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ContributorsJim Furtado
Founder & Publisher
Editor - Baseball Primer
Baseball Newsstand
— All the News That's Fit to Link
Friday, April 11, 2014
Steve Goldman: To the Mats with Eduardo Nunez hate mail
Sorry Ma, Forgot to Take Out the Trashy Yankee Fans…till now.
Read More...
Repoz Posted: April 11, 2014 at 01:27 PM | 12 comment(s)
Beats: yankees
Seduction of 'donut contracts' has MLB players leaving millions on table
Baseball players are underpaid.
Read More...
eddieot Posted: April 11, 2014 at 12:03 PM | 42 comment(s)
Beats: mlb, mlbpa, salaries
Primer Dugout (and link of the day) 4-11-2014
Milwaukee Sentinel, April 11, 1914:
Read More...
Dan Lee prefers good shortstops to great paintings Posted: April 11, 2014 at 08:08 AM | 7 comment(s)
Beats: bill killefer, dugout, federal league, history, reserve clause
Frank Deford: Bud Selig and Derek Jeter: Time To Root, Root, Root For Final Innings
Don't experiment…just buy Deford!
Read More...
Repoz Posted: April 11, 2014 at 07:25 AM | 41 comment(s)
Beats: yankees
OMNICHATTER for 4-11-2014
What's the 411 in baseball on 4-11? Well, discuss it in the OMNICHATTER.
Gamingboy Posted: April 11, 2014 at 12:05 AM | 105 comment(s)
Beats: omnichatter
Thursday, April 10, 2014
Scouting Children: Why MLB Has Teams Competing For 14-Year-Olds
Read More...
The John Wetland Memorial Death (CoB) Posted: April 10, 2014 at 11:01 PM | 29 comment(s)
Beats: international draft
PHOTOS: Is Michael Pineda using pine tar to shut down Red Sox?
Thanks to Wormeye.
Repoz Posted: April 10, 2014 at 09:03 PM | 91 comment(s)
Beats: red sox, yankees
Avisail Garcia needs shoulder surgery, will miss rest of season
I haven't seen so many injuries in a sport since Harvey Keitel got his in Taxi Driver.
Read More...
Repoz Posted: April 10, 2014 at 04:16 PM | 20 comment(s)
Beats: white sox
A's remove Jim Johnson from the closer role
SoCalDemon Posted: April 10, 2014 at 01:21 PM | 7 comment(s)
Beats: athletics, closer role, there's fifty feet of crap, and then there's us
If Hank Aaron Had Never Hit a Home Run, Would He Be a Hall of Famer? | FiveThirtyEight
This just in…Hank Aaron was no Dave Kingman.
Jim Furtado Posted: April 10, 2014 at 12:01 PM | 73 comment(s)
Beats: hall of fame, hank aaron, sabermetrics
Astros game gets a 0.0 TV rating again
SoCalDemon Posted: April 10, 2014 at 10:26 AM | 42 comment(s)
Beats: astros, tv ratings
Granillo: David Ortiz Sets the Record for Slowest Tater Trot
Wow! 32.91 seconds! That's about 25 minutes in instant replay time!
Read More...
Repoz Posted: April 10, 2014 at 10:20 AM | 26 comment(s)
Beats: red sox
Mad Met: Tommy Davis on the 1967 New York Jazz Scene
See that's the thing. I had one of my best years in New York and I think a lot had to do with my mindset. You look at the back of the baseball card and notice a season that sticks out from the others and you wonder why the guy played so well that one particular year. I was very happy in New York. My wife and children were back in L.A. and I missed them terribly, but the ambient, rolling sounds of the subway trains as I fell asleep at my mother's house after home games, the common ...Read More...
djordan Posted: April 10, 2014 at 09:59 AM | 7 comment(s)
Beats: mlb, tommy davis
Primer Dugout (and link of the day) 4-10-2014
Pittsburgh Press, April 10, 1914:
Read More...
Dan Lee prefers good shortstops to great paintings Posted: April 10, 2014 at 09:44 AM | 11 comment(s)
Beats: buck herzog, dugout, history
Ryan Braun is the new Phillies killer and he may have mocked you last night, Philly fans
Mr. Braun, are you mocking us with that output? #GwynneShares
Read More...
Repoz Posted: April 10, 2014 at 09:14 AM | 12 comment(s)
Beats: brewers, phillies
Matt Moore has torn UCL; Tommy John surgery possible
Read More...
Repoz Posted: April 10, 2014 at 06:59 AM | 13 comment(s)
Beats: rays
Olbermann: Jonah Keri on Baseball in Montreal
And Up, Up & Away we go!
Repoz Posted: April 10, 2014 at 05:38 AM | 6 comment(s)
Beats: expos, history
OMNICHATTER for 4-10-2014
I was going to write all the starters' names down and highlight the notables, but Andrelton Simmons caught them and then threw them out at first from the outfield grass. Damn, he's good.
Gamingboy Posted: April 10, 2014 at 12:02 AM | 46 comment(s)
Beats: omnichatter
Wednesday, April 09, 2014
A's Jim Johnson sinking into a rut
theboyqueen Posted: April 09, 2014 at 11:40 PM | 19 comment(s)
Beats: athletics
[Audio] Dr. James Andrews, surgeon, on increase in Tommy John surgeries - MLB Network Radio
Interesting interview with Dr. James Andrews about Tommy John surgery where he talks about how many players are developing elbow issues as children.
Jim Furtado Posted: April 09, 2014 at 09:53 PM | 10 comment(s)
Beats: dr. james andrews, medical, tommy john surgery
Sommer: REMARKABLE INFORMATION! Baseball is Back, Staples an' all!
Tim Sommer: Noted record/haiku producer…on baseball.
Read More...
Repoz Posted: April 09, 2014 at 09:22 PM | 4 comment(s)
Beats: music
Braves Set American Flag on Fire At their Home Opener
As a scheduled part of their home opener, the Atlanta Braves set off fireworks before their game against the New York Mets on Tuesday. As an unscheduled part of their home opener, the fireworks set fire to the American flag that flies above the Braves Vision video screen in center field.
BourbonSamurai Is a Lazy Nogoodnik Posted: April 09, 2014 at 08:34 PM | 24 comment(s)
Beats: braves, turner field, love of america's enemies, the south shall rise again
Angels' Josh Hamilton set for thumb surgery, likely out 6-8 weeks
and by that time the instant replay result should be in.
Read More...
Repoz Posted: April 09, 2014 at 06:33 PM | 22 comment(s)
Beats: angels
Billy Hamilton scores on infield popup
It's ridiculous that this can happen at the major league level.
Athletic Supporter can feel the slow rot Posted: April 09, 2014 at 04:40 PM | 59 comment(s)
Beats: billy hamilton, cardinals, infield fly, reds
Joey Votto dressed as a Mountie when he appeared on MLBN's Intentional Talk
SoCalDemon Posted: April 09, 2014 at 03:22 PM | 3 comment(s)
Beats: awesome, reds
MLB: Relief Awards named for Rivera, Hoffman
Read More...
The Clarence Thomas of BBTF (scott) Posted: April 09, 2014 at 03:16 PM | 20 comment(s)
Beats: awards, hoffman, mariano rivera, relievers
Cameron: Numbers don't lie: The decline of Pujols is stunning
Read More...
Repoz Posted: April 09, 2014 at 02:32 PM | 220 comment(s)
Beats: angels, sabermetrics
Chris Colabello Finds Comfort at the Plate
From the Worcester Tornadoes to the AL Player of the Week.
DL from MN Posted: April 09, 2014 at 12:40 PM | 3 comment(s)
Beats: twins
Angels' Josh Hamilton disputes 'terrible' replay review ruling
That replay took so long…by the time they came back Spencer Gordon Bennet's lost film "Play Ball" was discovered!
Read More...
Repoz Posted: April 09, 2014 at 10:24 AM | 55 comment(s)
Beats: nfl
Calcaterra: Frank Thomas thinks the balls are juiced this year
The Big Feller has spoken.
Read More...
Repoz Posted: April 09, 2014 at 09:00 AM | 17 comment(s)
Beats: history
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subset: commoncrawl


text:
I am wondering what you would suggest for my problem.
If I have a disk with MBR partition table. If I back up the current windows 7
OS on there with Todo sector by sector this will be saved.
