text:
Scott Lively continues to be the most ridiculous and extreme of the anti-gay bigots of the religious right, with the possible exception of Fred Phelps. Not only does he think gays were responsible for Adolf Hitler's regime, he also claimed in an interview with Sandy Rios that Noah's flood was caused by people writing wedding songs for gay marriages.
Lively: We need to remember that in the time leading up to the Flood what the rabbis teach about the last straw for God before He brought the Flood was when they started writing wedding songs to homosexual marriage and Jesus said that you'll know the End Times because it will be like the days of Noah. There's never been a time in the history of the world since before the Flood when homosexual marriage has been open and celebrated, and that's another sign that I believe that we're close to the end.
Rios: You know Scott you're talking to thousands of the people across the country and some of them are probably pastors. What would you say to pastors out there who are facing, you know they've come up with these issues, these issues have come across their knowledge, they can't escape it, whether it's domestic partnerships or its benefits for homosexuals or whatever and it's hurdling toward gay marriage in every state, what would you say to them by way of preparing themselves and how they should respond?Lively: It's time to adopt an apostolic mentality as Christians and to look to Revelation. How did they prevail? They prevailed by the blood of the lamb, the word of their testimony, and I think is most important, they did not love their lives unto death. We're entering into a time in which standing for the truth of God is going to cost you more than just a few people walking out of your congregation and the temptation to compromise with the world, especially on this issue. I think this is the issue of the End Times, homosexuality. It's present, if you do a careful investigation of all the scriptures dealing with this from the beginning and all the way to the end, God is painting a very clear picture that this represents the outer extent of rebellion against Him in a society and the last thing that happens before wrath comes.
I want some of what he's smoking.


text:
"An update on malaria research in Southeast Asia"
Mar 25, 2011
from 08:30 AM to 09:30 AM
|1131 Bioinformatics
|Contact Name
|Kathy James
|Contact Phone
|(919) 966-2536
|Add event to calendar
There will be two presentation on malaria research in Southeast Asia:"Clinical Malaria Research at the Armed Forces Research Institute of Medical Sciences, Bangkok, Thailand" - David Saunders, MAJ, MC, USA, and "Malaria in vitro Drug Resistance in Southeast Asia" - Stuart Tyner, MAJ, MS, USA
Stuart Tyner, PhD, MAJ, MS, USA, and David Saunders, MD, MPH, MAJ, MC, USA, along with their Cambodian collaborators have made efforts over the last five years to fight drug resistance to malaria in Cambodia and Thailand. Their research at the Armed Forces Research Institute of Medical Sciences is focused on isolating and addressing the emerging drug resistance in these areas. These efforts were supported by a number of organizations including: MMV/The Geneva Foundation, Cambodian National Malaria Program (CNM), WHO/BMGF, US GEIS program, US Army's Malaria Drug Programs (MIDRP, USAMMDA), and Royal Cambodian Armed Forces (RCAF).
About Friday ID Conference
IGHID co-sponsors a weekly conference series which features distinguished clinicians and scientists from UNC, local universities and other national and international institutions. The topics are varied and appeal to not only infectious disease specialists, but also professionals in epidemiology, public health, microbiology, biostatistics and other global health-related disciplines.
The conference takes place every Friday (September through June) from 8:30-9:30 a.m. in 1131 Bioinformatics (first floor auditorium) on the UNC campus. For more information, please contact the conference coordinator, Kathy James, at email@example.com.
To sign-up to receive weekly announcements of the conference, click here.
Institute for Global Health & Infectious Diseases contact: Lisa Chensvold, (919) 843-5719, email@example.com.

subset: commoncrawl


text:
Dec 04, 2007
Dec. 4, 2007
CAMBRIDGE, Mass. - Following her stellar performance at the season-opening Northeast Fencing Conference (NFC) competition last month, sophomore Cordelia Link was selected the NFC Fencer of the Month. She compiled a record of 17-1 to lead the entire league's foil contingent. For the year, Link has a ledger of 30-9 while MIT has a team mark of 7-6.
The membership of the NFC includes Boston College, Boston University, Brandeis University, Brown University, Dartmouth College, the University of Massachusetts, the University of New Hampshire, Smith College, Tufts University, and Wellesley College.


text:
Liège – Liège
Distance: 6.4km
Highest point: 82m
Category: Prologue
Martin v Cancellara?
History lies very much on Fabian Cancellara's side going into this test. He's won the last three Tour prologues he's lined up in, including victory in Liège in 2004 on a course almost identical to this one. Back then, the wind was a major factor, especially on the sections alongside the Meuse. This year, Cancellara may not start as favourite given Tony Martin's dominance in time trials of all distances over the last 12 months.
Janez Brajkovic: "Racing wise it is a little bit better to have a prologue, unlike last year, because it is a little less stressful. There are a lot of tight corners and riders who don't have good bike handling skills can lose a lot of time here."


text:
Courtesy of: The Neely's: Food Network
For the cookies:
- 1 stick unsalted butter, at room temperature
- 1 1/4 cups granulated sugar
- 1 large egg
- 1 cup buttermilk, at room temperature
- 1 teaspoon pure vanilla extract
- 1 3/4 cups all-purpose flour
- 3/4 cup unsweetened cocoa powder
- 1 1/2 teaspoons baking soda
- 1/2 teaspoon baking powder
- Pinch of kosher salt
For the filling:
- 4 ounces cream cheese, at room temperature
- 4 tablespoons unsalted butter, at room temperature
- 1 cup confectioners' sugar
- 1/4 cup canned pure pumpkin
- 1/4 teaspoon ground cinnamon
- Pinch of kosher salt
Make the cookies:
- Line 3 baking sheets with parchment paper (or use 2 baking sheets and bake the cookies in batches).
- Preheat the oven to 400 degrees F.
