstep before." When we started no one knew what the fuck to do. We were playing these sub-heavy tunes with hardly any beats and people didn't know what to do. We'd be playing to dance floors of people who would be just be standing there looking confused, every now and then trying to dance, because they couldn't work it out. But they would stay. They'd stay and they did work it out. It took a couple of years or whatever but they did, so I know how to stand up in front of people and take them not dancing. I can do that by playing them a new beat, I know how to do [that].
There were a few people who loved it, but most people were like, "Oh, what's this shit?" Playing that had a Marmite reaction [love it or hate it]. So that was much more fun than getting re-runs of tunes I didn't like. And soon Addison sent a few more dubs through. Then Ramadanman (Pearson Sound) sent me "Work Them" and a couple of other tunes. He did his double pack [2010's Ramadanman EP] and there were a couple of tunes on there which blew me away. Dave Q in New York had been telling me to listen to this guy and he had always been saying it. I had listened over the years and I was like "yeah yeah yeah" and then suddenly, "wow." So I got in contact and I played a few of his things that were about at the time and then he sent me "Work Them" and he said, "I think this could work for Swamp."
I was still being booked at mainly dubstep nights. I told my agent to take me off anything that mainstream. I didn't wanna be on big bills line-ups; I didn't feel like I fitted there. I was doing these random things, small European ones for an hour set. I played the first half-hour of Swamp shit, whatever it was, then finishing up the second half of the set with like Kryptic Minds-style dubstep, with a couple of old ones chucked in. Some people were going crazy. They didn't know what was going on. Some guy in Holland in this town called Deventer climbed on stage, he was so angry. He was wearing a Run DMC dubstep T-shirt...the decks were there and he was just standing in front of me and he pointed at me and said, "Play some fucking dubstep!"
Yeah, I blew him a kiss. He got wrong footed and he didn't know what to do. He'd climbed quite a long way up on to the stage so he couldn't actually jump back down so he actually had to do the walk of shame off the stage. I had to give him a little clap.
When Addison Groove was sending those beats over did you have any sense where he was coming from?
I didn't have a clue. He talked to me about juke and a couple of people talked to me about juke ("Have you heard this juke stuff?") and I thought it was a producer... I thought Tony was just on some like electro, old school Miami kind of electro hip-hop tip, and I thought David [Ramadanman] was doing like a Baltimore kind of tune but just referencing it via London. But then I heard Spinn and Rashad and was like, "Yeah, fair enough."
Was it something you were vibing off personally?
It's alright. I mean, some of the tunes are sick but there is a lot of filler. And for something that is blown up so big I don't think it's really going anywhere. I don't think there has been a lot of progression. I also find it a little bit out of context in Britain, it's just a bit weird... I don't know, it's a good thing to be honest—that's just how I see it. I saw Kode9 play a juke set at Fabric the other day and I was drunk and I had a brilliant time.
But what happened after ["Footcrab"] was people were saying: "Swamp 81: juke label." I'm getting emails about juke and I'm getting sent the shittiest juke tunes in the world. I had juke overload which I didn't want because it was never about that. We just had to ride it out, you know.
Deep in the swamp
The name Swamp 81 has some significance. Can you talk about why you chose it?
I remember I was watching a documentary when I was about 21 or 22 on the Brixton riots. I was watching it because it was in the local area and people would talk about it, and it was local history and social history and shit like that is always interesting. So I was watching it and I remember Operation Swamp 81 came up and I was like, "Wow, that is just graphic." I love it when things fit in: [the name is] sonically graphic, it would look great written. I was like, "I'm going to note that down. I'm going to do something with that one day."
I like the fact that you can put something out there and just go, "Yeah, look here it is," but not explaining it or anything. That is kind of the point. It's like the ethic of Swamp: It's there if you want it, if you wanna know about it you can have it, but I'm not going to push it on you. I don't really do any press for Swamp. I mean, I'll do an interview like this but we don't send things out for review. We don't release release dates really. We only release on vinyl, and people moan at me every day, "Why don't you have digital?" blablabla and it's like, 'I'm an independent record label." I'm bringing this music out whether you like or not. If you didn't like this music I'd still be putting out. I thought when I put "Footcrab" out I was going have to get a job. I thought it was going to be a niche label. I thought we would do 300 units a year or something.
No, we work on things together. There has been a time where I've signed from other people but now I'm not signing anyone new. I'm really happy with the team. So there is Boddika, there's Zed Bias, there's Pinch, there's Mickey Pearce, there's FaltyDL, there's Trusta, and there's [MC] Chunky who is about to have a release. He's been writing beats and they are incredible. I've been playing two of them for a little while and they just they go off in the club. He's finished a double pack, so it's four tracks. He lives in Manchester, Zed Bias lives in Manchester, and they've been helping each other out, or Zed's been helping Chunky out. It's just that team thing: We've got a real team vibe going on. Because of that relationship, each artist is very different—the way I work with them.
With Zed, we work closely about what's going on. We talk about the vibe. He [initially] sent me a load of beats and I was like, "Yeah, they're cool but they're not right." And he kept sending them and I kept being like, "They're cool, but they're not right." So he was like, "What do you want!?" I remember that I told him to take the swing out. "I don't want any swing from you." You know, Zed is like the king of swing but I said, "No, take your swing out, let's have something in between New York and Chicago," so kind of the quantized drum machines of Chicago but the vibes of New York and he went "yeah alright" and went away and wrote "Music Deep Inside" and the double pack that's just come out.
So it's no coincidence that many of the producers you've been working with have recorded some of the most removed music from what they're known for?
Yeah, exactly that. It's almost like it's a place where a producer can just be free, where you can just go and write your beats and if it fits in with where my head is at at the time then it's like "bam!" we're laughing. But I don't want the trendy shit. I don't want the shit that everyone wants. I don't want what you're known for. I don't want a vocal garage tune from Zed Bias, you know. Falty DL: the shit we release from Falty is pretty different from what he is releasing on Planet Mu. Pinch: same way.
Pinch is one of my favourite producers and one of my favourite people as well. His productions have always been pretty top notch... I bullied him into releasing for Swamp actually. [laughs] I completely bullied him. He's a really good friend of mine and I spend a lot of time with him and if I go to Bristol to play a show I will stay at his house for a few days afterwards and chill out and whatever. I was just so into his productions, I was so pleased that I wasn't doing 140 anymore. And it was like, "C'mon Rob. Do me something." And he's like, "Yeah, but there's a lot of room left at 140 [BPM]." And I'm like, "No there's not, it's dead. Come on, do something for me, do something..." And god bless him he did—and it was brilliant. I'm so pleased he is on the label, he makes so much sense. I feel so blessed that I get to release that side of things.
Do you still stand by what you said about 140?
