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These incredible coin sculptures were created by artist Robert Wechsler, who was commissioned by The New Yorker to create this work for their October 14th "Money" themed issued. Wechsler's coin designs are crafted with money from varying countries of origin into geometric, fractal-like shapes. These shapes were created using a jeweler's saw to cut out notches in the metal and then linked together with other coins. Wechsler has used coins for some of his past work, and most of his sculptures are created with objects from life's seeming mundanity, like fingerprints, schooldesks, snails, a toaster, and an iron.
Wechsler writes, "Comfortably accustomed to everyday objects and spaces, we are blind to their unseen beauty and elegance. Who looks at a shopping cart or a toaster for the object itself? This state of static expectations is fertile ground for surprise. It is a conscious re-examination of my subjects that re-instates the novel back into the familiar. This is the moment of surprise, the moment we discover what is unseen in what is always seen. In reverence for what initially appears modest we get a small glimpse of the boundless elegance of our world."(via exhibition-ism)


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The Other Pink Elephant in the Room
I'm not talking about the HIV, but about people ashamed or scared about getting tested. It is an unspoken subject throughout many homes in America, and throughout the world. No matter what cultural community you are in, people refuse to get even TESTED because they fear others backlashing. It is really sad. Because they choose to live in fear, possibly unknowingly infected, rather than take care of themselves.
It leads to another stigma. In fact, THIS is where the stigma is born. Here, when it is time to get tested.
When we hear about, or know of, someone getting tested for HIV/AIDS, what types of questions filter in our minds? Some begin to ask: What has he/she has been secretly doing? Or: Oh my God, is he/she "that way"? Or how about: Why are they getting tested anyway? Don't get me wrong, everyone is entitled to ask questions. That's human nature. In this case though, the acceptable and relevant one to ask is: What business is it of mine?
Because believe it or not, those other questions possess a damaging effect. They are contributing to the very stigma that frightens and stops people who want to get tested from going. It is because of stigma that people shy away from dealing with their own personal concerns. I believe that there is a greater force than stigma. That force is love. I also believe that anyone who stands up and gets tested possesses that love.
Through testing, they are showing a love for their body, their health, and their lives. They are getting tested because they genuinely care about what is going on with their bodies. In doing so, these brave people are reclaiming the strength some would otherwise direct towards the stigma. No one should ever be made to feel disgusting or shameful for getting tested. No one should ever have ANY type of stigma inflicted on them. Instead, they should be acknowledged as taking a bold step. They should be encouraged to take care of themselves.
This self-empowerment should be celebrated, rather than questioned. There is absolutely no shame or vileness in getting tested. The shame and vileness comes from those individuals who decide to inflict and impose the stigma. Getting tested for HIV/AIDS is not a filthy, shameful thing to do. Having HIV/AIDS is not a filthy, shameful thing to have.
HIV/AIDS is just a disease. Those who get tested for HIV/AIDS are just getting tested. Nothing more, nothing less. It is that simple. If you are one of those people asking: Should I get tested? I encourage you to do so. This is a private matter between you and your doctor. It is important because through this you are taking care of yourself. You are boldly getting the answer to that one significant question that is concerning you. Get tested for you. Get tested for your peace of mind.
In the end, it really doesn't matter WHAT the results are. If they come back negative, good for you. Keep protecting yourself and monitoring whatever it is you choose to do with your partners. If it happens to come back positive, well that's alright too. At least you'll know. Also, depending on how far you are with having it, you may be in a solid position to combat it.
I wanted to write this and state that it is your responsibility to get tested. That is certainly not MY place. I just ask that if you truly love yourself, please get tested. Don't allow those certain groups of people to whisper and talk ridiculous talk. I'm not just telling this to all of my fellow gay brothers. I am addressing this message to everyone who is thinking about getting tested. It's a serious decision to make, but that decision is solely yours.

subset: commoncrawl


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Martin Oberhuber
Martin is the leader of the Eclipse Target Management project, Eclipse PMC member, platform and e4/Resources committer, and currently chair of the Eclipse Architecture Council (EAC). He's been working for Wind River in Salzburg, Austria since 1998, mostly focused on the WR Workbench product. Driven by his desire for constant improvement, he is involved in many areas around Eclipse and Open Source, particularly JSch, RXTX, and Apache Commons. His many interests have made him fluent in more than 10 programming languages including C++, GNU/Linux technology, source parsing and hardware-near programming. Martin holds a Master of Engineering degree in Telematics from the University of Technology Graz/Austria, and is a certified ScrumMaster.
Hobbies include: his kids Felix and Sophia, playing all sorts of musical instruments, skiing, hiking and the combination of both.
Work email: martin.oberhuber <at> windriver.com See also his Blog and LinkedIn Profile, or follow on Twitter


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(Reuters) - Russell Wilson led the Seattle Seahawks to a 34-7 thrashing of the New Orleans Saints on Monday as the hosts clinched a playoff berth with a win that maintains the best record in the National Football League.
In a marquee matchup between standout quarterbacks and the leading teams in the NFC, Wilson threw for 310 yards and three touchdowns while Drew Brees was unable to make an impact against a dominant Seattle defense.
"(Russell) loves Drew Brees and what he stands for, but he knew he was playing against the Saints (not Drew)," Seahawks coach Pete Carroll told reporters.
"He was just marvelous. (Home field advantage) is why winning the division is important. That's our goal."
The red-hot Seahawks (11-1) have now won seven games in a row and not lost at their raucous CenturyLink Field since the 2011 season.
In their latest victory, Wilson almost single-handedly dismantled the Saints defense during the first half as Seattle stormed to a 27-7 advantage by the interval.
Seattle's opening touchdown came in the first quarter, where their defense knocked the ball loose from Brees and Michael Bennett returned a fumble 22 yards for a score.
The momentum only built as Wilson capped a 73-yard drive with a two-yard touchdown pass to Zach Miller and a 17-0 advantage.
Brees temporarily halted Seattle's charge with a two-yard pass to Jimmy Graham in the second quarter but it was a rare bright spot for his offense.
Steven Hauschka kicked his second field goal of the game in the second as Wilson threw another scoring strike before adding his third in the third quarter to complete the scoring.
The second-year quarterback added 47 of his team's 127 rushing yards while the New Orleans offense struggled to make any sort of headway, with Brees completing a disappointing 23-of-38 passes for just 147 yards and one score.
Seattle played with a depleted secondary, missing Brandon Brower (injury) and Walter Thurmond (suspension) but the Saints were unable to take advantage.
"We had a balanced attack," said Wilson, who completed 22-of-30 passes. "We brought a good amount of pressure and capitalized on that pressure."
Following the defeat, the Saints were joined at the top of the NFC South division by the Carolina Panthers (both 9-3) with the teams scheduled to meet in New Orleans on Sunday.
Writing by Jahmal Corner in Los Angeles; Editing by John O'Brien


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by Tyler Peck, sports information graduate
MILLEDGEVILLE, Ga. - The No. 22 women's tennis team at Georgia College & State University (7-8) came up a little short today (April 4) to SCAD (9-2) losing 5-4.
The most exciting match of the day came in the fifth singles bout which pitted Angy Cuellar (Bogota, Colombia) against Stephanie Gula. Cuellar fought hard the entire match and was able to even things out in the second frame which sent the match to a third set. Gula ended up on top, winning 6-4, 5-7, 6-4.
Doubles action saw two intense matches decided by three points or less. The second doubles team of Bertille Lion (Lyon, France) and Diane Danna (Paris, France) upended the team of Courtney Collins and Romina Mrochen 8-3.
At first doubles, Marjorie Ceppo (Sao Paulo, Brazil) and Gabby Acuna (Peachtree City, Ga.) fell 8-6 to the twosome of Hillary Collins and Irina Pljusznyin. Also, Adriana Acuna (Peachtree City, Ga.) and Cuellar were just edged 8-5 by the duo of Stephanie Gula and Charlotte Debrey.
The Bobcats won the first three singles matches as No. 47 Ceppo defeated Pljusznyin 6-4, 6-3 at first singles. At the second singles slot, Danna beat Hillary Collins 7-6, 6-3. Lastly, Lion came out on top, serving double breadsticks 6-1, 6-1 to Mrochen of SCAD.
Gabby Acuna's match also went to a third frame, but she was unable to capitalize as she fell 6-4, 3-6, 6-1 to Courtney Collins. At sixth singles, Adriana Acuna lost 6-3, 6-4 to Debrey.
Georgia College will be back in action Monday, April 6 as they travel to face Brenau University at 3 p.m.
Visit www.GCSUBobcats.com to nominate your favorite former Bobcats and Colonials to the GCSU Athletics Hall of Fame. The GCSU Department of Athletics sponsors 10 varsity athletic programs at the NCAA Division II level. As a Division II program, GCSU prides itself on balancing the life of the student-athlete, evidenced by the Bobcats' multiple appearances in post-season competition as well as documented academic success and community-service involvement. Sign up at Twitter.com username GCSUSID for up-to-the-minute reports.