- Using a stand mixer, beat the butter and granulated sugar until light and fluffy. Beat in the egg, then the buttermilk and vanilla.
- Whisk the flour, cocoa powder, baking soda, baking powder and salt in a bowl. Gradually add the dry ingredients to the wet ingredients, mixing until just combined
- Drop 8 scoops of batter, about 2 tablespoons each, onto each prepared baking sheet, spacing them 3 inches apart.
- Bake until the edges are set but the cookies are still soft, about 8 minutes. Remove from the oven and let the cookies cool 2 minutes on the baking sheets, then transfer to racks and let cool completely.
Make the filling:
- Beat the cream cheese and butter in a small bowl with a mixer until smooth. Slowly beat in the confectioners' sugar until smooth.
- Add the pumpkin, cinnamon and salt and beat until smooth.
- To assemble the whoopie pies, spread a heaping tablespoonful of filling on the flat side of a cookie and sandwich with another cookie. Repeat with the remaining cookies.


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What shade of sexy are you? Jessica Custom Nail Colour in Gorgeous Garter Belt is a deep magenta pink from the Burlesque Beauty Collection. Gliding on like silk for a rich depth of colour, it lasts for up to two weeks – now that's real staying power!
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Todd Wells (Specialized) made good on his status as the favorite for the 2011 USA Cycling Mountain Bike Cross-Country National Championships, winning the title for the second year in a row ahead of Sam Schultz (Subaru-Trek) and Adam Craig (Rabobank-Giant). The Sun Valley, Idaho course featured a healthy amount of singletrack on the way down but a brutal fire road on the way up that Wells says demanded the lightest possible equipment.
"This course was a lot of climbing – more sustained climbing than we have at any races nowadays – so I just picked the lightest setup, which was the Stumpjumper 29er hardtail and some low-rolling-resistance tires," he told BikeRadarthe following morning. "Really, I just picked everything based on that climb."
Wells' S-Works Stumpjumper 29er is the same 21in model Specialized offer to the public – it even has the same paint scheme – and it's a rocket for climbing with its super-light weight and outstanding pedaling efficiency. Wells' tire of choice was the fast-rolling but reasonably grippy and relatively high-volume Specialized S-Works Renegade 1.95, set up tubeless with just 24.5psi up front and 26psi out back to keep from flatting on the course's two manmade rock gardens.
Todd Wells used fast-rolling S-Works Renegade 1.95in tires on carbon Roval Control SL wheels to win his latest US national cross-country title
The rest of Wells' setup was well in keeping with that lightweight theme, including a custom Specialized/RockShox Reba S29 fork with its crown/steerer and inertia valve auto-lockout feature, SRAM XX transmission with Specialized's own FACT OS integrated carbon fiber crankset, Avid XX brakes with 160 front/140mm rear rotors, Specialized Roval Control SL 29 wheels with carbon fiber rims, a Specialized carbon fiber seatpost and carbon-railed Phenom Pro saddle, and a feathery Syntace carbon fiber low-rise bar and forged aluminum stem – in the smaller 25.4mm bar clamp diameter to save a few extra grams.
Even the ESI Racer's Edge silicone foam rubber grips are among the lightest available, and CrankBrothers Eggbeater 11 pedals are the obvious choice for shedding mass with their minimal design and mostly titanium construction. The only non-standard bits were wheel skewers and a seatpost collar from Carbon Ti – both custom etched and anodized for the team. Total weight as pictured is an outstanding 8.64kg (19.05lb).
Needless to say, getting your name printed underneath the clearcoat isn't a standard factory option
Gearheads will undoubtedly point out, though, that Wells could have quickly and easily saved even more weight. "For a course like this where it's just smooth and fast, I thought about running our really skinny 1.8in Renegades because they're super-light," he said. "But I rode through the rock garden just one time and cut the side of the tire. I'd run through it a couple of times, too, and it was only a second or two slower but I wanted to try and stay on the bike so I went with a bigger volume tire."
Wells could also have dropped lots of weight with 26in wheels, but after making the switch to 29ers two years ago, he says he's unlikely to go back. "I don't know – they're different styles of riding," he told us. "Riding a two-six is still a lot of fun. I have a dirt jump bike that's a two-six and I have a bigger bike that's also a two-six. They're easier to whip around and they feel snappier and more responsive than a two-niner. But for racing, it's hard to go back and forth between the two bikes so I doubt [I'll ever switch]."
Specialized don't use a through-axle on the front of their S-Works Stumpjumper 29er but the hugely oversized hub end caps seem to do a good job of keeping flex at bay
Wells' overall setup doesn't change much from course to course, save for tire models, tire pressures and suspension settings, as he prefers to keep things consistent for familiarity and predictability. "Today I'm going to run a bigger-volume tire – either the Renegade or Fast Trak," he told us on the morning of the Nationals short track race. "It's fast but there are also a lot of loose corners. But [I'll run] lower tire pressure today for sure because we don't go through the rock garden and that was the one section I was worried about flatting on yesterday. I ran 26[psi] in the back and 24.5 in the front – I'll probably go with 22 or 23 in the front and 24 in the back."
"Sometimes we change the shock pressures a little bit," he continued. "If it's a rough course we'll run a little lower pressure so the shock works more and I'll open the Brain [inertia valve] more. On a slow, rough course – like Mont-Sainte-Anne where there's a lot of uphill or flat technical sections and you're not going very fast – I'll have the Brain left open more so the shock is less likely to close."
Specialized keep the top tube and down tube very wide to provide extra front triangle stiffness
We caught team mechanic Sandy Gilchrist clipping half of the center knobs off a Specialized S-Works Fast Trak tire the night before the short track. According to Gilchrist, Wells wanted to keep those as an alternative tire for the course's gravelly corners where the slightly more open pattern provided a touch more grip.