No. I think 140 from about six months ago got a bit interesting again. But that's because it's not really dubstep anymore. So dubstep I think is pretty much...so unless you're looking at what it is now, that's alive and kicking, and that's doing its thing, and good luck, it's brilliant. But dubstep as we know it, I would say, is pretty much gone.
Why did you decide that you'd never release on Swamp?
Because I didn't want it to be about me. I wanted it to be about music. I got a label to release on; I've got DMZ.
With the label, is a long-term goal getting the roster on album projects?
I'm doing it right now. Boddika is the first. Then next year we are looking to do a Mickey Pearce album and a Zed Bias album, and then a FaltyDL project. Chunky has got shit for the future...Chunky is incredible. He has got his own sound already. His beats are just such a breath of fresh air. I played them to Kode9 on Sunday, and he just lost his shit to them.
Have you got a first release lined up for him?
Yeah, it's a double pack. So it's Boddika #19, which is Acid Jackson / Basement. #20 is FaltyDL Mean Streets Part 2. #21 is Trusta Hypnotic / Feel So. And 22 is Chunky.
Do you mind me asking how many vinyl you're pressing?
It's limitless really. We repress. FaltyDL gets 500 at a time, they are limited. Most releases get 1000 pressed up at the time but then to be honest we always have to repress straight away, within a week they're gone. Swims just did 2000 in four days. So we've got to repress that. Same with Sicko Cell...we actually might have done more than 2000 for that. A lot of people talk about everything being limited and it's like, "No, only the FaltyDL thing is limited."
But this is the kind of cool thing about not telling anyone anything: People make up their own ideas, they're putting their own thoughts on the table about what it is you're doing. When they do that, they feel like they have a part of it, and I think it is important to give people a part of it because they do have a part of it. If they weren't dancing to it, if they weren't listening to it, if they weren't tuning in on the radio...if they weren't doing this shit then what am I doing?
I'd say people definitely have an opinion, judging by the length of that post on dubstep forum.
[laughs] I just shot myself in the foot because it's fairly well known, like through being a DJ and the dubstep thing, I think people know I do smoke quite a lot of weed. I'm not the most hype person. I don't get stressed about things. But honestly the holdup last year was one of those things. There were two pieces of artwork from the same graphic designer (who shall remain nameless) that just didn't appear. Everything was mastered, everything had been approved, all we needed was the artwork and the artwork didn't appear.
There have been so many comments...actually there hasn't, there's been about six comments about Swims. But when you read a comment on the internet one comment [feels] like a 1000 people, ain't it? It's crazy but they're like, "Oh my good this was a great tune when it was fresh but now I can't be bothered I'm not buying it." But then it sold out in a week, do you know what I mean?
vinyl-only label, it can all
fuck up at the drop of a hat."
I think some people had the impression that it was a form of dubplate culture—building up hype around the release. Is this something you subscribe to generally?
Yes and no. Yes, I'm into that dubplate culture, I'm into the promo of it being through DJs playing it but no: that was taking the piss. But again, I'm not going to come out publicly and go, "OK, this is that," and, you know, fuck that, stop moaning. When I was buying drum & bass records I had to wait for like two years for certain things on Prototype Recordings—they were the fucking worst.
In an ideal world how often would you release something?
My ideal was like one a month. I talked about one every two weeks last year because I had a lot to get out, which I wanted to do from sort of February to July. What I aim for [now] is one a month from February to July. We did one in January this year because it was a strong release and we needed to get shit out. August off, back in September, then one a month through to December—that's what I want, really. And then with this year I want an album in October, and I wanna try and do an album in March and an album in October every year.
I've got [the artists on the label] all working now. I'm giving them mad pep talks and shit just because I don't want to just release a collection of 12s. These albums have to be albums in their own right...like Goldie did with Timeless. You know, Timeless didn't need jungle; if anything jungle needed Timeless. That album stood alone. It didn't need its scene, it didn't need anything; it was incredible. The mastering, the packaging, the production...that's what we need to be doing. We need to be rolling with those levels of quality.
Yeah definitely. Bruv, I've been playing at this since I was about 15 or 16. When I was a kid I used to like work out how to run a label...or pretend to. We had a little crew: me, Mala, Coki, Pokes...we used to play house parties, I used to DJ, they used to MC. I set it up where we had like catalogue numbers and shit. [laughs]
Basically I wanted to be Goldie. Pop culture when I was in the 90's was the enemy. Radio 1 was the enemy, any kind of pop music or anything trendy was just the enemy. It was all about your scene. I was very much jungle and drum & bass, and for me Goldie was my pop star, in a way. He had his graffiti, he had his drum & bass thing. He'd gone clear in that world—that incredible music world in the mid-to-late '90s, he was just king. And it was like, that's what I wanna do: I wanna DJ, I wanna produce and I wanna have my own record label and I wanna have the sickest artwork. So in my head I've been running labels since day dot. DMZ was the first one and that was like ironing out the bumps, finding out how to do it.
What did you learn?
In the early days it was all about not letting people push you around, in a way. When you're the new boys people are like "OK, so you're the new boys," but it's like, "No. Don't take the piss." [Also] each release is so independent from each other. You have to take each release as it comes. The best thing to do just is to realize that it can all go wrong. If you're running a vinyl-only label, it can all go wrong. It can all fuck up at the drop of a hat.
I wanted to finish up by talking about your own stuff. Obviously it's been a few years since you've put something out so I just wondered where your head is at with it, basically?
It's at a really good place right now for the first time in years. I'm writing a lot. I've got a couple of bits...I played Boddika some of my beats last night which I've been scared to do up until now. He was quite into a couple of them. It's been weird finding my place because I don't wanna just go back and write 140, though I have got a couple of 140 things which I'm working on. I don't wanna just write straight house because that would be weird. I would just feel wrong, and again it's that dishonesty thing. I could DJ them all day long and it doesn't feel wrong, but for me to write that: no.
When Swamp was finally settled, I could see a little bit more of what's going on, and it was about then I first realized what I'm doing in music. I was 22-23 when it all started and it has just been like nonstop since then, DJing around the world. You get so many offers over the years, you have so many opportunities put in front of you and luckily I've always stayed away from a lot of them. I'm really pleased about certain decisions; at the time I didn't know why I was making them but I've stayed completely independent so I am in charge of me now, and it's now that I know what I want from myself, or for myself rather, and it's this. It's this sort of...I think underground is the wrong word these days—nothing underground really exists anymore—but it is that vibe. It's new music, fresh shit, having a point of view in that world, and not wanting more. I don't wanna be a pop star. I don't want to crossover. I don't care about that. I wanna run a great label. I want it to grow. I want it to be like Warp Records one day. Even like XL or something like that. I wanna be able to take it from grass roots, and just have a point of view within this music.


