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(CBS/WUSA) -- Could a few extra pounds help tack on a few added years to a person's lifespan? Some surprising new research suggests so.
"Maybe heavier people present to the doctor earlier, or get screened more often," explained study author Katherine Flegal, a senior research scientist at the Centers for Disease Control and Prevention, to HealthDay. "Heavier people may be more likely to be treated according to guidelines, or fat itself may be cardioprotective, or someone who is heavier might be more resilient and better able to stand a shock to their system."
We talked to people at Georgetown's LA Boxing, a place where fitness reigns supreme. Fighter Matt Wilson says he doesn't buy it, "As somebody that one, I have to diet for fighting, I have to be at a certain weight and, two, I'm a type-I diabetic, so I'm really conscious of what I eat because of that, as much as that study might have some sort of truth behind it, I truly think that using that as some sort of fall back, as some sort of excuse to not pay attention to your diet or your exercise is a bit ridiculous." Tracey Rubendall of Northwest D.C. was taking the gym's 8pm class, ans says the study wouldn't have any effect on her, "No, I would still work out as often as I do."
Obesity is often considered America's biggest public health crisis, with dramatic rises in rates over recent decades. More than two-thirds of U.S. adults are considered overweight or obese according to CDC estimates -- nearly 69 percent -- and more than one-third of children and adolescents between ages 2 and 19 are overweight or obese.
Those statistics are measured in terms of body mass index (BMI), a ratio calculated by a person's weight and height that's used as a measure of weight for the general population. According to the CDC, adults with a BMI between 18.5 and 24.9 are considered normal weight, those who have a BMI 25 to 29.9 are overweight, and adults with a BMI of 30 and above are considered obese.
The ballooning obesity epidemic has been linked to upticks in heart disease, Type 2 diabetes, strokes, certain types of cancer and other ailments linked to not maintaining a healthy weight. Some recent research even reports rising rates of chronic disease in overweight and obese young adults and teens.
The new study, published Jan. 1 in the Journal of the American Medical Association, found that obesity could contribute to an early death. Researchers analyzed almost 100 studies that included about 3 million adults to estimate all-cause mortality -- or chances of dying from any cause prematurely - in people who were normal weight, overweight or certain grades of obesity. Grade 1 obesity was defined as a BMI from 30 to less than 35, and grades 2 and 3 obesity were measures of obesity with a BMI greater than 35. Researchers found compared to overweight individuals, all obese groups combined were 18 percent more likely to die an early death than normal weight people, and individuals with grades 2 and 3 obesity were 29 percent more likely to die.
However, the big surprise came when overweight individuals were found to be 6 percent less likely to die prematurely than normal-weight ones, and people with grade 1 obesity were 5 percent less likely to die than normal weight folks.
In an accompanying editorial published in the same journal issue, Dr. Steven B. Heymsfield and Dr. William T. Cefalu of the Pennington Biomedical Research Center in Baton Rouge, La., wrote that small amounts of excess fat may provide needed energy reserves to fight off certain illnesses and offer beneficial effects for recovering from some types of traumatic injuries. They said these effects that should be examined for future studies.
"This is an even greater pile of rubbish" than the 2005 study, Dr. Walter Willett chair of the nutrition department at the Harvard School of Public Health, told The Associated Press.Other experts questioned the study's methodology, noting some of thin people included may have had serious diseases that took away their weight, such as cancer, or have been smokers.
Dr. David Katz, the director of the Yale University Medical School Prevention Research Center, told HealthDay the study presents complex messages but he notes that it only looked at death rates, not disease rates, so overweight people may be living sicker.
"It may well be being overweight does increase the risk of such conditions as Type 2 diabetes, or medication use for cardiac risk factors, without increasing mortality," he said.
Regardless of the conclusions reached, the study's authors won't advise normal weight individuals to pack on extra pounds.
"Our goal is really to summarize existing information and not conclude what people should do, other than follow good health practices, no matter what their weight," Flegal told the Los Angeles Times. Her team also published a study in 2005 that concluded overweight people had lower mortality.
Other researchers not involved in the study have slammed the implications that carrying a bit of extra weight can be protective.


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8/14/14 at 4:44 pm
4/28/16 at 6:57 pm
Questions, Comments About Tonight's ON THE RECORD?
4/28/16 at 12:24 pm
4/27/16 at 8:59 pm
VIDEO: Trump: We're a Debtor Nation, We Can't Keep Giving and Giving
4/27/16 at 8:34 pm
VIDEO: Bobby Knight: No Doubt Trump Is Best Suited to Bring America Back
4/27/16 at 8:22 pm
VIDEO: Trump: Cruz-Kasich Collusion a 'Slap in the Face' of Indiana
4/27/16 at 7:55 pm
VIDEO: Trump: Cruz Picking Fiorina as VP Running Mate Is a 'Waste of Time'
4/27/16 at 6:20 pm
Senator Cruz chooses Carly Fiorina as his running mate
4/27/16 at 10:47 am
Your turn (I am headed to Indiana to host Trump Town Hall)
4/26/16 at 8:07 am
Too much? Or not?
4/26/16 at 8:03 am
Today I have a road trip – what are your plans?
4/26/16 at 7:00 am
I talked to The Wrap about my trip to Ecuador…check out the article!
4/25/16 at 9:00 pm
Pick a topic and BLOG!
4/25/16 at 8:41 pm
VIDEO: Our Personal Look at the Devastation from Ecuador's Earthquake
4/25/16 at 8:14 pm
VIDEO: Dr. Ben Carson: Denying Trump the Nomination Would 'Shatter' the GOP
4/25/16 at 8:00 pm
OTR for Monday April 25 is now over…what did you think of tonight's show?
4/25/16 at 7:40 pm
Learn more about the relief effort in Ecuador
4/25/16 at 6:57 pm
Questions, Comments on Tonight's ON THE RECORD?
4/25/16 at 7:39 am
Cruz and Kasich double team Trump with announcement – click to find out
4/24/16 at 8:59 am
Earthquake hit again yesterday the town we walked on Friday – Manta, Equador
4/24/16 at 8:08 am
Your turn
4/24/16 at 8:08 am
Where is President Obama? Click to find out
4/23/16 at 4:53 pm
My broken heart…my friend George died — Every summer George and I make pancakes together for the staff at Samaritan's Purse Operation Heal Our Patriots…it was a fun tradition…George and I bragged that we made the best pancakes in the world….it just won't be the same….George died today. I will miss him…so will everyone else
4/23/16 at 11:05 am
PHOTOS: Ecuador, a country in crisis
4/22/16 at 9:00 pm
Pick a topic and BLOG!
4/22/16 at 6:57 pm
Questions, Comments on Tonight's ON THE RECORD?
4/22/16 at 6:38 pm
VIDEO: Live from Ecuador with Rev. Franklin Graham
4/22/16 at 12:47 pm
NYT Op-Ed: In Ecuador, Political Aftershocks
4/21/16 at 10:43 pm
VIDEO: TMZ reports Prince treated for drug overdose days before his death
4/21/16 at 10:40 pm
VIDEO: Trump evolving as a politician?
4/21/16 at 10:38 pm
VIDEO: Prince's bass player: He was a genius
4/21/16 at 9:00 pm
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4/21/16 at 8:16 pm
VIDEO: Congresswoman: Trump will never fit in 'norms' of politics
4/21/16 at 8:10 pm
VIDEO: Prince's studio DJ reflects on his life, music and legacy
4/21/16 at 8:09 pm
VIDEO: Music world stunned by sudden death of Prince
4/21/16 at 8:00 pm
OTR for Thursday April 21 is now over…what did you think of tonight's show?
4/21/16 at 7:52 pm
More protesters at Trump event (from FNC's Laura Ingle)
4/21/16 at 6:57 pm