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Victoria JuneRequest Her Follow
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Exotic Victoria June jokes that she's known as the "Big Tit Bandit," and this Latina stunner will certainly steal your heart! Victoria has all the confident grace of a catburglar, and watching her move is totally mesmerizing. With her enormous round tits and bubble booty, it's no surprise that this spicy babe dazzles spectators from the stage as an exotic dancer. Victoria is an expert at nabbing all the attention! This Dominican and Puerto Rican beauty decided in 2017 that she wanted to get her hands on the biggest dicks in the world, so she drew up a plan to break into the porn industry. From then on, they were all hers for the taking. With her seductive eyes and full, pillowy soft lips, this babe stands out in any porn starlet lineup! If you're looking for evidence that the Big Tit Bandit has been near, watch for Victoria's calling card: the lipstick print she leaves at the base of a pornstar's cock after she uses her signature deepthroat skills. Stay alert and watch Victoria's scenes now so you'll be sure to spot her!
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Today TiVo announced that its TiVoToGo service, which allows owners of Series 2 TiVos to transfer shows to laptops and select mobile devices, will soon also support transferring shows to the (video) iPod and Sony's PSP. The company is now testing its expanded service options and plans on releasing the updates sometime in early 2006.
"The increasing popularity of mobile devices for viewing video such as Apple's iPod and the PSP device demonstrate the enormous consumer demand for entertainment on the go," said Tom Rogers, CEO of TiVo. "By enhancing our TiVoToGo feature, we're making it easy for consumers to enjoy the TV shows they want to watch right from their iPod or PSP -- whenever and wherever they want."
The update won't be free, however. No pricing has been announced, but TiVo said that the software necessary to pair content with either the PSP or the iPod will be "low-cost." In comparison, Apple's iTunes application is free, while Sony charges circa US$20 for the PSP Media Manager.
This move does not mean that TiVo is working with either Apple or Sony. For example, files transferred to the iPod will not have Apple's DRM. To stave off piracy, however, TiVo will be adding traceable watermarking to the update in order to discourage trading recorded content online. This comes as no surprise, as TiVo already had to obtain FCC approval for its original TiVoToGo DRM, and the company would be heavily scrutinized if they did not make some effort at protecting content with this service expansion.
They call it "chagrin"
How will the content industry react? Privately, I expect many of the big players are fuming. We can probably add Steve Jobs to the hoppin' mad list, because TiVo is not only looking to cash in on the popularity of the iPod, but they're doing it both without Apple's permission and right in the face of Apple's iTunes Music Store. Apple may sell a few more iPods as a result, but Apple's complete business model centrally locates the iTunes Music Store in the user experience. We've all heard the ruminations on how Apple makes so very little off of music and video sales. Their stature and stock price suggest otherwise. So do the actions of the content industry.
Indeed, as companies like Disney and NBC are venturing into ways to monetize content (a good sign that the business is not the black hole people think it is), TiVo is hoping to position itself as a product that can kill two birds with one stone. Get access to shows you can't normally watch by recording them with a DVR, and tap into the two most highly-visible mobile players out there and say, "hey, look, you don't have to pay for that show."
On the one hand, we have studios, technology companies, and politicians trying to convince us that TV is not only something that you pay for (unless you're the bunny ears type), but something that you pay even more for if you miss an original broadcast. The hope is that we'll look at $0.99 and $1.99 price tags on shows and think, "that's convenient, that's fair." On the other hand, those of us with DVRs find the idea of paying more for a TV show ridiculous. While it angers certain people when I do this, let me point out that a $60 cable+TiVo bill can get you a few hundred channels beyond the big networks, and something to the tune of 720 hours of content (more if you have dual tuners), but in Appleland, it only gets you 30 shows. There's much more to this comparison, but you get point: most of us already pay for TV, and not everyone wants to pay for select shows twice.
"You get all this for the low low price..."
The executives at TiVo know that their monthly service fee is a big turn-off to users, but they could soften the blow by making overt comparisons to the cost of on demand video in its various forms. Think, "Watch up to 80 hours of recorded television for less than the cost of seven hours from Apple!" Of course, TiVo doesn't siphon off commercials, but commercials haven't proven detrimental to DVRs just yet.
For TiVo, there's promise, but the timing couldn't be worse. If this service doesn't launch until the first quarter of 2006, it may spur few sales during a time when most households are paying off the financial aftermath of the holiday season. This would have been a great feature to roll out yesterday, so to speak.
Nevertheless, the move is going to ruffle feathers, because it raises the question at an inopportune time for the content industry: do we really have to pay for what you give away largely for free? Not to worry, though: Big Content has thought this through. Technologies like the Broadcast Flag and proposed laws such as the Analog Content Security Preservation Act of 2005 want to give Big Content the ability to block your ability to record shows, make copies, and transfer them. And as I've said many times before, while the justification is always the boogeyman of piracy, the true motivation is money. If they get their way, we won't be talking about "pay to play," but "pay per play."


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The mod you are trying to view has ceased development and consequently been archived. If you are a member of this mod, can demonstrate that it is being actively developed and will be able to keep this profile up to date with the latest news, images, videos and downloads, please contact us with all details and we will consider its re-activation.
Star Wars: Legacy of War is an expansion mod that will add extra units to the Rebels & Imperials and also add new maps and Heroes. As the game goes on, new faces will appear and new technology will be unlocked. It will add new factions to the Galactic Conflict of the game. The Camapign will be enhanced so you can fight from pre Ep IV Onwards. Including units seen during the New Republic. The Mod has had to be toned down from it's initial plans due to lack of staff with the required skillset to create the full scale of the mod.
Only registered members can share their thoughts. So come on! Join the community today (totally free - or sign in with your social account on the right) and join in the conversation.
Just to show you guys we are still active even
with our website down :)
New Image of the Legacy of War Galaxy.


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|Oracle Workflow Developer's Guide
Release 2.6.3
Part Number B10284-02
The Requisition process is an example of a workflow process that is initiated when you create a new requisition to purchase an item. The Requisition process is based on two tables that store approval hierarchy and spending authority information.
When you submit a requisition in this demonstration, the process sends a notification to the next manager in the approval hierarchy to approve the requisition. If the spending limit of the approving manager is less than the requisition amount, the process forwards the requisition to the next higher manager in the approval hierarchy until it finds a manager with the appropriate spending limit to approve the requisition. Each intermediate manager must approve the requisition to move it to the next higher manager. Once a manager with the appropriate spending limit approves the requisition, the process ends with a result of Approve.
The process can end with a result of rejected if:
You can set up and initiate this example process if you are using the standalone version of Oracle Workflow. If you are using Oracle Workflow embedded in Oracle Applications, you should consider this process mainly as an example for explanation purposes and not for demonstration use. The files necessary to set up and run this demonstration are not provided with the version of Oracle Workflow embedded in Oracle Applications.
Attention: For detailed information about runnable workflow processes that are integrated with Oracle Applications or Oracle Self-Service Web Applications, refer to the appropriate Oracle Applications User's Guide or online documentation. See: Predefined Workflows Embedded in Oracle E-Business Suite.
Attention: Oracle Self-Service Web Applications provides a predefined Requisition Process that is different from the version of the example process documented here. The example process documented in this section is for demonstration purposes only and not for production use.
This sample workflow is based on the demonstration data model. The data model includes two tables with data: one table maintains an employee approval hierarchy and the other maintains the spending limit of each employee. These two tables make up the database application that we use to approve a requisition. In addition, the data model also includes a directory service that identifies the Oracle Workflow users and roles in this sample implementation.
There are two ways you can initiate the Requisition process based on a fictitious requisition: run a script or submit a requisition using a web-based interface. Both methods require that you provide the name of the employee who prepared the requisition, the requisition amount, the requisition number, a requisition description, a requisition process owner and the name of the workflow process to initiate.
This section describes the Requisition process in detail to give you an understanding of what each activity in this workflow accomplishes.
Initiating the Requisition Process
The Requisition Item Type
Summary of the Requisition Process
Requisition Process Activities
Summary of the Notify Approver Subprocess
Notify Approver Subprocess Activities
Sample StartProcess Function
Example Function Activities
Example Notification Activity


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King's is one of the UK's leading research-led universities offering a range of expertise with many eminent academics able to speak to journalists on a wide variety of subjects.
This Directory gives the media access to informed opinion and analysis on a broad range of research topics and current affairs. It aims to serve the needs of print and broadcast media seeking comment, interviews, stories, background or panel participants.
It contains details of academic staff who are happy to be contacted by journalists and speak as an authority on their particular areas of research and teaching. Inclusion is voluntary and it is therefore not a definitive list of academics at King's.
In any coverage please refer to the contributor as being from King's College London.
Further Information
All academics listed provide their direct telephone numbers, however if you need help identifying an expert not listed in this Directory, or any additional information, please contact the relevant press officer.


