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Theater Reviews
FENCES The star power behind this revival of August Wilsons Pulitzer Prizewinning drama is bright but never blinds us to the storys ferocious generational conflicts or its judgment of American racism. Big-talking, hard-drinking Troy Maxson (Laurence Fishburne) is a former Negro League baseball star now married to pious Rose (Angela Bassett) and to tossing garbage cans in 1957 Pittsburgh. His hostility to sports and life in general is focused on his son, Cory (Bryan Clark), a high-school football player with a shot at a college scholarship, whom he treats with furious scorn. The play has everything: A guilty family secret worthy of Arthur Miller (Troys home was paid for with medical payments intended for his disabled brother, Gabriel [Orlando Jones]), a red herring involving Troys being given a drivers job even though he has no license, and a punishment for infidelity that comes with overtones of Greek tragedy. Although Troy and Rose remain vital middle-aged figures, fatigue has soaked into their very bones, and director Sheldon Epps has his actors articulate this in the way Bassett sinks into a chair or Fishburne seems to drag the weight of those trash cans whenever he strides onto the family porch. Epps directs this production with consummate finesse, and the actors make the most of their T-bone roles, but it is Fishburnes Robeson-esque performance that dominates the evening. PASADENA PLAYHOUSE, 39 S. El Molino Ave., Pasadena; Tues.-Fri., 8 p.m.; Sat., 5 & 9 p.m.; Sun., 2 & 7 p.m.; thru Oct. 1 (added perf. Sept. 20, 2 p.m.). (626) 356-PLAY or www.pasadenaplayhouse.org. (Steven Mikulan)
GANGSTER AND THE CRADLE ROCKERS Twenty years ago, writer-director Louise Newmark lost her son, Donnie, a rocker and part-time coke dealer, to drug-related violence. In this earnest musical, she wrestles with the fate he couldnt escape despite the love of several good women herself, his daughters and his two wives, Starr and Pamela (Lisa Robert and Deborah Wood). Miscast as the doomed songwriter, Greg Magnuson has reworked Donnies material, and though his mother insists that the lyrics illuminate his struggle, like many other confounding elements in the play, they strike a false note. Packed with coos and tambourines and shouts of rock and roll! the band comes off like talented kids playing dress-up. Cartoonish stereotypes continue to undermine the piece, from the outdated slang that clutters up the dialogue to the uncomfortable, offensive choice to make all the baddest baddies minorities Darin Nathan is double cast as not one but two wasted, gun-waving black men; as the villainous Mexican mafioso, Robert Factor must enter every scene with a hissed Orale! Newmarks sincere intentions give the play its drama, even as the snowballing missteps that crescendo in Act 2 with a slow-mo fight sequence and a balladeer duet between Electra and Orestes force the audience into a battle between sympathy and the giggles. ART/WORKS THEATER, 6569 Santa Monica Blvd., Hlywd.; Sat., 8 p.m.; Sun., 7 p.m.; thru Sept. 17. (626) 683-9094. (Amy Nicholson)
MOONLIGHT AND MAGNOLIAS Ron Hutchinsons comedy unfolds during the week in 1939 when movie producer David O. Selznick (Ron Nagle) shut down production of Gone With the Wind, thenhired his friend, screenwriter Ben Hecht (Kip Gilman) to rewrite the screenplay from the ground up in seven days. Theres a bit of condemnation by the Zionist Hecht a man of deep social principles, but, by his own admission, not deep enough to walk away from a studio paycheck about the storys patronizing treatment of blacks, while Selznick doesnt give two hoots about social politics in his flicks. Rather, he speaks of wanting to prove himself to his father-in-law, Louis B. Mayer, and of wanting to make one great movie (after a string of flops) before Hollywoods Golden Age eclipses. For all this, its hard to discern Selznicks core drive, why he believes so strongly in this troubled project, why he would lock himself in a room with Hecht and director Victor Fleming (Greg Mullavey) to hash out a new script. Hutchinsons play is a nostalgic frolic that traffics in truisms about Hollywood, then brings up issues of heritage and ethnicity, raising the foiled expectation that the comedy might actually penetrate an idea or two. It doesnt. Its just a valentine, sort of pointless, sort of fun. Snappy performances under Scott Cummins carefully modulated direction keep the show entertaining, and theres a nice cameo by Lynda Lenet as Selznicks secretary. See Stage feature next week. ODYSSEY THEATRE ENSEMBLE, 2055 S. Sepulveda Blvd., W.L.A.; Wed.-Sat., 8 p.m.; Sun., 2 p.m. (No Wed. perfs Sept. 13, Oct. 18, 25 & Nov. 1; Sun. perfs Oct. 29 & Nov. 7 at 7 p.m. replace 3 p.m. perfs); thru Nov. 5. (Steven Leigh Morris)
SEASON OF CHANGE For political progressives and liberals, singer-songwriter Ed Munters musical of global awareness and positive change may be inspiring. Through well-crafted rock and blues tunes accompanied by Rashid Lanie on keyboards, Munter implores folks to fight against war, global warming and other human-created devastation. Munter plays a mean guitar and harmonica, under Bryan Rasmussens direction, and his show is more of a concert than dramatic story, with the gravel-voiced Munter alternating between channeling Dylan and Springsteen. Munters flair for insightful lyrics and political pungency are evident on the stinging antiIraq war anthem The Changing Wind and Heavy Weather, which blasts global warming. But God Bless Miss Liberty is politically naive and performed in front of an exultant video of the Statue of Liberty and a waving U.S. flag, taking back images straight out of the radical rights repertoire. Skirting the complexities of divisive issues such as racism, in songs such as Simply Love and We Are One, Munter posits hippielike that love is the answer to the worlds ills. Been there. Done that. Perhaps with some between-song banter or a dramatic arc describing his political development, Munters piece could be more of the experiment hes dubbed it. THE WHITEFIRE THEATRE, 13500 Ventura Blvd., Sherman Oaks; Fri.-Sat., 8 p.m.; thru Sept. 30. (818) 990-2324. (Martín Hernández)
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SISTER CITIES Writer Colette Freedmans dark comedy about four sisters wrestling with their moms suicide features choice dialogue and five interesting female characters an all-too-rare occurrence in the theater that only fractionally compensates for the plays loose threads and raw edges. As a lover of life brought low by illness, Mom (Jill Gascoine) has birthed, from four different fathers, a chic and frosty attorney named Carolina (Susan Ziegler); Dallas (Nickella Moschetti), a conservative housewife; Baltimore (Jade Sealey), an unsettled student; and Austin (Freedman), a plain-spoken jeans-clad writer fleeing from her own celebrity. The plays problems begin with its setup: While their mothers corpse lies unattended in the bathtub, the gals squabble with such consuming narcissistic heat that the significance even the very fact of their mothers death becomes elusive. Gascoine is persuasive as a dying woman pondering lifes whys and wherefores, but its hard to connect this existential self with the person her daughters variously and inconsistently describe. As the pivotal manipulator of events, Freedmans portrayal demands more complexity. Among the siblings, only Moschettis color-coordinated housefrau registers on target; under Elise Robertsons direction, the other performances come across as under-rehearsed and, like the material, highly promising but prematurely staged. CIRCUS THEATRICALS STUDIO THEATRE at THE HAYWORTH, 2511 Wilshire Blvd., L.A.; Tues., 8 p.m.; Sun., 7 p.m.; thru Sept. 17. (323) 960-1054. (Deborah Klugman)