subset: commoncrawl


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May 6, 2016
The N.C. Division of Motor Vehicles will begin issuing driver's licenses to illegal immigrants who qualify for federal work papers, starting March 25.
Thursday's announcement by DMV Commissioner Tony Tata comes less than a month after the North Carolina attorney general's office said the agency was legally required to issue licenses to those qualified under the Obama administration's Deferred Action for Childhood Arrivals program.
Federal authorities began accepting applications in August from immigrants brought to the United States without authorization as minors, granting those who qualify for work papers with an opportunity for renewal after two years.
Immigrant advocacy groups and the state chapter of the American Civil Liberties Union praised the decision by Republican Gov. Pat McCrory's administration as a victory for rule of law.
(Copyright 2013 by The Associated Press. All Rights Reserved.)
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Lee Litchlyter, CEO of GISi, talks about a new pipeline concept that focuses on the development and growth of people and their value to the company.
Mar 6th, 2011
Right-click on these links to download and save this video.
00:01What an amazing day.
00:03You know, listening to the power of GIS and how its changing the world, it's completely renewed my passion for the business we're in.
00:07But what business are we in?
00:10I think most of us here in the room would say we're in the spatial business...
00:13...or perhaps the solution business, but really we're in the people business...
00:19...because without people, that vision that Jack talked about this morning, well, we couldn't achieve it.
00:27So who has said this line, people are our most important asset.
00:32I know I have. I'm guilty of that. But what's it really mean?
00:36Sure, it feels good when we say it.
00:39But there's a problem with that statement. A pretty big one, in fact.
00:43See, true tangible assets, things like raw materials and factories, they don't think on their own, and obviously people do.
00:51So even if you're the most perfect company in the world, your most important asset may just get up and walk out the door.
00:59So what's the solution? What's the insightful idea?
01:03Well, I recently read the book Delivering Happiness by Tony Hsieh, who is the CEO of Zappos...
01:09...and he got me thinking about a new type of asset, a pipeline of people.
01:15And adopting this pipeline concept has completely changed how we think about our business.
01:19Now we're all familiar with a sales pipeline and some of the attributes.
01:25We fill the funnel by our marketing activities.
01:28We want to create depth and diversity throughout the whole sales process.
01:32We invest appropriately to maximize our business benefit...
01:36...and we adapt our sales approach based on where things are at in the sales funnel.
01:40A people pipeline is very similar.
01:44You fill your pipeline by trying to attract and retain people.
01:47You create bench strength and build depth and diversity throughout your organization.
01:52You develop appropriately to get the best out of your individuals.
01:56And you adapt your training strategies based on the type of people you have.
02:01So we've been starting to implement this at GIS, Inc., I'd would like to tell you an example of how that is working for us.
02:07We implemented an innovative new benefits program that we call Personal Choice.
02:13This benefits program has allowed us to add 40 percent new benefits while holding our costs steady.
02:20Now our CFO loves it, as you can imagine, but our employees do, too, because they get tremendous flexibility in their benefits,...
02:27...and this is allowing us to attract and retain new talent.
02:32For the reasons that Nick just outlined, we're strongly endorsing certifications like Esri's new program.
02:37We give people the time and the money to go out and get their certifications, and this is building depth and diversity for us.
02:45This next one is one that our employees really love.
02:48We created an R&D program.
02:50Every month, we pick an employee and we give them a couple of weeks to go out and play with whatever technology they want to...
02:56...and while this is primarily an investment in individuals, it's also returning significant benefit to our business.
03:04And we change how we train, depending on your role.
03:06For example, our leadership team as been doing book reviews.
03:10Now, every quarter, we pick out a business book, we read it, and we discuss the ideas in it.
03:14And we've been doing this for five years.
03:16And it's really helped all of us to become better leaders.
03:20So I think you get the idea. That's just a couple examples of how we're adopting this pipeline concept at GIS, Inc.
03:26And if you adopt it, you'll find that you'll manage differently and you'll invest differently...
03:31...and you'll develop a far more valuable asset for your company.


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The Evenflo® ExerSaucer® Jump & Learn offers parents a safe and stable environment for their children to jump, learn and play. A variety of age-appropriate toys were developed in conjunc...
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The Evenflo® ExerSaucer® Jump & Learn offers parents a safe and stable environment for their children to jump, learn and play. A variety of age-appropriate toys were developed in conjunction with the Child Development Institute to help baby achieve important developmental milestones. Spin and jump actions also provide baby with plenty of exercise to strengthen gross motor skills. The unique balance base helps to build core strength and coordination, and the electronic smart toys work together to play 1 of 3 genres of music when baby activates that genre on the conductor toy pod.
67 fun learning activities help babies achieve important developmental milestones.Provides baby with secure learn and play environment.Bounce base gives baby a soft landing pad that promotes stability in early development."Smart" electronic toys interact with one another providing baby with fun lights and sounds in 3 genres of music.Extra jump allows baby to exercise legs while being entertained.3-Position Height Adjustment grows with child to provide maximum product value.Machine-washable seat pad is easy to remove.Take With Me Toys provide for customizable learn and play experience.Physical exercise to develop baby's neck, back and leg muscles and improve gross motor skills.Brings toys closer to baby.Provides for easy and convenient cleaning.IMPORTED
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Venting Type
(Downdraft Hoods)
range hoods draw exhausted air into its ventilation system. The air is then filtered and released outside of your home. These units are premium because they are capable of keeping the air in your home clean even while you are using high-powered gas ranges and cooktops.
range hoods are designed to pull the polluted air into its ventilation system where it is filtered and recirculated back into your kitchen. These units purify the air allowing for a clean and efficient recirculation of the air.
Shop Downdraft Hood Products


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26 U.S. Code § 6429 - Advance payment of portion of increased child credit for 2003
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(a) In general
Each taxpayer who was allowed a credit under section 24 on the return for the taxpayer's first taxable year beginning in 2002 shall be treated as having made a payment against the tax imposed by chapter 1 for such taxable year in an amount equal to the child tax credit refund amount (if any) for such taxable year.
(b) Child tax credit refund amount
For purposes of this section, the child tax credit refund amount is the amount by which the aggregate credits allowed under part IV of subchapter A of chapter 1 for such first taxable year would have been increased if—
(2)only qualifying children (as defined in section 24(c)) of the taxpayer for such year who had not attained age 17 as of December 31, 2003, were taken into account, and
(3)section 24(d)(1)(B)(ii) did not apply.
(c) Timing of payments
In the case of any overpayment attributable to this section, the Secretary shall, subject to the provisions of this title, refund or credit such overpayment as rapidly as possible and, to the extent practicable, before October 1, 2003. No refund or credit shall be made or allowed under this section after December 31, 2003.
(d) Coordination with child tax credit
(1) In general
The amount of credit which would (but for this subsection and section 26) be allowed under section 24 for the taxpayer's first taxable year beginning in 2003 shall be reduced (but not below zero) by the payments made to the taxpayer under this section. Any failure to so reduce the credit shall be treated as arising out of a mathematical or clerical error and assessed according to section 6213(b)(1).
Source(Added Pub. L. 108–27, title I, § 101(b)(1),May 28, 2003, 117 Stat. 753.)
Prior Provisions
A prior section 6429, added Pub. L. 96–499, title XI, § 1131(a)(1),Dec. 5, 1980, 94 Stat. 2691; amended Pub. L. 97–34, title VI, § 601(a)(1)–(5), Aug. 13, 1981, 95 Stat. 335, 336; Pub. L. 97–448, title I, § 106(a)(1), (3),Jan. 12, 1983, 96 Stat. 2387, 2388, related to credit and refund of chapter 45 windfall profit taxes on domestic crude oil paid by royalty owners, prior to repeal by Pub. L. 100–418, title I, § 1941(b)(1), (c),Aug. 23, 1988, 102 Stat. 1323, 1324, applicable to crude oil removed from the premises on or after Aug. 23, 1988.
Termination Date
Amendments by title I of Pub. L. 108–27, enacting this section, subject to title IX of the Economic Growth and Tax Relief Reconciliation Act of 2001, Pub. L. 107–16, § 901, to the same extent and in the same manner as the provisions of such Act to which such amendments relate, see section 107 ofPub. L. 108–27, set out as an Effective and Termination Dates of 2003 Amendment note under section 1 of this title. Title IX of Pub. L. 107–16was repealed by Pub. L. 112–240, title I, § 101(a)(1),Jan. 2, 2013, 126 Stat. 2315.
LII has no control over and does not endorse any external Internet site that contains links to or references LII.


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Slow Food Foundation for Biodiversity of Italy has donated euro5000 to Regent Estate Senior Women Group (Resewe) of Makumbusho village in Dar es Salaam to set up 14 school gardens in the city and in Rufiji District.
The donation is also meant to be using to promote traditional vegetable farming in Tanzania.
This was revealed by Eunice Nyamwela who was training 16 city schoolteachers on how to establish traditional vegetable school gardens. The teachers are from Ilala, Temeke and Kinondoni.
She said the 14 school gardens would be setting up in Kinondoni, Temeke, Ilala and Rufiji districts as demonstration farms so that pupils and other community members could learn from them.
Also these gardens are among the 1000 projects planned to be establish in Africa by the foundation, she said.
"This is a one year programme funded by Slow Food Foundation to train 28 teachers in Dar es Salaam and Rufiji, so as to create awareness on traditional farming to local communities as well as provide agricultural equipment to schools according to their requirements," she said.
In the training, teachers were trained how to plant purslane traditional vegetable, catwhispers/spider plant, black jack, hare lettuce, black nightshade, wild mlenda, pigeon peas, Malabar spinach, radish tree, kimanshigha, sweat potatoes leaves and fame flowers.
After acquiring the skills, the teachers are supposed to pass it on to their pupils as well as establish gardens within their school compounds.
"As Resewe our focus is just to pass this knowledge to primary schools so that they can help us to pass it over to other people," she noted.
Apart from that teachers were trained how to prepare school gardens, grow traditional vegetables, harvest and preserve produce, and to cook vegetables.
The teachers were also given textbooks on vegetable gardens preparations to guide them in teaching pupils.