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Hire a Logo Designer
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The summer of 1992, a one-man show opened off-Broadway that boldly dramatized the anger and passion gay and AIDS activist groups ACT UP and Queer Nation had brought to the streets. Titled The Night Larry Kramer Kissed Me, it was the young, blond, blue-eyed gay actor David Drake's attempt to translate a pivotal encounter with Kramer, the godfather of AIDS activism, into a show that captured the breadth of being queer, angry and scared—and, yes, hopeful—in those dark years before effective HIV therapy or gay-rights progress. The show was a smash, attracting VIPs nightly and running a year before taking Drake around the world to perform it. (He released a movie version in 2000.)
On May 20 in New York City, the show will have a one-night, multi-actor revival to benefit Broadway Cares and The Sero Project, POZ founder Sean Strub's campaign to turn back HIV criminalization laws throughout the United States. POZ talked with Drake, who'll turn 50 in June, about the sudden fame he found with the show, the shame he felt around his own HIV infection in 1998, and how he has reclaimed his young, carefree spirit through a breezy new drag persona named Tawny.
So what's the benefit revival going to be like?
I'm doing the play with a cast of 12, including André De Shields, Anthony Rapp, B.D. Wong and Rory O'Malley, who's in Book of Mormon. Former American Ballet Theater dancer Robert La Fosse is directing. I think a group show will work well. The play's been compared several times to For Colored Girls... in that they're both "choreopoems," and I'd read that play when I started writing Larry Kramer back in 1991. I was also reading a lot of poetry by Michael Klein and seeing performance art by Karen Finley, so I was thinking out of the traditional theater box. This time around, the play starts with me, then the next guy comes running in and we do the next part as a duet, then the piece about going to the gym is four guys, then the vigil sequence is six people, and so on.
The play is such a snapshot of AIDS activism at that moment, but also of early nineties gay rituals, like getting pumped up at the gym to look butch and fight off the straight oppressors. Do you still feel that way about gays and straights?
Not to the degree I felt then. The gym piece was born out of Queer Nation's idea of claiming other spaces. We'd go to public places and "queer" them en masse and do kiss-ins, places where there'd been some kind of homophobic event. But homophobia has diminished in 20 years among straight people—including men. So the "Us and Them" feeling has diminished, too.
Does your own life feel more mixed to you?
Not that much. I've lived in Provincetown, Massachusetts, most of the past five years. It's old-fashioned gay, where you come to be super-gay and hold your lover's hand in the street. But New York certainly feels much more mixed than it used to.
Do you still go to the gym?
Not since my mid-30s. I'm still pretty fit. In P'town I get around on a bike, several miles a day. And I do sit-ups and push-ups. The gym was always intimidating to me and filled me with inferiority over being a sissy child. I really like the emergence of bear culture in the last 10 years, natural bodies and natural body hair. Young gay guys now don't have to join gay physical culture. They can just be weirdo, alternative rock 'n' roll people.
How did Larry Kramer come to be?
It was the summer of 1990; I was 27. I'd been doing Charles Busch's Vampire Lesbians of Sodom off-Broadway. I'd just joined ACT UP. I had several people in my life who were sick with AIDS, and I subsequently lost three of them, so I felt like I had to do something. But the play kept me in New York on weekends when everyone would go off to demonstrations in DC. So I started writing. I didn't even know I was writing a show. Then in June of 1990, I was working the ACT UP booth at Gay Pride, where we sold T-shirts and buttons to support the movement, and suddenly there was Larry Kramer. I couldn't believe it. He said, "I think I'll sell some T-shirts, too." He kick-started ACT UP, so we were all his children in that environment. He picked up the famous "Read My Lips" T-shirt of two guys kissing and said, "I think I'll wear this in People magazine," where he was going to appear. The day was June 25, his birthday, so I said, "Happy Birthday," and told him that my birthday was June 27. He said, "That's the date of the Stonewall riots, you know," and I said, "Yes, I know." Then he reached over and kissed me. So it was actually the afternoon that Larry Kramer kissed me!
Not the night! A-ha. Did you become friends?
Not really. I'd see him at ACT UP meetings, and I just didn't know how to engage him because he meant so much to me. After the play opened, he invited me to his birthday. He was flattered I named the play for him, but he didn't want to get too close to it, to keep it from looking like he was trying to use this sexy young guy to promote his relevance to the world. He did come to the opening night party. He was very disturbed, though, by the epilogue of the play, set in New Year's Eve 1999. I wrote a happy ending to show that activism changes the world. And I wrote, "When we lost Mr. Kramer in 1998, it was very sad…." And he said to me: "You killed me off!" He hated that. Of course, last laugh, here we are in 2013, and he's still alive.
Did you take out his death?
Not until the mid-'90s. We were getting closer to the millennium, and I kept pushing the epilogue further into the future for new productions around the world. I didn't want to keep projecting his death into the world if it made him uncomfortable. It's the only time I've ever changed something specific for someone.
After the play opened, you were famous for a time. There was a massive billboard of you looking down over Greenwich Village bare-chested for a whole year.
I became so well-known suddenly, and I wasn't really prepared for it. I was auditioning for all kinds of things. But in 1992, 1993, they were scared to cast openly gay people. I was up for the movies Six Degrees of Separation, Tales of the City and To Wong Foo…, but got none of them. I did get a small part in Philadelphia. Meanwhile, I was getting fan mail from gay men at the theater. I hired an assistant to help me send them all Christmas cards. It was a very brotherly kind of show that way. Then in 1993, I went to do the show in Hollywood. It was the thing to see, and I got my entrance to a glamorous gay world including David Hockney, Barry Diller and the actor and director John Schlesinger. They all wanted to meet me, but nobody would cast me. They didn't know what to do with me.
What about the years after the hype of the play?
I toured with that play in Edinburgh, London, Australia, through about 1995. Back in New York, they kept the show running with another actor, Eric Paeper. Watching his performance for the first time was a punch in the gut. He had dark hair, dark eyes, didn't look like me. But people were crying at the end. I realized I'd written something that was beyond me. I didn't know I was a real writer until that moment.
Then came my 30s. It took me years to write another show, Son of Drakula, about my Romanian roots, which I did in 2002. It wasn't gay or activist at all. I didn't want to write Larry Kramer Part II. My father died while I was writing it, so it became very personal, which I think was confusing for people.
You played the lead in a revival of Boys in the Band in 1996.
Unfortunately, [New York Times theater critic] Ben Brantley didn't like me in that. He said my sense of the dramatic came from the Joan Crawford school of acting, and that stopped my career in New York. There was also a 2000 movie version of Larry Kramer, which did its little indie movie thing, showing in several LGBT festivals. But by then, the course of the epidemic had changed so much. We, the activists, had gotten what we wanted, which was effective HIV treatment. The play felt like a period piece. People didn't want to associate with the AIDS part of being gay anymore. They wanted relief.
So, kind of a downturn for you. And then in 1998.
I seroconverted. I have a lot of shame over it because, after a break-up, I slipped and had unsafe sex a couple of times. It wasn't drug-related; I've been sober since 1984. After that, I isolated for a couple of years, feeling very tainted and unlovable. I threw myself into my work and then got in a relationship for seven years and lived in Queens. Now, I'm single, but I'm not out on the prowl in my life. My peer group is all about settling down, getting married, buying houses and adopting children. I'm moved by it, but I feel outside of it all. Certainly I'd like another relationship. But I've always been a solo act and a gypsy.
But speaking of solo acts, in recent years, in addition to directing a lot of theater in Provincetown, you've debuted a very blond drag persona.
Yes, that would be Tawny. Tawny Heatherton. She's a product of my refurbishment in Provincetown. I started getting up in drag there at this party, FagBash, and when I flipped my blond wig around one night, Tawny was born. She's very inspired by Farrah Fawcett and Marilyn Monroe, very sexual. She's the niece of Joey Heatherton. I just wear a babydoll and a wig, and I'm pretty. She's helped me heal my shame and the wounds of my broken relationship. Suddenly I had sex with a bunch of guys! I realized I was still desirable even though I was HIV positive.
Yes, I have seen Tawny in action onstage, and she is quite a carefree kind of '70s gal. What would she make of The Night Larry Kramer Kissed Me?
She's not so bright, so she wouldn't understand the hardcore politics. But she's a freedom fighter and a hippie girl at heart. She was raised by nudists in a broken home, and she goes both ways, so I think she'd champion the fight to be sexually and emotionally free in the world.
Is the play still relevant today?
It speaks to gay shame and how to process that. That's still relevant. Just look at the It Gets Better videos. Plus, looking at new films like How to Survive a Plague, it feels like we're finally at a time where we can begin a dialogue about the worst years of AIDS. Younger guys want to know what happened then and how it connects to today. Enough time has passed that we can claim this thing that was so ugly and gnarly and scary for so many years. It was actually quite a heroic time.
For tickets to the May 20 benefit revival of The Night Larry Kramer Kissed Me, click here.
A Very Enduring Kiss
Twenty-one years after David Drake's The Night Larry Kramer Kissed Me gave voice to an era's anger and passion, the blond, blue-eyed showman is still living with moxie.
The summer of 1992, a one-man show opened off-Broadway that boldly dramatized the anger and passion gay and AIDS activist groups ACT UP and Queer Nation had brought to the streets. Titled The Night Larry Kramer Kissed Me, it was the young, blond, blue-eyed gay actor David Drake's attempt to translate a pivotal encounter with Kramer, the godfather of AIDS activism, into a show that captured the breadth of being queer, angry and scared—and, yes, hopeful—in those dark years before effective HIV therapy or gay-rights progress. The show was a smash, attracting VIPs nightly and running a year before taking Drake around the world to perform it. (He released a movie version in 2000.)