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Do you have X11 installed? I don't think it gets installed by default, but you can install it from the OS X installer. The new version of Eagle doesn't need X11.KHELSTROM wrote:Ive downloaded it but I can't get it to install. I think it might be something with the X11 server. Please help
So for I have Osmond Quartz, Eagle, The DIY Layout Creator beta and DesignWorks, as well as MacSpice. Now I just have to learn how to use them... or at least one of them!


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SF Giants' Brian Sabean blasts Cousins
Giants GM blasts Marlins player who injured Posey
Recommended Video:
(06-03) 04:00 PDT St. Louis --
Giants general manager Brian Sabean on Thursday tore into Scott Cousins of the Florida Marlins for his devastating hit on Buster Posey, saying the Giants will have a "long memory" of the play and everyone in the organization will be happy if Cousins is through as a major-league player.
In equally strong comments, Cousins' agent, Matt Sosnick, told The Chronicle that the hit was neither dirty nor intentional, and part of the game. He also said the Marlins had to get Major League Baseball security involved because of death threats to Cousins.
Sabean, on his weekly KNBR radio program, said Cousins' hit was "malicious" and "unnecessary," adding that photographic evidence showed Cousins veering to his left to hit Posey, shoulder to shoulder, in a "premeditated" act.
The GM's harshest statements in the lengthy interview came when co-host Ralph Barbieri noted that Posey had no desire to hear from Cousins.
"I don't blame the kid," Sabean said of Posey. "Why not be hard-nosed? If I never hear from Cousins again, or he doesn't play another day in the big leagues, I think we'll all be happy."
Sabean did not back down when asked shortly thereafter if his comment was a bit harsh.
"No," Sabean said. "He chose to be a hero, in my mind. If that's his flash of fame, that's as good as it's going to get, pal. We'll have a long memory. We talked to (former Giants catcher) Mike Matheny about how this game works. You can't be that out-and-out overly aggressive.
"There's no love lost and there shouldn't be."
The Marlins did not play Thursday, but Cousins' agent said that while he respects Sabean, he believes the GM is 100 percent wrong.
"What Cousins did was not malicious," Sosnick said. "A statement that anyone makes implying that he did something on purpose to be hurtful or malicious to Posey is untrue. Those people are misinformed. You can't determine on a replay if there was a sliding lane for him to get into. It's impossible."
Sosnick said no player ever tried harder than Cousins to reach out to a player he injured.
The agent, who also represents Freddy Sanchez, said the hit was not illegal and the right thing to do in a close game. If the same situation arose, Sosnick said, "I would hope he'd make the same play, and he would hope that nothing would happen to Posey at all.
"I'd say Brian's opinion is in the vast minority in baseball. I can understand the disappointment that Posey is out. I'm disappointed. My family is disappointed and I don't even represent him. I can just tell you that if you know Scott Cousins, you know it was certainly not intentional."
Sabean said manager Bruce Bochy told Posey in spring training not to risk injury by blocking the plate, just as A's GM Billy Beane told his catcher, Kurt Suzuki.
Sabean also said it will be up to Posey whether he wants to continue catching.
"I know he wants to catch," Sabean said. "I know this is a horrific experience for him. He's in a lot of pain now. It's hard for him to rationalize right now. I know he's a warrior, if I can use that term. He likes to catch the position, and I'm sure next spring he'll come to camp as a catcher."
E-mail Henry Schulman at email@example.com.


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|Parishes Lincolnshire
The Duchess accessorised with a pair of Diamond and Pearl Earrings by Heavenly Earrings. (I must say a huge thank you the wonderful Anna from My Small Obsessions who put a huge amount of work into identifying them) Interestingly the earrings are actually fakes and cost £48. They are currently sold out but if you wish to purchase them there is a waiting list.
|LK Bennett


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01 September 2016 - STAMFORD, Conn. and LUCCA, Italy
Tagetik to Host First Conference Dedicated to Insurance Providers
Tagetik's Insurance Day 2016 will focus on new and upcoming regulatory requirements and reporting changes as well as other finance-related challenges facing today's insurance market
Tagetik, a visionary leader in global performance management software solutions, will host a special conference for finance professionals in the insurance industry on Thursday, September 8, and Friday, September 9, at the Convent of San Francesco, located in the historic district of Lucca, Italy. Tagetik's Insurance Day will cover new and upcoming regulatory requirements and reporting changes as well as advanced budgeting and planning processes and the role of technology in meeting these and other disruptive forces that will impact the Office of Finance.
Currently, more than 150 finance executives from six European countries are registered to attend the conference.
Tagetik has consistently been recognized by leading analyst firms for its ability to help insurance companies meet complex regulatory requirements. As of March 2016, the company's Solvency II packaged solution was being used by 265 companies and 2,300 professionals throughout Europe. Representative customers include Talanx, Aegon, Generali Group, Triglav, Allianz and Menzis, as well as Ania, Italy's insurance association.
Conference sessions will be presented by finance and product experts from Tagetik and its partners KPMG and PwC. The agenda will cover these and other topics:
- IFRS 9 requirements, with a focus on impairment of financial assets, including the calculation and reporting of exposure at default (EAD) and expected credit loss (ECL)
- The implementation of complex rolling planning processes with a particular focus on premiums and cost of claims
- Advance preparation for IFRS 4, Phase 2, including a demonstration of a starter kit supporting premium allocation and building block approaches (PAA and BBA) and calculations
- How to efficiently meet Solvency II, Pillar 2 requirements, with a focus on solvency capital requirements (SCR), overall market value balance sheet (MVBS), and disclosure of the own risk and solvency assessment (ORSA) document
- Discussion of Tagetik's product roadmap for insurance, with opportunity for customer feedback and suggestions for further enhancements
"We put significant resources into keeping up with the EIOPA and local regulatory requirements and ensuring our solution has the built-in financial intelligence and advanced features to meet them. Because we can build on our extensive know-how in the banking regulatory reporting requirements as well as on the significant work we've done in areas such as disclosure, complex reporting, and data integration, we have an advantage in meeting the current and future challenges of the insurance industry," said Sabrina Rosati, Tagetik executive vice president, global financial services practice leader, and managing director of Italy.
Further details on Tagetik's Insurance Day 2016 can be found here.
A just-published e-book on how digital disruption in the insurance industry calls for advanced performance management can be downloaded here.
For other relevant resources such as case studies, product information, and recorded webinars, visit this page.
Request a Demo
Our personalized demo allows you to speak directly with a senior solution specialist and discover the key functionalities of CCH Tagetik.
Would you love to know more about CCH Tagetik?
For more information, please complete the form and a member of our team will reach out to you shortly!