Wells wasn't able to score the double repeat, finishing just behind Jeremy Horgan-Kobelski who put in a late surge on the last lap to earn his fourth national short track title. Even so, you'd think that a rider with Wells' pedigree who'd just won yet another stars-and-stripes championship would get a matching custom bike afterward to celebrate, right?
Not so fast. Wells said he wasn't expecting anything and in his trademark understated style, he didn't seem a bit upset about it. "[Specialized] have so many great athletes on their team that if it's not a world championship, it's like [shrugs his shoulders and laughs]," he said humbly. "It's good and bad – to be surrounded by such great athletes, it's pretty cool."
Even star riders couldn't do their job successfully without a reliable machine – Todd Wells (Specialized) put his money on personal mechanic Myron Billy for this build
Complete bike specifications
- Frame: Specialized S-Work Stumpjumper 29er, 21in
- Fork: Specialized/RockShox Reba S29, 90mm travel, 110/100psi positive/negative pressure
- Headset: FSA Orbit integrated, 1-1/8 to 1-1/2in, Campagnolo standard
- Stem: Syntace F99, 105mm x -6°
- Handlebar: Syntace VRO Vector Lowrider Carbon, 670mm
- Grips: ESI Racer's Edge:
- Front brake: Avid XX World Cup BlackBox, 160mm rotor
- Rear brake: Avid XX World Cup BlackBox, 140mm rotor
- Brake levers: Avid XX World Cup BlackBox
- Front derailleur: SRAM XX
- Rear derailleur: SRAM XX
- Shift levers: SRAM XX
- Cassette: SRAM XG-1099, 11-36T
- Chain: SRAM PC-1091
- Crankset: Specialized S-Works FACT OS, 175mm, with Truvativ XX 39/26T chainrings
- Bottom bracket: Specialized S-Works OS integrated
- Pedals: CrankBrothers Eggbeater 11
- Wheelset: Specialized Roval Control SL 29
- Front tire: Specialized S-Works Renegade, 29x1.95in, tubeless conversion, 24.5psi
- Rear tire: Specialized S-Works Renegade, 29x1.95in, tubeless conversion, 26psi
- Saddle: Specialized Phenom Pro
- Seatpost: Specialized S-Works Carbon
- Bottle cages: Specialized S-Works Carbon Rib Cage (1)
- Other accessories: Custom etched Carbon Ti skewers, custom etched Carbon Ti seatpost collar
Critical measurements
- Rider's height: 1.88m (6ft 2in)
- Rider's weight: 76.2kg (168lb)
- Saddle height, from BB (c-t): 792mm
- Saddle setback: 88mm
- Seat tube length, c-t: 535mm
- Seat tube length, c-c: 484mm
- Tip of saddle nose to C of bars (next to stem): 635mm
- Saddle-to-bar drop (vertical): 68mm
- Head tube length: 130mm
- Top tube length: 640mm (horizontal)
- Total bicycle weight: 8.64kg (19.05lb)


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P-L-A (Feat. The Loc & QC) - Fake & Pretend [Unsigned Hype]
"Set 4 Life // Madd Bomba Ent. // Prestigious Music Group present: "Fake & Pretend" by P-L-A ft The Loc & QC (Produced by QC)"
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How to properly park a mastercraft?
I am very new to boating and i just bought a 1997 Mastercraft Maristar with the Corvette LT1 engine in it. I am having so much trouble parking it i can't even explain lol...
Unlike other boats this has a V-drive and the prop doesn't go up or down. For some reason when i am approaching my dock as soon as i put it in neutral the boat makes a hardddd left turn so what i have been doing it just coming in with it just ever so slightly clicked in gear and then ram reverse before i crash into the dock (still very fast though for parking, all my passengers always go woah woah woah and then i slame reverse and they're all like "dude!, woah woah woah!, phew! , i thought u were taking the dock out man!". This seems to be the only way i have somewhat control of the boat while parking it. I see everyone else come into the dock and they just line up and some even turn the boat completely off and the thing just coasts right into the space like a piece of cake.
Is there a certain way, trick or anything i am supposed to be doing to park a V-drive stationary prop driven boat ?
Any help will be appreciated. Thanks
I have learned over the years to come in and work from the right. You only have control of these boats in reverse if you can allow the back in to drift the right (steering wheel side). THis is because the way the prop spins.
If you are approaching a straight ahead dock then just click forward and work back and forth from neutral to gear to get your desired speed.
No real definite trick, just keep trying and take it slow with "all hands on deck" ready to help. Maybe define your docking space so we can throw some ideas to you.
When I first started driving V Drive the best advice I was given was to approach the dock from the passenger side at a slight angle (7 clock) slowly and gently go into reverse and this will pull the back end of the boat toward the pier. Another option is to grab a "pier pole"
Good luck, you will get it in time it just takes a while to get to know the process.
My dock is kind of hard to explain... I literally probably got the last available space on the lake since i just got the boat mid season and i'm lucky i even found one. My spce isn't even really a space but i'll try to explain it the best i can. It's pretty much a big square dock about a 25' square with two spaces one on each side like a normal dock. The guy i got it from took like a 10' self-made square and just attached to to the front of the dock so it's not even a slot that i pull into i pretty much just pull straight ahead at the dock and have only one side to get off the boat and i tie the front of the boat to the dock nose first using only the front two cleats on the nose of the boat... I really hope i explained it well enough to understand. If you have nay questions let me know...
The problem is that the boat on my right sticks out about 2' longer than the dock and when hit reverse "so i don't crash into the front of the dock" my rear end swings that way and almost hits his boat every time and 2-3 times i tapped it. It did no damage at all but if he were to see how i park the thing every time i'm sure he wouldn't be happy just like i wouldn't if it were my boat in his position.