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Breast Cancer Health Center
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Understanding Breast Cancer -- Symptoms
What Are the Symptoms of Breast Cancer?
In its early stages, breast cancer usually has no symptoms. As a tumor develops, you may note the following signs:
- A lump in the breast or underarm that persists after your menstrual cycle. This is often the first apparent symptom of breast cancer. Lumps associated with breast cancer are usually painless, although some may cause a prickly sensation. Lumps are usually visible on a mammogram long before they can be seen or felt.
- Swelling in the armpit.
- Pain or tenderness in the breast. Although lumps are usually painless, pain or tenderness can be a sign of breast cancer.
- A noticeable flattening or indentation on the breast, which may indicate a tumor that cannot be seen or felt.
- Any change in the size, contour, texture, or temperature of the breast. A reddish, pitted surface like the skin of an orange could be a sign of advanced breast cancer.
- A change in the nipple, such as a nipple retraction, dimpling, itching, a burning sensation, or ulceration. A scaly rash of the nipple is symptomatic of Paget's disease, which may be associated with an underlying breast cancer.
- Unusual discharge from the nipple that may be clear, bloody, or another color. It's usually caused by benign conditions but could be due to cancer in some cases.
- A marble-like area under the skin.
- An area that is distinctly different from any other area on either breast.
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Most abnormalities aren't breast cancer.


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ILM visual effects supervisor Ben Snow shares his insights on turning sultry underwater vixens into vicious battling mermaids, all in stereoscopic 3-D
Watch the complete Ben Snow interview at AWNtv!
ILM visual effect supervisor Ben Snow has worked on many of the largest and most complicated vfx-driven films made, including Iron Man and Iron Man 2, Terminator Salvation and Star Wars: Episode II – Attack of the Clones. He's been working at ILM since 1994, with the exception of his sojourn down to Weta Digital as vfx supervisor on King Kong. We spoke recently about his work on Pirates of the Caribbean: On Stranger Tides.
Dan Sarto: Can you tell us about your work on the most recent Pirates film?
Ben Snow: Pirates of the Caribbean: On Stranger Tides was a little different from the previous Pirates films. We didn't have as much of the film [to work on] as we had on previous films. Moving Picture Company and Cinesite both did portions. ILM also worked with a couple of other companies as partners doing some of the work. The bulk of the work we were responsible for was the big mermaid attack sequence that happens moderately early in the film, and then some sequences where Blackbeard has captured some ships, and got them in these little bottles, but they are actually the full size ships that have been magically shrunken down. [We also did] the end sequence where they find a way into the fountain of youth and the climax of the film takes place. For the fountain of youth sequences, we worked with Scanline, which was very good, and we also worked with a couple of other companies on some of the other stuff [we did on the film]. But all of the mermaid stuff was done at ILM except for a wider shot of a ship going down, that MPC did. The big challenges for us really were dealing with the mermaids, dealing with the fact the film was in 3D and dealing with the issues of all the water and the interactions.
D.S.: What were some of the most challenging or difficult parts of the mermaid sequences?
B.S.: One of the first challenges was the design process. The filmmakers already had some art work they had done on the mermaids, but there wasn't anything that had really grabbed them yet. And so we got this great opportunity to actually contribute design. One of ILM's art directors, Aaron McBride, and I went down to talk to the director [Rob Marshall] and find out what he was after. He showed us quite a lot of different designs that they had done up till that point, and we talked about different images he found inspiring. Then we went back up to ILM and came up with some designs that he really reacted well to. That was a really fun part of it, a fun challenge. We didn't want to do the classic mermaid like you saw in Splash and other films. We wanted to do something that's a little bit more like saying these are part people but they are also part animal.
So, the animators, for instance, rather than looking at this sort of classic mono fin swimmer where you have her knees bent and they are really obvious, we tried to work out how could we break up the joints, so it's more like a fish tail. Instead of the knee joint, although we still want a hint of that, we might have multiple joints. We looked at the whole anatomy of how this would work. One of the images that inspired Rob Marshall was an image which had a glamour model on a beach, in a towel that is almost like a sheer fabric. He really liked the fact that you got a hint of her legs through the fabric of this towel, so that was a quality he wanted us to think about. We actually took that and said, "You know what, why don't we make it like the mermaid has a scaly inside, but then has this sort of almost jelly fish or slightly translucent, transparent membrane." That might be useful because it might help us with the transformations. So coming up with that was definitely a challenge, but a really fun part of it. But then once we came up with that, it was, how do we execute this sort of thing?
There was a lot of stuff that we had to deal with. There were a lot of mermaids and they were fighting, so we had crowd scenes to deal with, we had to work out where to package up the animation, because the mermaid design had a lot of trailing, beautiful flowing tendrils, and kelpie like growths, that came out of their hair. We did a lot of work to come up with ways to simulate that in a way that we could then transplant between different models and across a pack of fifty mermaids.
Ironically of course, one of the biggest curve balls that hit us during the production was that quite late on, the design changed. It was really important to him [Rob Marshall] that out here in the mermaid's arena, she was a beautiful woman. But the argument had always been that the other mermaids that were attacking the sailors, earlier in the film, could be a little bit more aggressive and creature-like and be a little bit more different, not so human. But as the film jelled, the director decided, "You know what, I really want them all to be human. Particularly when they are out of the water they should pretty much just look like the actresses that we photographed. "
Now of course, because these creatures attacking the pirates weren't going to be actress-like, we hadn't filmed actresses attacking the pirates. All of the films where we tried to make digital humans, it was a pretty big challenge, and particularly a big challenge to be faced with only a couple of months left in the production. So, we collaborated with the director, tried to work out how we would do this, and with the studio-side effects supervisor Charlie Gibson, we decided to shoot some actual footage of people that we could use. We had material for a couple of the key performances and then we had to step back and say, "How do we make these creatures look more real?" Instead of them having long kelpie tendrils of seaweed, they will have to have hair, which is a whole different can of worms. It's not [like] simulating long cloth-like objects, you are now simulating individual hairs, and it's a big complication. So we said we won't be able to do that, we are going to have to color them so that they look like [they have] hair. One of the things that really worked in our favor was he [Rob Marshall] really wanted to play [the mermaids] quite mysterious and dark. You don't really see what's going on and he felt it would be a lot scarier that way.
It actually did work. We went with the more human look, since we had used real people, and we had already done a fairly thorough job of working out how to integrate the mermaids with the live actors, add scales to live actors, because we are doing that with the main mermaid.
It is still is a scary sequence, and even though they [the mermaids] are not as creaturely as we had intended originally, obviously people have reacted well to it and like it.
D.S.: What have been the studio's greatest achievements in lighting the last few years?
B.S.: We have tried to develop and improve our lighting over the years. ILM has always had a really rich history with creatures, you know. Davy Jones is obviously a really beautiful example of what ILM has been able to do with creatures in the past. What's happening of course is, studios are all faced with the situation where we have ever shortening schedules, and we want to try and maintain the quality of the work. But in the shorter time frame, we want artists to get down to the creative nitty-gritty faster rather than having to do with a lot of technical issues. So one of the things we started talking about a few years ago was creating an energy conserving shader set that behaved more physically correct, more like in the real world. We started playing with this a little bit, talking about it a little bit towards the end of Ironman, and then implemented a system on Terminator Salvation. I was able to use that extensively on Ironman 2.
During Ironman 2, the system really became mature and it essentially became the standard that we use across all films at ILM right now. But, we hadn't really used it much in creature work. We used it for things like robots and metallic surfaces, and it really gave us a big boost there. It works really well with things like environments, where you are outdoors, it's sunny, there's a lot of interesting stuff reflected in the environment. On Terminator, we had been able to exploit the fact that in an artificial environment like the factory, it gave you a lot of control to mirror what's going on in the real world. That was more like the situation we were faced with Pirates.
What was interesting was we were faced with a magical creature, the mermaid that did not necessarily want to respond completely. Physically, you wanted a certain sense of magic to it. Rob Marshall decided to really make them more and more realistic, keep the human aspects more and not have them transform so much. He actually reined back a little bit on how flashy they were. The physical basis of the materials was really useful there but, I have to say that I felt that on Pirates, we didn't quite get the optimizations of lighting that we had experienced on Ironman 2. The creatures were different.
We did find we had to tweak things more in the different environments but I think we realized that part of the reason for that was the way that we had to engineer the materials so that we got all those beautiful scaly and isotropic reflections that made them so pretty. That was sort of a cheat in a way [laughs]. You put that into your physically-based lighting system and it doesn't necessarily work as easily out of the box as would something that's a really physically correct material. So it's a bit of a lesson.
D.S.: What were some of the special preparations you had to make for the most recent Pirates film, in terms of workflow, pipeline and new production tools?
B.S.: Well, Pirates of the Caribbean: On Stranger Tides was a challenge because we had a short schedule and the studio really wanted to do the film in 3D. So, luckily we'd just had the experience of [doing] the Star Tours Ride, and on the chunk of shots that ILM did on Avatar, of setting up a stereo pipeline. It was actually pretty robust when we got into it. On parts of the Caribbean, we were using footage shot with RED cameras, which was the first time we'd used that at ILM. We were able to benefit from a really good relationship with RED where they were very cooperative with us, sent us up the camera. We did a bunch of color tests and evaluations, and looked at ways that we could make the RED footage look more like film. So we had a lot of help and encouragement on the technical side, and our team at ILM came up with some interesting ways to convert their data that I think helped the project.
We were dealing with the digital pipeline, we were dealing with the 3D pipeline. The issues for us were, you've got a bunch of mermaids splashing around in water. It's really quite challenging to track in their splashes. So we ended up going with a lot more computer generated splashes. In addition, we went and filmed stereo splashes as well, separate, so that we would have that material to composite in. But, that was where the stereo actually got complicated. I have to say, one thing that really benefited us on the film, in terms of stereo, was that the decision was made early on, mostly at the suggestion of the stereographer and with our complete enthusiastic support, to shoot the project in as near parallel as we could, more like an animated film. Stereo films that have been made up till this point tend to use a rig which has a convergence where the camera actually angles in and focuses on something. The disadvantage of that [method] is that means you really have to decide where you want the convergence while you are making the film. Also, it has complicated things like match animation, match moving cameras and rotoscoping a little bit. So even though it [shooting parallel] didn't make it easy shooting stereo, what we found was compared to other films we were doing in 3D at that time [at ILM], we actually ran into a lot of less headaches because of taking this parallel approach. What it meant was that you use the ability of the RED camera to shoot an oversized image. We crop that image and that's how we have the flexibility to adjust conversions. We are throwing away a hundred pixels either side of the frame but it does give us the flexibility and it did seem to make it smoother in terms of the things that we thought would be hard on the stereo.
D.S.: Even with a pretty robust stereo pipeline, it sounds like working in 3D makes things much more complex.
B.S.: Absolutely, yes. Working in stereo, you have to be a lot more careful in layout and animation. People get used to cheating. Of course we always try and beat that out of people, because if you are doing any sort of physically-based simulation, like a particle simulation or a water splash, the 3D space is important anyway because the way the character interacts with the physics of the simulation. So we had situations on Pirates of the Caribbean where we were match animating a body to a mermaid, and it just wasn't working. We discovered that the head of the mermaid was actually two feet behind her shoulders somehow, and it was some cheat that had happened in the layout phase. The problem is that you really have to be on top of your quality control, because if it makes it into the pipeline, what sometimes happens is, the next artist comes along, and says, "Well, you know it looks like it's working so I can just band-aide this on top of it," and it actually goes quite far down the pipeline. And [then you find] this just isn't working.
Once you open up the scene, oh my God, it's two feet off the body, you know, and so, then you have to go back and re-do the work. We had to really be on top of that, and work with the artists and say, "OK, you have to quality control that, everything has to be proper, in proper space." Animators can't animate to cameras as much, so it [stereo] does make a big difference with that [animation]. Generally a rule of thumb was that lighting wouldn't change a whole lot. Animation, we didn't think would change a whole lot although the issue that I mentioned does add the fact that they can't cheat as much. Layout, definitely it added and rotoscoping it added. Compositing, where it really got more complicated was when you were doing things like, you've got a water surface which is uneven, and it is going back in stereo space and you are adding three mermaids splashing around, and each of them have splashes, and you somehow have to make it look like those splashes are sitting on this uneven water surface. That created a lot of nightmares for people.
What oddly didn't create nightmares was one of the issues that you get when shooting as we did with a mirror system. When one camera is looking down at the mirror, and one is shooting through the mirror, even just the fact that the eyes are offset, you get different reflections in different eyes. The polarizing filter, and the mirror, has an effect on things. So there would be shots of the mermaid coming up in a little sea pool for example, and you get reflections in one eye but not in the other. That is something we experience in real life and is certainly common in stereo photography. The tendency is to want to fix some of that stuff. But we found that when we started trying to paint out reflections that were in one eye and weren't in the other, the water stopped looking wet. So, you actually want to leave in some of these imperfections.
D.S.: Were there any significant pipeline changes you needed to make to handle this film?
B.S.: I think the big thing was definitely the color pipeline, getting the RED camera data through our pipeline, how we dealt with that, how even we dealt with the facility that was handling the overall DI and the color correction. We did a fair bit of work with them to work out how to get the data from the camera set to us, what happened when we got the data. What we would do is bring in the plate say, "OK, is there any error in the stereo between the different eyes?" We'd try and correct and offset that. "Is there any color difference between the two eyes?" We'd try and correct that. We built a different front end to our color pipeline for the way we brought data on. Also, because we were dealing with an over size image that we were going to crop, [we] changed all of our display techniques and the way we would look at dailies and then the way we would give data back to the client. So the whole image pipeline changed quite a lot.
Then for the mermaids themselves, it was really the same sort of challenge as whenever you get a new creature. How do you make a rig for a tail that is animateable, but not so heavy that the person can't use it and so that the animator can intuitively just pull some portions of the tail and the rest will do the right thing? How do you write a program or a mini program to make that happen? How do we deal with the fact that they have this membrane over the top of their bodies and how does that behave? How does the material on the underside get affected? How do you deal with these things being in a crowd? First it looked like it would be seven, then it grew to fifteen and then it was fifty mermaids all swimming at you. How are you going to have someone animate that?
We set up tools that allowed us to use baked cycles where the animator, just in Maya, could go in, select a cycle and apply it to their mermaid. We had seven different mermaids in the same cycle and could apply [tools] to the different mermaids and work correctly. Then if the animation wasn't quite working on one of the mermaids, the animator had a tool to say, "OK, I am going to pull this out and animate it again, automatically and then I can just make the tweaks I need." So there are a lot of tools that we did for handling the mermaid crowds, automatic tools for placing splashes, generating CG splashes, and then replacing the whole water surface if that was the easiest way to deal with it. Sometimes it was easy to forget the water that was in the plate. We are going to generate the entire water surface because otherwise we will never get the splashes to work properly.
D.S.: The name ILM historically has been synonymous with spectacular, cutting edge visuals. While there are a lot more companies today doing excellent work, ILM is still known as the "gold standard." What drives you and the company to continue innovating and doing such excellent work?
B.S.: I think we are very lucky at ILM to have a huge, rich legacy of visual effects work behind us for years, and a great example of visual effects projects that have made a big difference, that were really at the front end of motion control photography. [ILM] did some of the best work in that [motion control], and then they did some of the really best blue screen composite type work in the optical world in the late 80's, and then became one of the pioneers of the digital world with Jurassic Park, and Terminator 2 and The Abyss. There is a rich legacy to build on at the company and an attitude that we don't want to rest on our laurels, we want to improve things, we want to make lighting tools better, we want to make animation tools better, we want to make it faster to do things. I mean the real imperative for every company out there these days is shorter production timeframe, smaller budgets, and the need to up the anti on each movie and up the wow factor for the audience.
So we are looking at tools both to improve the quality of how the shots look and also to make it faster for us to make the shots, to make shots that look just as great but in a shorter time frame, so that we can afford to do the projects. I have to say in the business today there is terrific work coming out of a bunch of companies. I have colleagues that I have worked with at ILM that work all over the world now at different companies and they are all doing terrific work. It's actually inspiring for anyone to look at the work being done not just at your own company, but at other companies and say, "Wow, this is exciting stuff, it's cutting edge stuff, and I am envious of this stuff."
I think that envy and that desire to make it better is great and keeps us trying to make better and more exciting images. That desire, coupled with the fact that we have been able to keep the quality pretty consistently high across projects that even if people hate the film, they can usually rely on the effects being interesting and well executed and fun to look at. Sometimes the effects are the best part of the film. That's not great, we don't need to like that, but people really still respect us and they still respect the work and so I think that the company has a certain standard and a prestige. That's one of our challenges, to aggressively be able to make the films for smaller budgets and smaller time frames, to maintain that standard. It is certainly never questioned that we have to do that. The desire is to not compromise on quality, to recognize that Industrial Light Magic is a mark or a standard for high quality visual effects, and the desire for everyone at the company is to keep that standard. I think that is the key.
Dan Sarto is publisher of AWN.
Dan Sarto is Publisher and Editor-in-Chief of Animation World Network.