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Tonight is the first night the couples will do two full dances (where one is not a dance-off or a group dance). During the staircase introductions, Jacoby is wearing a cowboy hat. I can't wait to see what that means for their routine.
Also, today is Tom Bergeron's birthday and why this isn't a national holiday, I don't know. I LOVE HIM SO MUCH.
Round One
Zendaya & Val Chmerkovskiy
Val is trying to ignite Zendaya's competitive spirit, but her smile always makes him chuckle. They're dancing to "Don't Worry, Be Happy." It's very weird to see someone ballroom dancing to this. But it's a perfect choice for the bubbly and young Zendaya. Standing beside Tom for the judges' comments, it's clear that in her heels tonight, Zendaya is taller than Val. Was that true at the beginning of the season or has she been growing these last few weeks?
Len calls it pretty, loved the choreography, and loved the performance. Bruno calls her a breath of fresh air because of her gracefulness. Carrie Ann thought the beginning was a little simple, but then when she went into hold, it was beautiful -- one of the best holds she's ever seen. The judges devolve into bickering and Tom quips to Val and Zendaya, "Bottom line -- they all love you; they're not crazy about each other."
Scores: Carrie Ann: 9, Len: 10, Bruno: 9
Apparently, we get to vote via Twitter for a style of dance and which dancer we want to see perform it. I am Team JacobyDisco all the way.
Sean Lowe & Peta Murgatroyd
Peta says their biggest competition is Ingo & Kym. She's not wrong in the "Fight to Stay Out of the Bottom" competition. Sean is wearing striped tube socks with shorts and I find it somewhat endearing.
The routine starts with the wedding march and then segues to Katy Perry's "Hot & Cold." Sure, whatever. This is a weird choice for a tango, especially during the verses.
Bruno says it started extremely well, but then "[his] feet weren't at the right place at the right time". Isn't that kind of the definition of not dancing well? Carrie Ann also laments his lack of follow-through throughout the dance. Len says it wasn't a great dance, even calling it a "little bit ugly."
Scores: Carrie Ann: 7, Len: 7, Bruno: 7
At this point in the season, that's just about the equivalent to straight 4s or 5s on Week 1.
Jacoby Jones & Karina Smirnoff
Viennese Waltz
They replay Jacoby's mom yelling at Len last week. My parents are worried she might be turning voters off. We viewers love a protective mom, but we also don't like people griping or talking back to the judges too much. We are a conflicted bunch, us. Anyway, his mom visits rehearsal and gives them a pep talk.
I'm worried about Jacoby in a waltz, because frame is such a big part of this dance. Also, he's wearing spats and as pigeon toed as he can be, he probably shouldn't be doing ANYthing to draw attention to his feet.
It's a sexy dance, given the song. At one point Jacoby is facing the judges' table, particularly Carrie Ann, and pops open his shirt. The crowd goes wild. And even though they do a "death spiral" move at the end that isn't my favorite, it ends with Jacoby standing over Karina and then, using only one arm, lifting her straight off the floor. I mean, I know he's a professional athlete and she weighs not more than a couple of feathers, but still. Also, hot move. I imagine a lot of women will picture themselves as Karina in that pose.
Carrie Ann mentions her appreciation of the shirt coming open and then praises Jacoby's fluidity and posture. Len asks Jacoby's mom what she thought of it and she hollers, "I loved it," and Len hollers back, "So did I!" and says to Jacoby, "Great footwork! Yes, thank you, Jacoby!" Bruno agrees with an "Absolutely."
Scores: Carrie Ann: 9, Len: 9, Bruno: 9
Ingo Rademacher & Kym Johnson
Ingo's hit a wall during rehearsal -- tired, irritable. It's what Linda Holmes, when she used to write about "The Amazing Race," identified as "killer fatigue." He's taking some of it out on Kym , but she handles it like the professional she is.
Ingo's butt sticks out a little more than it really should for a foxtrot, but he's doing better than I expected at this, especially with regard to his arm extensions.
Len said it had an ease of movement and says he could have been "softer in the arms." Bruno said he did a great job, including his arabesque. Carrie Ann says it was his best posture he's ever seen and then compares the "casual quality" of his dancing to Gene Kelly.
Scores: Carrie Ann: 8, Len: 8, Bruno: 8
Kellie Pickler & Derek Hough
Viennese Waltz
Derek tells her they don't want to get complacent now that she's received 10s and he's going to push her further. Kellie starts crying talking about her grandmother, who passed away when Kellie was only 15. I think this is a way for her to try and give the emotion Carrie Ann said she lacked last week.
Bruno calls her "Queen of the Viennese waltz." Let me translate what Carrie Ann says, "I got you to cry. Therefore I am satisfied." Len is mostly complimentary and his only complaint is one even he admits is nitpicky. When you're getting the really technical nitpick comments from the judges, you know you danced very well.
Scores: Carrie Ann: 9, Len: 9, Bruno: 10
Alexandra Reisman & Mark Ballas
Argentine Tango
Oh dear. Aly is many good things as a dancer, but it's going to be interesting to see how she does the Argentine tango, a dance not kind to the vertically challenged of us. She's supposed to be playing the character of a harlot for this dance.
They're taking full advantage of lifts being allowed in this dance. And Mark's choreographed the routine to NOT try to show off the legs, like he probably would were he dancing with Zendaya.
Carrie Ann starts by asking Aly how she feels after that routine. Aly timidly replies, "Um, good?" Carrie Ann goes on to praise her transformation over the season. She does question the transitions out of the lifts, which both Bruno and Len protest. Len liked the sex appeal of it. Bruno calls it "sensational" and praises her growth as an actor."
Scores: Carrie Ann: 9, Len: 10, Bruno: 10
"Trio" Round
Zendaya & Val Chmerkovskiy & Gleb Savchenko
Zendaya is going to be a princess and Val and Gleb are her security. That's a great way to deal with the age differences of a 16-year-old woman dancing with two men who are much older than him. Val even scolds Gleb at one point, "That's too sexy; keep it age appropriate." Zendaya grabs a camera to make a Val short joke. It's like those two are becoming siblings.
This is some sort of weird Bollywood influenced salsa. Balsawood? There's not much of the dance in any kind of hold, but the synchronization of the three of them is impressive.
Len loved it. Bruno loved it, saying that she had the focus even when dancing with "two underwear models." Carrie loved it.
Scores: Carrie Ann: 10, Len: 10, Bruno: 10
Sean Lowe & Peta Murgatroyd & Sharna Burgess
Sean manages to tell Peta, "I'm probably a little bit more man than you can handle by yourself, so it's only natural that we bring in Sharna." He keeps a straight face for about ten seconds after saying that. Peta chose Sharna to work with them because she'll help with the "jazz" choreography.
Sean is trying his hardest to sell this, but it's not great. And oddly, I'd blame the choreography. If this is Sharna, I'm not sure I'd tout her jazz mastery. It's a lot of the women dancing around Sean.
Bruno says his feet were a jumble a lot of the time, "Bless you." Is that the Italian version of "Bless his heart"? Carrie Ann talks about how they got out of sync several times. Len doesn't say much, probably subscribing to the "If you can't say something nice ..." philosophy.
Scores: Carrie Ann: 7, Len: 7, Bruno: 7
Jacoby Jones & Karina Smirnoff & Cheryl Burke
Paso Doble
Jacoby interviews why they chose Cheryl: "I picked her because (1) she's another gorgeous woman, and (2) she can dance her butt off." Right on both counts, Mr. Jones.
In rehearsals, Jacoby is struggling a bit with the paso doble, particularly its strong footwork. He says at one point, "I'm no [bleep] tap dancer." Jacoby then talks about the difficulty of having two partners, doing a good impression of a pinball. His first try at a leap does not go well, but this double death spiral looks intriguing.
Lucky for Jacoby, he gets traditional paso doble music instead of some pop song shoehorned into the style. They walk down the floor with the two women flanking Jacoby and it's impossible not to see the pigeon toes, but they are some fiercely stomped pigeon toes. At the end of the stage he twirls both women under his arms at the same time. It looks really cool. Then the women are dancing together in frame with Jacoby. This works because Jacoby is so tall he has long arms to work with.
Karina and Cheryl leave Jacoby at the top of the stage and they dance together back to the bottom of the stage and then pose huddled together. Jacoby takes a running start and jumps BOTH of them. He's the Evel Knievel of the ballroom!
Then he and Karina have a solo, just the two of them. After some impressive coordinated cape work, mostly from the women, the routine ends with Cheryl and Karina standing back to back at the bottom of the stage and Jacoby running at them. Just when you think he's going to jump them AGAIN, he slides between their legs and ends the routine on his back, shimmying his shoulders.
Carrie Ann says he has an impressive presence on the floor, but that he tossed Cheryl after her drag and then later tossed his cape on her, leading to her getting her foot tangled in it. Carrie Ann admonishes Jacoby, "A man is supposed to take care of his women on the dance floor." Jacoby pleads, "But they TOLD me to toss them." I wonder if that face of innocence worked on his mom when he was a kid.
Len stands up to give his praise and is suddenly almost Bruno-like with his expressiveness. Len loved his hands. Bruno liked the passion of the dance, but then critiques Jacoby's posture and his "Spanish lines," demonstrating what it should look like.
Scores: Carrie Ann: 8, Len: 9, Bruno: 8
Apparently Twitter is choosing disco for Jacoby at the moment. Karina says she'll put him in an Afro wig. There is no way America doesn't vote to see that. I've got three twitter accounts and I'll use all of them to get my votes in.
Scores: Carrie Ann: 9, Len: 9, Bruno: 9
Ingo Rademacher & Kym Johnson & Lindsay Arnold
The routine starts with Lindsay and Kym dancing and Ingo sitting on a chair watching. Well, that's one way to choreograph to a celebrity's strengths. During their triple synchro jive moves Ingo isn't dancing great, but he looks like he's having so much fun. Good for him. It wasn't a bad routine, but it is utterly forgettable, even with Ingo's retina-searing checked pants.
Len says it could've been sharper in the feet, but the jive is about effervescence and Ingo certainly had that. Bruno points out the kicks and flicks could've been sharper. Carrie Ann says it had heart and fun.
Scores: Carrie Ann: 8, Len: 8, Bruno: 8
Kellie Pickler & Derek Hough & Tristan McManus
Paso Doble
In rehearsals, Kellie is having a tough time mastering the "fierce" attitude Derek wants her to have for the dance.
Kellie starts the routine in front of a mirror, wearing a white dress. The mirror shatters to reveal Tristan and Kellie steps through and then sheds the white dress to reveal a black one underneath. It's all powerful posture and fierce poses.
Bruno is out of his seat and calling it "masterpiece theater." He calls it "engrossing and entertaining." Carrie Ann comes out from behind the desk to hug Kellie. Then Bruno mocks the gesture by coming down for a group hug with Tom, Derek, and Tristan. Hee hee hee.
Len starts to talk, but is interrupted by another "Woo!" from Carrie Ann, at which he lets out an exasperated sigh. Len says he was expecting more than "flashing lights and crashing music." Len is annoyed at the lack of paso doble content. The crowd is booing heartily, while Derek throws his head back and laughs. Len's out of his chair and pointing out Derek accusingly. This seems like some sort of long-running beef for Len and Derek, going back at least to all his rule-breaking with Shawn during the All-Star season last fall.
Carrie Ann is standing up now and shouting that Len is wrong. Bruno is standing up because he's Bruno. Kellie looks mortified during all of this, like when your redneck cousins get into a fight at the Red Lobster when you've brought your fiancee to meet the family.
Bruno makes a comment to Len that we don't hear about the fact that Len was standing up and Len says Bruno can't talk without standing up, then says something I can't make out, then says, "stuck up your arse" (or a--, it's hard to tell.) At that point the camera cuts away to Tom, which it should've done at the point Len was yelling at Derek and the other judges started yelling at Len.
Tom encourages the dancers to go up to the skybox, "where it's safer." Len and Bruno look like they're still bickering, and then as they cut back to the judges, they're all three turned around talking to the audience. Tom quips, "Somebody just hose him down." After promo'ing tomorrow night's show, Tom is having a hard time not cracking up, saying, "It's like a bad daycare over there."
Scores: Carrie Ann: 10, Len: 7, Bruno: 10
WOW. Len is clearly TICKED. I wonder if Carrie Ann and Bruno would've scored that high if they didn't think Len was going to score so low.
Tom turns to Len before the break and says, "I don't know you anymore."
After commercials, we're welcomed back to "A special edition of 'Len Needs a Cookie'." Low blood sugar can make anyone cranky. That and Derek getting right up your nose.
Alexandra Reisman & Mark Ballas & Henry Byalikov
Mark is trying to teach Aly how to get the count of the music. She says she can't hear the beat. Ugh. I feel her pain on this. It's interesting to me that this isn't something she's encountered before. But I guess musicality isn't hat big a deal in the floor exercise.
Sigh. There are three fedoras and two pairs of spats on the dance floor right now. But this is a good jive routine to "Hit the Road, Jack". It's got a lot of great synchronization, Aly's kicks and flicks are right on, and the choreography has some great, fun moves in it. I may quibble with his fashion choices, but sometimes I really do like Mark's routines.
Carrie Ann is loving what she's seeing this week in Aly's confidence level. She says she was a little bit flat-footed and lost the beat at the beginning but overall it was good. Len says she could have a bit more bounce in the balls of her feet, but liked the routine overall. Bruno praises Aly's growth in portraying a character.
Scores: Carrie Ann: 9, Len: 9, Bruno: 9
Zendaya & Val: 28 + 30 =58
Aly & Mark: 29 +27 = 56
Kellie & Derek: 28 + 27 = 55
Jacoby & Karina: 27 + 25 = 52
Ingo & Kym: 24 + 24 =48
Sean & Peta: 21 + 21 = 42
I'm slightly worried about Ingo, because he's been in the bottom two before, and to the best of my recollection, Sean hasn't, despite similarly low scores, which means he's got a fan base. I don't know if they can overcome a six point deficit in the judges' scores, though. It's gonna be one of those two couples; personally, I'm hoping for Ingo because he makes me laugh.