So pretty much i'm doing all that i can do somewhat the right way i just have to slowly get better and adjust accordingly over time until i master it?
Last edited by Matt7246; 08-02-2012 at 02:05 AM.
Yeah, when you hit reverse the rear end is going to swing to the right (starboard).
You're going to have to come in dead slow, coming from the left as much as possible so that when you reverse you have room for the boat to swing right without hitting the other boat. Make sure to put some fenders on the rear quarter of your boat so that, if you do hit the other guys boat, you hit it with the fender.
Couple of things you might try:
When you pull back to neutral, crank the wheel all the way to the right. This will get the stern moving left, which will counteract the right swing that will occur when you hit reverse (The rudder position really doesn't have much affect when you're in reverse). Also, with the wheel cranked hard right, you can momentarily hit forward to arrest a swing to the right.
In your original post, you mentioned that the boat pulled hard left when you put the boat in neutral. If you're just coming back to neutral, this is NOT normal behavior - your boat should glide straight just like every other boat.
1998 Maristar 200VRS
What would cause it to do that because when i put it in neutral it definitely glides to the left not crazy hard but decently hard?
Hard to explain for the left turn...you should be able to idle in and gently switch from forward and reverse to keep the boat from approaching dock too fast. "Ram reverse?"
...A bad day water skiing still beats a good day at work...1995 Pro Star 205....
Practice, practice, practice.
In a MC, we approach the dock at about a 35 degree angle nice and slow. When you get close enough, but the boat briefly into neutral, then reverse until the stern swings in parallel with the dock.
With our SN, the prop spins the opposite direction. So we come in with less angle, neutral, then reverse, but much lighter (enough to stop forward momentum. Then turn the steering wheel to port and bump the throttle forward to swing the stern gently toward the dock.
Again, practice, practice, practice.
Previous: 1993 Prostar 205
Red 1998 Ski Nautique, PCM GT40, 310 hp, , Acme 4 blade, Perfect Pass SG/Zbox.
Be kind. Have fun.
no, no, no, you're all wrong. this is how you do it:
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Rams Secure Second in Skyline with Purchase Sweep; Making First-Ever Appearance in Postseason Play
Game One
Farmingdale State - 8, Purchase - 0
Game Two
Farmingdale State - 19, Purchase - 1
Farmingdale, N.Y. - The Farmingdale State softball team swept Purchase College (13-17, 6-10) today with 8-0 and 19-1 wins in their final regular season game in Farmingdale, N.Y. The game was also the final home game for seniors Erin Dodge (Plainedge, N.Y./Island Trees) and Amanda Sperling (Massapequa, N.Y./Massapequa). Dodge went 2-for-4 with a double, two runs batted in and two runs scored today, while Sperling finished 3-for-6 with a triple, two runs scored and two runs batted in.
Rams freshman pitcher Heather Buckshaw (Oakdale, N.Y./Connetquot) pitched a two-hit shutout in game one, going five innings with seven strikeouts for her 16th win this season. She now holds a 16-4 record with a 2.47 earned run average to date.
In game two, sophomore Lauren Poplawski (Levittown, N.Y./Island Trees) pitched the second two-hitter of the day, going five innings and striking out four for her 9th win of the season, improving her overall season record to 9-5 with a 2.90 ERA.
Freshman third basemen/shortstop Nicole Farber (Oakdale, N.Y./Connetquot) finished 4-for-7 today with two homeruns (one in each game), six runs scored and two RBI's. Junior centerfielder Kristina Cirillo (Brentwood, N.Y./Brentwood) went 3-for-6 with four runs scored.
With the wins, the Rams secured the #2 seed for the 2008 Skyline Conference Softball Playoffs, making their first-ever postseason appearance and receiving a Bye for the First Round games on Wednesday, April 30th. They will be back in action on Friday, May 2nd at host St. Joseph's College for the Second Round of the Skyline double-elimination Tournament.
Stay tuned for more info about the Playoffs, the Conference softball games wrap up on Sunday, April 27th.


text: COF Surprises; Cattle Prices Rally February 21, 2014 09:59 AM Tweet TAGS: Marketing, Overseas December 18, 2014 By Greg Henderson Drovers Editorial Director Email Fed cattle prices moved $2 to $3 higher this week with trades in the Southern Plains at $144 to $145 per cwt., and Northern cattle selling at $145 to $147 per cwt. Cattle sold on a dressed basis in the North at $230 to $232, an increase of $5. Feeder cattle continue to find strong support with all classes of feeder cattle and calves $1 to $5 per cwt. higher. Catching the full advance were middle-weight cattle, those in the 500 to 800 pound range. (Read Pro Farmer's full cattle market analysis.) "Competition has increased on these cattle and grass interests are becoming more prevalent as winter's tight grip is starting to ease near the major grazing areas," says USDA Market News reporter Corbitt Wall. "Orders for stocker cattle are only going to get more aggressive as the calendar turns to March and April. Producers have been selling their calf crop ahead this year with record prices and a miserably cold winter to blame." USDA's monthly cattle on feed report, released Friday afternoon, provides some bearish news for summer futures contracts. Placements into feedyards during January totaled 2.029 million head, 9 percent higher than last year, and about 3 percent higher than the pre-report estimates. The total number on feed was pegged at 10.59 million, 5 percent lower than last year. Cattle marketed during January were also down 5 percent at 1.788 million head. Boxed beef prices moved higher during the week on limited supplies. Choice boxed beef closed Friday at $213.75, with Select at $210.88. The Choice-Select spread was $2.87. Slaughter cows and bulls sold steady to 3.00 higher. USDA's Cutter cow carcass cut-out value Friday morning was $181.70 per cwt., up $6.27 from last Friday. Back to news


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Throwback Prank Call Of The Week: Prank Gone Bad During 2005 Christmas Holidays! [Audio]
"98.7 Kiss Fm, The Wake Up Club plans a prank on lady's husband and prank goes bad on air,
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Message Board
Kristopher Rhodes Message Board
Talk about the novels, new and used books that Rhodes has written!