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COLUMBUS, Ohio — The Crew prides itself on having a deep bench.
It started with coach Sigi Schmid when he rebuilt the franchise into the 2008 MLS Cup winner. And it continued last season when Schmid's successor, Robert Warzycha, created interchangeable parts without a noticeable drop in performance.
So good has the Crew been that when standout forward Guillermo Barros Schelotto has been out of the lineup the team was still tough to beat—until running into Real Salt Lake in the playoffs.
The Crew took to its home pitch Saturday against Toronto FC in the season opener minus Chad Marshall, the MLS Defender of the Year the past two seasons, but found that life goes on without the injured center back.
Warzycha often uses Danny O'Rourke in his spot to pair with Eric Brunner. That would have happened against TFC except the coach played a hunch: He liked the team that battled in the Champions League loss to Toluca in the second leg of the Champions League on March 17.
So out went normal left back Gino Padula for O'Rourke and Andy Iro was slotted into Marshall's spot.
Go play the lottery, Mr. Warzycha. Iro scored the winning goal in the 29th minute and O'Rourke was instrumental on the insurance tally in the 86th by Schelotto as the Crew won 2-0.
"I didn't want to change the team we played against Toluca," Warzycha said. "We had momentum. That was the reason why I had the same today on the field."
Iro did his best impression of Marshall. Each is about 6-5 and can sky for set pieces, which is what Iro was prepared to do when Schelotto lined up a free kick near the right sideline. The Argentine whipped the ball into the box where Iro headed the ball down toward the left post and the ball bounced once before settling inside the post.
"I've been watching Chad for a while now," Iro said. "He times his runs really well. That's one thing I've been working on ever since I came to the Crew. It kind of came together on that goal."
Even if it wasn't picture perfect.
"I didn't think I hit it that clean," Iro said. "I went in front of sort of late and it glanced my head. It wasn't the cleanest of headers. Once I looked up and saw it headed to the corner I said, 'OK, it's going to have to be a good save.' "
Seeing a teammate get on the end of one of his services is nothing new for Schelotto.
"It's easier to play to Marshall, or Steven Lenhart or Iro because they have height. You can find them very easily," he said.
After the goal, the match had a similar feel to the home opener last season when Schelotto scored in the 30th minute but TFC hung around and got the tying score in the final minutes.
"All in all, it wasn't our best game. It was ugly at times. There wasn't a lot of rhythm," goalkeeper William Hesmer said. "We're a little bit upset we didn't put the game away earlier. It was a little dodgy for awhile."
Hesmer made fine fingertip saves on O'Brian White and Dwayne De Rosario in the second half when the outcome was in doubt.
"Will makes a couple of good saves. If he doesn't, obviously, we win the game," TFC coach Preki said. "He made the difference for them."
The Crew had trouble cracking the Toronto system.
"Toronto played very defensive," Schelotto said. "They only put one body in front. Sometimes when they defend a lot in the game it's very difficult to pass but we played good. We played hard. We played sure."
It took Schelotto's goal into an open net to ice the victory. O'Rourke collided with goalkeeper Stefan Frei just outside the penalty area and slid into his midsection. Play continued with Frei down and TFC defender Nick Garcia had a poor clearance directly to Schelotto.
"I wait for the ball. I felt the ball. I shoot," he said. "It was easy but you need to put the ball away. I had a player behind me trying to get the ball. Sometimes you have only one chance."
That's all he needed.
"The second goal, I don't know how I feel about that. I'm not going to say anything," Frei said.
O'Rourke had a different view.
"I figured it would be a tough 50-50 challenge," he said. Usually when you don't go in hard is when you get hurt. I sucked it up and went in. I got the ball first. I think when I slid maybe a stud came up. It wasn't intentional. It was a good call. I'm sure they'll see it the other way."


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April 02, 2012
New videos cover 3D in CS6
Photoshop team member Daniel Presedo has posted a series of short videos meant to make you productive quickly using Photoshop CS6's totally revamped 3D tools. Photoshop PM Zorana Gee writes:
I'm really excited about the overhaul of the 3D features in Photoshop CS6 beta (Extended). The main focus we have is with performance (both interactivity as well as performance) and usability. You'll notice that we added some great additions like live, re-editable 3D type; easy extrude operations; a single tool (the Move Tool) to adjust the position of all the elements in your scene; and many other great additions. Designers wanting to integrate 3D objects into their composites or create simple 3D geometries from type, paths, etc. will find that 3D in Photoshop is really powerful and fun to use.
Please let us know if you have specific tutorials you'd like to see and myself as well as some folks from the team will be happy to start sharing them.


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GajShield Next Generation Firewall Appliances
Provides complete visibility into various threats and performance inhibitors allowing organization to make informed and proactive security measure. Threat Management incorporates an ICSA certified firewall, Context based Data Leak Prevention System, Application Filtering, BYOD Policy management, VPN, URL Filtering, Gateway Antivirus, Intrusion Prevention System and Performance Management has Traffic Analysis, Network behavior analysis, Policy based ISP Failover and Load Balancing as well as Bandwidth Management.
GajShield GS560dc firewall supports High Availability with Active-Active and Active-Passive HA. It can also be easily managed using GajShield's Centralised Firewall Management System.
* Expandable Ports Module needs to be procured additionally.