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100 Swedish crowns (1 "krona", several "kronor") is worth about 11 Euro, or 7.5 Pounds or $US 13.50.
Check Forex for up-to-date exchange rates. They are often better than the banks.
There are four airports within range of Stockholm.
Arlanda is the main airport, the big airlines fly there. You can get from Arlanda to Stockholm Central by
Bromma Airport is used mainly for domestic flights. There's a flygbuss (20 minutes, 70 SEK) and also normal public transport, e.g. you can take bus 152 to the station and then the commuter train to Älvsjö.
Skavsta and Västerås are two "budget" airports used by Ryanair, e.g. there are several flights to and from London (Stansted/Luton) every day. Take the Flygbuss to town, it's the only sensible option. They leave whenever a flight arrives.
Many hotels are booked up due to some Technical Exhibition but this might be a good (cheap) choice Hotel Formule1.
Stockholm is not a good place to get around by car.
Public transport is excellent, though not cheap. There's a great webpage with timetables, maps and information. The buses, trains and subway all use the same tickets, some of the options are:
You might also check the Journey Planner or the Tourist Information. (Tip: the dots above the letters in station names such as Älvsjö are crucial, the trip planner won't give you the right stations if you leave them out, but it does, eventually, give you some buttons you can click to get those letters if your keyboard doesn't have them.)
To get from Central station to Älvsjö, find the commuter train "Pendeltåg". All southbound pendeltåg lines stop at Älvsjö. Central station is a bit of a maze, if you manage to get from the flygbuss to the Pendeltåg in under five minutes, you're doing well!
We are inviting EUC participants arriving the day before the conference to a sight-seeing trip around Stockholm and a beer together at a pub.


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لينک منبع:Fully furnished flat in Zaferanyeh Tehran اپادانا


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For a guy with an invitation to the White House, Rabbi David Bauman is surprisingly modest.
"This is not about me," he said, "It's about what happened to this region."
Bauman, of Temple Israel in Long Beach, will be attending a White House Chanukah ceremony on Dec. 13 hosted by President Obama. He and temple president Bruce Sklover, will head down to Washington D.C. next week with one of the temple's iconic, seven-foot-tall brass menorahs in tow.
Bauman said that the Temple Israel menorah — one of a matched pair salvaged during the storm that has graced the temple's pulpit for more than 90 years — was chosen to light the event as a symbol of Long Beach residents' strength in the aftermath of Hurricane Sandy.
"We're representing [Long Beach.] That's a very humbling situation to be in," said Bauman.
Temple Israel, located at 305 Riverside Blvd., was the very first synagogue to open on the barrier island in 1920. It suffered extensive damage during Hurricane Sandy. The lower level of the facility is partially below ground, Bauman said, and the floodwaters in the temple reached 10 feet. Computers and desks were tossed around the classrooms, while the temple's library, stocked with classic Jewish literature, was submerged. And six torah scrolls, along with many prayer books and prayer shawls, were lost, Bauman said.
The synagogue is still without power and heat and is undergoing extensive repairs. It just recently held Shabbat services for the first time since the storm with the use of a generator and temporary heating. Members of the temple remain largely displaced and scattered, with many not sure when they will be able to return to their homes.
Bauman said that residents' struggle to overcome the storm's devastation relates to the origins of the celebration of Chanukah.
"The story of the Maccabees is very much about the underdog becoming the victor, and reestablishing what's right in the world," said Bauman.
The White House, he said, is attempting to reflect those sentiments during its celebration. Bauman said that he believes Temple Israel was chosen to supply the one of the menorahs to serve as a symbol of hope.


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After four symphonies, four major concertos and lots of Brahms chamber music, dance and choral music, the last concert in the Brahms Festival takes place Sunday at 3 pm. Music Bridges Around the World is bring pianist Lilya Zilberstein and her two piano-playing sons back to San Antonio. You may remember Lilya from her wonderful performances in past seasons with the Symphony and with Musical Bridges.
Sunday, February 24 at 3 p.m.
McAllister Auditorium
Brahms: 8 Klavierstücke, Op. 76
Brahms: Variations on a Theme of Haydn for two pianos, Op. 56
Mozart: Concerto for Three Pianos and Orchestra, No. 7, K. 242
Dr. Anya Grokhovski, artistic director
Lilya Zilberstein, piano | Anton Zilberstein, piano | Daniel Zilberstein, piano
Price: $25