THIS IS OUR YOUTH Kenneth Lonergans first play begins with a sloppy guy named Dennis Ziegler (Jason Ciok) sitting in his sloppy New York apartment, hypnotized by a small television set. Enter Warren Straub (David Huynh), later described as a rich little pot-smoking burnout rebel. Warren has just stolen $15,000 from his abusive lingerie-tycoon father and flown the coop, landing at Dennis house. Act 1 is largely devoted to Dennis and Warrens debate over how to spend their newfound riches, their two most appealing options being girls and drugs. Lonergans dialogue is peppered with cruel jabs, but these two actors play up the hate in their relationship to such a degree that its difficult to fathom how they became friends in the first place. Cioks Dennis is one-note, yelling through every line, and Huynhs Warren is so tail-between-the-legs nervous that their interactions are painful to watch. The play itself is funny, but this production lacks any semblance of humor. When Jessica Goldman (Kim Kutner) breaks onto the scene, her entry provides some salvation. Kutners whip-smart yet inexperienced Jessica is refreshingly layered, and she manages to draw some depth out of Huynh as well. Sadly, however, Jessica leaves toward the middle of Act 2, and the final scene is interminable. THE ACTORS PLAYPEN, 1514 N. Gardner St., Hlywd.; Fri.-Sat., 8 p.m.; thru Oct. 7. (323) 848-2184. (Stephanie Lysaght)
TWENTIETH CENTURY Farceur Ken Ludwig (Lend Me a Tenor) has streamlined Charles MacArthur and Ben Hechts 1932 comedy which itself was a rewrite of Bruce Millhollands Napoleon of Broadway. Millholland was a publicist for Morris Gest, a 20s Broadway producer, and Millholland spun his comedy from observations of Gest on a train from Chicago to New York. Through these two revisions across a centurys divide (not to mention the 1978 musical, On the Twentieth Century, and a pair of film versions), the essence of Millhollands satire of theater folk, their vanities and solipsistic bluster in Hollywoods long shadow still resonates somewhat. Ludwigs fix of MacArthur and Hechts rambling structure comes at the cost of some of the originals charm, and stage producer Oscar Jaffees (Jeff Griggs) cavalier dismissal of the value of the Academy Award won by the former showgirl cum actress (Libby West) whom hes trying to woo back to the New York stage is a joke from another century. But the plays depictions of its characters desperation and fraud show qualities as universal in the theater as they are in most professions. Director Jules Aaron nudges the comic types with composer/sound designers Max Kinbergs musical underscoring, like so many pokes in the ribs. Both leading players are fine actors who sustain a base level of mugging that handcuffs them as the lunacy escalates, though Griggs faked death scene has moments of comedic mastery. INTERNATIONAL CITY THEATRE at the CENTER THEATER, LONG BEACH PERFORMING ARTS CENTER, 300 E. Ocean Blvd., Long Beach; Thurs.-Sat., 8 p.m.; Sun., 2 p.m.; thru Oct. 1. (562) 436-4610. (Steven Leigh Morris)
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So, when you think of vampires you probably think of Nosferatu, Dracula, Brad Pitt/Tom Cruise, Eric Northman/Bill Compton, Edward Cullen, Blakula, and obviously...
These bloodsuckers generally look the same and display fairly predictable behavior patterns. Well, Robert Rodriguez thought it was time to change things up and hired special effects guru, Greg Nicotero to help redesign his From Dusk Till Dawn: The Series vamps. Nicotero's been working on major Hollywood films and TV series for over 30 years, including many of Tarantino and Rodriguez's films and The Walking Dead. Check out his full list of credits here and read what he has to say about working on the new Dusk series.
There's a lot of vampire shows that popped up on television recently, so I think Robert [Rodriguez] and Carlos Coto [Executive Producer/Writer] really had a great eye for making these creatures look different. In the original movie, there wasn't really necessarily one sort of through line in terms of the designs of the vampires. You get a sense when you watch the movie that there's a bit of that Aztec mythology starts to creep in with Salma [Hayek]'s snake dance, and then you see the big reveal at the end of the movie of the Titty Twister being built on top of the temple. So there's an interesting backstory that they've expanded upon in the TV show. We've gone a lot more with this mythological approach to the vampires.
Are they vampires? Are they cousins of vampires? Are they vampire-snakes?
Rodriguez and friends aren't the only ones that wanted to tell a new fangy story. The creators of the indie gem, Eagle vs. Shark made a hilarious film that premiered at this year's Sundance Film Festival, called, What We Do in the Shadows. Reality show about vampires? Yes!
I love the snake aspect of it, and we really wanted to try to make them feel fresh in terms of the look; in terms of patterning of the snakeskin, and in terms of the paint jobs and the color schemes. We went very bold with them. Even using the sort of rattlesnake design for the fangs where they have that really clear, translucent-looking fangs and gums and not a lot of teeth. We just really bucked the trend with every design choice, because we just wanted them to feel different.
See, vampires are still cool. Watch From Dusk Till Dawn: The Series every Tuesday night at 9pm on the El Rey Network and stay tuned for release dates for What We Do in the Shadows. Now we want to hear from you...
Greg Nicotero article via Zap2it

subset: commoncrawl


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The year 2015 may be a landmark year for many educational publishers, says CMO Rahul Arora of MPS Limited. "Most of our clients have informed us that they have a committed program and leadership impetus toward transforming into a truly digital organization in three years' time. Publishers also recognize that their in-house talent may not necessarily have all the skills and competencies required for this transformation, and so they plan to lean heavily on partners such as MPS to help them realize this transformation. As such, our conversations with clients have become more strategic in nature, where we are invited to share innovative ideas on how we can lead them toward a digital future."