Then If I change the disk from MBR to GUID/GPT, would it be true that I would
not be able to restore the windows 7 above sector by sector back to the
converted disk. (Since it was backed up under MBR)?
What way would I be able to backup the original win 7 MBR... and be able to
restore it to the new GUID/GPT Disk?


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The Wilson Steam 96 rewards groundstrokes with a very high degree of control, useful power and a maneuverable feel. A slightly extended length and open 16x20 string pattern not only help the player produce added spin, but also allow aggressive players to load the ball with a little extra pace. From the baseline our TW playtesters discovered high precision thanks to the crisp response. The easy access to spin made it possible to find targets even on the most aggressive swings. At 11.1 ounces strung, the Steam 96 provides enough maneuverability for stronger intermediates and advanced players to explode through contact. The higher swingweight (330 RDC) and even balance provides sufficient stability on all but the most powerful exchanges. At 27.25 inches this racquet gives the player great leverage on serves. This fact was not lost on our playtesters who settled into very confident serving during our month-long review. Best suited to the 4.0+ player who wants a spin-friendly racquet that provides exceptional accuracy from all areas of the court.
|Head Size:
96 sq. in. / 619.35 sq. cm.
|Length: 27.25in / 69.22cm
|Strung Weight: 11.1oz / 314.68g
|Balance: 0 pts EB
|Swingweight: 330
|Stiffness: 70
|Beam Width: 22.5mm / 22.5mm / 22.5mm /
|Composition: Basalt
|Power Level: Low
|Stroke Style: Full
|Swing Speed: Fast
|Racquet Colors:
Red/ White/ Black
|Grip Type: Wilson Sublime Grip
|String Pattern:
16 Mains / 20 Crosses
Mains skip: 7T 9T 7H 9H
One Piece
No Shared Holes
|String Tension: 50-60 pounds
|Similar Racquets
Wilson Juice Pro 96 BLX
This brand new offering to the Wilson line of racquets is a great choice for the advanced player. Stung weight: 11.9 ounces. String pattern: 16/20. Swingweight: 336.


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Some may think of Bridesmaids as a chick flick, but it isn't. What it is, is a really funny and very smart comedy that lets everyone know that humor knows no gender.
Bridesmaids opens with Annie Walker (Wiig) in the midst of her booty call with a very sleezy but hot Ted (Jon Hamm) who constantly seems like he has better things to be doing than putting up with Walker. The movie then transitions to Walker meeting up with her childhood friend Lillian (Maya Rudolph) who asks her to be her maid of honor.
Walker finds herself battling for the title of Lillian's BFF with trophy wife Helen (played perfectly by Rose Byrne) who always seems to be doing everything right. Helen provides a constant contrast to Walker who is down on her luck after the closing of her bakery and the loss of her job. The competition, along with the loss of her business and the cold shoulder of Ted, proves more than Walker can handle and she just goes a little crazy.
The laughs are based in a world of complex and very human characters with real emotional payoffs, which, paired with the ensemble's great timing, makes for a riot. And Bridesmaids isn't afraid to get straight up bawdy either. Some scenes tread a fine line between funny and just lowbrow and gross, but the movie effectively uses the turn of events that spawns said scene to further push Walker to the deep end. The humor and story work very well together, and that is a credit to Wiig's writing and the direction of Paul Feig (Freaks and Geeks).
A Zach Galifianakis-esque Melissa McCarthy threatens to steal a few scenes as the over-the-top role of the groom's sister. And again McCarthy's role isn't solely a humorous one, as she provides some comfort to Wiig's character in her time of need.
Now, it's not all roses, fellow bridesmaids Rita (Wendi McLendon-Covey) and Becca (Ellie Kemper) could have used more to do and Walker's British brother-sister roommates (Matt Lucas and Rebel Wilson) could have used less. And the pacing was kind of to the point to where the movie dragged a bit toward the end, but that's not uncommon with producer Judd Apatow's movies.
This movie is also notable as Jill Clayburgh's final role — the actress died last year of leukemia. Clayburgh played Walker's mother, who, despite never having drank alcohol, is an AA sponsor.
Bridesmaids strikes a good balance of heart and humor and has a pretty strong story structure to hold it all in place.


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Loud and proud. Amp up the attitude in your decor with these rock star bath coordinates.
- Rock-and-roll patterns and designs provide musical appeal.
- Details:
- Online exclusive
- Promotional offers available online at Kohls.com may vary from those offered in Kohl's stores.


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U.S. Open: Hairstyles to copy off the court
Julien Farel talks about hair with the same enthusiasm you might find in Roger Federer's voice when he talks about winning a title . . . and that's what makes him perfect for his latest gig.
The French stylist owns two namesake salons in Manhattan and has worked with A-list stars all over the world. But it's this time every year that he really looks forward to, because he gets to spend fast-paced days and nights at the U.S. Open getting tennis stars ready to hit the court (and the after-parties).
Farel will host a pop-up salon at Arthur Ashe Stadium throughout the tournament, where he expects Rafael Nadal, among others, to stop in for a trim.
"I try to give them the competitive edge to shine on the court," he says. "It's about creating that power look and playing up the personality and energy of each player." For the ladies, Farel says a braid is the way to go. "It's a beautiful style, and it doesn't move," he says. "They don't have to worry about anything getting in their face when they're on the court."
For the guys, who Farel notes care about their hair just as much, it's a "South American look" that dominates, he says. "You look at Nadal, Federer, their hair has life to it."
Farel took us through some of the players' hottest looks, and told us how to get them for ourselves.
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Rivals250 WR Miles Boykin wants to commit before his senior season and is lining up visits. Find out where he is headed and much more as Josh Helmholdt goes Around the Midwest. [details]
CLASS OF 2015: Rivals100 - Rivals250 - Position ranks | Team ranks
RIVALS CAMP SERIES: Baltimore/DC - Register | Twitter: @Rivals
2014 Rivals100 Five-Star Challenge Roster


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- Financial Information and Services
Langston Hughes Festival
Welcome to the Langston Hughes Festival, an annual extra-curriculum event from the Department of English in the Division of the Humanities and the Arts at City College.
Our Mission
The Langston Hughes Festival explores the literary legacy of the poet laureate of Harlem, James Langston Hughes (1901-1967). Hughes rose to become a major American poet and central figure of the Harlem Renaissance. He lived in and traveled to many places, including Africa, Mexico, France and Asia. Upon the publication of his first volume of poetry, The Weary Blues (1926), he inaugurated a tradition of poetry inflected with the Afrocentric rhythms and tonalities of blues and jazz, and remained dedicated to the depiction of urban African American folk life. Hughes also wrote plays, a novel, two autobiographies and newspaper columns.
The Medal
The Langston Hughes Medal is awarded to highly distinguished writers from throughout the African American diaspora for their impressive works of poetry, fiction, drama, autobiography and critical essays that help to celebrate the memory and tradition of Langston Hughes.
We also sponsor salons, scholarly conferences and symposia as well as a Choral Reading Festival for students grade K through 12 and a Young Scholar's High School Essay Contest.
Affiliated Institutions:
The Langston Hughes Society


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by Mike Masnick
Thu, May 16th 2013 7:38am
Filed Under:
blocks, censorship, copyright, due process, filter, isp blocks, uk
bpi, grooveshark, ppl
by Leigh Beadon
Tue, Apr 23rd 2013 1:24pm
Filed Under:
emi, escape media, grooveshark, mp3tunes, umg
Grooveshark Loses Latest Round In Court, In A Ruling That Could Gut The DMCA's Safe Harbors
from the letter-and-spirit dept
The last big news in the ongoing fight between Universal Music Group and Grooveshark (and its parent company Escape Media) came back in July, when a New York court rejected UMG's argument that the DMCA's safe harbors didn't apply to pre-1972 sound recordings, because, technically, those recordings are not covered by federal copyright law. This was in keeping with the ruling in the fight between EMI and MP3Tunes, and seemed most consistent with the intent of DMCA safe harbors.
Naturally, UMG appealed, and in doing so made some compelling arguments about the wording of the law. The appellate court agreed, and has now issued pretty much the opposite decision: pre-1972 sound recordings are not covered by the DMCA (pdf and embedded below) and thus Grooveshark has no DMCA safe harbors for such songs.