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Creativity, Copyright & the New Marketplace: Gail Zappa
Gail Zappa was married to the legendary composer Frank Zappa for more than 25 years. She is the mother of Moon, Dweezil, Ahmet and Diva Zappa; her own father was a rocket scientist. Since Frank Zappa's death in 1993, Gail Zappa has overseen the release of his recordings, including many previously unavailable works, under the Zappa Family Trust. For more information see www.zappa.com.
Mike King, a frequent collaborator of The Music Business Journal, interviewed Gail Zappa, who asked that questions and answers be printed in The MBJ verbatim. We have agreed to make an exception to our usual editorial prerogative.
Mike: Can you talk a little bit about the process for choosing the material you and Joe Travers release from the vault?
Gail: Well, I think Joe has a very different process than mine. He's a fan, which he has been since he was very young, long before we ever met him. First of all, he realizes that he gets to listen to stuff that no one else will ever hear in some cases. So that's a very attractive part of the job for him and sad at the same time. He's also interested in finding the source material that Frank used, in finding all of the bits and pieces. Or if he hears about a legendary project, he'll work on reconstituting it because some of the ingredients of the sauce are missing. So there is a search and seizure part of it that he is always actively engaged in so when he goes into the vault, he usually has a motive; I don't. That's the difference; he's looking for something in particular, usually. The collaboration happens when…. Oh what just happened recently? We sat down (in his office) and I said, "Joe, I need a really good concert and it has to be English. It has to be from Britain" and he said, "OK!" So he knows right where to go because he's been through there so many times, that he knows. He says, "I think I know some choices" and he makes a selection based on that and then we find out, we're not covered for a whole concert but we're covered for several dates at the same time, so that we can pick and choose in terms of the performances. Sometimes you get a concert and that's it; it's a one shot deal and you have to go warts & all with what you've got and you don't have the coverage. So, in that case, we've gone to fans and gotten bootleg recordings to fill in the blanks when the tape ran out and the reel didn't get changed fast enough. So you can start with that or you can go to "well, we did several shows in this location over a period of time;" say three Halloween dates in New York. Then you can make one show from all three sources; that's a different kind of an event. For me, the rule of thumb is, we are not making a Frank Zappa recording in terms of how its produced, but we are making a record from recordings made by Frank; that's the big difference. There are two of us and that means there's four feet and there is no way that they are going to fit in those two shoes.
Mike: Are you or Joe releasing material from the vault based on fan demand?
Gail: No. We've been releasing things based on what we think is a good thing to release. Joe makes classic arguments over and over again for releasing certain types of things that he's knows the fans are interested in and those arguments that he makes influence some of the releases, in terms of what the contents might be; I certainly consider his opinion absolutely but my first obligation to Frank is to educate. First, you have to have a context in which you can release these things. For me, I can't just put out a record and not have some background to it. Recently, we put out The Torture Never Stops as a DVD and this was made as a television show, because Frank had an idea that this would work on TV but this was very early on and nobody (in broadcasting) wanted to see these crazy edits that he was doing so there was a lot of resistance. So the concert, in different forms, ended up on USA Network and on MTV but Frank's version which he created as a television special, was one particular thing that he put together himself. So my obligation, I feel, to the audience is to put out first what Frank created and then I can go back and take all of that footage, which we intended to do and are in the process of working on, and remix it in surround and put out the whole of the concert series in a big package down the road. But first, you have to see what Frank's intention was and then you can go back to other opportunities where you can have your way with the material.
Mike: You released the MOFO Project/Object in 2006, and put in the names of anyone who pre-ordered the record into the liner notes of the release. I talk a lot about the importance of artists' personalizing packages for their fans for direct sales off of their web site, as it helps to build the artist/fan connection. Was that part of the idea with MOFO? How did you come up with it in the first place?
Gail: We had actually done that as an experiment, when we put out our first concert release. I wasn't sure how the audience would respond and it was FZ:OZ and we put everybody's name on that, who ordered it in advance, because I wasn't sure if we were going to be able to make it happen. So the pre-orders gave us an opportunity to see that we could actually manufacture the way we wanted to. I have always felt very strongly about the packaging; I always have. That started with Frank, so even in the face of economic disaster in the industry and digital downloads, I still believe in the physical package. So we had already done that, but the main inspiration for adding people's names into MOFO, the special edition, was because Frank had listed the names of people who helped to influence that music, in Freak Out. So I felt that for the people, for whom the music exists, and they are going to support it early in, you can have your name and your credit on this too because you deserve it! It wasn't anything to do, really, with being interactive on the site.
Mike: I know that you area selling a few digital releases of Frank's music off of your own site, and that there is very little available on iTunes. Is that because you feel strongly about the packaging? Can you talk a little bit about why a lot of Frank's music isn't on third-party digital sites?
Gail: Ok, this is a very big answer to what seems to be a pretty straightforward question. First of all, what the studio audience doesn't know and what's behind the curtain, is that there is a lawsuit where certain parties are claiming many rights, digital rights being among them. I can tell you, absolutely, that it was never Frank Zappa's intention that anyone would control the digital rights of his music other than his heirs, so its not anything he ever told me to sell. The fact of the matter is he published a paper on how music would be delivered in the future in 1983 and copyrighted it and just bemoaned the fact that he didn't have the budget to hire programmers to make that happen. So he was way out there and he certainly knew. Although the term "digital rights", at the time of his death and the time of the sale, didn't exist, that doesn't mean that he wasn't thinking about them and planning ahead for what would best serve the value of the copyrights that remained with me. So he was thinking about his family at the time and he wanted to protect those rights. That's part A. Part B is that I am not a fan of iTunes. I am not a fan of their growth through their overbearing means by which they have a reduced value of music. First, they taught everyone how to steal it and then they said," Oops, sorry here's how you can pay for it really cheap!" So you know, I'm not a fan of that and I'm not a fan of price-fixing, which is something they do. You don't have a lot of choice in what you can offer and how you can offer it. I mean they just have rules and I understand that it is probably just a by-product of some of their programming issues but there should be other choices. I believe that the future is that there will be other choices and they will be on every artists own fan site or a conglomerate consortium of artists' fan sites that's not controlled by an outside party that does not respect artist's rights. The part C of this answer, is that up until fairly recently and even still today, the sounds are massively compressed, they are not the way the artist intended them to be presented to an audience for an audiophile experience. So there was a reason for me to engage in that. Now I don't care so much about Beat the Boots on iTunes because that's not a recording made by Frank Zappa. Those are bootlegs as opposed to counterfeits.
Mike: I know that the releases you are selling off of Zappa.com are at a higher bit rate. Can you envision down the line that you would be releasing some of Frank's catalog at lossless quality off of Zappa.com?
Gail: Yes
Mike: How are you working to expose new listeners to Frank's music? If a lot of Frank's catalog is unavailable digitally, and physical retail is cutting back with their inventory, what other ways are you working to expose potential fans to Frank's music?
Gail: In an ideal situation, I would be able to have more participation in the original catalog than I do right now, and that may yet happen in the next few months. If it does, then you will see a very big change. For me, any kind of release that we get out there helps to sell everything. I mean, people think I've planned, perhaps with Dweezil, how to do this and Dweezil has certainly contributed to introducing music to a younger audience, for the most part, so that already exists. I get letters from people that are fourteen or under all the time that are interested in the music. The problem is, is that you are fighting a huge battle. It's great that Dweezil is out there performing the music because the saddest part is that he comes closest to having produced the band that I think Frank would've actually hired himself, including Dweezil on "stunt guitar". That would have been ideal, but there's nothing else out there that touches that band, in terms of Dweezil's intention with respect to what he is trying to accomplish with musicians of that caliber.
Mike: I saw them two years back in Boston with Steve Vai and they were just great…
Gail: Yeah, but that was back when everyone believed that you had to have former members of the band. With all due respect, you know, we love Steve Vai – but here's a disappointment that I have to say fairly regularly, and that is that Frank's agenda was to educate because when you educate the audience, you give them the opportunity to experience a wide variety of musical entertainment. Now I can't do that as well as Frank because I'm not in a band. I mean, on stage, he would introduce Stravinsky, Varèse, and Bartok, you know, all sorts of composers and lots of R&B music that he loved when he was a kid and he went out of his way to make sure people heard those sounds and heard that music. It wasn't so important from them to know who the composer was until he did interviews; you don't have to announce it on stage because then people don't really pay attention. The fact is that their ears are being trained; I can't do the ear training that Frank did but I can constantly reinforce the idea that there is a basis; there is a history behind all of this stuff. It's based in intention; the composer's intent is everything. So you can't just have somebody interpret Frank's music because in many cases it's no different than identity theft or character assassination. When people just take it into their own hands and arrange it without getting permission and do terrible things to it that were never intended – because for them it's easier to play that way. So I feel that I have a really strong contract with Frank Zappa to get that music out there the way that he intended it and that's the other part of how the releases work.
But, getting back to the disappointing aspect. For me it is that there are all these people that worked under Frank's baton and not one of them does covers. You know, you would think that somebody would think it'd be a great idea to do a cover version. I'd love to license Frank's music but it's just so inappropriate to license classics in so many ways because they were never written or intended for, especially not those performances, they were never intended for commercial exploitation. If people did covers though, I could certainly consider licensing those if they were something that I thought was sincere and represented the intent of the composer.
Mike: Could you give me an example of something that you would be interested in licensing?
Gail: Well, for example, I get a billion requests for "Willy the Pimp," but there is no way that I am going to let that go out there unless I had some other version because I don't think that it is right to exploit Frank's particular statement and that actual recording. I mean a lot of these records were made back in the day, where these studios themselves were instruments in the hands of the composer and that's no longer true. Everybody works out of a box now that you plug in. Back in the day, the studio was one of the actual instruments and controlling what you could do in a studio gave you as many opportunities in terms of the sounds that you could get as any other instrument. So a studio in the hands of a skilled composer is a whole other animal.
Mike: I read an interview you did where you had this great quote, "my job is to make sure that Frank Zappa has the last word in terms of anybody's idea of who he is and his actual last word is his music." What does that mean in terms of your opinion of copyright as it relates to Frank Zappa?
Gail: Well, I think that every person who creates anything in the realm of intellectual property is protected under the Constitution of the United States of America, because that's what copyright law is. I didn't invent it. I'm not the bad (or good) guy that said this is how it's supposed to go. There's a reason for copyrights to exist because they actually are proof and a working version of the ideas of those people, at this time and this place and I like that idea. The more freedom there is to express these ideas, the better off we all are and that's the reason why I also love and enjoy the Bill of Rights. However, when you consider the means by which other people are trying to take copyright law and try to take it apart at the seams, they're doing it by misinformation. It's disinformation basically. If you want to start a war and pretend that somebody took the first shot, you use disinformation as we've seen in the past, to make that happen. This is war against artist rights and I think that it is not a very good idea, in this day and age, to introduce any kind of arts programming, in terms of educational programs, without introducing also the means by which you protect your rights. It's no different than a signature at the end of the day. It's like this, if somebody is a Muslim or a Christian, do they have the right to make you be one by voting, by majority vote? No, that's clearly not the American way and it's the same with copyrights. If you want to give your music away for free, that doesn't mean you get to join a group that's going to take apart everyone else's rights just because that's what you believe. You have a choice. Go ahead. Give it away. If you think that that's the best way to market your music, by never being able to earn a living from doing that, great. Join that fabulous club and enjoy.
Mike: Any other thoughts on the state of the music industry, and ideas on how to move ahead as an artist?
Gail: Mostly, the business of music these days is a popularity contest and it's the ability of some performer, primarily, to capture the attention of an audience and expand on that. I think as a musician/composer, you can't look at that as competition. I mean this industry was bound to implode on itself because it's like any other. Once the distributors are more famous than any artists they distribute, you've got a problem because there's a lot of money going in to support that structure that shouldn't be in their pockets. You know, its like if an agency is more famous that the actors it represents, in the public's mind, you can see how that's a problem. Well that's what happened to the record companies too, in many ways. The real issue for artists to consider is there are so many times where decisions are being made about your rights and people who are not even including you in the conversation are taking them away from you. A perfect example of that are record ratings. The RIAA bent over and gave away rights that belong to the artists because they wanted their special pay tax bill. We're about to put out a release so you'll see that, Frank's testimony on the issue, but it's a perfect example of the fact that artist's aren't at the table; they aren't represented. So I would say to any artist that wants to make a living on what he does, the first thing is: don't stop doing what you are doing. The second rule is keep on doing it. The third rule is get a very long-range plan and stick to it. You've got to use the force of your imagination harnessing the force of your will and once you put the two of those things together and you have a clear picture of what it is that your trying to do as an artist, it doesn't matter how you change your path in terms of how you accomplish your goals but you just have to keep on doing it and don't let anybody get in your way by telling you that your work is not valuable. Invest in yourself even if no one else does, because that is the only way that you are going to survive. You'll find ways; first of all, there is no competition for what you do. Absolutely none, anywhere. It is hard to get peoples' attention but it happens if you work at it! If you do nothing, it won't happen. That's for damn sure!
By Mike King
Mike King (@atomzooey) is the Director of Marketing at Berklee College of Music's online school, Berkleemusic.com. He is also the author and instructor of three online music business courses at Berkleemusic, including Online Music Marketing with Topspin. His book, Music Marketing: Press, Promotion, Distribution, and Retail came out on Berklee Press last fall.