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So I just dug my Amstrad cpc 464 out. It was only a couple of years ago since I last used it and wanted to show my 2 year old daughter some old games.On plugging it in I'm greeted with a grey screen with black borders. There is a red light on the keyboard, no beeps when holding delete, but the fast forward, rewind etc work.. just not play. No text on the screen either.I blasted some compressed air into the ports to give em a clean, still no luck.I'm at a total loss.Is it safe for me to open up the keyboard and fiddle with the connections?.. I wouldn't dare open up the monitor.
On plugging it in I'm greeted with a grey screen with black borders.
Is it safe for me to open up the keyboard and fiddle with the connections
There's no way of really avoiding such failures, other than the obvious things like "don't store it in a damp cellar" etc. It's old electronics, these things break. The CPC isn't particularly prone to failure any more than any old computer, however, there are much more unreliable 8-bit computers out there (looking at you C64 Breadbin!).What people do: They remove the PCB from the computer, pack it with lots of protection in a box. Send a PM to me or someone else known to repair 8-bit computers and say, "Here Bryce, can you fix this for me" and then head off to the post office.Bryce.
Well I just snapped one of the legs off the chips, so after everything I think I'm going to give up and buy a working one I've seen,. The Mrs just said, "Look, it's a 2 hour drive but if it means I don't have to hear about this fucking Amstrad again, I will go fetch it".
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I've been toying with removing Debian Etch from the $15 Laptop — the 1999 Compaq Armada 7770dmt with a 233 MHz Pentium II MMX processor and 64 MB of RAM. When most computer users — even those partial to Linux — talk about "old" hardware, they mean either things in the 1 GHz range, even 3 GHz single-core CPU computers with 512 MB of RAM.
For me, a 1.2 GHz Celeron laptop with 1 GB of RAM is good enough to run just about any Linux distribution out there. And my main Windows machine at the office — a 3 GHz Pentium 4 with 512 MB of RAM is way more than adequate for desktop use.
As far as the 233 MHz Compaq laptop goes, I'm probably going to bump up the RAM from the current 64 MB to the maximum of 144 MB, but that's pretty much besides the point.
When I first got this laptop (yep, it cost me $15, though I had to shell out $10 for the CD-ROM drive on eBay) I ran into a lot of luck, because it wasonly supposed to have 32 MB of RAM but had double that. It wasn't supposed to have a hard drive, but not only was the hard-drive casing intact, but there was a 3 GB drive inside it. It was loaded with Windows 98 but wouldn't boot. Once I had the CD drive (the incoluded floppy drive doesn't work, and I could get another one for $10, but I really don't need it), I was able to run Puppy Linux and Damn Small Linux from live CDs.
At first I loaded Windows 2000 just to see how it ran. Win 2K ran alright, but I'm not in this to run Windows. I had pretty good luck with both Puppy and DSL, but Damn Small Linux is really the more suited of the two for a computer with 64 MB of RAM.
Anyhow, I eventually wanted to try Debian Etch on the Compaq. I've done at least four installs of Debian on this computer, but my first began was the "standard" install, which means no X. After that, I added X and Fluxbox, plus all the apps I though I'd need. ROX-filer, AbiWord, Leafpad, Dillo, Lynx, Elinks, Sylpheed (which didn't work), MtPaint for image editing, and eventually even Iceweasel (aka Debian's renamed Firefox).
I was able to actually get work done on the laptop, which can connect to the outside world only through the Orinoco WaveLAN Silver 802.11b wireless PCMCIA card I had previously bought for This Old Mac (aka my 1996 Powerbook 1400cs). And since the PCMCIA slot in the much-better $0 Laptop (Gateway Solo 1450) is inoperable ("busted" is the technical term), the wireless card has remained in the Compaq, which has no Ethernet port or USB capability (though it does have a serial port, parallel printer port, built-in telephone modem and a power supply fully enclosed in the case — yes, a 120-volt power cord plugs right into the back). They made these Compaq's well — this one still runs great.
Anyhow, my "roll-your-own-X" Debian install did OK. The display was a bit slow in Abiword, but I had everything running fairly well. Just not well enough.
Since then, I spent quite a bit of time testing DSL 4.0 on the Compaq. Damn Small Linux runs great on this thing, that much I can tell you. And I even ran Puppy 2.13 for a couple of days this week.
But I always had Debian on the hard drive. Just not the original Debian. I had wiped the drive and experimented with Debian Etch and the Xfce desktop install (desktop=xfce as a boot parameter in the installer) as well as Slackware 12.0 without KDE (Xfce and Fluxbox).
Well, Slackware without KDE means you don't even get an office suite, and I still had barely any disk space on the 3 GB drive. (I know, I just need to get a bigger drive … I know.)
So I went back to Debian Etch, again the Xfce desktop. Surprisingly, this install includes the full OpenOffice suite and I still have about a full GB of space left on the hard drive. I have a separate /home partition with 800 MB in it, and a root partition with 2 GB, with about 150 MB left. The rest of the space is swap — about 120 MB.
And while on the Gateway laptop (1.2 GHz Celeron CPU) I cannot detect a performance difference between the Xfce and Fluxbox window managers, on this 233 MHz CPU, there's quite a difference. I was about to give up on Etch altogether when I decided to again install AbiWord (I tried Ted … again … but the RTF word processor still doesn't work, at least in any Etch install I've had), as well as Fluxbox.
Fluxbox makes it a lot snappier. I still have all the Xfce apps, including Thunar, Mousepad and the great Xfmedia.
In fact, I finally got sound working tonight. I don't think it'll survive a reoot, so I'll have to run this line on startup, but for today it did work:
# modprobe sb io=0x220 irq=5 dma=1 mpu_io=0x330
I can't run alsamixer, but I can play an MP3 in Xfmedia, and it sounds great even on the built-in speakers on this 9-year-old laptop.
I didn't think I could get sound working in Debian Etch, but since I did, Etch will definitely live to fight another day on this laptop.
Before I close out this entry, let men emphasize that the Xfce install of Debian is a quirky distro, to be sure. It's nowhere near as complete as Ubuntu's Xfce variant, Xubuntu.
Etch in its Xfce incarnation includes the full OpenOffice suite, but not Abiword or Gnumeric (which would be good substitutes). There's no Synaptic or Update Manager, so I've been doing what Debian aficionados always tell me to do: use Aptitude. I was running aptitude in a terminal for awhile, but it's much easier to just run it at the command line:
# aptitude update
# aptitude upgrade
# aptitude install abiword
Yep, just like apt-get and apt-get install, but Aptitude is supposed to do an even better job with dependencies and it keeps track of your changes to the system, should there be any problem.
And if this entry appears on this Blogger blog, it means that the lightweight Dillo browser actually works with the blogging interface — a great thing because Dillo is very, very fast.
Note: I did save a copy of this as text in case Dillo and Blogger aren't exactly cooperating.
Further note: Dillo and Blogger weren't exactly getting along, so I completed this post with Iceweasel.
Final note: The fact that Debian Etch — a modern, up-to-date Linux distribution — can run so well in 233 MHz of CPU and 64 MB of RAM is something truly to behold. Again, my thanks to everybody at the Debian Project, past and present, for all they've done for the rest of us.
Post-final note: If Debian continues to perform so well, I just might blog the SCALE 6x convention with this 1999-vintage laptop.
Positively the last note: I've had trouble with Iceweasel and anything on Google for which I have to log in, so I just cut the fat and posted this to Click. And in case I only mentioned it once above, Fluxbox is really flying on this setup. And since the 1999 Compaq with Debian Etch and Movable Type 4.0 are playing nicely, I think this laptop is definitely going to SCALE 6x.
Sorry, just one more note: Look for a SCALE 6x feature on Click in the days ahead.