There are a few different parts to the ruling, but the core argument is straightforward: section 301(c) of the Copyright Act explicitly states that no "rights or remedies" under common law copyright on pre-1972 recordings shall be "annulled or limited" until 2067, and it's pretty hard to argue that the DMCA doesn't do that:
Initially, it is clear to us that the DMCA, if interpreted in the manner favored by defendant, would directly violate section 301(c) of the Copyright Act. Had the DMCA never been enacted, there would be no question that UMG could sue defendant in New York state courts to enforce its copyright in the pre-1972 recordings, as soon as it learned that one of the recordings had been posted on Grooveshark. However, were the DMCA to apply as defendant believes, that right to immediately commence an action would be eliminated. Indeed, the only remedy available to UMG would be service of a takedown notice on defendant. This is, at best, a limitation on UMG's rights, and an implicit modification of the plain language of section 301(c). The word "limit" in 301(c) is unqualified, so defendant's argument that the DMCA does not contradict that section because UMG still retains the right to exploit its copyrights, to license them and to create derivative works, is without merit. Any material limitation, especially the elimination of the right to assert a common-law infringement claim, is violative of section 301(c) of the Copyright Act.
For defendant to prevail, we would have to conclude that Congress intended to modify section 301(c) when it enacted the DMCA. However, applying the rules of construction set forth above, there is no reason to conclude that Congress recognized a limitation on common-law copyrights posed by the DMCA but intended to implicitly dilute section 301(c) nonetheless.
Under such circumstances, it would be far more appropriate for Congress, if necessary, to amend the DMCA to clarify its intent, than for this Court to do so by fiat.
Take note of that last bit, because this ruling has made it more true than ever. And that's where the problems come in. It seems pretty clear that there is some sloppy drafting in how the DMCA is written (which isn't a surprise), in that what you have is wording that can be read this way, even though it clearly goes against the intent and purpose of the DMCA. If the DMCA's safe harbors don't apply to pre-1972 recordings, then the DMCA's safe harbors no longer apply at all to any service that includes music. That can't be what Congress intended, even if the wording of the law can be read that way.
Thus, if you go strictly by the wording, while ignoring the intent, the logic of the decision is sound, but the implications are disturbing: as Grooveshark pointed out in their defense, this interpretation would gut the DMCA. One of the key purposes of safe harbors was to prevent online services from needing to proactively scan for infringing works, since that would drastically and unfairly limit their growth, and we wouldn't have things like YouTube today if that were the case. But if pre-1972 recordings (which is plenty of material) are not included, then user-generated content sites do have to scan everything. And while it might be somewhat easier to identify pre-1972 recordings than it is to identify infringing uploads, it would still be insanely prohibitive — not to mention the massive loss to our culture from having a huge chunk of music history mostly vanish from the internet.
It's a little unclear just how far-reaching this ruling will be (it's at the state level, and it is in itself explicitly contradicting the earlier MP3Tunes ruling, which it declares to be "wrongly decided") but the potential implications are huge. Exempting all pre-1972 recordings from the DMCA would impact all corners of the internet in a bad, bad way. The only optimistic thought is that perhaps it would force congress to revisit the law, and we could finally push for a Digital Millennium Copyright Act that actually works in the digital millennium.
by Mike Masnick
Tue, Mar 12th 2013 4:03pm
Filed Under:
case studies, connecting with fans, exposure, promotion, quiet company
Case Study: Band Embraces Grooveshark And Catapults Its Career
from the well,-look-at-that dept
Now, admittedly, many of these companies and services were shut down for some form of copyright infringement or inducement to infringement. So, you can argue that they were illegal. But if we went back even further, we saw the same complaints against many other platforms including the radio, cable TV, the VCR, the DVR, the MP3 player and online video services like YouTube. And yet, every one of those has survived, and they have turned out to be very important parts of the market. In fact, you can look and see how each of those helped expand and grow markets, even as they were decried as being tools of infringement when they first came on the scene.
This is why I'm so fascinated by the artists who are the early adopters -- who jump onto these platforms in the early days and show how they can be used to the artist's own advantage. Because it's through those people that we learn how these platforms, be they tools of infringement or not, can quite possibly help artists much more than hurt them -- if those artists learn to use the tools correctly.
All of that is prelude to this case study, concerning a band called Quiet Company that teamed up to take part in Grooveshark's new Artist Development project, in which Grooveshark would see if it could help "break a band" via the internet. Grooveshark, of course, is a company that is currently being sued by a large chunk of the recording industry for its music player. In talking to various artists about it-- even those who often are more willing to experiment with new platforms -- I've seen many artists really dislike Grooveshark. But, clearly, it has built up a giant, loyal and engaged user-base. And, as always, it seems that, if done right, artists could embrace that to a positive effect, which is appears to be what happened with Quiet Company. First up, if you'd like to hear some of their music, you can click the widget below:
There are a number of interesting tidbits in the case study looking at an entire year or so in which Grooveshark worked to help Quiet Company. One thing that's important to note, of course, is that the band didn't just rely on Grooveshark, but worked to use Grooveshark in combination with other platforms to get attention. Grooveshark seemed to drive steady growth in part by using its own tools to help drive growth elsewhere, such as YouTube. Take a look, for example, at the following timeline:
Furthermore, a closer look at Grooveshark promotions, shows that they also impacted things like visits to the website and Facebook likes.
In talking to the band's manager, he repeatedly pointed out that the exposure from Grooveshark made all the difference in the world, and took the band from having a loyal and devoted local following to a band that really had a big following in many places around the globe. He pointed out that the key, in his mind, was that this was a promotional platform, with the focus being on building up a fanbase who loved the music, and to then tour to make money to support that. When asked if there were any "lessons learned" or regrets, the one thing he noted is that they should have been better prepared to go out on tour as soon as things started to break. He felt that they could have done a bit more if they were ready to tour more widely earlier last year.
Something else really interesting came out of the case study and the discussion: after all of this, Quiet Company actually got a private investment from a group of fans to continue what they're doing. That is, rather than signing with a record label, a huge fan actually approached the band and asked them about investing in them, and set up a deal (with a few other fans) that is better than a record deal in that it's very artist friendly. Quiet Company's manager told me that this fan has been a big supporter of the band for a long time -- often buying a bunch of tickets to their shows and just giving them out to a bunch of her friends, and they were pleasantly surprised when that turned into her investing directly in the band.
Separately, he notes that the band believes strongly that this kind of thing was a result of the band really working hard to connect closely with their fans, and that with this greater exposure, it lets them try to do that on a larger scale.
This isn't, of course, to say that every artist should automatically jump on board with Grooveshark. It's just yet another case study in a growing list that shows that where artists carefully and smartly construct a broad strategy that leverages various tools to help promote and distribute their works, combined with connecting with the fans, they can have really compelling success stories. Even as some decry those platforms for claimed copyright infringement, it seems like these platforms can be helpful in doing the most important thing: building a fanbase. And, from there, the band needs to work to connect with that fanbase, and give them ways to support the band. It would be great if, rather than attacking such platforms over and over again, we spent more time like this, looking at ways that artists can use various platforms to their own advantage to succeed.
by Mike Masnick
Tue, Jul 10th 2012 2:42pm
Filed Under:
common law copyright, copyright act, dmca, safe harbors
escape media, grooveshark, hp, ingrooves, universal music
Judge Rejects Key Universal Music Argument In Legal Fight With Grooveshark
from the overreach... dept
On the key point, Grooveshark has long argued that what it does is really no different than what YouTube does, in that it allows individuals to upload content, and if it receives a takedown notice, it proactively follows the DMCA's takedown process and removes that content. Realizing that getting around the DMCA's safe harbors was a longshot, Universal Music instead reverted to a somewhat twisted argument, saying that pre-1972 sound recordings are not covered by the DMCA, and thus there are no safe harbor protections. To understand why they'd make this argument, you can read up on the history of pre-1972 copyrights for sound recordings -- a huge mess that the US Copyright Office is still trying to figure out how to fix. But, the short version is that, currently, sound recordings from before 1972 are not technically under US federal copyright law, but various (and often crazy) state laws. Since the DMCA refers to works under federal copyright law, Universal Music's arguments is that the DMCA doesn't apply, thus the safe harbors don't apply, and Grooveshark can't rely on its safe harbor compliance to avoid liability.
If this argument sounds somewhat familiar, that's because it's the same one EMI tried to use against MP3Tunes, which failed spectacularly. The NY state court in this case appears to be well aware of that, citing the MP3Tunes case at length.