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|Electronic Arts Inc.
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44 U.S. Code § 1303 - American Historical Association: report
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In addition to the usual number of the report of the American Historical Association, five thousand five hundred copies shall be printed: one thousand for the Senate, two thousand for the House of Representatives, one thousand five hundred for distribution by the Association and the Smithsonian Institution, and one thousand copies for the use of the Association.
Source(Pub. L. 90–620, Oct. 22, 1968, 82 Stat. 1266.)
Historical and Revision Notes
Based on 44 U.S. Code, 1964 ed., § 243 (Jan. 12, 1895, ch. 23, § 73,28 Stat. 616; May 25, 1900, No. 27, 31 Stat. 717).
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Uley pack
this wiki
|The Uley pack
|Founding information
|Time of foundation
|Founded by
|Membership information
|Pack members
|Former members
|Magical characteristics
|Special abilities
The Uley pack, most commonly known as the pack or Sam Uley's pack, is formed when Sam Uley first phased into a wolf, the occasion of his coming-of-age in the presence of the Olympic coven: a coven of vampires. Over time, Paul Lahote, Jared Cameron, Embry Call and Jacob Black phased and Sam took responsibility for them. Their pack was later joined by Seth and Leah Clearwater, Quil Ateara V, Brady Fuller and Collin Littlesea.
It was the only pack before Jacob, Leah, and Seth broke away to form one of their own, which was later joined by Quil and Embry also broke away to join them, though they stayed in the movies.
At the end of Breaking Dawn, the Uley pack was expanded by four additional unnamed members.
The pack was formed in the year of 2004 when Sam Uley started phasing, becoming the first of the latest generation to activate his transformation, and later Jared Cameron and Paul Lahote. To protect other people from harm, they are all forced to keep themselves at a distance to protect their mutual secret as well as avoiding unwanted transformations. Paul had the hardest time adjusting to the change due to his temperamental nature, which often set off his transformation.
New Moon
In New Moon, the wolves avert their first crisis, when they kill Laurent, who attempts to kill Bella for sustenance, and chase away Victoria. By now, there are five members in the pack: Sam Uley, Jared Cameron, Paul Lahote, Embry Call and Jacob Black.
Bella mistakes Sam for having forced Jacob into his group and murdering people in Forks and La Push, until Jacob tells her it was the work of a vampire and that they have been trying to stop the murders, and that their magical genes have been set off by the presence of vampires.
When they later learn that Victoria is after Bella, the pack works to protect her and Charlie while chasing away Victoria.
In Eclipse, the pack has grown to ten, with the addition of Quil Ateara, Leah and Seth Clearwater, Brady Fuller and Collin Littlesea. When an unnamed nomad infiltrates Bella's house only to steal a red blouse with her scent, the Cullens suspect that someone is orchestrating a plan and form allegiance with the pack to protect Bella and Charlie.
Hearing that an army of newborn vampires led by Victoria and Riley are on their way to Forks, Sam's pack agrees to co-operate with the Cullens against the army since the Denali coven refused to help them. The battle is a success, but Jacob ends up being the most injured at the end of the fight trying to save Leah from a hiding newborn.
Breaking Dawn
The pack splits in Breaking Dawn, following Jacob's and, later, Seth's and Leah's departure to protect a pregnant Bella and the Cullen family from them. With three members less, Sam confides in the Quileute council and come to conclusion that they wait till Bella's baby is born to make their move. However, Jacob imprints on the baby, Renesmee Cullen as soon as she is born, and the wolves are forced to declare permanent peace with the Cullens to keep the two packs from warring each other. A few months later, Embry and Quil also join Jacob's pack, something they weren't able to do previously.
During the Volturi's trial, the pack (which by now had grown to nine members) stands by the Cullens and their witnesses, ready to fight if a battle ensues. During this confrontation, they find out from Edward and Aro that they are not real werewolves, but a group of shape-shifters with the ability to turn into giant wolves.
This pack consists of Sam Uley (Alpha), Jared Cameron (Beta), Paul Lahote (third-in-command), Brady Fuller, Collin Littlesea, and by the end of Breaking Dawn four more unnamed members.
Jacob Black, Seth and Leah Clearwater run off when Sam decides to kill Bella and her unborn baby. Not wanting to fight his own kind during Renesmee's crisis, Sam declares a truce between the packs and decides to watch the Cullens until after she is born to decide if she is a threat or not. However, Jacob's imprinting on the baby forces Sam to re-evaluate his decision and permanently declare peace with the Cullens to prevent unwanted conflict. After the tension between the two packs resolved, Embry Call and Quil Ateara V leave to join Jacob's pack; however, they remain in the Uley pack in the movies.
According to The Twilight Saga: The Official Illustrated Guide, Paul is also the third-in-command.
|Extra capability
|Sam Uley
|Alpha command
|Jared Cameron
|Improved eyesight
|Paul Lahote
|Brady Fuller
|Collin Littlesea
|Embry Call
|Quil Ateara V
Other members
Near the end of Breaking Dawn, the Uley pack gains four new members due to the additional vampires in Forks, which forces some very young Quileute tribe members to turn. In the movie however, only the Black pack take in new members.
Past members
|Extra capability
|Jacob Black
|Strongest wolf/Alpha voice
|Leah Clearwater
|Improved speed
|Seth Clearwater
|Third-in-command (movie only)
|Improved hearing
|Embry Call
|Third-in-command (book only)
|Quil Ateara V
|Member (book only)
In the films, the members of the packs have a tattoo on their right shoulders depicting their membership within the pack, similar to the Volturi's necklaces and the Cullen crest.
|Quileute tribe
|Ephraim Black's pack
|Ephraim Black • Quil Ateara II • Levi Uley
|Uley pack
|Sam Uley • Jared Cameron • Paul Lahote • Brady Fuller • Collin Littlesea • Samantha Uley • Paula Lahote
|Black pack
|Jacob Black • Leah Clearwater • Seth Clearwater • Quil Ateara V • Embry Call
|Ateara family
|Quil Ateara III • Quil Ateara V • more...
|Black family
|Billy Black • Rachel Black • Rebecca Black • Sarah Black • Julie Black • Bonnie Black • Adam Black • Aaron Black • George Black • more...
|Clearwater family
|Harry Clearwater • Sue Clearwater • Holly Clearwater • more...
|Uley family
|Other characters
|Kaheleha • Taha Aki • Taha Wi • The Third Wife • Yaha Uta • Yut • Utlapa • Tiffany Call • Kevin Littlesea • Emily Young • Claire Young • Solomon Finau • Kim
|La Push, Washington • First Beach, Washington
|Makah tribe • Quileute tribe
|Astral projection • Imprinting • Pack structure • Shape-shifter • Treaty