At the same time, he finds that publishers are switching to digital-first workflows and trying to do it as fast as possible. "In the past, many have chosen to have separate print and media or Web production departments, but this is a luxury that is likely to disappear in the coming years. Already, there is an emphasis on training print project managers to also manage the production of media assets."
But most publishers are grappling with determining their needs for an integrated system and migration path for legacy systems and data. "Some publishers already have large XML repositories that have been built up at the back-end of the print production process. The challenge now is to build workflows to integrate these databases into a digital-first process," adds Arora.
Publishers also have to deal with other issues such as practical device restrictions on video, audio, math rendering, and Unicode compliance. "These are possibly as inhibiting to educational publishers as is the question of digital cannibalization," observes Walter Walker, executive director of publishing services at codeMantra. "But whether it is about ePub 3.0 or any of the multitude of alternative formats, it is the educational publishers who represent the next major demand for digital services."
Recent months have seen the Common Core standards complicating the lives of those in the k–12 educational segment. "As an editorial vendor, our role is to create or revise content, or to do both, to meet Common Core standards as required," says president Amit Vohra of Contentra Technologies. "Many clients that we work with are adding new materials or revising as needed to show that all Common Core requirements are being addressed and met. In some instances, just a few words are sufficient to do the job." He points out that supplementary material publishers have also shown a keen awareness of the standard.
Such awareness of industry formats and specifications coupled with increased internalization of knowledge about the digital production process have been increasing recently. As president Maran Elancheran of Newgen Knowledge Works points out: "Gone are the days when a book publisher might just ask its prepress vendors to provide XML along with the print files, and to suggest a suitable DTD for the purpose. Nowadays, a request to supply XML tends to be accompanied by exhaustive text-capture instructions for a customized incarnation of a particular version of a specific DTD."
The same clarity of prescription is emerging in requests for e-book formats as well, adds Elancheran, who finds it "a welcome trend for those of us who offer digital pre-press services, particularly when—as is commonly the case—we have been involved by the publishers in evolving these specifications. But perhaps even more welcome has been a consequent trend to re-examine existing digital workflows, a willingness to re-engineer workflows to accommodate the myriad new delivery formats smoothly, rather than simply to treat those new formats as appendixes to an established process."
Speaking of e-books, Oliver Holden of IBS Bookmaster Americas says that "many small- and mid-tier publishers have been reluctant to sell to consumers directly for a variety of reasons, including not offending the 800-pound gorilla. Yet, with the way the gorilla is dictating terms, small- and mid-tier publishers can feel like their profits are slowly sinking in quicksand."
By building their own direct-sales mechanism, principally through an active customer-oriented Web site that is tightly integrated into the back-end systems, these smaller publishers, according to Holden, "can add 30% profitability to every sale simply by eliminating the cut the aggregators take out of them. For every 3.3 copies of a title sold, it is tantamount to selling one more book on those Web sites, and without any overhead, too. Bookmaster and Rightsmaster suites of solutions would enable these smaller publishers to achieve just that."
On the following pages are highlights of what some companies in the digital space are doing at BookExpo America.
Solidifying its services and software offerings for the entire publishing chain has been the focus at codeMantra in the past two years. "Helping to drive a publisher's workflow from manuscript to market is our mantra," says Walter Walker, executive director of publishing services. "The integration of full composition and project management capabilities as well as new software modules in collectionPoint [cP], for instance, is aimed at offering customers solutions for asset composition, management, conversion, and distribution."
cP 3.0 is codeMantra's trademarked Web-based digital asset management and distribution platform. "We have adopted powerful new XML tool sets and InDesign plug-ins to expedite full composition and pagination workflow," says Walker. "At the same time, our offshore production facility [in Chennai] uses a systematic XML conversion at the pre-composition stage to optimize elements and components for easier digital conversions in the post-production phase. Clients would see cost savings through the new workflow as well as a substantial added value in terms of improved time-to-market."
The company's strategic alliance with ePubDirect, an international full-service e-book distributor, has also enabled codeMantra "to offer customers access to an indirect reseller for their content—one that can place their content with hundreds of smaller retailers worldwide,".
Walker points out one of the surprising ways in which digital workflow affects publishers' bottom lines and product decisions. "Take one recent project from the Metropolitan Museum of Art in New York. Its publishing division has long wanted to preserve and make possible the recreation of its many high-quality—and out-of-print—art monographs and show catalogues. However, the original production files for many of these titles date back to the 1960s and have long since disappeared. So our team used high-resolution nondestructive scanning processes to reproduce the POD files with remarkable fidelity. Then, working together with Acme Bookbinding, Yale University Press, and the Met, we set up protocols and processes to provide direct-to-consumer POD sales, as well as the shipment of finished monographs. The Met has since reported very encouraging sales on many of its out-of-print titles."
For more information on cP 3.0 and other codeMantra solutions and services, please contact Walker at firstname.lastname@example.com.
Contentra Technologies
Known formerly as Planman Technologies, the new name, Contentra (and its colorful logo), represents the company's renewed focus on content transformation services and service expansion. With at least half of its business coming from the U.S., BookExpo America is the perfect venue for president Amit Vohra and his team to spread the word about Contentra's new identity and goals. "As a trusted partner for the book, library, and news industries, we plan to take our services to newer markets and industries. Our view is that all organizations in every industry are content publishers, with unique content life cycles and extraordinary amounts of content to be created, repurposed, and distributed. Through our partnership with these publishers or content creators, we have broadened the scope of our services, and, as such, the new name is reflective of our new capabilities and specialized offerings in transforming content."
The company's end-to-end delivery—from authoring to conversion—will bring substantial savings in terms of cost and turnaround time, adds Vohra.
Naturally the team has plenty of projects to showcase its capabilities. New to Contentra's portfolio (and a bonus to U.S. educational publishers) is its capabilities in, and expertise on, the Common Core standards. "We have developed numerous language arts and mathematics titles in Common Core, for which we have written specific materials including assessments to meet the standards. The math standards are more challenging because of the way the concepts are presented and the requirement to continue the presentation throughout the grades."
Then there was the iBooks Author project for middle school and high school textbooks that in total covered 12,000 pages, 13,300 illustrations, and a huge number of math equations. Another project on psychology requiring animation using HTML5 had the team creating static assets for all digital object storyboards, producing both Flash and HTML5 versions of the animation, and making the HTML5 animations compatible with both iOS and Android platforms.