Author Rhodes's Book Reviews
Fall of the Tyrant: A Novel of the 1989 Romanian Revolution
In the fall of 1989, Romania was slowly and predictably coming apart at the seams. After years of central planning and gross mismanagement, the economy was a shambles. The people were some of the poorest in the world; living in cold, dimly lit, and run-down homes. While Romania's farmers slaved, producing export harvests to repay the national debt, food for her own people was strictly rationed and the death toll was on the rise. Even as the Communist...


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Information Technologies has designed a mobile computer lab service for UW Bothell. The Mobile Computer Lab is becoming a service in order to meet the growing demand for instructional space on the UW Bothell campus, in particular, computer classrooms. Use of the Mobile Computer Labs enables a number of non-standard spaces to be utilized as teaching computer classrooms.
The Mobile Computer Lab service provides delivery of laptop carts to UW1, UW2, Discovery Hall, and Campus Library Building spaces. This service provides up to 64 laptops per use, and can be deployed in three different carts. Two of the carts will hold 20 laptops and a third has 24 laptops. The Mobile Computer Lab Service is primarily designed to support regular, credit-generating courses at UW Bothell, but may be requested for other official UW Bothell business when not in use for courses. The service provides:
First, be sure to have the classroom/space reserved through the office of the registrar. You can contact the office of the registrar in Husky Hall Room 1130 via email or phone (425-352-5240).
Once you have secured a space/classroom, you can reserve the Mobile Computer Lab by completing the online Classroom Services Request Form (for classes) or the Event Services Request Form (for events).
The CES staff member will then contact the requesting patron to coordinate the use of the Mobile Computer Lab which is dependent upon (but not necessarily limited to):
In general, the Mobile Computer Lab can be used by back-to-back classes, but after two classes, the batteries will need to be charged 3-5 hours before the lab can be deployed for another use.
This service is available each academic quarter during IT's normal hours of operation:
Monday through Thursday: 8:00am to 10:00pm
Friday: 8:00am to 5:00pm
Saturday: 9:00am to 5:00pm (Summer hours: 11:00am-5:00pm)
Interim Breaks: The Mobile Computer Lab will not be available during the Interim Break due to maintenance needs.
Deployment Locations: The Mobile Computing Lab can be reserved and deployed only to the following on-campus, indoor locations: UW1, UW2, Discovery Hall, LB1, LB2, LBA, The North Creek Events Center.
The Mobile Computer Lab will be delivered to the classroom/space indicated by the requester and handed off to that person. The requester must be at the space/classroom so that the equipment does not sit unattended. We will always try to connect with any staff who will have to leave the cart(s) in the classroom unattended for short periods of time. Since the requester will have had an orientation to the operation of the mobile lab, it will then be the responsibility of the requester to take the laptops out of the carts and distribute them to the students. Classroom and Event Support personnel are not available for this process as they have many other scheduled events to attend to on their daily schedule.
The Mobile Computer Lab cannot be picked up and transported to the next scheduled class until all the laptops are put back in the carts and plugged into power and ethernet connections. The requester of the Mobile Computer Lab is responsible to make sure that all laptops are put back into the mobile cart and plugged into power and ethernet connections. The cart cannot be picked up by classroom support staff until this is done and IT staff members are not available to assist in this process. Please understand that returning all the laptops to the cart(s) can be time consuming and the requester should begin this process a minimum of 10-15 minutes before the actual end time of their class time. Delays in getting all the laptops returned correctly to the cart(s) will impact any class coming in to use the room you are vacating as well as delaying the delivery of the Mobile Computer Lab to the next scheduled user.
Users experiencing problems with the operation of the laptops, or the laptop cart itself, should contact the UWB IT Helpdesk via telephone (425-352-3456) for immediate assistance.
Questions or suggestions concerning the overall service being provided, please contact the UWB IT Helpdesk via email firstname.lastname@example.com, phone (425)-352-3456, or in person (LB2-218).
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Award Notifications & Packaging
Financial aid awards are packaged in a predetermined sequence; it is most beneficial to students that gift aid (that is, aid that does not have to be earned or repaid) is sequenced above self-help aid (that is, work-study or loans). In this way, we ensure that self-help aid is not preventing a student's receipt of grants, scholarships, and fee remissions.
Students will receive their award notification electronically by e-mail once all documents have been submitted and their financial aid eligibility has been determined. Students may review their financial aid award information on myCSUB.
Federal Stafford Subsidized and Unsubsidized Loans are automatically packaged in a student's award. Accepting or declining your loan(s) may be done online via myCSUB. If, however, you would like to reduce the amount of a loan, please complete a CSUB Loan/Term Adjustment Form.
Please note, PLUS loans are not automatically packaged and must be requested by completing a CSUB PLUS Loan Addendum Form.
State Aid
If a student is packaged with an estimated/offered state award, such as a Cal Grant or Middle-Class Scholarship, their official award eligibility will be determined by the California Student Aid Commission (CSAC).
For CSUB students, CSAC awards are based on 12 credit hours per term. If you enroll in fewer hours, your award may be reduced or canceled accordingly.
Other Aid
If you are receiving other awards not listed on your notification, including scholarships, grants, fee remissions, veteran's benefits or others forms of assistance, please notify our office as soon as possible by completing a CSUB Scholarship Disclosure Form and/or the CSUB VA Educational Benefit Verification Worksheet. Please include the name and they amount of the award so that we can add the award to the aid account and make any necessary changes to the current aid package.