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In this tutorial you will learn how to quickly create a series of recycled paper textures. You can use these to apply the effect of old paper over illustrations. The goal of this tutorial is to show you some shortcuts for aligning objects on the Artboard by using the Align Panel to your advantage. With this basic knowledge it will become very easy to create many patterns with many different looks in just minutes.
Step 1
Create a new Document, preferably in square format. Since we are working in vector the size does not really matter. I am going for 400 × 400 pixel at 72 dpi.
What we need to start out with are a lot of circles in different sizes. We could take the ellipse tool and place them manually on the Canvas, but this takes lots of time and there is a quicker way to do this. A Scatter Brush can make this quick and easy. Since we don't need precision, we're just going to create a simple Scatter Brush and draw some random lines with it.
Create a circle filled with black. Drag it into the Brush Panel and choose "Scatter Brush" from the window. Choose some random settings, important to get a variety of sizes is to set the Size setting to random. The exact numbers for both Spacing and Scatter do not matter, just drag the numbers around.
Step 2
Take the Brush Tool and draw some lines randomly across the Canvas.
As you can see we now have many small circles in different sizes. Go to Object > Expand Appearance. The Brushstroke will now be broken up into shapes.
They are grouped right now, but we need them separated. Go to Object > Ungroup. Every shape is still in its own group, so go to Object > Ungroup again. You can still see the original Brush Stroke in the selection, delete it.
You can see some shapes are outside of the Canvas, in the next step will take care of this.
Step 3
We want our pattern to be exactly 400 × 400 px big. We could move the shapes that are outside the Canvas manually into the canvas, but depending on your Brush settings there may be way too many shapes outside to do it that way.
Open the Align Panel. On the Artboard setting, choose Align to Artboard. Select all your shapes.
We want them nicely spread on our Canvas. To achieve this, use the Align Panel and its Distribute Objects functionality. Apply Vertical Distribute Center and then Horizontal Distribute Center. Your shapes will now all be contained inside the Canvas and be exactly 400 × 400 px big.
Step 4
So far it looks more like Dalmatian fur, than recycled paper. In recycled paper you often find bits of different colored papers in uneven shapes. To achieve this look, we will apply an Effect on our shapes.
Step 5
Select all shapes and go to Effect > Distort & Transform > Roughen and use the settings as shown in the screenshot. Go to Object > Expand Appearance when you are satisfied with how the shapes look after applying the effect.
Step 6
In order to get a less uniform appearance we want to reduce the shapes opacity. Group all the objects, this group will be the base for the following steps.
Step 7
Duplicate the group and rotate it 180°. Change the color of this group to 50% Black.
Step 8
Create a rectangle in the Canvas size and place it behind the two groups of shapes. Set its color to 25% Black. Now you have our basic pattern. I want to keep it simple and use only 3 colors for the patterns, the background and 2 different colored bits of paper.
Ungroup everything and distribute the elements along the Artboard again, as you did in Step 3. This step will be repeated a few more times later on, so keep it in mind. If there are some blank areas in your pattern, move shapes manually to fill up those gaps.
Select everything and drag into the Swatches Panel. And we are done with the first texture pattern.
Step 9
Now we are going to create our second pattern. This should have shapes in a longer form, pretty much like grains of rice. Select everything but the background square and go to Object > Transform > Transform Each.
These bits of paper are supposed to be wide and thin. By changing the horizontal and vertical Scale non-uniform, we can easily create this sort of texture. As you can see, some shapes exceed the Artboard again, so we repeat the Vertical and Horizontal Distribution step again. Select everything and drag into the Swatches Panel.Your second pattern is done.
Step 10
Let's create a third pattern. This one should be more vivid, but based on our second pattern.
Select all the shapes, without the background, again and go to Object > Transform > Transform Each again. This time we will rotate the shapes to have a messier pattern. It is important to set the Rotation to 180° and to check the Random setting. By doing so each element will be rotated between 0° and 180°.
Repeat Step 3 again to distribute the shapes inside the Artboard again. Drag everything into the Swatches Panel to save the pattern.
Step 11
If you take a closer look at the last pattern we just created, you will notice some gaps at the edges of the Canvas. They will become more visible if we apply the pattern to a bigger shape, so we will have to fix this.
We could do so by dragging shapes around manually. Depending on how your pattern looks, this may take a while.
But we can also use the Align Panel again, to make our lives easier.
Your Align Panel should still be set to Align to Artboard. Select some random shapes, about 10 or more. On the Align Panel, click Vertical Align Top so the shapes all have the same vertical position. To have them spread even more evenly you can additionally align them along the whole width of the Artboard. This way we will also have shapes in the corners of our pattern.
Repeat this step for all 4 sides, with the respective aligning method for each side.
Step 12
Below are the three patterns we created.
The first basic pattern, with circles that were roughened up.
The second pattern, with long and thin paper bits.
The third pattern, with randomly rotated paper bits.
You can create a series of more textures by applying more effects to the shapes, adding more shapes in another color, apply an effect to only some of the shapes, mixing 2 patterns etc.
Of course you can also apply "real" colors to the shapes. I stayed with grey tones, to demonstrate the effect. But you could pick a light yellow tone for the background and some pink or blue color to the paper bits. There is no limit to your imagination. My best advice is to play around as much as you can and stay with whatever looks best to you.
However, now that you know how to create a recycled paper texture, you can use these patterns to enhance vector illustrations and give them a retro look. I will demonstrate this with one of my illustrations. I created a new shape above my illustration, filled it with my pattern and set its Blend Mode to Soft Light and its Opacity to 50%.
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Tech women begin spring season
COOKEVILLE, Tenn. - The Tennessee Tech women's tennis team begins its spring schedule, while the men look to make it two straight wins this weekend as both teams travel to Carbondale, Ill., to play Southern Illinois. Both teams are scheduled to take the court at 9:00 a.m. on Saturday.
Last weekend, the Tech men earned a win against Georgia State to give first-year head coach Kenny Doyle his first victory at Tech. The Golden Eagles captured wins in five of six singles matches, and Alex Chen and Lloyd Harris won their doubles match as TTU evened its dual-match record at 1-1 this spring.
The women's team was scheduled to begin its spring season a weekend ago, but last Sunday's dual match against Mercer was canceled. Instead, this Saturday's match will serve as the team's season opener.
After having some success at tournament this past fall, the Golden Eagle squad has confidence going into the dual meet season. Victoria Cran finished the fall with a 6-2 record, while three other Golden Eagles earned at least two tournament wins. Additionally, the team of Cran and Frederike Kahl performed well, finishing with a 3-1 mark.
This Saturday's match will serve as the only tune up for the OVC season for the women's team as Tech hosts Jacksonville State on February 27 to begin conference play.
On the men's side, Tech will play one more dual meet, against No. 57 Middle Tennessee State, before also starting the OVC season against Jacksonville.