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Senegal journalism volunteers broadcast to the world
Journalism volunteers in Senegal may soon find their fame spreading far beyond the town of St Louis, thanks to Projects Abroad's recent donation of a new computer to Radio Teranga FM.
One of the main duties of journalism volunteers is researching and reading the international news bulletins, as well as commentating on local events and hosting music programmes. Some volunteers even manage to put together their own documentary programmes during their placements. Host families tune in regularly to hear their adopted offsprings' broadcasts, and it's not unusual to hear a familiar voice blaring from the radio in a passing taxi or local restaurant. However, the new computer means that Radio Teranga can now be heard worldwide, 24 hours a day, over the internet. Friends and family in the UK, Holland, the USA - in fact anywhere, can now listen to volunteers at work and find out exactly what they're getting up to during their placement!
Recent Radio Teranga shows have been livened up by calls from Senegalese expatriates phoning in from Canada, the UK and other parts of Africa, delighted to be reminded of home town news and music in their far-flung corners and eager to send messages to old friends and loved ones at home. Editor-in-Chief Malal Diagne is now exploring possibilities for collaboration with foreign radio stations and for organising international discussion programmes on topical themes.


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Today we're continuing our Q&A series with Bell Curves alumni who are currently pursuing or just recently finished their MBAs. Our last On the Record post was a Q&A with Goreleigh Willis. This time around Crystal Forde shares some of her insights and advice on the 1st year MBA experience.
Crystal is currently an MBA candidate at Duke University's Fuqua School of Business, where she is focusing on Health Sector Management and Strategy. At Fuqua she is a cabinet member of the Healthcare Club and a daytime MBA blogger, and has led a Global Academic Travel Experience Trip to India and co-chaired the Admitted Students Weekend. Prior to business school she spent five and a half years in various sales roles at Pfizer and AstraZeneca, where she had a strong track record of transforming territories by increasing market share and exceeding sales goals. Crystal holds a BBA in Marketing with Honors distinction from Oakwood University.
What's the most surprising aspect of your first year in an MBA Program?
Time is a different beast in business school—things move faster than you can even think or imagine. As you prepare for business school, everyone will tell you that the pace of business school is really intense, but it is not until you experience it for yourself that you can really grasp the magnitude of the pace. At Fuqua we have six-week terms; classes meet for two hours, two times a week. That means you have 24 hours with your professor to learn finance, accounting, operations, and the like. I'll let that sink in for a minute…24 hours! In addition to class time, you have to spend time with your learning team outside of class to complete assignments. Recruiting also starts pretty early in this process, so you have to attend company presentations and networking activities that happen pretty much every night during the fall. And let us not forget that one of the reasons you attend business school in the first place is to broaden your network, so you also have to make time to get to know your classmates. All business schools have tons of clubs that you'll also want to participate in to get both leadership experience as well as exposure to career skills and things you enjoy doing. And lastly, you had a life before business school, and you often have to remind yourself of that and check in with your friends and family at home. All in all, the most surprising thing of my first year was how busy I was and how fast time flew. Time management becomes extremely crucial in business school and you have to learn to make time for what's important to you.
If you had to tell prospective MBAs one thing about your school or about business school, what would be it?
Besides Fuqua being the most awesome place ever?!?! On a serious note though, I am really happy I made the decision to go back to school and even happier that I chose Fuqua. The one thing that I would say about Fuqua and probably business school in general is that the experience is what you make it. You can do everything or nothing at all. It is up to you to make the experience a transformational one rather than a transactional one. There are endless opportunities for you to get into whatever your heart desires and I encourage you to use the resources at your school to push yourself beyond your comfort zone. Business school is academically rigorous and demanding, but it is a safe zone to explore. Use your two years wisely to truly stretch and challenge yourself.
What's the best way to get ready for the rigors of business school?
If you've been out of school for a while or do not work in an analytical role, I would advise that you brush up on your math skills. Things pick up really quickly in school and you don't want to be learning what "log" is when you're doing statistics. In addition, if you can exempt any of the core classes, then aim for that, as it will give you more time to focus on electives of your preference. Beyond academics, it would be wise to start thinking about your career transition prior to your business school matriculation. There isn't much time to "figure things out" and while there is definitely room for exploration, you don't want to spread yourself too thin with recruiting. Having a career plan, and perhaps a backup plan, will help you navigate the recruiting process more effectively. Finally, and probably most importantly, get some rest before business school. Spend some time with your friends and family; have some fun and just chill out. Enjoy your few months or weeks of "funemployment"!
Did taking and preparing for the GMAT get you ready to tackle your classes?
Preparing for the GMAT eased me back in study mode. In addition, it helped me relearn a lot of math concepts that I had long forgotten that are essential to core business school classes.
For more information on how Bell Curves courses and tutoring could help you maximize your GMAT score to improve your graduate business school prospects, visit us at gmat.bellcurves.com.