Awards may change
If a student notifies us of an award after their financial aid package has already been determined, we will add that award in the proper sequence, as referenced at the top of this page. If the student was already receiving aid up to their cost of attendance the addition of a new award will cause a reduction in the least desirable form of aid, usually a loan, to keep the student within their cost of attendance.
Office of Financial Aid and Scholarships
9001 Stockdale Highway
Bakersfield, CA 93311-1022
Phone: (661) 654-3016
Fax: (661) 654-6800
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Overview: Cowboy Bebop is a 1998 Japanese anime series developed by Sunrise. It featured a production team led by director Shinichirō Watanabe, screenwriter Keiko Nobumoto, character designer Toshihiro Kawamoto, mechanical designer Kimitoshi Yamane, and composer Yoko Kanno. The twenty-six episodes of the series are set in the year 2071. It follows the adventures, misadventures and tragedies of a bounty hunter crew travelling on the Bebop, their starship. Cowboy Bebop explores philosophical concepts including existentialism, existential ennui, loneliness, and the past's influence. The series premiered in Japan on TV Tokyo from April 3 until June 26, 1998, broadcasting only twelve episodes and a special due to its controversial adult-themed content. The entire twenty-six episodes of the series were later broadcast on WOWOW from October 24 until April 24, 1999. The anime was adapted into two manga series which were serialized in Kadokawa Shoten's Asuka Fantasy DX. A film was later released to theaters worldwide. Cowboy Bebop became a critical and commercial success both in Japanese and international markets (most notably in the United States), garnered several major anime and science fiction awards upon its release, and received universal praise for its style, characters, story, voice acting, animation, and soundtrack. In the years since its release, critics and reviewers, from the United States in particular, have hailed Cowboy Bebop as a masterpiece and frequently cite it as one of the greatest anime titles of all time. Credited with helping to introduce anime to a new wave of Western viewers in the early 2000s, Cowboy Bebop has also been labelled a gateway series for the medium as a whole.
Alternative titles: Cowboy Bebop , Ковбой Бибоп
Released: 1998-04-03 Runtime: 25 mins Origin: Japan
Genres: Action & Adventure Animation Drama Sci-Fi & Fantasy
Companies: Sunrise , Bandai Visual
Credits: TheMovieDB TheTvDBReport Anime
* All the data is fetching from TheMovieDB. If you want to edit the data, please fill the data there, then, push the refresh data button.


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Gotham gala: New York Film Critics honor Day-Lewis, Weisz and Bigelow
"This is just like my bar mitzvah, except Steven Spielberg is here," declared Time Out New York's Joshua Rothkopf at the top of a long and talky, funny and moving night of award giving and taking—the 78th under the aegis of the New York Film Critics Circle—as he surveyed the star-stacked, prize-hungry assemblage at Crimson on Jan. 7.
Chairing the event, Rothkopf began the evening not with a bang but more like Margo leaving Shangri-La, underscoring a sad sign-of-the-times. "As vital as film criticism is," he noted gravely, "the business of film criticism is in serious trouble. Jobs are being eliminated, the columns are shrinking, and writers who have spent years and years building a readership and establishing their authority are getting downsized and pushed out of these jobs. So, on behalf of my group, I have to say, if you're an editor-in-chief or a publisher within the sound of my voice and you don't have a full-time film critic on your staff with benefits, then you're failing your readership."
That was followed by the ceremonial roll call of the 35 of this endangered species still standing and voting. Two of their number were missing, and J. (Jim) Hoberman stepped up to sing the praises of Judith Crist and Andrew Sarris, who died in 2012.
Crist was such a formidable presence when he joined the group in 1982, Hoberman said, he could never quite bring himself to call her Judy—"Billy Wilder once said, 'Inviting her to review your picture is like asking the Boston Strangler to massage your neck'"—but, having worked with Sarris over a decade at The Village Voice, he had no problem calling him Andy. "I wouldn't say that Andy was the easiest colleague to get along with, but, at The Village Voice in those days, who the fuck was?
"Long before I came to The Voice, I was Andy's reader, and, years before I met him, I was his student. When I was an undergraduate back in the day, programming movies for the Hartford College Film Society in Binghamton, New York, we used to refer to this simply as The Book." He kissed and held high Sarris' The American Cinema.
As if to second the formative influence of critics, a Sarris classmate of Hoberman's wound up with the NYFCC's Best Director award for helming the group's pick for Best Picture, Zero Dark Thirty, and she capped the evening by accepting the award in honor of Sarris, "who inspired me greatly [and] who I considered a mentor."
That's right: she. Four years ago, Kathryn Bigelow became the first woman to win the Best Director nod from these critics (and, eventually, from Oscar as well) for her grim and gritty film about a bomb disposal team in the Iraq War, The Hurt Locker.
With Zero Dark Thirty, she has moved on to more recent military maneuvers—so recent, in fact, that she and her writer and co-producer, Mark Boal, have come under fire from Washington bureaucrats and media pundits who contend that their film endorses torture or that torture led directly to the death of Osama bin Laden.
"I am extremely grateful for your thoughtfulness and energy and time that you put in to try to figure out what one does—especially when they don't provide a lot of clues other than the material itself," Bigelow told the critical gathering. "I apologize for not spelling it out all the time. I thankfully want to say that I'm standing in a room of people who understand that depiction is not endorsement, and if it was, no artist could ever depict inhumane practices, no author could ever write about them, and no filmmaker could ever delve into the naughty subjects of our time.
"So this film is the product of things that you guys have said about other work that I've done, and I would be lying if I stood up here and said that criticism of The Hurt Locker, both good and bad, did not inform me or influence this work. I wanted to take this opportunity to tell you that, whatever anxieties there might be about the influence of your writing on the culture, the influence and the reach of the film critic—versus, maybe, the reach of a political columnist—I'm not an expert, but I can tell you the things that you've written matter to the artist and they matter to me."