To find out how Contentra can help with a publisher's next print or digital initiative, or assist in tackling problems in standards such as Common Core, head over to booth DZ2062.
DiTech Process Solutions
Radical yet evolutionary is STUDYeBUDDY, a one-stop solution for aggregating academic and reference content from publishers worldwide for students on the Indian subcontinent. Created by DiTech founder and CEO Nizam Ahmed, STUDYeBUDDY supports both B2B and B2C models—the first of its kind in the Indian digital marketplace—while also enabling offline sales of ancillaries. "Currently, we are the only aggregator of multi-publisher digital content in India that is focused only on academic content for curricula and reference." Among the 50 participating houses are large and well-known names, including five from the k–12 segment, two medical, three engineering, and two test preparation and exam companies.
With the number of Internet users expected to grow from the current 100 million to 237 million by 2015, the potential market for STUDYeBUDDY is huge. "Now that digital reading is rapidly gaining acceptance, there is visible enthusiasm among institutions and universities to convert and monetize their huge repositories of print content. The digitizing, which involves scanning and embedding search mechanisms and other enhancements, will lead to the creation of numerous virtual libraries," one of the main factors that prompted Ahmed to create STUDYeBUDDY, which addresses the lack of affordable paperback editions of international titles and the urgent need for such content.
The portal's February 8, 2013, launch in New Delhi has since garnered a lot of interest from academic publishers looking into distributing their content in India. For Ahmed, the portal is a natural evolution of the digital services that his team has been providing to publishing clients worldwide.
"DiTech offers end-to-end solutions from content creation to content sales. Our goal is to partner clients in creating and developing content as well as championing their book sales through our digital platform STUDYeBUDDY. So we are a pre-press supplier, a technology company, and a content aggregator rolled into one," adds Ahmed, who will be at booth DZ1971C to showcase such projects as one done for an STM publisher that involved total project management of books and journals with print PDF, ePDF, and XML deliverables, as well as another turnkey legacy digitizing project for one major publishing house.
For Ahmed, the creation of STUDYeBUDDY enforces his idea that it is crucial to view purchasers of content—in the form of e-book, app or learning module—as brand champions. "In that sense, we need to develop products where the consumers can interact directly with the creator of the content, thereby making the reader or consumer a part of the content development process."
For Sweden-based IBS (International Business Systems), its business is providing solutions for publishers and distributors to manage the integration of systems for both digital delivery and the more traditional channels of print and print on-demand. Its Web-to-consumer integration capabilities, for instance, are able to match the rapid delivery demanded by today's consumers and businesses.
IBS recently announced Rightsmaster, a complimentary software suite to its flagship product, Bookmaster. "Many publishers are being forced to change their business processes in the face of a rapidly evolving licensing environment," says sales director Oliver Holden of IBS Bookmaster Americas. "They are finding that royalties and rights management is adding a level of complexity for which they are not prepared. With Rightsmaster, publishers can manage copyrights, royalties, and permission processes in one go. They can see a payback in as little as six months while improving the accuracy of their records. It simplifies the entire process while providing a real competitive advantage."
Publishers and distributors, adds Holden, "are finding it tough to manage everything in one integrated system especially when faced with demands of digital, print, and POD deliveries at the back-end as well as direct-to-consumer, business-to-business, and aggregator order fulfillment at the front-end. So our Bookmaster division has come in with solutions aimed at alleviating these headaches with a comprehensive suite of software to manage all aspects of the distribution process."
The latest release of Bookmaster completely integrates Web-to-customer ordering for fulfillment and delivery of digital products. "Regardless of the delivery method, whether for e-book, authorized access, or subscription, Bookmaster provides for customers to enter orders and view real-time information on prices, temporary promotions, inventory availability, and catalogue data. The fulfillment of that title is immediately processed when the customer clicks Submit," adds Holden.
Rightsmaster, offered as both a stand-alone and an enhancement module to Bookmaster, will make its debut at BEA. Head over to booth DZ1769 for a demo or make an appointment with Laurie Iseman at email@example.com. for more discussion of Bookmaster's fit to your set of issues and priorities.
MPS Limited
The biggest news from MPS in recent weeks is the definitive agreement that it has entered into with Element, under which MPS will acquire the Florida-based full-service k–12 publishing player, subject to regulatory approval and customary closing conditions. "Educational publishers will benefit from the wider range of services that Element will now be able to offer by leveraging on MPS, and we will support Element completely from our multiple business units to create compelling solutions for k–12 publishers," says CEO Nishith Arora.
The only major publishing-services company listed on India's stock exchanges, MPS has made significant progress with technology platforms since the last BookExpo. Says CMO Rahul Arora, "In addition to our e-book distribution portal, ContentStore, we have launched ScholarStor, a platform for journals and reference content, which has a manuscript submission and peer review system. Most significantly, we have upgraded the MPSTrak workflow management platform from one restricted to journals to an integrated system for journals, books, and major reference works."
MPS's DigiCore platform, in particular the online editing component, DigiEdit, has also undergone considerable upgrading. "This system allows authors to make changes online to content while protecting the underlying XML layer. The same content can then be auto-paged by the DigiComp component, boosted with rich media features in DigiEnrich, converted to various mobile formats with DigiCon, and distributed via ScholarStor. The entire workflow is managed intelligently via MPSTrak," Rahul Arora says. Another platform, MediaSuite, now supports HTML in addition to Flash and delivers a variety of mobile formats.
"We are making rapid inroads into the higher education space with our integrated print and digital asset production model, leveraging our established relationships with publishers and our vast portfolio of book production services. We continue to thrive and grow in the STM market as well as in our strong legacy journal production business," says Rahul Arora, adding that the surge in content production resulting from open access has certainly benefited his company. Millions of pages are converted at MPS every year to a variety of formats as publishers seek different ways to present their content.
For further discussion on platforms and the future of publishing, head over to booth DZ2068, or contact the MPS technology team at email@example.com to arrange for demos of DigiCore, MediaSuite, MPSTrak, ScholarStor, and other platforms.
Newgen Knowledge Works
If 2012 was the year of service extension and experimentation for Newgen, then 2013 is one of simplification of digital publishing workflows. "It is a theme that we are pursuing in our conversations with clients and industry bodies," says Newgen's New Jersey-based president, Maran Elancheran. "But because we have a maverick side, too, we also appreciate our clients' openness to experiment with new formats and new approaches—whether in digital publishing, with one-off book or journal apps and cloud-based content-management solutions through our Cloud Matters division, or more generally."