An internet service provider which seeks to benefit from the safe harbor provisions of the DMCA is required, as a condition of receiving such protection, "expeditiously to remove, or disable access to, the material that is claimed to be infringing or to be the subject of infringing activity." .... Certainly the thrust of the DMCA is to relieve internet service providers of the initial need to ascertain the copyright status of the sound recordings that they make available, to place the burden of asserting copyright ownership on the owners of such copyrights, and to require the internet service providers to "take down" infringing material, upon receipt of a valid notice of infringement. There is no textual, or other reason, to think that Congress intended to limit that distribution of responsibilities to only post-1972 recordings.End result? Sorry, UMG, but you can't just use this loophole to get around the clear and stated purpose of the DMCA's safe harbors.
Moreover, the phrase "copyright owners,".... is applicable to the owner of a common law copyright, no less than to the owner of a copyright under the Copyright Act....
This Court is not attempting to extend the Copyright Act to pre-1972 Recordings, but, nonetheless, does find, based on the relevant language of the statutes and the analysis discuss above, that the safe harbor provision codified by section 512(c)(1) of the DMCA is applicable to Pre-1972 Recordings.That shoots a pretty big hole in UMG's case, as it's now going to have to show that Grooveshark's activities cause them to lose DMCA safe harbors, which is a much bigger hill to climb.
Separately, UMG failed in trying to get various counterclaims dismissed. The focus here was on claims that UMG contacted two companies -- HP and INgrooves -- to get them to back out of deals with Grooveshark. There are a bunch of different arguments (most pretty technical) that UMG makes to assert that these counterclaims should be dismissed, but the court isn't buying most of them. For each precedent UMG brings up, the court highlights that the facts are different here and UMG's reliance on particular caselaw "is misplaced."
UMG had a couple of relatively minor victories: having one of the counterclaims dismissed (one having to do with antitrust activity, because Grooveshark only showed harm to itself, rather than competition in general) and also a rejection of an attempt to use Section 230 safe harbors, which explicitly carve out intellectual property. Grooveshark/Escape Media tried a rather convoluted argument (sort of the reverse of UMG's pre-1972 DMCA argument, claiming that Section 230 safe harbors could apply to works covered under state copyright law). The court rejects this as silly, but it's effectively meaningless since it still grants the DMCA's safe harbors (which, admittedly are not quite as strong as the Section 230 safe harbors, but this is definitely the more reasonable result).
All in all, there's still a long way to go in this case, but today's ruling is clearly a pretty big loss for UMG and a win for Grooveshark.
by Mike Masnick
Mon, May 21st 2012 1:25pm
Filed Under:
anonymous speech, evidence, first amendment, log files, subpoena
digital music news, grooveshark, universal music
Judge In Grooveshark Lawsuit Orders Blog To 'Preserve' Logs That Had Already Been Deleted
from the dangerous-ruling dept
Unfortunately, the judge has ruled against Digital Music News, and ordered it to produce the information. The judge has indicated that he will not require this information during the appeal that DMN's lawyer indicated they would file... but did require "preservation" of the evidence during that time. Beyond the shield law and First Amendment issues raised here (we'll get to those), this raises a very, very troubling proposition for any website that regularly overwrites its log files. Escape Media had argued that even if DMN overwrote the log files, it should be required to hand over the information on the subpoena just in case the overwritten data was still available and could be recovered.
So, what do you do in this situation? Under the judge's order to "preserve" data that has already been deleted, what is a site to do? Do they have to immediately stop using their existing hardware and set up an entire clone -- hanging onto all of the original hardware for who knows how long, just in case a forensics expert can find a tiny piece of (useless for this case anyway) data that has been overwritten probably a hundred times already? That seems crazy. Paul Levy, from Public Citizen, who is representing DMN on this issue, highlighted many of the issues in his blog post about this:
The imposition of data preservation requirements on a journalist who is not a party to the litigation raises questions apart from the merits of the order. Journalists need to be able to discard data when they no longer have any of their own use for it. Yes, "the public has a claim to every man's evidence," but don't members of the public who are not involved in litigation have the right to discard information despite the fact that it might turn out to be useful evidence for somebody else's case? Does the public have a claim to heroic efforts on every man's part? Shouldn't there be higher standards for subpoenas demanding intrusive searches for discarded data in the hands of third parties?It really is quite a difficult issue, and if the ruling stands, could become a massive headache for any company in California.
The problem is compounded when it is a journalist that has been subpoenaed. To what extent does society have any entitlement to make journalists in particular take heroic measures, such as searching the nooks and crannies of their computer equipment for fragments of discarded data? The judge was sensitive to the fact that our client here is a journalist, telling Escape Media that he was not prepared to allow it to make any general search of Digital Music News' computers. But an issue that we may have to pursue on appeal is whether a journalist should ever have to undertake such drastic preservation efforts in aid of a lawsuit in which he is not involved, particularly given the relative unlikelihood that fragments of identifying data remain on his computers somewhere.
Indeed, the problem is broader than just journalists. Companies often keep log files with respect to server visits (and hosted comments), but there is little business justification for keeping those logs forever; so generally speaking they are discarded after a period of time (EFF's best practices recommendations are worth a look in this regard). Does the mere act of discarding log files set a company up for the possibility of a demand for forensic examination of the underlying servers, in the hope that some fragment of the data might be recovered? In this regard, the trial court's order has chilling implications for other California companies, even beyond the issue of journalists.
Issues of how to preserve the data remain to be decided. This is not like just leaving one of your file cabinets untouched for a period of time; it is not even as easy as making sure you don't delete any of your email. Preserving the web site while creating a copy of the underlying servers is a complicated process, requiring the services of a forensic specialist, and the cost could be substantial. The estimates that we have been given are well into the five figures; but even the cost of several thousand dollars would be an enormous imposition on this small company.
Separately, we should not ignore the First Amendment and shield law issues. DMN is not a party in this case, and it's not even clear why this information is needed. Escape/Grooveshark can and should point out that the information contained in the comment is pure hearsay so it shouldn't have to deal with it in the original case. The company has not filed a defamation claim against the commenter and does not appear to have met the high bar required to unveil an anonymous commenter anyway. This is a pretty big concern for any journalist or blogger out there. Being dragged into a third party dispute because someone comments on your site can represent a pretty big problem for a lot of smaller sites.
While Grooveshark's legal fight against the major labels certainly raises some interesting copyright questions, it's disappointing to see them going down this path and potentially creating serious problems not just for Digital Music News, but tons of journalists and websites.
by Mike Masnick
Tue, May 1st 2012 2:40pm
Filed Under:
anonymous comments, digital music news, subpoena
grooveshark, universal music
Grooveshark Tries To Force Digital Music News To Unveil Commenter, Ignoring First Amendment
from the unfortunate dept
I work for Grooveshark. Here is some information from the trenches:To be honest, when I saw the original filing mentioning this comment, I was pretty surprised that Universal would use it in the lawsuit. After all, it's an anonymous comment on a blog. It's pure hearsay, without any actual evidence that the commenter actually works at Grooveshark. It's completely useless as evidence.
We are assigned a predetermined ammount of weekly uploads to the system and get a small extra bonus if we manage to go above that (not easy).The assignments are assumed as direct orders from the top to the bottom, we don't just volunteer to "enhance" the Grooveshark database.
All search results are monitored and when something is tagged as "not available", it get's queued up to our lists for upload. You have to visualize the database in two general sections: "known" stuff and "undiscovered/indie/underground". The "known" stuff is taken care internally by uploads. Only for the "undiscovered" stuff are the users involved as explained in some posts above. Practically speaking, there is not much need for users to upload a major label album since we already take care of this on a daily basis.
Of course, you might think that Universal Music would then issue a subpoena to discover who the commenter was. But... instead Grooveshark issued a subpoena (pdf and embedded below) seeking to identify the commenter. This is also strange. If UMG was able to identify the individual, then Grooveshark would find out that info. But if (as appears to be the case so far) UMG does nothing, the claims by this individual are useless in the lawsuit anyway.
Either way, Paul Resnikoff from Digital Music News worried about the subpoena, as DMN has a policy of not revealing its anonymous commenters (and often using them as sources). So, he decided to push back, noting a few key points. Public Citizen's Paul Levy recently agreed to represent Resnikoff in this matter and sent a letter to Grooveshark's parent company (embedded below) detailing why Grooveshark should stop barking up this particular tree. Beyond the First Amendment issues, the right of a journalist to protect sources, and the uselessness of the original comment in the first place, there's also the simple fact that DMN doesn't retain comment logs for very long, and has no useful information in response to the subpoena anyway.