Moments later, this was roundly seconded by Boal, stepping up to accept the Best Picture prize as one of its producers. He began in mock seriousness: "Tonight is a night of great celebration for all of us. Unfortunately, I stand before you with some bad news: My sources at the CIA tell me that the government inquiry into the arts is not stopping. Apparently, the French government will be investigating Les Miz."
Responding to the criticisms of Senators John McCain, Carl Levin and Diane Feinstein, he pressed on sardonically. "Seriously, we are all proud of our elected officials in Washington. They do important work. And the people in this room do important work in terms of influencing the cultural conversation of this country. We are all very grateful for the way that you stuck up for this film and for keeping this film alive in conversation. Some of you may have wondered if we'd like to comment on that coverage. The answer is yes. If anyone's asking, we stand by the film."
Zero Dark Thirty is military parlance for 12:30 a.m., the time the Navy SEAL Team Six conducted its moonless raid on bin Laden's compound and killed him on May 2, 2011.
Capturing that on film earned Greig Fraser the film's third critics' prize. "When I first met Greig Fraser, I said to him, 'This is perhaps, arguably, at least in my mind, the story of a lifetime," director Bigelow recalled. "The bad news is the whole last 40 minutes of the film needs to take place in pitch black.' Of course, I knew I had an extraordinary cinematographer when he said, 'Okay, what's the challenge?'"
James Gandolfini, whom Fraser had photographed last year not only in Zero Dark Thirty but also Killing Them Softly, presented the prize to the cameraman, introducing him with a sheepish aside about his own self-absorption as an actor. "I'm pretty zeroed in on what I have to do," the former Tony Soprano confessed, "so much so that I was talking to him for about five minutes [tonight] when I asked him who he was, and he said, 'I'm Greig Fraser, the man you're giving the award to."
Lincoln—set at the conclusion of an earlier American war (the Civil)—matched Zero Dark Thirty three-for-three as the critics' pet. Their choices for Best Actor and Best Supporting Actress grew quite sensibly and correctly out of their Best Screenplay pick. Historian Doris Kearns Goodwin, whose Team of Rivals: The Political Genius of Abraham Lincoln activated and animated Tony Kushner's quill, gave him the prize.
An exuberant Kushner flew 90 mph through his acceptance speech, regaling the group with hit-and-miss humor. "I'm very grateful for this award—for those who voted to give it to me and for those who didn't, I'm grateful to you as well—just not as grateful." Then, he splashed lavish praise on his Lincoln co-workers, reserving the best for his title player: "All adjectives pale and tremble before you. You're your own adjective now. Your performance in the film is Daniel Day-Lewisian."
In the case of Best Actor, it was one, two, three strikes, you're in. Day-Lewis nixed Lincoln twice before accepting the part that won him his third NYFCC award (and may win him his third Oscar)—but he turned it down in such an upbeat way it kept an inordinately patient Spielberg on the case. The director read one of DD-L's valentine rejections to the crowd: "'As fascinated as I was by Abe, it was the fascination of a grateful spectator who longed to see a story told rather than that of a participant. That's how I feel now in spite of myself and, though I can't be sure this won't change, I couldn't dream of encouraging you to keep it open on a mere possibility.'"
Apparently, all Spielberg heard was "I can't be sure this won't change," so he pressed on and lived to marvel at what he had wrought with a lot of patience and persistence: "The first time I watched Daniel, in the first shot on the first day of shooting, was the first shot of the movie. He comes into the room, and his son is asleep by the fireplace, and he lies down next to his son. That was the first time he actually performed Lincoln, and I cried when I saw that. And, on the last shot of the last day, with Lincoln on his death bed at the Petersen House—and only minutes later the film was done, we wrapped the company and all got together. And Daniel embraced me, and then he spoke to me for the first time in four months with his English accent and made me cry even harder. And it made me cry because I wasn't ready to say goodbye to this warm and generous President who I had gotten to know better than all the history books I've ever read and all the research I ever did."
Day-Lewis, who is still not comfortable receiving awards, seemed more than a little embarrassed by Spielberg's emotional intro. "I do say yes from time to time," he shrugged, darting his eyes over to his wife, Rebecca Miller, the daughter of Arthur Miller. Sixteen years ago, I said yes to Rebecca. That was the best yes I ever said."
His cinematic wife he also acknowledged. "Of course, I owe so much of this to so many people, but I owe everything to two people in this room. One is Tony Kushner, and the other is Steven Spielberg. I owe you everything, and that's the way it is."
Sally Field's performance of Mary Todd Lincoln won the Best Supporting Actress award, and Katie Couric spent her (56th) birthday presenting it to Field, who then proceeded to say seven times—in a funny, ditzy, Billie Burke sort of way—that she doesn't read reviews but was grateful to get this, her second NYFCC award.
Couric noted that Field practically had to beg Spielberg to play the part and then gamely gained 25 pounds in order to do it (which she has conspicuously shed).
In contrast, Matthew McConaughey, who won the Best Supporting Actor nod for two films (Bernie and Magic Mike). said yes over the phone to playing a sleazy male strip-joint proprietor (and performer) in the latter before a screenplay had been completed. And, in the weight department, he recently lost nearly 50 pounds to play an AIDS victim in Dallas Buyers Club but said he has gained back 25 of that since filming wrapped. He also gained, two weeks ago, a new son—named Livingston.
Respectively, and resplendently, decked out in Prada and Oscar de la Renta, Rachel Weisz and Jessica Chastain looked (spectacularly!) like they were headed for a beauty pageant and not an Oscar contest. Because Zero Dark Thirty's Chastain kept tying with Silver Linings Playbook's Jennifer Lawrence in the critics' voting, dark horse Weisz sprinted to the winner's circle for an underseen The Deep Blue Sea.