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May 29, 2011
Damon Sayles
Here are Sunday highlights from the Memorial Day Great American Shoot-Out in Carrollton. Quarterfinal action for the NBA Division will take place Monday morning. ...More... To continue reading this article you must be a member. Sign Up Now!
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- "Take that Sindaccos chump's car as a deposit, uh? Just re-spray it so no one recognizes it. I'll take care of his body."
- — Joseph Daniel O'Toole.
Snuff is the fourth mission in Grand Theft Auto: Liberty City Stories given to protagonist Toni Cipriani by Vincenzo Cilli from his warehouse in Atlantic Quays, Portland Island, Liberty City.
Toni drops by Vincenzo's warehouse in Atlantic Quays to get some more work. Vincenzo informs him that Joseph Daniel O'Toole wants to leave the Sindacco Family and join the Leone Family. Toni is at first dismissive of the idea but Vincenzo informs him of plans to use O'Toole as an inside man. Toni drives to Ammu-Nation to purchase a weapon.
Toni goes to the construction site Hepburn Heights run by the Sindacco family and kills a number of Sindacco family gang members. They are in two groups: one next to the high-rise apartment building and a second on the other side of a tunnel. Toni then kills a high-ranking Sindacco family henchman by his car. Toni then collects the thug's cell phone.
Toni receives a phone call from O'Toole who had filmed the entire thing. O'Toole is happy that Toni is there and that he will soon be joining the Leone family. Toni reminds O'Toole that he owes him money, and O'Toole tells him to use the Sindacco's car as a deposit. Toni takes the car to the Pay 'n' Spray in Red Light District and has the car re-sprayed to complete the mission.
Mission objectives
In order to complete the mission the player must:
- Go to Ammu-Nation to get a gun
- Go inside
- Stand in the marker to view the available weapons
- Head for the construction site
- The Sindacco heavy is at the rear of the construction site. Kill him
- Take the cell phone as proof you've done the job
- Get in the car
- Drive to the Pay 'n' Spray
The reward for completing the mission is $500. The Pistol becomes available for purchase at the Ammu-Nation store for $240. The missions Smash and Grab for Vincenzo Cilli and Bone Voyeur! for Joseph Daniel O'Toole become available. The Hellenbach GT is also a reward, since you can take it to your garage or cruise around with it. A phone will also be available.
Video walkthrough
|PS2 Version


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Tennis Ball Cooker
this wiki
In early 2008 Webb Mealy began development of a panel cooker, known as the Tennis Ball Cooker. He had seen photos of traditional parabolic style cookers being used in Nepal, and thought he could develop a cooker that would be lighter, less expensive to produce, more easily transported, and with a low profile, so as to be better suited for use in windy areas. The construction of the cooker incorporates the creative reuse of materials. The base panel is made from recycled heavy-weight "gator board" that is 1/2" thick with a tough plastic laminate surface on both sides. Then fifty-six used tennis balls were split and hot-glued onto the panel on approximately 6" centers. Mirrored vinyl film (remnants from a window coating business, available online) was cut into 5" squares and applied to used CD cases. Using a laser, he was able to aim the mirrors at a common focus point (about thirty-two inches above the platform and seven inches in front of the panel's footprint) and then glue them into place using hot glue. The cooking surface, which is thus outside the footprint of the panel, consists of a grill mounted on a recycled african drum stand.
Audio and video
See also
External links
- Tennis Ball Cooker Webb Mealy describes the project in more detail. Two short videos demonstrate its cooking power.


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Add authenticity to your layout or diorama with Woodland Scenics trees, foliage, water, figures, and more.
Use these adhesives to secure realistic scenery pieces have been designed to meet the specialized needs of architectural modelers, as well as students of architecture, landscaping, and interior design.
Hob-e-Tac Adhesive — This
Liquid Pigment Undercoat, Earth — Formulated for use under blended modeling turf to provide a base color for terrain, Liquid Pigment Undercoat is extremely concentrated.
Mat Adhesive — This is an adhesive for permanently bonding mats to any clean, smooth surface. Ideal for adhering foliage mats to model layouts and dioramas, it's also great for mounting puzzles and posters to art board.
Scenic Accents Glue — This adhesive is specially formulated for attaching scenic accents or other types of figures to a layout. It stays tacky and allows for repositioning without reapplication. For best results, sand the area being glued and apply the glue with the included brush applicator. Let the glue dry until it becomes clear and tacky, then position the figure or other scenic element on the layout.
Scenic Cement — This modeling cement has a smooth, flowing application that reduces spray head clogging, foaming, and bubbles, penetrates easily and quickly, and eliminates the need for "wet water." It wraps around items and permeates instantly for maximum coverage. Scenic Cement is also great for sealing forest canopy material and attaching fine, blended, and coarse turfs, as well as static grass flock, poly fiber, ballast, flowering foliage, and other foliage.
Scenic Glue — Apply model landscape materials with this specially formulated,
® Woodland Scenics is a registered trademark. ™ Hob-e-Tac is a trademark. ™ Scenic Cement is a trademark. ™ Scenic Glue is a trademark.