That letter also highlights that Grooveshark is also interested in a much more recent comment on a blog post about Grooveshark's subpoena, in which a commenter (in a rather difficult to read manner) spins another conspiracy theory, suggesting that the original comment was a setup against Grooveshark by supporters of the lawsuit. To be honest, this comment seems about as credible as the original comment that kicked this off.
Whatever you might think of the Grooveshark lawsuit, this action by Grooveshark's lawyers seems like a mistake and overkill. Not only is it unlikely to turn up anything useful, going on a fishing expedition against anonymous commenters on a blog opens up a huge host of problems around First Amendment issues, which it appears Grooveshark either failed to consider, or doesn't much care about. That seems like a mistake.
by Mike Masnick
Tue, Nov 15th 2011 3:45am
Filed Under:
blocking, copyright, denmark, websites
antipiratgruppen, grooveshark
The Future Under SOPA: Group Too Lazy To Police Own Copyrights Seeks To Block Access To Grooveshark's Legal Music Service
from the how-censorship-works dept
by Mike Masnick
Thu, Jul 28th 2011 4:23am
Filed Under:
dmca, innovation, lawsuits, music, publishers
Lawsuits Against Grooveshark Continue; Music Publishers Seek To Redefine The DMCA
from the that's-not-how-it-works dept
To make their case, the publishers are trying to claim that Grooveshark is not a service provider for the purpose of the DMCA. It's going to be difficult to have that claim stick, as courts have generally (correctly, in our opinion) deemed a wide spectrum of offerings to meet the "service provider" hurdle. And then the lawsuit gets even sillier. It claims that Grooveshark itself is doing everything that its users are actually doing. It's as if the publishers wish to simply pretend that the DMCA doesn't exist and that liability automatically applies to the service provider.
I think it's difficult for anyone to argue that Grooveshark is any different technically from YouTube, but when it comes to these sorts of things the industry isn't known for actually understanding what these offerings are really about, preferring instead to leap straight to the freak-out-that-must-be-illegal stage...
by Mike Masnick
Wed, Apr 20th 2011 3:31am
Filed Under:
copyright, dmca, legality, licensing, safe harbors
grooveshark, youtube
Grooveshark Insists It's Legal; Points Out That Using DMCA Safe Harbors Is Not Illegal
from the good-point dept
First, the company makes the distinction between "licensed" and "legal":
First, there is a distinction between legal and licensed. Laws come from Congress. Licenses come from businesses. Grooveshark is completely legal because we comply with the laws passed by Congress, but we are not licensed by every label (yet). We are a technology company, and we operate within the boundaries of the Digital Millennium Copyright Act of 1998 (DMCA). Some would have you believe that those of us who use the DMCA to innovate are inherently infringers and that claiming Safe Harbor under the DMCA is as good as admitting guilt. Not so.While I agree with the importance of the DMCA's safe harbors, and the idea that they are important to encourage innovation, Grooveshark is being a little misleading in the whole licensed/legal arena. It really should go into more detail. The way Grooveshark operates, is that (like YouTube), users upload content, which others can then stream. Grooveshark works to abide by the DMCA to discourage and takedown infringing material -- and notes that it has taken down 1.76 million tracks and suspended 22,274 users who abused the system. As it notes, those are "not the characteristics of a company 'dedicated to copyright infringement.'" It also pays performance rights organizations for the streaming content.
The DMCA's Safe Harbor component encourages technology companies to innovate in hopes that they will eventually solve some of the problems that are plaguing content producers today. The Safe Harbor provision reads like it was written specifically for YouTube and Grooveshark, and its necessity continues to be illustrated every day. If it weren't for this notion, many of the products and services that are now taking a bite out of piracy would never have been born.
The real issue is whether or not the users have the rights to upload the works. That's where the licensing aspect comes in. Grooveshark has been trying for a while now to get record labels to agree to effectively offer a blanket license to its users, so that they can upload those songs, and the labels can then make some money off of the usage as well. In some ways, it's like YouTube's ContentID system, in helping labels monetize their music that users are hoping to share. Both EMI and Universal Music have sued Grooveshark, with EMI dismissing the case after agreeing to a license. Universal Music is still fighting the lawsuit.
So, effectively, the way Grooveshark is structured today is that its users might infringe on copyrights, and the company keeps seeking licenses that would make those uses authorized. The somewhat open legal question is whether or not Grooveshark itself is liable as well. It claims that it follows the DMCA safe harbors and is protected (and, for that reason, I'm sure is very, very, very interested in the eventual outcome of the YouTube/Viacom lawsuit concerning the overall contours of the DMCA safe harbors). The labels, I'm sure, claim that Grooveshark is "inducing" infringement through its overall design.
Not surprisingly, I think Grooveshark presents an interesting legal situation, which should be legal under the DMCA. Unfortunately, the courts often get a little wacky when it comes to interpreting the law in these situations. If YouTube continues to prevail over Viacom, Grooveshark is in a much stronger legal position. If the appeals court reverses, however, it may have more trouble. Of course, given all this, it is somewhat amusing that Google would dump Grooveshark, suggesting a violation of its terms of service. If Google is arguing that YouTube is legal, you would think it would recognize that Grooveshark relies on the very same line of legal logic.
Thu, Sep 23rd 2010 3:17pm
Grooveshark Wants To Judge Your Soul
from the judgement-day dept
Dante Cullari made an observation on the Music Think Tank Open blog last month that seems to have gone unnoticed: Grooveshark's privacy policy has a "soul" clause. Unlike other "immortal soul" clauses, I don't think Grooveshark's is intentional.
"This [personally identifiable] information may also be kept longer than 6 months by EMG if a user is found by EMG's soul judgment to be suspect of carrying out illegal, unlawful, or dangerous actions with or in this service. Prior to keeping IP address information for more than 6 months, the user will be notified via email about their suspect status."
The privacy policy still says that, though Dante also grabbed a screenshot.
Somehow, I don't think Grooveshark actually intends to judge a person's immaterial soul for evidence of suspicious activity. But, lest you think it's a lone typo, the phrase "soul purpose" also appears later in the policy.
"EMG may allow 3d parties to place cookies and other tracking technologies, such as web beacons, clear GIFs, web bugs, tracking pixels on the Site for the soul purpose of allowing that 3d party to record that a User has visited the Site and/or used the Service."
I think they meant "sole." Somewhere, in the depths of my own soul, it feels like somebody was relying on spell check a bit too much...


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Blackcaps paceman raring to go
New Zealand Test bowler Chris Martin is determined to forward his ambitions as a limited over bowler at the World Twenty20 - and avoid any unnecessary complications at the crease.
The veteran right-arm pace man recent claimed his 100th Test wicket of an international career played out almost exclusively in the five-day arena.
He was a late call-up to the World Cup squad, and went almost five years without any 50-over cricket for the Black Caps, largely due to his lack of batting ability.
However, the 32-year-old sees Twenty20 as conducive for those specialists found at either end of the order.
"If I can go at under 10 an over then I'll be happy, so it's not usual for any type of cricket I've played in the past," he told The Christchurch Press.
"Especially in a 20-over game, as they say the likelihood of me having to bat is quite minimal and you need to have specialists at either end, I think.
"People are still learning how to play it and there's some countries around the world that have played it a lot more than New Zealand.
"So for us to arrive with the right game plan and the right philosophy will be quite important to us doing well."
The Kiwis take on Australia and West Indies in practice matches before next week's opening game against Kenya in Durban.


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- Megan Saunders '14
- Hometown: Lakewood, Ohio
- Major: Athletic Training
My favorite teacher is a person who hasn't taught me in a traditional classroom. Morgan Bagley, athletic trainer and director of athletic training education at Mount Union, is not only my advisor and athletic trainer for basketball, but also has become one of the most important people in my life. She is always there for me no matter what and I would be lost without her.