Even Weisz was startled. "I never, ever, ever thought in a million years that I would be standing here for this role," she said. "I thought maybe, being optimistic, maybe 30 people, if that, had seen this movie—and it turns out that definitely 35 people saw it—and not only did you see it, you gave it this honor, so 'Blow me down with a feather,' as I said to my English husband over a cup of tea and a digestive biscuit." Her Heineken-swigging hubby, Daniel Craig (aka 007), smiled from the sidelines.
"From the bottom of my heart, I want to say thank you so much to the critics for shining a light on this little film," she continued. "It was a 25-day shoot. It was very intense, very low-budget. It was a complete outpouring of passion from Terence, from my fellow actors, Tom Hiddleston and Simon Russell Beale." (Terence could be either adapter-director Terence Davies or original playwright Terence Rattigan.)
Weisz was introduced by her co-star in The Whistleblower, David Strathairn, who is currently playing Chastain's domineering father in The Heiress on Broadway. Should any friction result from the divided loyalty, the two actors are smart enough to use it for the good of the play. Chastain, who was the critics' choice for Best Supporting Actress for three of her six films last year, stuck around to introduce Bigelow.
France's 85-year-old Emmanuelle Riva—54 years removed from Hiroshima, Mon Amour—brought her own special glamour to the party. She said through a translator that she was there to pick up the Foreign-Language Film Award for Amour and her director, Michael Haneke, while he was in L.A. picking up her Best Actress prize.
"We gave a great deal to the film while we were making it, and it meant a great deal," she said. "We didn't know what the course of the film would be—what kind of path it would take—so it's quite an honor for me to be here tonight and accept this."
Director Tim Burton was the only honoree not in attendance. His award for Best Animated Film—Frankenweenie—was accepted by his producer, Allison Abbate. "This was a very personal story to [Tim]," she told the audience. "This was a film that literally came out of his head when he was a ten-year-old boy and he lost his dog, so for us to have the opportunity to make the movie and to realize his vision of the film—and to have you guys really like it—it's very thrilling for us."
Amy Heller and Dennis Doros of Milestone Films, previously honored for their work restoring classic movies, were specifically honored this year for the work they have done restoring the films of the late independent documentarian, Shirley Clarke.
A drive-by presentation was made by Chris Rock, who gave the Best Non-Fiction Film prize to Sarah Burns, David McMahon and Ken Burns for The Central Park Five. "You can't do a bunch of jokes about a movie with a rape in it, so I'm just going to keep going," Rock wisely reasoned—although he had a little fun with Spielberg in the room. "Freed the slaves. I can't wait for Lincoln 2." Then he was out the door.
With two NYFCC awards under his industrial-strength belt, Michael Moore seemed the right person to introduce the documentarian who won the Best First Film award—David France for How to Survive a Plague—but when he sat down too hard on the Catholic apathy in the AIDS crisis, one of the 35 card-carrying critics took exception and threw him an expletive in the Best John Simon Bad Manners fashion.
Interestingly, France first covered the AIDS years as a journalist, so he had some sage, soothing "Come on in, the water's fine" advice for a room full of critics confronting extinction and downsizing. "As a print journalist myself," France remarked, "to be given a Best First Film award at my age means there is life after print, so I want to be encouraging to you all. It's certainly encouraging to me."


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|System: Xbox 360, PS3*, PC, PS Vita
|Dev: Telltale
|Pub: Telltale
|Release: July 2, 2103
|Players: 1
|Screen Resolution: 480p-1080p
|Intense Violence, Blood and Gore, Drug Reference, Strong Language
The two biggest questions that have to be answered when reviewing The Walking Dead: 400 Days are, is the story good, and do your choices matter? Story and choice were the big draws of the original Season 1. As far as choices go, I can't really say whether your choices matter that much. When the chapter is concluded, there was still a lot of vagueness surrounding what you did and how it made an impact on other characters' lives. It's also not entirely clear how these choices will play into Season 2's beginning. Although, it's also still unclear how much Season 2 and 400 Days are linked. At worst, the game is effectively lying to you enough to make it feel like your choices matter, and at best, the game is actually recording these choices for future gameplay.
As far as the quality of the story goes, yes, the story is good. It's filled with the writing that made Season 1 amazing and then some. You are constantly forced to make moral decisions that make you cringe and doubt yourself as a human being. The skillful dropping of references to other parts of the game and other chapters in the DLC are masterful. Sometimes you'll see a character in the background, wonder who he is, and then end up realizing he has a huge part in another story.
It's so hard to talk about the story without spoiling any of it, but suffice it to say, this experiment in storytelling worked wonderfully. Watching the characters interact with each other at this one truck stop makes the setting come alive. You get to see how it dilapidates as the human race falls to the zombie menace. You get to see the impact you and others are having on the world around you and watch as schemes unfold and fall apart in mere minutes. The setting is the character in this story. If that isn't enough to make the games-as-art crowd out there drool all over themselves, I don't know what is.
Unfortunately, the game isn't perfect as far as technical performance goes. I played the PC version and I came upon more than one bug. At one point the audio stuttered; at another point the lips didn't synch-up quite right, and the controls didn't respond at all for a split second during a very tense moment in the game. The loading times also aren't the best, though they do give you a brief respite from an otherwise intensely emotional ride.
Now for the big question: Should you pick up 400 Days? Yes! What are you, crazy!? This is a phenomenal new experiment in storytelling that redefines the types of stories that can be told in video games! Granted, there's little reason to play this game if you didn't pick up Season 1… but if you didn't pick up Season 1, what's wrong with you!? Pick up Season 1, play through the story of Lee and Clementine, and then play this five-dollar horror anthology of moral ambiguity. It's totally worth the price of admission.
Angelo M. D'Argenio
Contributing Writer
Date: July 5, 2013
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