At the moment, Elancheran and his team are bouncing around ideas with one client about how Newgen can publish academic books within two weeks of the author submitting the final manuscript. "Mind you, 10 years ago, we might have been having a similar conversation about the feasibility of 10-month schedules." With other clients Elancheran is "looking at new solutions for publishing enhanced journal articles that better address the needs of researchers, developing accessible content as part of the workflow for undergraduate textbooks, extending our advanced editorial automation to handle European languages, and typesetting trade books in the cloud within a few seconds."
Last year, increased demand for mobile products drove two large projects at Newgen. "For one journal client, we took 20 journals onto the iPad via Adobe Publishing Suite, reformatting the print product for optimum display on a tablet. This trial proved so successful with subscribers that the next tranche of 100 journals is being lined up for mobilization. For another publisher, we digitized the bulk of the frontlist for mobile distribution in a custom application."
This year, Newgen expanded its existing portfolio of development work in professional and academic law and medicine publishing with the acquisition of Connecticut-based NETS, a full-service provider of k–12 materials for teachers and students. NETS offers editorial, art and design, composition and pre-press, and interactive media services—the latter an excellent fit for Newgen's Cloud Matters division in Chennai, which spent 2012 building cloud-based solutions and mobile applications for publishers.
For more information on Newgen's products and solutions, please contact Elancheran at firstname.lastname@example.com.
Providing a platform where publishers can create and brand their own presence in the e-book world is Qbend's focus. "In the long term, publishers want to have control of their e-book strategy while connecting directly with their consumers," says COO Kaushik Sampath, adding that Qbend's customized e-bookstore platform enables selling by chapters, rentals, custom publications, and subscriptions. "Such features are offered at no upfront cost, thereby eliminating a major entry barrier to e-book retailing."
Qbend's main theme at this show is selling direct. "We help publishers understand what the needs of the consumers are, and then use our e-bookstore platform's various sales models as well as our patent-pending robust publishing engine S.N.A.P. [Search, Navigate, Assemble, Publish] to deliver the content—on-demand—in the right format," says CEO Kris Srinaath. "At the same time, our built-in robust analytics tools provide in-depth behavioral patterns, purchase trends, discounts, marketing campaign performances, and other critical analysis to enable publishers to fine-tune and streamline their marketing activities."
In-depth analytics, adds Sampath, are something that publishers do not get from traditional retailers. "As a rule, consumers often do not explicitly state their needs, thus making it difficult to understand them or their needs. This is where consumer behavior analytics come into play. Qbend helps publishers derive behavioral patterns that show what consumers want, and tailor the offerings accordingly."
Currently, publishers from more than 15 countries use Qbend's platform to power their e-bookstores, most of which are localized in terms of languages, currencies, and payment methods. "We also allow publishers to have different e-bookstores in different geographies with different product pricing—again, at no extra cost," notes Sampath.
This summer, Qbend extends its host of e-retailing features by allowing consumers to put together customized publication from a publisher's content repository. "This feature is most beneficial to researchers and students who often require content from different titles from the same publisher. On the other hand, it will provide an attractive revenue stream for publishers who are able to de-chunk their content and allow customized e-books," Sampath explains.
For more information about the different ways Qbend can help to accelerate your e-book business, drop by booth DZ2060 during BEA.


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It's final exam week at Woodward Academy in College Park, Ga. Defensive end Jordan Watkins (6-foot-4, 260 pounds) isn't feeling the pressure though, He's exempt from exams. He's done his job in the...
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Adult Social Parties
The Winnetka Park District's paddle hut is a great place to spend a chilly winter night with friends. The hut can easily accommodate groups of up to 50 people. Parties can be arranged for Friday, Saturday, and Sunday evenings, and Saturday afternoons. The party includes the following:
- Exclusive use of Hut & All Six Courts from 7:00-11:00 pm
- Free use of Loaner Paddles
- Post Party Clean-Up (excessive clean up may incur a $75 fee)
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Sept. 29, 2007
Final Stats | Quotes | Notes | Photo Gallery | Football vs. Wisconsin Photo Store Gallery
MADISON, Wis. - P.J. Hill ran for 155 yards and two touchdowns and No. 9 Wisconsin extended the nation's longest winning streak to 14 by holding off Michigan State 37-34 on Saturday.
The Badgers (5-0, 2-0 Big Ten) seemed in complete control late in the third quarter after Hill ran for his second touchdown from a yard out to give Wisconsin a 34-24 lead.
However, Michigan State (4-1, 0-1) answered with 10 straight points, first off Brian Hoyer's 3-yard TD pass to Mark Dell to cap a 13-play drive with 13:54 to play.
Tyler Donovan, who finished 17-of-24 for 247 yards and two scores, had been sharp to that point leading the Badgers, but he didn't see safety Travis Key, who went right to the spot Donovan was looking for an easy interception. Brett Swenson kicked a 35-yard field goal to tie the game at 34-all with just over 12 minutes to play.
Wisconsin, which has now won 22 of its last 23 at home, retook the lead after Michigan State had three costly penalties, the final one a defensive holding call in the end zone. Hill, who had 34 carries, couldn't punch it in from inside the 1 and Taylor Mehlhaff kicked a 22-yard field goal, his third of the day, to give the Badgers a 37-34 lead with 6:15 left.
The Spartans, looking for their best start in 10 years, moved back into Badgers territory, but first-year coach Mark Dantonio called a run to Javon Ringer on third-and-8 from the 37 that gained only two and Swenson missed a 53-yard field goal wide left. Ringer finished with 145 yards on 10 carries.
Michigan State's defense held for one final drive, and the Spartans took over with 2:11 to play on their own 40. They quickly moved back to the Badgers 38 before the drive stalled on fourth-and-2 when Hoyer's first option on a screen pass was covered and he missed a leaping Ringer to end the Spartans' chances.
Hill, running behind an offensive line that averages 314 pounds, had his fourth straight 100-yard game and 12th of his career.


text:
Volume 2013 (2013), Article ID 897320, 4 pages
Subdividing the Trefoil by Origami
Department of Mathematics, Case Western Reserve University, Cleveland, OH 44106-7058, USA
Received 7 November 2012; Accepted 21 November 2012
Academic Editor: Michel Planat
Copyright © 2013 Joel C. Langer and David A. Singer. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
In 2005, David Cox and Jerry Shurman proved that the curves they call -clovers can be subdivided into equal lengths (for certain values of ) by origami, in the cases where , 2, 3, and 4. In this paper, we expand their work to include the 6-clover.