- Dan Goswick '15
- Hometown: Amherst, Ohio
- Major: Marketing
Campus News | Alumni and Friends
- University of Mount Union Highlights of 2013
- December 29, 2013
- See Full Article
- Hank Spencer Wins NCAA Elite 89 Award
- December 20, 2013
Mount Union sophomore linebacker Hank Spencer (Greencastle, Ind./North Putnam) has been award the NCAA Elite 89 Award Thursday at the NCAA Division III Football Championship in Salem, Virginia.See Full Article
- Mount Union to Conduct Holiday Shutdown
- December 20, 2013
- See Full Article
- Mount Union to Conduct Holiday Shutdown
- December 20, 2013
The University of Mount Union is conducting its annual shutdown from 5 p.m. Friday, December 20 through Wednesday, January 1. The University will reopen at 8 a.m. on Thursday, January 2.See Full Article
- Mount Union's Kevin Burke Wins Gagliardi Trophy
- December 19, 2013
University of Mount Union junior quarterback Kevin Burke (Westlake/Lakewood St. Edward) has been awarded the Gagliardi Trophy given to the top all-around football player in NCAA Division III.See Full Article
- Mount Union to Play Whitewater in the Stagg Bowl
- December 16, 2013
No. 1 ranked University of Mount Union plays No. 5 ranked University of Wisconsin-Whitewater in the NCAA Division III National Championship Game -- the Amos Alonzo Stagg Bowl -- Friday, Dec. 20 at 7 pm at Salem Stadium in Salem, Va.See Full Article
- Exercise Science Students Travel to Spain
- December 4, 2013
Dr. Lonnie Lowery, assistant professor of human performance and sport business, and three senior exercise science majors, had the opportunity to travel to Spain in September to present their research from a caffeine study conducted at the University of Mount Union.See Full Article


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32610 Pacific Hwy S Ste B8, Federal Way, WA | Directions 9800347.309225 -122.311987
Auto Repair with Integrity – We bought an older Volvo for our daughter's first car (safety first!) and it needed some refurbishing before we ccould give it to her. After going to another repair and lots of money later without things being totally fixed, we tried European Auto Clinc. Wow, what a difference. They were cost concious, did great work, provided excellent advice and added touches that I've never experienced in an auto repair experience. In short, they treated us and the car with caring and professionalism. We won't be going anywhere else.
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Hello everyone! My name is Tiffany and I'm a College student Studying Communications, with a specialty in Graphic Design and Web Development! I love to draw, write, sew, paint, read tarot cards, and observe the world around me. I am half Chinese, half Cambodian. This blog is just a collection of pretty pink stuff, BJD's, miniatures, betta fish, cupcakes, cute stationary, Victorian, Mori, and Lolita Fashion, Food,Feminism,teacups, typography, cool art, race relations, and personal posts about my life and being Khmer. DISCLAIMER: I DASH SPAM!
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Abstract of paper to be presented by Bonnie Kaplan, Sahrij & Sbaiyin Madrassa Complex Restoration Project I Fez, at the conference "Fez, Morocco, Crossroads of Knowledge and Power: Celebrating 1,200 Years of Urban Life"
One of the most obvious threats to world heritage is the lack of capital for rehabilitation. However, from a conservationist's point of view, the more pertinent problem is how to physically and financially insure that a site will be maintained after restoration such that it never reverts back to its ruined state. The answer lies in sustainable management practice.
Sustainability in building conservation is a twofold concept referring to the ability of a project team to:
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2. Define an appropriate economic activity, or sustainable reuse, that permits the monument to autonomously fund its long-term maintenance.
Once the immense financial burden of upkeep has been lifted, an owner is more likely to view his property as an asset worth maintaining, particularly if it generates positive returns.
Funded by the Getty Foundation and the World Monuments Fund, the Sahrij & Sbaiyin Madrassa Restoration Project in Fez was developed in collaboration with ICOMOS Morocco (The International Council of Monuments and Sites). The project's objective was to develop a conservation plan, an internationally recognized planning document, proposing suitable technical measures to stabilize the structure and appropriate lucrative activities to guarantee the economic, and hence physical, survival of the Madrassa Complex. Once ratified by the Moroccan authorities, the conservation plan will be sent to potential donors in pursuit of funding for the proposed measures.
As project coordinator of the Madrassa project, and with the objective of defining a sustainable reuse for the site, I researched dozens of conservation projects worldwide and interviewed approximately 100 stakeholders in Morocco and abroad. My paper will share this experience by first giving an overview of the principles of sustainable reuse and then specifically discussing the data collection and decision-making process that resulted in the sustainable reuse proposal for the Sahrij & Sbaiyin Madrassa Complex.
Published: Monday, August 18, 2008
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I purchased a ButtKicker mini LFE and a Clark Synthesis TST209. They should arrive next week. I'm going to demo them out using a Inuke DSP 3000 amp and see which style I prefer.
The Inuke DSP3000 amp should be ideal for this job for several reasons:
1) voltage signal limitations -- I can set through the DSP the max 'volume' if you will or max voltage output by the amp regardless of the input - this will help prevent over driving the transducers
2) I can set a HPF and a LPF both respectively to ensure I get the feel I"m looking for. At the current I'm thinking 20hz bottom through 50hz top --- but of course I'll play with these settings and see what I like best.
Why did I pick these two units to demo?
I recently experienced a Clark Synthesis TST209 at nebrunner's home in the Omaha home theater tour and liked it. I've spend the last couple weeks casually researching these transducers and thought I'd like to compare a couple models to see what I'd like to implement in my own theater.
After reading multiple articles and google searching for all things transducer related. I found a knowledgable expert on another forum by the handle of Mr. Latte.
According to Mr. Latte - these are the two best transducers for the money (buttkicker mini LFE, and Clark Synthesis TST209) at least for a single chair solution.
Mr. Latte appears to have some pretty solid experience with transducers, and has written many reviews for the simulation gaming crowd, including teardowns with pictures. Here is one example
I purchased some rubber isolation feet from parts express for stupid cheap.
These feet are a direct alternative to these clark feet - and are the same size and look but at 1/5 the price.
Here is another alternative set of isolation feet that a friend, avsforum member carp, found:
I was considering throwing a $50 Aura bass shaker unit in the comparison - but in reality I probably won't be very interested in it when compared to these two more expensive models. I'm looking to potentially add some tactile feel on my basement concrete slab without gunning the captivator pair towards reference volumes. What I don't want to experience with these shakers is unnatural, out of time, one note bass feel, or ridiculous visual impairing shaking. I am looking for a natural complimentary effect to my already quite tactile Captivator Pros.
Stay tuned for feedback...
If you have any other transducers you think I should definitely add to the mix - please let me know.
Edited by Archaea - 2/18/13 at 6:42am


text:
Not Peer Reviewed
Henry V (Modern, Folio)
Enter Corporal Nym and Lieutenant Bardolph.
¶Bardolph Well met, Corporal Nym.
¶Nym Good morrow, Lieutenant Bardolph.
¶Bardolph What, are Ancient Pistol and you friends yet?
¶Nym For my part, I care not. I say little, but when 510time shall serve, there shall be smiles. But that shall be as ¶it may. I dare not fight, but I will wink and hold out ¶mine iron. It is a simple one, but what though? It will ¶toast cheese, and it will endure cold as another man's ¶sword will, and there's an end.
515Bardolph I will bestow a breakfast to make you friends, ¶and we'll be all three sworn brothers to France. Let't ¶be so, good Corporal Nym.
¶Nym Faith, I will live so long as I may, that's the ¶certain of it. And when I cannot live any longer, I will do 520as I may. That is my rest; that is the rendezvous of it.
¶Bardolph It is certain, corporal, that he is married to ¶Nell Quickly, and certainly she did you wrong, for you ¶were troth-plight to her.
¶Nym I cannot tell; things must be as they may. Men 525may sleep, and they may have their throats about them ¶at that time, and some say knives have edges. It must ¶be as it may. Though patience be a tired mare, yet she ¶will plod. There must be conclusions. Well, I cannot ¶tell.
Enter Pistol and [Hostess, formerly Mistress] Quickly.
¶Bardolph Here comes Ancient Pistol and his wife. Good ¶corporal, be patient here. -- How now, mine host ¶Pistol?
¶Pistol Base tyke, call'st thou me host? Now by this 535hand I swear I scorn the term! Nor shall my Nell ¶keep lodgers.
¶Hostess No, by my troth, not long, for we cannot lodge ¶and board a dozen or fourteen gentlewomen that ¶live honestly by the prick of their needles, but it will be 540thought we keep a bawdy house straight. [Nym draws his sword.] Oh, welladay, ¶lady, if he be not hewn now, we shall see willful ¶adultery and murder committed!
Nym Pish.
¶Nym Will you shog off? [To Pistol] I would have you solus.