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Co-owner of the prestigious Barridoff Galleries in Portland, Robert Elowitch is also known by his ringname Robbie Ellis. Now in his mid-60's, He's still active as a professional wrestler who has competed in New England and Mid-Atlanic independent circuit as well as international promotions in Europe.
Conversations with Maine episode #505


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29 U.S. Code § 796d - Statewide Independent Living Council
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(a) Establishment
To be eligible to receive financial assistance under this part, each State shall establish a Statewide Independent Living Council (referred to in this section as the "Council"). The Council shall not be established as an entity within a State agency.
(b) Composition and appointment
(1) Appointment
Members of the Council shall be appointed by the Governor or, in the case of a State that, under State law, vests authority for the administration of the activities carried out under this chapter in an entity other than the Governor (such as one or more houses of the State legislature or an independent board), the chief officer of that entity. The appointing authority shall select members after soliciting recommendations from representatives of organizations representing a broad range of individuals with disabilities and organizations interested in individuals with disabilities.
(2) Composition
The Council shall include—
(A) at least one director of a center for independent living chosen by the directors of centers for independent living within the State;
(B) as ex officio, nonvoting members—
(C) in a State in which one or more projects are carried out under section 741 of this title, at least one representative of the directors of the projects.
(3) Additional members
The Council may include—
(4) Qualifications
(A) In general
The Council shall be composed of members—
(iii) who are knowledgeable about centers for independent living and independent living services; and
(5) Chairperson
(A) In general
Except as provided in subparagraph (B), the Council shall select a chairperson from among the voting membership of the Council.
(B) Designation by chief executive officer
In States in which the Governor does not have veto power pursuant to State law, the appointing authority described in paragraph (3) shall designate a voting member of the Council to serve as the chairperson of the Council or shall require the Council to so designate such a voting member.
(6) Terms of appointment
(A) Length of term
Each member of the Council shall serve for a term of 3 years, except that—
(i) a member appointed to fill a vacancy occurring prior to the expiration of the term for which a predecessor was appointed, shall be appointed for the remainder of such term; and
(7) Vacancies
(A) In general
Except as provided in subparagraph (B), any vacancy occurring in the membership of the Council shall be filled in the same manner as the original appointment. The vacancy shall not affect the power of the remaining members to execute the duties of the Council.
(c) Duties
The Council shall—
(1) jointly develop and sign (in conjunction with the designated State unit) the State plan required in section 796c of this title;
(3) coordinate activities with the State Rehabilitation Council established under section 725 of this title, if the State has such a Council, or the commission described in section 721 (a)(21)(A) of this title, if the State has such a commission, and councils that address the needs of specific disability populations and issues under other Federal law;
(4) ensure that all regularly scheduled meetings of the Statewide Independent Living Council are open to the public and sufficient advance notice is provided; and
(d) Hearings and forums
The Council is authorized to hold such hearings and forums as the Council may determine to be necessary to carry out the duties of the Council.
(e) Plan
(1) In general
The Council shall prepare, in conjunction with the designated State unit, a plan for the provision of such resources, including such staff and personnel, as may be necessary and sufficient to carry out the functions of the Council under this section, with funds made available under this part, and under section 730 of this title (consistent with section 721 (a)(18) of this title), and from other public and private sources. The resource plan shall, to the maximum extent possible, rely on the use of resources in existence during the period of implementation of the plan.
(2) Supervision and evaluation
Each Council shall, consistent with State law, supervise and evaluate such staff and other personnel as may be necessary to carry out the functions of the Council under this section.
(f) Compensation and expenses
The Council may use such resources to reimburse members of the Council for reasonable and necessary expenses of attending Council meetings and performing Council duties (including child care and personal assistance services), and to pay compensation to a member of the Council, if such member is not employed or must forfeit wages from other employment, for each day the member is engaged in performing Council duties.
Source(Pub. L. 93–112, title VII, § 705, as added Pub. L. 105–220, title IV, § 410,Aug. 7, 1998, 112 Stat. 1220; amended Pub. L. 105–277, div. A, § 101(f) [title VIII, § 402(c)(7)], Oct. 21, 1998, 112 Stat. 2681–337, 2681–416.)
Prior Provisions
A prior section 796d,Pub. L. 93–112, title VII, § 705, as added Pub. L. 102–569, title VII, § 701(2),Oct. 29, 1992, 106 Stat. 4446; amended Pub. L. 103–73, title I, § 114(c),Aug. 11, 1993, 107 Stat. 728, related to Statewide Independent Living Councils, prior to the general amendment of this subchapter by Pub. L. 105–220.
Another prior section 796d,Pub. L. 93–112, title VII, § 705, as added Pub. L. 95–602, title III, § 301,Nov. 6, 1978, 92 Stat. 2997; amended Pub. L. 99–506, title I, § 103(d)(2)(B), (C), (h)(2), title VIII, § 802, title X, § 1001(g)(3),Oct. 21, 1986, 100 Stat. 1810, 1811, 1837, 1843; Pub. L. 100–630, title II, § 208(d),Nov. 7, 1988, 102 Stat. 3314; Pub. L. 102–119, § 26(e),Oct. 7, 1991, 105 Stat. 607, related to State plans for providing comprehensive services for independent living, prior to repeal by Pub. L. 102–569, § 701(1).
1998—Subsec. (b)(1). Pub. L. 105–277, § 101(f) [title VIII, § 402(c)(7)(A)], in first sentence, substituted "by the Governor or, in the case of a State that, under State law, vests authority for the administration of the activities carried out under this chapter in an entity other than the Governor (such as one or more houses of the State legislature or an independent board), the chief officer of that entity" for "by the Governor" and, in second sentence, substituted "The appointing authority" for "The Governor".
Subsec. (b)(5)(B). Pub. L. 105–277, § 101(f) [title VIII, § 402(c)(7)(B)], substituted "chief executive officer" for "Governor" in heading and "appointing authority described in paragraph (3) shall" for "Governor shall" in text.
Subsec. (b)(6)(A)(ii), (7)(B). Pub. L. 105–277, § 101(f) [title VIII, § 402(c)(7)(C)], substituted "appointing authority described in paragraph (3)" for "Governor".
LII has no control over and does not endorse any external Internet site that contains links to or references LII.


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/ budget skiing
On the Alpine horizon Grand Combin appears like a giant stepping stone. It is isolated as the only 4000m peak between the Mont... Read more
Brand new from is the Manaslu, a backpacking pack with a sackload of features and a neatly designed back system. It... Read more
Our UKC Forums are infamous famous for attracting discussion on all sorts of climbing and non-climbing-related topics. Where... Read more
If sun-soaked climbs could leave you feeling the burn in more ways than one this summer, throw on the Ensenada... Read more
When you live your life respecting nature and the environment you will always find others that share your values. Dani... Read more