1. Historical Background
From antiquity, it was known that regular polygons with sides could be constructed with compass and (unmarked) straightedge for of one of the forms , and . In 1801, Gauss showed that the list could be expanded to include powers of two times any product of distinct Fermat primes, primes of the form . He claimed to have a proof of the converse statement, but as Pierpont noted ([1], p.79), he never actually provided it. Pierpont gives an elementary proof (i.e., without Galois theory) in his paper.
In 1837, the French mathematician Pierre Wantzel resolved three celebrated ancient mathematical problems definitively, when he proved the impossibility of trisecting an arbitrary angle, duplicating the cube, or constructing a regular polygon with sides for values of other than those of Gauss using only a compass and (unmarked) straightedge.
Remarkably, these same constructions can be achieved by the technique of origami (paper folding). In fact, using origami, it is also possible to trisect angles, duplicate cubes, and generally construct roots of cubic equations. This was observed by Beloch in a publication in 1936 [2]. An explication of Beloch's work, including a survey of the history, can be found in [3].
Alternatively, with a marked straightedge, one can achieve the same result. Generalizing the notion of construction to include this or an equivalent tool and using Galois theory [4], the values of for which a regular polygon can be constructed consist of all numbers of the form where and are distinct primes of the form with , . Such primes are known as Pierpont primes.
Meanwhile, Abel showed in 1828 that the lemniscate can also be divided into pieces of equal length with straightedge and compass for the same values of as for the circle. See [5] for a modern proof of this result, including the converse; see also [6].
The 2005 paper of Cox and Shurman [7] expands the family of divisible curves to include the clover. The -clover is the plane curve defined by the polar equation: where is a positive integer. This is a subfamily of the sinusoidal or sinus spirals ([8], p.194). For , the curve is the cardioid; is the circle; is the clover; is the Bernoulli lemniscate. In their paper, they prove that these first four curves can be divided into arcs of equal length by origami (paper-folding) construction for certain values of , as follows.
Theorem 1 (see [7]). For any , the cardioid can be divided into arcs of equal length by straightedge and compass. The circle can be divided into equal lengths by origami if and only if where , and are distinct Pierpont primes. In the case of the lemniscate, the Pierpont primes must satisfy or . The clover can be divided into equal lengths by origami if and only if where , and are distinct Pierpont primes such that , , or .
There are only five Fermat primes known, but more than 4000 Pierpont primes have been found; as of June 2012, the largest known Pierpont prime is , which has 2117338 digits. ([9]; 16th on the list of largest primes.) See [10] for up-to-date information.
In this paper, we observe that these results on origami construction can be extended to the case , the trefoil. See Figure 1.
Theorem 2. The trefoil can be divided into equal lengths by origami if and only if where , and are distinct Pierpont primes such that , , or .
Cox and Shurman define the m-clover function by ; here is the arclength, the radial distance from the origin, and is the length of one leaf of the -clover. The function is found by inverting the arclength integral: For and , these integrals are elementary. For and , these are elliptic integrals, and the corresponding -clover functions are elliptic functions. For , the integral is no longer an elliptic integral, and the corresponding clover function is not an elliptic function. However, is an elliptic function, and this turns out to be enough to prove Theorem 2.
Note. Practically all of the hard work can be found in [7], to which we refer the reader for the details of our arguments. For detailed information about Galois theory, especially its application to subdividing the lemniscate, see [4]. A discussion of origami numbers can be found in [11].
2. Origami Constructibility
Viewing the plane as the complex numbers , the set of points which can be constructed by origami is the smallest subfield containing the rational numbers and closed under rational operations and under square roots and cube roots. If is a root of a polynomial of degree less than five with coefficients in , then itself is in . To subdivide a leaf of the trefoil into equal lengths, it suffices to show that the and coordinates of the division points are numbers in .
In their proof of the clover theorem, Cox and Shurman show that the values of the clover function lie in when with and where , and are distinct Pierpont primes such that , , or . This is the main fact we need to extend the result to the trefoil curve. If is in , then is also in , since satisfies the differential equation: Moreover, any rational expression in and is in .
3. The Trefoil Curve
The trefoil curve is given in polar coordinates by the equation The rectangular equation is
Thus, , and of course , from which we conclude the following.
Proposition 3. is origami constructible if and only if is origami constructible.
is origami constructible implies that is origami constructible.
From the polar coordinate formula, it is easy to derive the arclength formula in terms of ([7], p.686): Now, if we make the miraculous substitution then the following equations hold: Therefore, where
Proposition 4. is origami constructible if and only if is origami constructible.
Proof. If is in , then is the square root of an element of and, therefore, an element of . Conversely, if is in , then satisfies a cubic equation with coefficients in , so it is in .
Recall that for the clover function, . So, formula (9) shows that Now, combining Propositions 3 and 4 and formula (11) with Cox and Shurman's result about yields the proof of Theorem 2.
The arclength parametrization of the curve can be derived using lines through the origin.
Letting , where is a parameter, we have and we may parametrize the curve by
If we then replace by , we have
Now, observe that Therefore, replacing by in (14) and comparing with (10) and (11), we see that this is the arclength parametrization. We have shown the following.
Theorem 5. The coordinates of the arclength parametrization of the trefoil are rational expressions in the elliptic functions and .
4. Concluding Remarks
As is the case for the clover, also a leaf of the trefoil cannot be subdivided into, for example, three equal arcs using straightedge and compass. In fact, it can be shown that the circle of radius centered at the origin trisects each leaf of the trefoil. Construction of this circle amounts to the construction of the Delian number . In other words, the problem of trisecting one leaf of the trefoil is equivalent to the classical problem of duplication of the cube!
It is also worthwhile to note that the algebraic problem of division into equal pieces by radicals (i.e., solvability) was achieved for the circle by Gauss, for the lemniscate by Abel (with the help of Liouville after Abel's untimely death), and likewise it holds for the clover and the trefoil.