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Regardless of whether you are a beginner or advanced in script programming this tool is an essential tool for anyone who is interested in writing their own scripts. By Excalibur.
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To comprehend 2018-2026 Nanotechnology dynamics in the world mainly, the worldwide 2018-2026 Nanotechnology is analyzed across major global regions. Nanotechnology Also provides customized specific regional and country-level reports for the following areas.
North America: United States, Canada, and Mexico.
South & Central America: Argentina, Chile, and Brazil.
Middle East & Africa: Saudi Arabia, UAE, etc
The study objectives of this report are:
To study and forecast the market size of Nanotechnology
To analyze the global key players, SWOT analysis, value and global market share for top players.
To define, describe and forecast the market by type, end-use and region.
To analyses and compare the market status and forecast among global major regions.
To analyses the global key regions market potential and advantage, opportunity and challenge, restraints and risks.
To identify significant trends and factors driving or inhibiting market growth.
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Nanotechnology Market 2019 Industry Outlook, Comprehensive Insights, Growth and Forecast 2025 - BoundWatch
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Nubians lovers of heritage, arts and crafts, professions and many developers for the character they own, and crossing through which the beauty of the great Nubia and their customs and traditions and the great heritage which dates back to the era of the Pharaohs authentic. Nubian women since ancient times known as exercising daily for some distinctive handicrafts. It adopted so totally dependent on local resources that largesse of the Nubian region by the source of those resources are agricultural crops and trees that exist in the region as well as other natural sources such as clay mud, which made him an honorary Pots and some limestone and non-calcareous stones that go one way or the other in some manufactures hand. The agricultural crops and trees, the palm tree come in the forefront as human Nubian depends on the Palm in his daily life, depending almost essential, Nubian women marked with the letter colored wicker and called on the workers wicker craft industry Name (Akhawash) craft items wicker often carried out by women, and is transmitted by heredity. Where the mother is keen to teach her daughter the assets of the craft, and in some communities men share with women, especially in the large manufacturing baskets. The wicker dye different colors are available at shops Perfumery and dyeing usually begins to boil water in a large bowl and set the dye is then required to drop the desired colored wicker and leave for 5 minutes then lifted from the water and placed in the shade to dry. The milky white wicker or are such that acquires this color due to exposure to the sun for a limited period of time with evaporated. When wicker manufacturing has to be soaked in warm water to soften even easier, whether wicker Normal or colored assortment because dyeing to Atzul water and then lubricate wicker begins manufacturing work long pigtail and different display plexus by production type and the greater the supply, the number of wicker used papers and has become the industry harder and after Spit-making wicker is formed by product to be workmanship and often are using a broad and long needle (made when mourning specially for this purpose) and thread may be sometimes of wool to decorate I have for often be wicker palm dome, where a resilient References: Khaald Abdul Majid: Specialized studies in the Nubian craftsDiscover More
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The Central Connecticut lacrosse team fell to Fresno State on Thursday afternoon. The Blue Devils (2-4) battled back from a 5-0 deficit, but fell, 18-8, to the Bulldogs (2-3). Senior Ashley Mara scored three goals in the game.
The Blue Devils rallied from the early 5-0 deficit by scoring five goals in less than 10 minutes to tie the game.
Mara scored two of her three goals during that stretch. Junior Betsy Vendel and senior Ashley Perkoski also scored goals, as did senior Cara Momnie who came off the bench to tie the game at 5-5. Perkoski also contributed a pair of assists during Central's run.
After surrendering a sixth goal to Fresno, the Blue Devils answered with a pair of scores to take their first lead of the game. Junior Mackenzy Ryan scored off a free position shot and Mara completed her hat-trick to give Central its first lead of the game.
After halftime, Fresno State outscored the Blue Devils 12-1.
Momnie scored the lone goal for Central in the second half, her second of the game.
Vendel and Mara each recorded three draw controls to lead the Blue Devils.
Junior Ali Roche played relentless defense for the Blue Devils. She caused a pair of turnovers and provided constant pressure on the Bulldog attackers.
The Blue Devils return to action on Saturday at St. Mary's (CA). That game will begin at 3 p.m. eastern time


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Screenwriters Karen McCullah Lutz and Kirsten "Kiwi" Smith, have been tapped by Universal to pen a modern-day version of the 1982 musical The Best Little Whorehouse in Texas. The 1982 version (based off the 1978 Broadway play of the same name) starred Burt Reynolds and Dolly Parton as a town sheriff and madame who team up to stop a crusading TV personality from shutting down the local whorehouse. According to Variety, the new version will include musical numbers, but Universal isn't saying whether or not the remake will incorporate songs from the previous film.
Lutz and Smith have built a reputation for writing female driven comedies such as Legally Blonde, She's the Man, The House Bunny, and The Ugly Truth. They also wrote the adaptation of Janet Evanovich's One for the Money, which, as we reported earlier this week, will star Katherine Heigl.


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William and Mary suffered perhaps its most heartbreaking loss in a season filled with them, falling 81-78 at Hofstra as reigning CAA Player of the Year Charles Jenkins hit a 35-foot 3-pointer at the overtime buzzer Tuesday night.
Jenkins, who finished with 28 points, also had the tying 3-pointer with 2.7 seconds left in regulation as Hofstra clinched a top-four finish in the Colonial Athletic Association and a bye in the opening round of its tournament.
Mike Moore added 25 points as the Pride (18-9, 12-4) earned its fourth consecutive victory and overcame a double-digit deficit for the seventh time this season.
Quinn McDowell, who led W&M (7-20, 3-13) with 28 points and 12 rebounds, hit two free throws with 4.5 seconds left in overtime, tying the score at 78.
Jenkins, whose 3-pointer at the end of regulation tied the score at 69, answered McDowell's free throws by hitting the winning 3-pointer over two defenders.
Ryan Pearson had 18 points and eight rebounds as George Mason captured the CAA tournament's top seeding and enhanced its NCAA credentials, shredding Virginia Commonwealth at Siegel Center.
The Patriots (22-5, 14-2) won their 12th in a row, while the Rams (20-8, 12-4) lost back-to-back games for the first time this season.
Cam Long added 14 points and Vertrail Vaughns had 12 for George Mason, which took command of the game after the Rams scored the first basket. The Patriots reeled off the next 11 points and never looked back.
Senior Denzel Bowles from Kempsville High scored a career-high 40 points, dominating inside as the Dukes kept the host Tigers winless in the CAA.
Bowles, a 6-foot-10 forward who came in averaging 18.0 points per game, scored 20 points and shot 7 of 10 from the field in each half.
Devon Moore added 14 points for the Dukes.
Isaiah Philmore scored 18 to pace the Tigers (4-22, 0-16), who have lost 15 straight.
Austin Kenon of Virginia Beach scored a career-high 39 points to lead Virginia Military Institute over Liberty in Lexington.
Kenon was 8 of 16 from 3-point range as the Keydets went 14 of 26 on long-distance attempts. After leading 34-33 at halftime, the Keydets (15-11, 8-8 Big South) went 55 percent from 3-point territory (11 of 20).
D.J. Covington, a former Norfolk Academy standout, added 14 points and 10 rebounds for VMI.
John Brown had 22 points and 16 rebounds for Liberty (19-9, 13-3), which seems ticketed for the No. 2 seeding in the Big South tournament.
Pierre Miller nailed two clutch 3-pointers to lead Presbyterian to an overtime road victory.
The Blue Hose (12-16, 6-10 Big South Conference) trailed 49-47 with 20 seconds left in overtime before Miller knocked down a 3, giving Presbyterian a 50-49 lead. Walt Allen added two free throws with 2 seconds left.