550Pistol "Solus," egregious dog? O viper vile! The "solus" ¶in thy most marvelous face. The "solus" in thy teeth, and ¶in thy throat, and in thy hateful lungs, yea in thy maw, ¶perdy. And which is worse, within thy nasty mouth. I ¶do retort the "solus" in thy bowels, for I can take, and 555Pistol's cock is up, and flashing fire will follow.
¶Nym I am not Barbason; you cannot conjure me. I ¶have an humor to knock you indifferently well. If you ¶grow foul with me, Pistol, I will scour you with my ¶rapier, as I may, in fair terms. If you would walk 560off, I would prick your guts a little in good terms, as ¶I may, and that's the humor of it.
¶Pistol O braggart vile, and damnèd furious wight,
¶The grave doth gape, and doting death is near,
¶Therefore exhale.
[Pistol draws his sword.]
565Bardolph Hear me, hear me what I say. [Draws his sword (?)] He that strikes ¶the first stroke, I'll run him up to the hilts, as I am a ¶soldier.
¶Pistol An oath of mickle might, and fury shall abate.
[They sheathe their swords.] ¶Give me thy fist. Thy forefoot to me give. Thy spirits 570are most tall.
¶Pistol Couple a gorge, that is the word. I defy thee ¶again! O hound of Crete, think'st thou my spouse to get? 575No, to the Spital [[ Invalid component ]] go, and from the powd'ring tub of ¶infamy fetch forth the lazar kite of Cressid's kind, ¶Doll Tearsheet, she by name, and her espouse. I have, and I ¶will hold the quondam Quickly for the only she, and ¶pauca, there's enough. Go to.
Enter the Boy.
¶Boy Mine host Pistol, you must come to ¶my master, and your hostess. He is very sick and would to bed. ¶-- Good Bardolph, put thy face between his sheets and do ¶the office of a warming-pan. Faith, he's very ill.
585Bardolph Away, you rogue.
¶Hostess By my troth, he'll yield the crow a pudding one ¶of these days. The king has killed his heart. Good ¶husband, come home presently.
Exeunt [Boy and Hostess.]
¶Bardolph Come, shall I make you two friends? We must 590to France together. Why the devil should we keep knives ¶to cut one another's throats?
¶Pistol Base is the slave that pays.
¶Nym That now I will have. That's the humor of it.
¶Pistol As manhood shall compound. Push home.
[They] draw [their swords.]
¶Bardolph [Drawing his sword (?)] By this sword, he that makes the first thrust, 600I'll kill him. By this sword, I will.
¶Pistol Sword is an oath, and oaths must have their course.
[Sheathes his sword]
¶Bardolph Corporal Nym, an thou wilt be friends, be friends. ¶An thou wilt not, why then be enemies with me, too. ¶Prithee, put up.
[Nym and Bardolph sheathe their swords. (?)]
605Pistol A noble shalt thou have, and present pay. And ¶liquor likewise will I give to thee, and friendship ¶shall combine, and brotherhood. I'll live by Nym and ¶Nym shall live by me. Is not this just? For I shall ¶sutler be unto the camp, and profits will accrue. Give me 610thy hand.
¶Nym I shall have my noble?
¶Pistol In cash most justly paid.
¶Nym Well, then that's the humor of't.
[Pistol and Nym shake hands. (?)]
Enter Hostess.
615Hostess As ever you come of women, come in quickly ¶to Sir John. A poor heart, he is so shaked of a burning ¶quotidian tertian that it is most lamentable to behold. ¶Sweet men, come to him.


text:
Company: Spigen SGP
Website: www.spigen.com
Model: GLAS.t Slim
Price: $28
Compatible: iPhone 5
Spigen SGP GLAS.t Slim for iPhone 5
By Nick Guy
Accessories Editor, iLounge (Google+)
Published: Friday, March 1, 2013
Category: Stickers + Film, iPhone / iPod
The latest entry in Spigen SGP's lineup of glass screen protectors is GLAS.t Slim for iPhone 5 ($28). The idea and pack-ins are mostly the same as with the original iPhone 5 edition; you still get a piece of glass lined with adhesive, plus an alcohol wipe, microfiber cloth, squeegee, and Home Button stickers. New in the package this time are three pieces of film to protect the back of your iPhone. But the biggest improvement is the reduction of the glass' thickness. Now, it's down to 0.26mm, a reduction of 35%, which may improve case compatibility.
Editors' Note: iLounge only reviews products in "final" form, but many companies now change their offerings - sometimes several times - after our reviews have been published. This iLounge article provides more information on this practice, known as revving.


text:
Puppy Linux Discussion Forum
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Remastering a frugal install
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[14 Posts]
Joined: 03 Jan 2007
Posts: 1432
Location: UK
Posted: Fri 02 Sep 2011, 08:44
Post subject:
Remastering a frugal install
Subject description: step by step with images
I recently recieved the following PM
majorfoo wrote:
You recently provided an excellent step by step on How to set up a wireless connection in lupu 520.
Please consider providing similar step by step visuals on how to remaster puppy live cd.
I went through the entire process and counted about 20 screens if you stop and delete root from tmp directory, copy new root to tmp directory, then delete etc from tmp directory and copy new etc to tmp directory.
I believe this would be very helpful to newbies in making a new iso of all their changes.
thank you for your valuable contributions to puppy community.
So, without further ado
let's get on with it. (in slightly more than 20 screenshots
Please note that the remaster script dialog window sizes were hacked by me,
so that i could take screenshots of them that were not too big (wide) for the forum.
They will appear different on your computer, but the content is the same. (well, it will be in Wary-5.1.3)
OK then,
first of all a little background information.
I started with a fresh
install of Wary-513,
to which i made the following changes:
Installed both of these:
so that i could build the ATI graphics driver:
(obviously, that required that i load up the devx and kernel source .sfs files first)
Whilst i still had the devx and kernel source .sfs files loaded,
i also built the wireless driver for my card:
I also installed
(after which i removed the default version)
which wouldn't work until these were installed (via the PPM):
Changed the desktop background image,
by simply replacing these two files with my new image (keeping the same name and format)
Changed the desktop/menu icons to Silver-Marble
After all that was done, i UNLOADED the devx and kernel source .sfs files,
then rebooted.
If this step was not done, then the final remaster would be somewhat bigger than necessary.
OK, now that i am back at the desktop i need to do a couple more things before running the remaster script.
To make things easier for when i make an install (on this computer) from the remaster i am about to make,
i will make a backup copy of my current
So i simply went to:
and copied
Right then, that's enough of what i did in the way of customising,
let's get down to the nitty gritty of remastering.
Before we really get going, let's make sure we have everything we need
A working area with enough free space (here i am using another partition sda8)
this needs to be mounted before running the remaster script. so you may as well do it now.
The working area needs to be on a Linux Partition (ext2, ext3 etc)
DO NOT use FAT or NTFS partitions.
If you have enough space in
you can use that instead,
there is no need to mount it as it already is (or should be if you are running a FRUGAL install)
A copy of the LiveCD you used to make your install (or at least the ISO image)
If using the LiveCD, put it into the drive now.
If using an ISO image, then mount it now (see Step 2)
Step 1.
If you intend for your new Puppy to run the usual setup for locale and timezone (i did),
then before running the remaster script navigate to:
the contents of this directory to somewhere else (say: /root/my-documents)
After we have finished remastering, we need to copy them back to
should now look like this.
If you are remastering some version of Lupu,
then i suggest that you take a look at this thread:
Remastering Lucid Puppy 5.2.5
as it explains about the differences between the normal Puppy way of doing things and the Lupu way.
Step 2.
If you are using an ISO image rather than a LiveCD,
then it needs to be mounted now, navigate to it and left click on it.
Here you can see it mounted
You can close these two windows if you like,
it will give more room to play on the desktop
Step 3.
Here we go, start the remaster script.
Step 4.
Have a read, then click OK
Select your working area.
As i mentioned before i used another partition (sda8) you can see that it is mounted already,
you can also see that sda7 is mounted too, that is my
Select your choice then click OK
As you can see from the image below, i used an ISO image rather than the LiveCD,
again, select your choice and click OK
Here you have a choice.
You can create a seperate driver .sfs file, or have it included in the main Puppy .sfs
I opted for the latter.
Depending on how much you have installed into your FRUGAL install,
this step will take a minute or two.