- J. Pierpont, "On an undemonstrated theorem of the Disquisitiones Arithmetic," Bulletin of the American Mathematical Society, vol. 2, no. 3, pp. 77–83, 1895. View at Publisher · View at Google Scholar · View at MathSciNet
- M. P. Beloch, "Sul metodo del ripiegamento della carta per la risouzione deiproblemi geometricic," Periodico di Mathematiche Serie 4, vol. 16, pp. 104–108, 1936. View at Google Scholar
- T. C. Hull, "Solving cubics with creases: the work of Beloch and Lill," American Mathematical Monthly, vol. 118, no. 4, pp. 307–315, 2011. View at Publisher · View at Google Scholar · View at Zentralblatt MATH · View at MathSciNet · View at Scopus
- D. A. Cox, Galois Theory, Pure and Applied Mathematics, John Wiley & Sons, Hoboken, NJ, USA, 2004. View at Publisher · View at Google Scholar · View at MathSciNet
- M. Rosen, "Abel's theorem on the lemniscate," The American Mathematical Monthly, vol. 88, no. 6, pp. 387–395, 1981. View at Publisher · View at Google Scholar · View at Zentralblatt MATH · View at MathSciNet
- V. Prasolov and Y. Solovyev, Elliptic Functions and Elliptic Integrals, vol. 170 of Translations of Mathematical Monographs, American Mathematical Society, Providence, RI, USA, 1997. View at MathSciNet
- D. A. Cox and J. Shurman, "Geometry and number theory on clovers," American Mathematical Monthly, vol. 112, no. 8, pp. 682–704, 2005. View at Publisher · View at Google Scholar · View at Zentralblatt MATH · View at MathSciNet · View at Scopus
- C. Zwikker, The Advanced Geometry of Plane Curves and Their Applications, Dover, New York, NY, USA, 2005.
- C. Caldwell, Prime pages, http://primes.utm.edu/primes/lists/short.txt.
- N. J. A. Sloane, Ed., "The online encyclopedia of integer sequences," http://oeis.org/A005109.
- R. C. Alperin, "A mathematical theory of origami constructions and numbers," New York Journal of Mathematics, vol. 6, pp. 119–133, 2000. View at Google Scholar · View at Zentralblatt MATH · View at MathSciNet · View at Scopus


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FRANKFORT, Ky. – The fifth-ranked Westminster College women's basketball team advanced to the quarterfinals of the 2013 NAIA Division I Women's Basketball National Championship with a tough 66-60 win over Faulkner (Ala.) on Friday afternoon at the Frankfort Convention Center.
Westminster, the No. 2 seed in the second quadrant, moves to 29-3 overall this season and reaches the quarterfinals for just the second time in school history. The No. 7 seed Faulkner ends its season at 26-7.
It was a tough going for the Griffins in the first half. They fell behind 7-0 less than three minutes into the game and didn't score their first points until a Cydney Tibbitts jumper at the 15:24 mark of the first half. Faulkner would maintain the lead throughout the first half as it held Westminster to just 22.6 percent shooting in the period. Nicole Yazzie would score with 34 seconds left in the half to send the game to halftime with Faulkner leading 26-25.
Brooke Larsen would open the second half with a pair of free throws to give the Griffins their first lead of the afternoon at 27-26. That was answered by eight straight points from the Eagles to again lead by seven with 17:19 to play. Trailing 40-38, Westminster put a 12-3 run together that was capped with a three from Kelsi Wells and a layup by Tibbitts. Not to be outdone, Faulkner recorded another 8-0 run to take a 51-50 lead with 3:48 left in the half.
Allie Eastman would connect on her second three of the night with 1:18 remaining to break a 55-55 tie and put the Griffins in front for good. Westminster would go 8-of-12 at the foul line down the stretch to survive with the victory.
The Griffins only managed 15 baskets in the game, and they finished at 30 percent from the floor. They made nine of those buckets from beyond the arc and were 27-of-35 (77.1 percent) at the foul line. Westminster had a 41-33 edge in rebounds with 11 boards coming on the offensive end for 11 points.
Tibbitts finished with a game-high 16 points before fouling out with 3:48 left. She shot 4-of-10 from the floor, grabbed eight rebounds and dished out two assists. Yazzie added 15 points and four rebounds with three makes from beyond the arc. Tia Pappas finished with 11 points and nine rebounds off the bench, and Larsen chipped in an important nine points.
Faulkner had four players score in double figures with Spenser Cantrel leading the way with 11. The Eagles got 10 apiece from Brittney Carter, Shannon Evans and Sonya Vuong.
Westminster will face a familiar opponent in the quarterfinals as it goes against the winner between No. 1 seed Westmont (Calif.) and No. 4 seed Rogers State (Okla.). The Griffins defeated each of those teams during the regular season on the opponent's home floor. Saturday's game will tip at 2 p.m. MDT from the Frankfort Convention Center.


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Fiskars® Antique Lace AdvantEdge™ Interchangeable Border Punch
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It took an appeals court ruling for San Diego City Hall to see the light, but it has stopped charging an unconstitutional "fee" imposed since 2004 for collecting taxes paid by businesses and landlords in the city. The fee generated $2.7 million a year. The city will also offer refunds totaling $1.1 million to some 75,000 landlords who paid the $15 fee over the past year. The 95,000 business owners who paid the fee will not get refunds because technically they were not part of the lawsuit that challenged the constitutionality of the fee. It remains to be seen whether this will satisfy the two rental property owners who sued the city. Their lawyer had said they probably would seek reimbursement for all five years the rental-unit fee was in effect.
Chula Vista Councilman John McCann, a Navy reservist, will probably be back from his year of active duty in Iraq before the nearly dysfunctional council will be able to appoint a temporary substitute for him. OK, we exaggerate. But really. McCann left in July. The four remaining council members initially opted to do nothing but later changed their minds and began a process of naming a substitute. The city attorney explained that McCann is entitled to reclaim his job under federal law and that city charter provisions and two ballot initiatives regarding vacancies don't apply. The list of candidates was whittled to three and the council planned to pick one of them on Tuesday. But a last-minute threat of a lawsuit, citing the charter, delayed the vote until next week. Stay tuned.
With the San Diego City Council in its annual throes over a winter shelter for the homeless, Mayor Jerry Sanders asked each council member to identify at least one site in their district where a temporary shelter might be opened. The response? Not one council member offered a potential location in their district. So Sanders says his staff will do it for them. This could get really ugly.


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Today was a perfect day as a professional.
Today I presented along with a large group of my physical therapy colleagues at the Texas Physical Therapy Association Conference in the The Woodlands, Texas.
These colleagues are all members of the staff I supervise and they submitted a full day workshop called "Spotlight on Oncology." The day highlighted the PT interventions provided in the Department but I was invited to present my scholarship on return to work research and work disability as it can be applied to the person with cancer. The day was amazing and so were my colleagues/staff!
Throughout the day I met so many professionals who value what occupational therapists bring to the team. I continually was thanked and congratulated for sharing my knowledge at the PT conference. Throughout the PT presentations of my staff, they stressed the value of interdisciplinary collaboration and no one gave better examples of the value of OT and of occupation as this amazing group of physical therapists as they described their complex interventions.