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Memorial Day ceremony set for Monday at Pinecrest Cemetery
A ceremony honoring veterans is scheduled for 10 a.m. Monday at Pinecrest Cemetery on A Street at 12th Avenue South.
The free ceremony is expected to last one hour and is open to anyone who wants to attend.
The Veteran's Day ceremony is being organized by the city's Public Services department along with the American Legion and an area Boy Scouts troop.
For more information, call 561-586-1720.


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About OlymposFamous for its flame-spewing rocks, beautiful beach, pine forest and tree-house hotels as well as its ancient marble ruins amidst its thick forests, Olympos budget travel offers a fascinating destination in the stunning Mediterranean region of Turkey.
Olympos airports include:
•Antalya International Airport
•GazipaÅŸa Airport (under construction)
As a highly important and significant natural heritage site, Olympos conservation is essential to preserve the remains of the ruins found in this region. The surrounding woods and forest are also valuable in terms of environmental impact, and as the area is mostly protected as part of the Olympos Coastal National Park, preservation efforts are in place to protect the natural heritage of the region.
Olympos cultures include the following aspects:
•Greek history
•Roman history
Health precautions in Olympos include the following:
•It is best to avoid tap water, and stick to bottled water
•Vaccinations are essential when travelling to Turkey
•Medical facilities are not found in Olympos, with health care facilities only found in towns nearby
Olympos languages include:
Olympos money & banking information includes the following:
•Some hotels may accept credit cards, but most do not
•There are no banking facilities in Olympos, be prepared before leaving for this destination
•Travellers cheques are very hard to exchange, make sure you do this before leaving for Olympos
•The Turkish currency is the New Turkish Lira
•Banknotes come in 1, 5, 10, 20, 50 and 100 Lira denominations
•The Lira consists of 100 Kurus
Olympos people include:
Olympos local phrases include:
•Merhaba (Mer-ha-ba) Hello
•Gunaydin (guen-eye dhun) Good morning
•Evet (Eh-vet) Yes
•Hayir (h-eye-uhr) No
•Lutfen (lewt-fen) Please
Olympos plants comprise of typical Mediterranean vegetation that is found in this part of Turkey, with forests, woodlands and scrub being the most common vegetation found in and around the area. Common plants include wild grapevines, flowering oleander, bay trees, wild figs and pines.
Olympos religion includes the following:
Safety Tips
•As a popular tourist destination, Olympos is safe for travel
•Scams can occur however, especially for single travellers, be on the lookout for suspicious activity
•Some of the ruins may not be too stable, be careful when exploring these ruins
•Take care on beaches and when participating in water sports
•Be careful when hiking in the area and never hike alone
Olympos local transport includes:
•Mini bus
Travel Books
Olympos recommended travel books include:
•Olympos: A Pirate's Town in Lycia by Ebru Parman
•Turkey Travel Map by Globetrotter
•Lonely Planet Turkey Country Guide by Tom Brosnahan and James Bainbridge
•Turkey Insight Guide by Reinhard Bockhorni
What To Buy
What to buy for holidays in Olympos:
•Spare batteries for torches and camera
•Guide books, bird books, Turkish phrase books
•Thick socks for hiking boots
•First aid kit for travel purposes
•Large refillable water bottle, or plenty of bottled water
•Backpack and money bag
What To Pack
What to pack for safari in Olympos:
•Sunscreen, sunhat and sunglasses
•Lightweight clothing for hot days
•Warm jacket for cooler days
•Bathing suit and towels
•Snorkeling gear
•Comfortable walking shoes plus sandals
•Camera with spare batteries and memory card/film
When To Go
When to go to Olympos:
•Spring has the best weather, with long days and less tourists
•Autumn has mild weather, with shorter days and more rain
•Summer is hot and dry, with clear weather and more tourists
•Winter is typically cold and wet, with few tourists
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The highlight of my trip had to be Gweru in Zimbabwe, it was my idea of paradise. So much to do there with the animals and the location of it was just beautiful!
— Anne B (27) from Ireland
The trip was great! A very relaxed ride in a mokoro, followed by camping in the Okavango Delta and watching the animals on the islands was awesome!
— Michael & Silke from Germany
I loved every millisecond of the entire trip... Guess what I did in Swakopmund? I skydived out of a plane - woohoo was that AWESOME :-)
— JoJo E (61) from Switzerland
Finally home and had a great time…. I loved the shark diving, Sossusvlei and Himba people. Saw Lions, a Leopard, Elephants, Giraffes, everything really! Thanks for…
— John E from Canada
I did not believe in god till i visited Chobe National Park.
— Juca from Uruguay
Do this on the Cape Town to Nairobi with Gorilla Trek.Tours with Gorilla Trekking in Uganda
Do this on the 14-day Kruger and Mozambique Safari.Tours with Kruger National Park Game Drive
Do this on the Best of South West Africa.Tours with Okavango Delta Mokoro Excursion
Do this on the Best of East Africa.Tours with Serengeti National Park Excursion
Do this on the Best of South West Africa.Tours with Victoria Falls Flight of Angels
Do this on the Best of South West Africa.Tours with White Water Rafting on the Zambezi River
Visit Etosha National Park on the Best of NamibiaTours through Etosha National Park
Visit Okavango Delta on the Best of South West AfricaTours through Okavango Delta
Visit Serengeti National Park on the Best of East AfricaTours through Serengeti National Park
Visit Victoria Falls on the Best of South West AfricaTours through Victoria Falls
Visit Zanzibar Island on the cape town to darTours through Zanzibar Island


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Scottish Terrier Puppies For Sale in Elkhorn, Wisconsin - Find More Info About Taking Home a Scottish Terrier Puppy Right Here
The Scottish Terrier Dog Breed, also commonly called the Scottie, are an independent, stubborn, and rugged breed originated in Scotland. All of our breeders remain an important part of our site, which is why our friendly, local dog and puppy listing directory is recognized as top of the line, healthy, happy puppies. We take tremendous pride in the reputation we have developed and are proud of our presence in the area. If you are interested in our puppies for sale, then indeed take a peek at our spectacular selection and choose the newest member to your family. You'll definitely be glad you did!!
Scroll down to check out all the puppies and breeders near you.
Contact us now to learn how we can help you locate the type of breeder or puppy you are looking for if you don't see what you are looking for.


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Hot Cross Buns! 3 gmas
We 3 gmas baked Hot Cross Buns... for Good Friday, but baked early due to one of us traveling out of town on our regular baking day... Nothing spectacular to report on this bake, except the amazing taste of this recipe we got from the Home page on this site!!! Here are the pictures... we are actually pretty close to the same this time... Barb left off the glaze because of hubby's diabetes... other than that, you would think we baked in the same kitchen. I am loving these sisterly bakes across the country, and thanking God for the gift of Easter morning.
Helen's Above and Mine Below
And there you have it.
Not near so many of these little guys left now... Very tasty!
For Easter we are baking Babka!
See you here.
Diane, Barb, and Helen


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Photos:Aaron Dodds
Words: Reid Casner
Captions: Pat Bridges
If day 1 of Superpark 14 was your first day pledging a fraternity than day 2 was your first hangover. Riders woke up in a slightly unfamiliar place, still experiencing the effects of the day prior. Like most really good hangovers the morning started out great: you get up feeling invincible and dive head first into the day. In this case that equated to boycotting speed-checks and picking up where you left off on the jump lines. At about 11 o'clock the day/hangover took a turn for the worse (as they usually do). Clouds rolled in and wind increased. It got grey and people found themselves wondering how they'd gotten there., another familiar sensation of the hangover. Fortunately for all, Superpark 14 is sponsored by Gatorade; any hangover's best friend. After a quick lunch and some hydrating shredders found their second wind and spread out in packs to various features throughout the park. With flat light and unpredictable gusts most favored Loon's Whack A Mole mini jump line: an in-ground set of four bmx-like tabletops with ample room for transfers and creativity. Backies, shifty's , tweaks, and party trains ruled the session until every possible route and line had been exasperated. It was all a lot to take in, but the performances of Haldor Helgason, Zack Hale, Tucker Andrews, Jamie Nichols, Brandon Hammond, Sean Black, the Think Thankers, and Nick Dirks were burned into memory. If you weren't at The Whack A Mole you were at the HCSC quarterpipe getting a feel for the 30' wall of transition. Things couldn't get too hot with the rouge wind, but all are in agreement when the skies clear it's going to be on. After a few airs dancing with the 10' range we called it early in hopes of better weather in the near future. Sometimes with a really bad hangover you just have to go back to bed and start fresh the next day, and that's just what we're going to do. See you tomorrow.