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Tuesday, January 22, 2013
Vintage Glamour
so it was wonderful to see her
36 comments:
- Jessica said...
I recently tried on some vintage hats that a friend had. Thought I would look stupid in them, but they were so wonderful. I loved best the little net veils, so much cheaper than Botox!
- January 22, 2013 at 11:56 AM
- Laura Brasinha said...
She's stunning, the hats are perfect and that first photo stole my breath away!
- January 22, 2013 at 12:33 PM
- Melissa Bishop said...
she looks gorgeous and elegant!
- January 22, 2013 at 12:36 PM
So wonderful! When did we begin to be reticent about hats? Every style in this wonderful eye you bring to this blog is unique. All show beauty as varied, and attainable at any age. Thank you Ari, and thank you Joyce. Your style of elegance is the most endangered of mainstream personal statements. You give us all water to the parched spirit of beauty and grace. You are a gift, both of you.
- January 22, 2013 at 1:13 PM
- Tonya Davis said...
Very glamorous lady
- January 22, 2013 at 1:52 PM
- Mely said...
Love the animal print, and how it will forever remain a classic. Looking at these women, I see they know what is good for them,and if it's good for them, then it's good for me! Lovely post. Darling red lip stick.
Melissa www.cottontrendy.com
- January 22, 2013 at 2:05 PM
- Mely said...
If these women know the importance of animal prints and ditsy prints, then we younger women must not forget their power! Love the red lip stick, and the captivating pearls, and not to mention the gloves. Oh the fresh air I breathe when I come here!xoxo
Melissa www.cottontrendy.com
- January 22, 2013 at 2:12 PM
- Fran Alsbrook said...
Love the hats....I have a pair of my Grandmothers gloves simple but very elegant....:)
- January 22, 2013 at 2:16 PM
- thingstoholdandstir said...
oh gosh, any woman looks fantastic in a vintage hat. i am having a mr. john jr moment right now. love this blog!!!!
- January 22, 2013 at 2:46 PM
- Eliza said...
She is absolutely beautiful and I love her hat!
- January 22, 2013 at 3:01 PM
- Angele Style said...
How elegant can one person be?? She is so regal and stately and has the demenor that has somehonw gone by the wayside in this American culture of teen worship.
- January 22, 2013 at 3:20 PM
- Still Blonde after all these YEARS said...
What I like about Joyce in these pictures is that nothing she has on is LOUD or kooky looking. It's just elegant...as is Joyce.
- January 22, 2013 at 3:30 PM
- Heather said...
It's amazing that she has kept the hats for so long. Such a sweet lady!
- January 22, 2013 at 4:10 PM
- Tosin AgapeStyle said...
She's so beautiful it's unbelievable that she's 80 years old
- January 22, 2013 at 5:46 PM
She is beautiful.
- January 22, 2013 at 6:02 PM
- Carol Markel said...
Joyce est très belle et élégante. J'adore
ces chapeaux. Toujour chic!
- January 22, 2013 at 7:07 PM
- Anonymous said...
She looks so elegant and fabulous. Her timeless look reminds us that defining our own style never gets old!
- January 22, 2013 at 7:13 PM
absolutely lovely!
and may i say, she has a wonderful nose! so strong and beautiful. just right for her face.
- January 22, 2013 at 10:51 PM
- The Style Crone said...
Joyce looks beautiful and elegant in her vintage hats. Leopard print and veils are transformative and powerful!
- January 22, 2013 at 11:00 PM
- ringadal said...
She should wear hats more often. She looks absolutely stunning. Makes me want to try a pillbox hat!
- January 23, 2013 at 8:49 AM
- Lauren@Styleseer said...
I absolutely love her vintage hats and am inspired to start wearing hats more often myself. After all I, too, am rapidly approaching the age where hats are the only romantic thing left (great quote!.
- January 23, 2013 at 9:00 AM
- BluMoon said...
The hats look wonderful on Joyce, but what a stunning suite in the last picture WOW!
- January 23, 2013 at 9:02 AM
- Emma Davidson said...
love her hat and makeup! xo!
My Face Hunter
women designer eyeglasses giveaway on myfacehunter coming soon!
- January 23, 2013 at 10:17 AM
- Marla Robinson said...
She is so elegant. I love those hats on her with her lovely hair.
- January 23, 2013 at 11:17 AM
For the first photo - Wow! For the second, Luscious! And for the third - Amazing...
- January 23, 2013 at 5:43 PM
- Idiosyncratic Fashionistas said...
Bob Dylan's "Leopardskin Pillbox Hat" is playing in our heads! Joyce looks just marvelous in hats. Ari, this is a terrific change of pace. You always keep us guessing.
Jean & Valerie
- January 23, 2013 at 11:41 PM
- Dauphine said...
Joyce is truly beautiful. She has a great style, but whatever she wears, her kind of mischievous features (English is not my mother's tongue, so just in case, this is meant as a compliment) always steal the show! You always see her face first, and then, you notice the clothes...
- January 24, 2013 at 6:02 AM
- Jo said...
Your hat's are so elegant, absolutely <3
- January 24, 2013 at 7:04 AM
- One Woman's Journey - a journal being written from Woodhaven - her cottage in the woods. said...
She is beautiful...
Love your blog
and this One Woman who is in her late 70's can see so much beauty
in the ladies you photograph...
- January 24, 2013 at 10:09 AM
- Kristin said...
That gal could put a tea cozy on her head and STILL be so elegant.
- January 28, 2013 at 1:07 PM
- Paisley said...
Ms J is beautiful and the epitome of 'allure'.
- January 30, 2013 at 3:21 AM
- angeljoy said...
My sentiments exactly! Joyce exudes elegance, no matter what she wears!
- January 31, 2013 at 6:59 AM
- angeljoy said...
Agreed. Joyce exudes elegance, no matter what she wears!
- January 31, 2013 at 7:00 AM
- Lynn Dylan said...
She is LOVELY!!!
- January 31, 2013 at 9:16 AM
- Connie Lassiter said...
She is stunning at any age! The photographs are wonderful.
- March 8, 2013 at 6:49 AM
- Sharon said...
Joyce is beautiful no matter what she wears. Her style of elegance inspires me, and her hats 'notch' her up to another level. Awesome!
- August 1, 2015 at 10:16 AM


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Talk:Order of the Phoenix
Back to page
this wiki
"The Order is usually outnumbered by Death Eaters." Really? Canon proof of this please? MadMuggle 02:05, 19 Dec 2005 (UTC)
- Book 5, ch. "The Woes of Mrs. Weasley", I think it's Lupin telling Molly that the Order was outnumbered by Death Eaters. The sentence could still probably go. Hermione1980 17:18, 19 Dec 2005 (UTC)
- Thanks for the info and the edit. I had some bizarre typos. :) MadMuggle 02:26, 20 Dec 2005 (UTC)
Where's the evidence that McGonagall was in the original Order of the Phoenix? As far as I'm aware Moody never specifically mentions her name and no one else ever confirms it. Further, she's not in the photograph of the original Order shown in the movie. Metathesiophobia 10:08, 11 July 2007 (UTC)
In Book 5 harry does try to contact her, and when realising she is in St. Mungos assumes thre is no one else left in the order of the phionex at hogwarts.
Also, the picture of the 'new' order looks more like dumbeldores army, but i could be wrong (some one has put a caption to this essect).
Member Status
In light of their heroic acts throughout the series, I listed Harry's gang (Harry, Hermione, Ron, Ginny) as official members.Mafalda Hopkirk 19:49, 9 October 2007 (UTC)
Table of Members
Looks awesome!Mafalda Hopkirk 18:49, 10 October 2007 (UTC)
was snape defintely in the first order???
&&is there any chance of a full photo of the first order of the phoenix??
Snape join the first order, when he found out that Voldemort was going to kill Lily. --Lupin & Kingsley 01:11, 20 November 2008 (UTC)
Should we really be including all the people we have under the table of members of the Order of the Phoenix? I understand the reasoning behind Harry, Ron and Hermione being included, seeing as they participated in Order operations (e.g. Battle over Little Whinging) and were privy to the location of headquarters and such, but were underage (as was Ginny).
Neville and Luna, though, never did this. They fought in battles as part of Dumbledore's Army, which is an ally of the Order, but still distinct from it. Similarly, didn't Professors Flitwick and Sprout participate in the Battle of Hogwarts more as a defense of the school than as members of the Order? Professor Slughorn isn't on the list, and he acted similarly. Also, Andromeda and Ted Tonks as well as Muriel seemed to have been allies of the Order because of their family members, but do we have any indication that they were actual members?
Unless I'm mistaken, I think we should move these people to a separate section for allies of the Order rather than keep them in the same table. Oread 01:17, 8 December 2008 (UTC)
Old Order photo
The subtitles of the old Photo state it includes Dumbledore, Sirius, James and Peter. Is there a reference for the latter. If it is the case, we could include it on Peter´s article.--Rodolphus 09:53, October 11, 2009 (UTC)
Who is this wizard?
He only apparead in this picture.---Pol_871, 14:35,January 24,2010(UTC)
i think that is a version of Mundungus, because is the only male orden member(arthur,kingsley,moody...) who attended at the meeting.Pol 871 18:28, July 13, 2010 (UTC)
unknown members?
Who are the members of the order they appear in the photograph could be sturgio pudmore edgar and bones because of physical characteristics?


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There are 63 results - Show results on a map Print this page
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A tranquil historic riverside is the backdrop for this delightful property. The main house bedrooms are full of historical features and are of individual design, and in addition there are some bedroom...More about The Master Builders at Bucklers Hard
This family-run guest accommodation is found in a quiet, residential area within walking distance of the beach and town centre. The bedrooms are comfortable and nicely appointed, some with flat-screen...More about West Wind Guest House
Built in 1865 as the Britannia Commercial Hotel, Britannia House occupies a quiet location only two minutes' walk from the quay, waterfront and the High Street with its many shops, pubs and restaurant...More about Britannia House
Premier Inn Southampton North is handy for Southampton as well as stunning countryside. Visit the New Forest National Park and The National Motor Museum at Bealieu, enjoy watersports from the Blue Fla...More about Premier Inn Southampton North
This former coaching inn has smart public areas including a busy bar, a separate lounge and an attractive dining room. Bedrooms are comfortably furnished and well equipped; some are located in an adjo...More about Yelf's Hotel
This charming hotel enjoys a peaceful location on the edge of the village. The bedrooms are bright and comfortable with pine furnishings and smart en suite facilities. Public rooms include a selection...More about Cloud Hotel
Just by the Esplanade, this hotel has an enviable outlook. Bedrooms are comfortable and very well equipped, and the light and airy, glass-fronted restaurant looks out to sea and serves a range of inte...More about Best Western New Holmwood Hotel
This property is on the edge of the New Forest, and is convenient for Ashurst railway station and the M27. The bedrooms are traditional in style but with modern fixtures and furnishings including free...More about The Willows
Situated at the heart of this charming village and surrounded by glorious New Forest scenery, the Montagu Arms dates back to 1742, and still retains the character of a traditional country house. The i...More about The Montagu Arms Hotel
The Prince Consort is situated just five minutes' walk from the seafront, and enjoys a friendly atmosphere. Food is available every evening in the spacious bar and restaurant. Bedrooms are contemporar...More about Prince Consort


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May 5, 2016
The North Carolina DMV has dropped plans to put a bright pink stripe on driver licenses issued to some illegal immigrants.
Instead, the DMV will put in red letters "LEGAL PRESENCE NO LAWFUL STATUS" on driver licenses for immigrants brought to the U.S. as children.
The Obama administration's Deferred Action for Childhood Arrivals program grants valid federal work permits to qualified applicants brought to the U.S. as children without legal authorization. In North Carolina, those who have "legal presence" are qualified to get driver licenses even though they may not have "lawful status".
The state had come under criticism from the ACLU and Latino groups for the pink stripe, and some called it a scarlet letter for the immigrants.
In announcing that applications would be accepted starting Monday, the DMV did not explain why it changed the design of the licenses.
Click Here to access the online Public Inspection File
Viewers with disabilities can get assistance accessing this station's FCC Public Inspection File by contacting the station with the information listed below. Questions or concerns relating to the accessibility of the FCC's online public file system should be directed to the FCC at 888-225-5322, 888-835-5322 (TTY), or firstname.lastname@example.com.