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Thanks to Celebrity Series, for the past four decades the most joyous sign of spring in Boston has been the Ailey troupe's annual visit. The company opened its week-long engagement at The Opera House on Tuesday night with a brief film about Ailey's life and legacy, followed by a rousing program of three works, that were met with standing ovations.
Where else but in America could a dirt-poor, black kid from rural Texas, grow up to become an international icon by founding a dance company that reflected his people's experience? That was the late choreographer Alvin Ailey.
The U.S. Congress has even designated his American Dance Theater "Cultural Ambassador to the World" in honor of the troupe's 50th anniversary. Boston is stop No. 20 on a 50-city tour, in celebration of the milestone.
Thanks to Celebrity Series, for the past four decades the most joyous sign of spring in Boston has been the Ailey troupe's annual visit. The company opened its week-long engagement at The Opera House on Tuesday night with a brief film about Ailey's life and legacy, followed by a rousing program of three works, that were met with standing ovations. After Ailey's death in 1989, Judith Jamison, a company super-star for 15 years, moved into the directorship. How lucky to have her, in all her wisdom, belief in Ailey's intentions, and a charisma of her own, to continue his mission. "Alvin's been gone 20 years. I know he's happy because I'm happy when I see my beautiful dancers," Jamison said.
"The dancers keep stepping up to the plate. They never lose sight of Alvin and most of them never met him," she added.
Like the generations of company members we have watched over the years, the current dancers are stunning and assured in presenting the multiple turns, high jumps, and stretched-out bodies the choreography demands – and then making it look easy.
However, they were upstaged – intentionally – in Tuesday's first piece, "Go In Grace," by the sextet of a cappella singers known as Sweet Honey in the Rock.
The work, choreographed in 2008 by company member, Hope Boykin, weaves six dancers among the singers in a narrative about a family: father, mother, brother and little sister, being raised "by a village," as the African proverb suggests. Sometimes, the dancers are partially obscured in the shadows behind the singers; other times the women give their advice from the side of the stage. If the storytelling is too literal, the work holds the audience through the outstanding musicality of the singers and Boykin's clever invention of movement that allows them to mirror the dancers. "This work follows the tradition of giving our company members the opportunity to choreograph. I started an initiative for women choreographers," Jamison said.
A long-time favorite, "Suite Otis," choreographed in 1971 by George Faison to music by Otis Redding, has come back into the repertory in a new production, re-introduced to Boston Tuesday night. Thankfully, Faison's sassy confrontations between the swivel-hipped men and flirty women, flipping their hot-pink skirts in disdain, have not been changed, only re-costumed. And, as we hoped and expected, the evening ended with Ailey's 1960 masterpiece, "Revelations," set to traditional gospel music. Aside from its' emotional resonance, the work lets the audience note particular dancers: Linda Celeste Sims for her clarity in the amazing balances of "Fix Me, Jesus" and the trio of virtuosic runaways, Jamar Roberts, Clifton Brown, and Kirven J. Boyd, of "Sinner Man."
Jamison's triumph as director is the newly built Ailey headquarters, located in mid-town Manhattan to house the company and the Ailey school. "We all feel a part of it. Alvin had the idea in the first place," she said. On a more frivolous note, she also designed a Barbie doll – in costume for "Revelations" – as a 50th anniversary souvenir. "It's the first time Barbie has come to a dance company, " she said.
Alvin Ailey American Dance Theater At The Opera House, Boston, through Sunday,, with changes of programs. Tickets: $77-$37. Call 877-598-8689 or www.celebrityseries.org
The Patriot Ledger


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Take a bus from Montañita, ride it on the roof with the board in order to start your session earlier. If going by car get off the road next to the river and follow it to the beach.
DistanceTake a car
WalkInstant access (< 5min)
Easy to find?Easy to find
Public access?Public access
Special accessDon't know
Wave qualityNormal
ExperienceAll surfers
DirectionRight and left
Normal lengthShort (< 50m)
Good day lengthShort (< 50m)
Good swell directionNorth, NorthWest, West
Good wind directionSouth, SouthEast, East
Swell sizeStarts working at Less than 1m / 3ft and holds up to
Best tide positionLow and mid tide
Best tide movementRising and falling tides
Week crowdEmpty
Week-end crowdEmpty
The atmosphere is bleak. There is nothing in Las Tunas but the surf.
Good option when Montañita gets crowded. It is just a 20 minutes ride by bus, and you could get 10 times more waves.
Author: Anonymous Contributors (2) They surfed this spot ! (18)
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By rnibali , 27-09-2007
12 de Octubre - I just surfed north (1km) of Las Tunas, where Sol the biologist lives. It´s called 12 de Octubre and last week I was the only surfer there with better waves than Montañita averaging 35 surfers. However, if you need a repair job or a new cheap coffin, Cesar Moreira in Montañita is your man. He´s the local long board champion, excellent shaper with caña wood and one of the driving forces behind environmental protection. Even though the weather during this time of the year is shitty as hell and bloody freezing, the waves are remarkably consistant and fun, especially when you´re riding them alone. Please folks, keep surfing at Montañita :).
By anonymous , 23-02-2006
Vacaciones en Ecuador!!!! - Hiciemos una buena surf trip para el Ecuador, en Enero pasado, nos quedamos en la Casa del Sol (Montañita), surfeamos ollas buenazas, en Las Tunas, Olon , Chulliupe, Montañita, Ayampe ,San Mateo y Murcielago. La nácion es de Curitiba - PR (Brazil) Atlético Paranaense , hasta nuestra muerte!!!Mucha suerte para ustedes!!!
By Kenny , 20-12-2004
Spent a Month Last Winter In Puerto Lopez & Surfing The Rest Of Ecuador - This is not really one of Ecuadors stand out spots, but it is good for a few reasons...#1 If you dont like the hustle and bustle of the cities and get over the mystique of being cracked out in Montanita (and overcrowded at the point), Lopez is only 10 mins from Las Tunas and there are a bunch of other points and beachies in the area. #2 Lopez is a relaxing and chill town with cheaper prices and cooler locals (ask for Julio, Javier, and Wellington at the Clandestino Bar) and low key backpackers than is Montanita. #3 Las Tunas is super consistent and breaks just about every single day, so while you are waiting out the points for a big swell, it can offer some flat spell fun. It never dropped below 2-3 feet and rideable for half of December and all of January. When it gets big, think witches rock costa rica, if its clean...Hope this helps, I'll try to send some pics when I get a chance.
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