I'm not sure what it is complaining about in the orange window,
but it didn't appear to cause any problems.
Step 5.
This is a very important step.
click OK just yet (minimize the window into the taskbar after reading what it has to say)
Open up two ROX-Filer windows.
One at:
(the top one in the image below)
and the other at:
Make sure Hidden files are being shown (in both windows)
Position the windows similar to what is shown in the image below.
Click the icon to select ALL files in the window at:
Now right click on one of the files, and select Delete from the popup menu,
in the window that appears, click on the Quiet button.
This will delete everything in
Now go to the window at:
and click the icon to selct ALL files.
Now left click (and keep the mouse button held down) on one of the files,
then Drag 'n' Drop it into the other window at:
Select COPY from the popup menu that appears.
When all of the files are finished being copied,
go in to
and delete the locale files that you copied there in Step 1.
There is no need for them in the remaster.
Bring the remaster GUI back up out of the taskbar,
and click OK
Step 6.
I did not want to add any customisations for my hardware,
as i would like to use the new remastered ISO image on different computers.
Step 7.
This is another very important step.
click OK just yet (minimize the window into the taskbar after reading what it has to say)
This particular step is rather more selective than what we did in Step 5
Although i did not want to add any customisations for my hardware,
there are a few things that i wish to copy over into the remaster.
You may or may not have to copy things from
it all depends on what packages you installed.
One way to find out, is to take a look in:
Let's say you installed a package called:
then you would find a file called:
If you open that in a text-editor you will see all of the files that package installed (and where),
so, if it did put something in
, you may need to copy it into the remaster
So, once again
Open up two ROX-Filer windows.
One at:
and the other at:
Make sure Hidden files are being shown (in both windows)
Position the windows so that both are visible (for Drag 'n' Dropping)
These are the things i wanted copied over:
In the previous step, if i did not copy over
i would get the following two dialog windows appear after clicking on the Wireless button in the Network Wizard when running from the new remastered ISO
Step 8.
Here you get the chance to edit the
i chose to leave it as it was.
Step 9.
Here you get the chance to add or edit things before the ISO is created,
again, i left things as they are and click OK
Step 10.
Here you can choose to burn the ISO directly to CD/DVD,
or simply create the ISO image (i opted for the latter)
Step 11.
Your last chance to create the ISO.
Note: Even if you choose to create the ISO (as i did) the files are still left in existence.
Step 12.
I simply left things as they were, and clicked OK
Step 13.
Here you see the ISO being created (it don't take long)
Step 14.
There you have it, job done.
Step 15.
Here you can see both the new ISO image,
and the directory containing the files that make up the ISO
Wake Up Call
Remember what we did in Step 1.
Go and copy them back to
BEFORE you shutdown or reboot whatever.
Here are a couple of screenshots taken in the new remaster running in RAM (click on them for full size images)
In this one you can see the desktop background and icons are as i expected
and after overwriting the
with my backed up one
, the ATI Catalyst Control Center and the newer Seamonkey.
You may also notice that i have setup the wireless connection already.
This one shows that the menu entries are still intact (ATI CCC)
I hope this helps
Last edited by CatDude on Fri 15 Feb 2013, 11:41; edited 2 times in total
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Joined: 07 Mar 2011
Posts: 445
Location: Wish I knew
Posted: Fri 02 Sep 2011, 12:55
Post subject:
Excellent job Dude.
I hope this will help others as they remaster changes they have made to their puppies
Thanks for providing
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Joined: 29 Jun 2008
Posts: 10523
Location: SwedenEurope
Posted: Fri 02 Sep 2011, 13:21
Post subject:
Much appreciated.
I use Google Search on Puppy Forum
not an ideal solution though
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Joined: 22 Jan 2011
Posts: 811
Location: Toronto
Posted: Sat 03 Sep 2011, 14:52
Post subject: ...
Subject description: ...
That was an excellent tutorial which I am sure will be of great use for those wanting to know how to remaster. It took me quite a bit of head-banging when I was trying to learn to remaster on my own, some months back.
I haven't tried Wary 5.1.3 yet, but if it contains the remasterpup2 found in slightly older versions of Wary and Lucid Puppy, then I recommend users to try remasterpup3 which I find to be better. For instance; it automates some of the changes one needs to do when copying over files from
such as:
I extracted remasterpup3 into the
folder and renamed it to "remasterpup2". This way, it can be called by Radky's
PupControl Panel
as well as be run from the
Great work CatDude, and also thanks to pa_mcclamrock for
-- remasterpup3 --
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Joined: 30 Dec 2009
Posts: 122
Location: Oakland, California
Posted: Mon 05 Sep 2011, 01:07
Post subject:
Thank you CatDude. With this tutorial I was able to do a remaster of Fatdog64-520. That is my first remaster ever.
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Joined: 20 Dec 2012
Posts: 102
Location: Williamston, SC
Posted: Fri 15 Feb 2013, 00:18
Post subject: Getting "No space left on device" error
Subject description: trying to copy /root to /tmp/root
Hey all.
Just finished customizing a Precise 5.4.3 build an am trying to remaster it. I keep getting the"no space left on device" error message after it builds /tmp/root, i delete it's contents, and I try to copy /root to it.
I am using two HDD (sda1 and sdb1). Sdb1 has the customized frugal install. sda1 only has a previous Lupu on it and will have the PuppyLiveCD directory. Both are about 100GB in size. I have the personal storage set at 2GB. The entire build is only about 300 MB.
What am i missing?
should I increase the personal storage again?
is this some limitation in the remaster?
is the remaster broken in this version?
I am now trying to do just a straight remaster - no changes at ALL during remaster to see if I get the same error message.
If someone could please advise me why this may be happening.
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Joined: 24 Jul 2005
Posts: 1288
Location: UK
Posted: Fri 15 Feb 2013, 09:25
Post subject:
Should it be mentioned in the 'Before we get started section' that the working area needs to be partition with a linux format (ext2, ...) NOT FAT or NTFS.
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Joined: 24 Jul 2005
Posts: 1288
Location: UK
Posted: Fri 15 Feb 2013, 09:25
Post subject:
Should it be mentioned in the 'Before we get started section' that the working area needs to be a partition with a linux format (ext2, ...) NOT FAT or NTFS.
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Joined: 03 Jan 2007
Posts: 1432
Location: UK
Posted: Fri 15 Feb 2013, 11:43
Post subject:
ICPUG wrote:
Should it be mentioned in the 'Before we get started section' that the working area needs to be a partition with a linux format (ext2, ...) NOT FAT or NTFS.
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Joined: 20 Dec 2012
Posts: 102
Location: Williamston, SC
Posted: Fri 15 Feb 2013, 20:10
Post subject:
Just to clearify,
sbd1 has customized precise build frugal install; sda1 has previous frugal install of lucid puppy 5.2.8 and PuppyLiveCDBuild directory. Both are ext2 partitions.
So, what am I still missing? Any ideas?
As an update - the "no changes" attempt did create the liveCD, however, many things did not get carried over as they should. Statup directory missed a script to start the xampp mod, the jwmrc rewrote itself to the default original, pwidgets not only didn't run, but also re-wrote itself to default, and 1 of the ony 3 desktop icons I left writes itself to the top left corner rather than the bottom right (where the other two are).
Any suggestions appreciated.
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Joined: 20 Jul 2010
Posts: 2114
Location: New Zealand
Posted: Sat 16 Feb 2013, 03:19
Post subject:
I think when I had that problem I had to use my hard disk as the working area. Couldn't get it to work correctly to a usb stick. Long time ago though so my memory may be unreliable.
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Joined: 20 Dec 2012
Posts: 102
Location: Williamston, SC
Posted: Sat 16 Feb 2013, 18:08
Post subject:
Thanks greengeek,
I'm trying that now. It still is re-writing some files back to default regardless - especially when I do not copy over the /root, but other than that, so far so good?!?
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Joined: 08 Feb 2013
Posts: 11
Posted: Sun 17 Feb 2013, 21:24
Post subject:
Thanks for this detailed article.
Going to try a remastering and see how it goes.
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Joined: 04 Jan 2009
Posts: 3812
Location: Gatineau (Qc), Canada
Posted: Tue 05 Mar 2013, 14:28
Post subject:
Very good and informative article. Thanks, CatDude.
"Logical entities must not be multiplied needlessly." / "Il ne faut pas multiplier les êtres logiques inutilement." (Ockham)
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