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Halloween's Eerie Evolution Into a $6 Billion Industry
Looking for a last-minute costume isn't too tough these days. In strip malls across the country, temporary Halloween stores have popped up in vacant retail spaces like an orange-spotted rash. But back in the 1970s, the idea of a store devoted entirely to Halloween was considered kind of crazy, or at best, a silly business plan.


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King Courtney
this wiki
King Courtney is a character in Grand Theft Auto series who appears as a minor antagonist in Grand Theft Auto III and as a major character and the secondary antagonist in Grand Theft Auto Advance. King Courtney is the leader of the Jamaican Uptown Yardies gang.
King Courtney is the first antagonist not to be killed, as well one of three antagonists in the GTA series not to be killed (the others being Rocco Pelosi from The Ballad of Gay Tony and Miles O`Donovan from Liberty City Stories).
King Courtney was voiced by Walter Mudu in Grand Theft Auto III. Walter is also the same voice actor who voices D-Ice in the same game and Malc in The Lost and Damned.
In GTA Advance, he appears as Mike's fourth boss. Involved in a turf war with the Colombian Cartel, Courtney is also involved in illegal racing around Staunton Island. He first encounters Mike shortly after the death of Mike's friend Jonnie. Mike suspects him of being responsible for his death and confronts him, holding him at gunpoint. King Courtney denies the accusations and claims that he also wants to find the killers because Jonnie owed the Yardies money. In exchange for his services, Courtney agrees to find the murderer of Mike's friend Vinnie. Despite the work Mike does for the Yardies, Mike finds himself no closer to finding the culprit. Mike begins to lose his patience and confronts Courtney. Courtney tells Mike that the culprit is Cisco, the leader of the Colombian Cartel. Mike later fights Cisco, only to learn of the lies Courtney has been feeding him. Mike later works for the Cartel and the Yakuza, two mutual rivals of the Yardies.
Mike discovers that Vinnie is still alive, and of his true nature, Mike kills him and steals his money, not before being warned that people will go after him for the money. Almost immediately after Vinnie's true death, King Courtney hears about the money and calls a hit out on Mike (as per late Vinnie's warning). Mike finds out about the hit from Cisco's successor and the arrest of Mike's friend 8-Ball. Mike wipes out the hit men before asking for Asuka Kasen to assist in the assault of the Yardies warehouse. Mike meets some of the Yakuza there but they flee just before the attack. Mike single-handedly confronts Courtney, who then attempts to personally kill Mike with backup from the Yardies. A violent fire fight ensues and Mike comes dangerously close to killing him before Courtney begins to beg for life. Suddenly a police raid begins (which Courtney seems to have eluded) and Mike flees Liberty City.
In GTA III, he assigns Claude jobs from Staunton Island, operating from a payphone located near Liberty Campus. The primary focus of his jobs are mostly related to attacks against rival gangs, with one of these mission requiring that Claude turn his back against the Diablos by killing several of its members. The final "job" involved Claude being lured into a trap, where Catalina has dispatched vans of "SPANK-ed up madmen" suicide bombers to kill Claude, an act that subsequently fermented relationships between Claude and the Yardies.
Mission appearances
- Bling-bling Scramble (Voice/Boss)
- Uzi Rider (Voice/Boss)
- Gangcar Round-up (Voice/Boss)
- Kingdom Come (Voice/Boss, Betrayal)
- GTA Advance
- Race to Run (Boss)
- Latin Coffee (Boss)
- The Big Score (Boss)
- Fine Dining (Boss, Betrayal)
- Assault Joint (Defeated)


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There are 211 results - Show results on a map Print this page
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Located right on the seafront in the heart of Brighton, this hotel offers uninterrupted sea views from all seafront-facing rooms and public areas. Brighton Pier, the Lanes and Town Centre are just a c...More about Mercure Brighton Seafront Hotel
Close to the seafront, off the Esplanade, the New Steine provides spacious and well-appointed accommodation. The Bistro offers simple yet appealing dishes with a French and British influence; produce ...More about New Steine
This hotel (formerly the Aerodrome Hotel) sits in a prime location and offers comfortably appointed bedrooms, all with LCD TVs and free WiFi throughout. Following a refurbishment programme, public are...More about Hallmark Hotel London Croydon Aerodrome
Situated in an impressive Regency square close to the town and seafront, Gullivers has much to offer. Compact rooms use clever design and contemporary colours to ensure comfort, and some have quality ...More about Gullivers
Proprietors Davis Stott and Clive James have been welcoming guests to this elegant restaurant with rooms for over 25 years. Crossways sits amid stunning gardens and attractively tended grounds. The we...More about Crossways
The Drummond is centrally located in this picturesque village, with attractive gardens running down to a small river at the rear of the property. The bedrooms are individually appointed and offer all ...More about The Drummond at Albury
Expect a warm welcome at this charming detached Victorian property, situated amidst four acres of mature landscaped gardens. Bedrooms are attractively decorated with lovely co-ordinated fabrics, and ...More about Hempstead House Country Hotel
Situated just off the M20 and with easy links to the Eurotunnel, Eurostar and ferry terminals, this hotel has been stunningly appointed. The slick, stylishly presented bedrooms are equipped with the l...More about Ashford International Hotel
Premier Inn London Gatwick Airport South is situated in the grounds of the 13th-century Gatwick Manor. Relax before departure or recover from a long-haul flight with a stroll around the tranquil groun...More about Premier Inn Gatwick Airport South
Located close to the pier and within easy walking distance of the beaches and open-air bandstand this hotel offers bedrooms that are pleasantly decorated and furnished. The public areas include a cosy...More about Savoy Court Hotel


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Lutron SC-3-BI
Biscuit Claro Three Gang Designer Wall Plate
Item # BCI1855913 | Model # SC-3-BI | Claro Collection
Questions about Lutron SC-3-BI?
Contact us for advice or more details. Our product specialists are here to help.
Lutron CW-3 Claro Three Gang Designer Wall Plate
Designer wall plate with three openings for Lutron lighting systems.
Lutron CW-3 Features:
- 3-gang wall plate
- Oversized to hide gaps around wall boxes
- Fits controls and accessories with designer openings
- Available in 27 colors and stainless steel
- Screwless and seamless with no visible hardware
- Superior snap-on design attaches securely and snugly in place regardless of wall condition
The story of Lutron began in a makeshift lab in a New York City home in 1959 where Joel Spira emerged with a radical new innovation in home lighting: the solid-state rotary dimmer. In almost 50 years of innovation, Lutron has invented hundreds of lighting control devices and systems, and expanded their product offering from 2 products to 15,000. Lutron dimmers not only set the perfect mood in a home, they also reduce energy consumption and extend lamp life. Taken as a whole, Lutron light controls have reduced electrical use by 9.2 billion kWh, reducing their customers' electric bills by $1 billion annually. The company has advanced the technology of lighting control while focusing on exceptional quality and design. Since the beginning, the company has maintained exceptional service, offering 24-hour technical support for its products, and a friendly customer service department.
Additional Lutron Links
This Lutron item can also be referenced by the following color/finish specific model #:
- Lutron CW-3-AL
- Lutron SC-3-BI
- Lutron CW-3-BL
- Lutron SC-3-BG
- Lutron CW-3-BR
- Lutron SC-3-DS
Desert Stone
- Lutron SC-3-ES
- Lutron SC-3-GS
- Lutron CW-3-GR
- Lutron SC-3-GB
- Lutron SC-3-HT
- Lutron CW-3-IV
- Lutron CW-3-LA
Light Almond
- Lutron SC-3-LS
- Lutron SC-3-MR
- Lutron SC-3-MN
- Lutron SC-3-MS
Mocha Stone
- Lutron SC-3-PD
- Lutron SC-3-PL
- Lutron SC-3-SG
Sea Glass
- Lutron SC-3-SI
- Lutron SC-3-SW
- Lutron CW-3-SS
Stainless Steel
- Lutron SC-3-ST
- Lutron SC-3-TP
- Lutron SC-3-TC
- Lutron SC-3-TQ
- Lutron CW-3-WH
*Discontinued model or finish
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