Today was one of those perfect days as a professional and as an occupational therapy and rehabilitation services manager!
Thanks! PTs!


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Ask Health Experts and Get Answers to Your Health Question ASAP
Hello! If you've seen two ENT's and they have been unsure of your diagnosis then I'm not sure that I can be of much help. I will try however. It sounds that you might benefit from a sinus CT if you have not had one recently. An Ent might scope the nasal passages and sinuses and obtain some cultures. I think that this path would be the most likely to benefit you. At first glance the foul odor would suggest an infection to me but two year duration does not exactly fit so well with this. Certain bacteria can arise in chronic sinus infections that might not respond to the most common antibiotics. You may have a growth or obstruction of a sinus that is leading to the chronic problems. It sounds to me more aggressive measures to firmly establish your diagnosis is what is needed. I would recommend that you follow up with one of the first two ENT's as the following of a problem over time is useful from a doctor's perspective. The initial answer may not be the final answer. A trial of empiric antibiotics is standard in suspected sinusitis but failure to respond to treatment calls for further diagnostic steps. I hope this information helps. Further questions are welcome if you have any. If my answer has been helpful and to your satisfaction then please remember to press the "ACCEPT" button. thabnk You and Best Regards,
Anthony Bray MD


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A 2012 red Hyundai collided with another car Sunday and a street sign before crashing through the glass doors of an empty North Hollywood tile store, leaving two with minor injuries, police said.
The Hyundai was traveling northbound on Whittset Avenue around noon Sunday when it entered the southbound lanes of Whittset and collided with a 2013 Chevrolet Malibu, which was traveling eastbound on Sherman Way. The Hyundai continued on in a northwest direction, collided with a street sign and then crashed into the building, said Sgt. Kurt Smith of LAPD's Valley Traffic Division.
"That part of the building happened to be the glass doors so it didn't hold him back very much," he said.
The driver of the Hyundai, who complained of a bump on his head, was transported to the hospital while the Chevrolet driver, who had abrasions on his left forearm, said he would go see a doctor on his own if necessary, Smith said.
Smith said there was no reason to believe that alcohol or drugs were involved.


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A History Of Irish Printing
While the people of the Orient were printing from wood blocks, Europeans were still producing hand-written books. In Ireland many monks spent their lives laboriously copying books with quills and reeds. The Book of Kells (late 8th - early 9th Century) is one of the most famous examples. It wasn't until the early 1400s that Europeans finally discovered block printing. This process involved carving the required words or images in reverse onto a block of wood and it is probable that the first western block printing was used to produce playing cards for the royal houses in Europe. Later, block printing progressed to religious iconography. The earliest recorded European wood block print is a picture of Saint Christopher printed in 1423. Early printers of this period used to bind prints from wood blocks together to produce books. This process, was very labour-intensive however, as each block could not be reused after it had been carved.
The Renaissance era witnessed a growth in the desire for learning. This created a huge demand for the printed word that hand copying and block printing could not satisfy. Johann Gutenberg's invention of movable type solved the problem. Gutenberg (right), of Mainz in Germany, began using separate pieces of raised metal type around 1440. He adapted his printing press from a machine used to press grapes or cheese and assembled his pieces of type into page format (known as a form). By turning a large wood screw upon the inked form, he brought down a wood block on the paper. The major advantage of this innovative method was when Gutenberg was finished setting the required type, the slugs (lines of type) could be disassembled and reused. The Gutenberg press could print about 300 copies a day. By 1456, Gutenberg's 42-line, 1,282-page bible was completed. As a commercial venture, however, the Gutenberg Bibles were a failure. Gutenberg was unable to pay his debts and had to sell his business to Johannes Fust and Peter Schoeffer who continued to sell copies of the bibles. Many people feared that the new art of printing was a "black" art that came from Satan. They could not understand how books could be produced so quickly, or how all copies could look exactly alike. It is believed that the term 'printers devil' has its origins in these early days of printing. The printer's apprentice was still referred to as thus right up to the end of the hot metal era in the 1960s and '70s. In spite of people's fears, however, printing spread rapidly. By 1500, there were more than 1,000 print shops in Europe, and several million books had been produced.
Printing did not arrive in Ireland until 1551 when Humphrey Powell printed The Boke of Common Praier. This first book in Irish type was paid for by Elizabeth I and was probably manufactured in London. In 1571 an unidentified printer printed Aibidil Gaoidheilge agus Caiticiosma, the first book using the Irish character. The London Stationers' Company was granted the King's Printer's patent in Ireland in 1618 and set up a printing house in Dublin. It was short-lived, however, and sold out to William Bladen in 1639. The King's Printer was confined to government printing and this led to a few other presses being established in Dublin and the provinces in the middle years of the 17th century. The first one outside Dublin was set up in Waterford in 1643, followed by Kilkenny in 1646. Waterford followed soon after in 1648 and a Cork press was printing in 1649.
The printing press changed little from Gutenberg's time until the 1800's. An English nobleman, the Earl of Stanhope, built the first all-iron press about 1800. In 1811, Friedrich Koenig of Germany invented a steam-powered cylinder press. This press used a revolving cylinder that pressed the paper against a flat bed of type. The Times in London installed Stanhope's press not long after its invention. It could print 150 completed copies of the paper per hour. In 1834, the Dublin Penny Journal followed The Times example, and installed one of Koenig's revolutionary presses.
After the Union of Great Britain and Ireland in 1801, it became common practice for printers and publishers to print pirated editions of works published in Britain. These editions, however, were invariably inferior to the originals.
George Clymer in Philadelphia invented another popular press of the time, the Columbian Press or Eagle Press, about 1812/13. These presses became obsolete fairly quickly, as the metal was needed for laying railways. Clymer left the USA in 1817 and began manufacturing his presses in the UK where there was greater demand. A number of Columbian Presses were imported into Ireland. When the need for mass production increased during the Industrial Revolution, however, this sort of press went out of use.
David Payne of Otley, Yorkshire, patented the Wharfedale Stop-Cylinder printing machine in 1858. Otley was a major centre for the production of printing equipment and several types of Wharfedale models were made there. This machine which was used in all the major newspaper and printing houses in Ireland, was also the press upon which the 1916 proclamation was printed. The actual machine was a "double-crown" model of the 1860s, which was stored in the basement of Liberty Hall. It was in such poor condition that it had to be held together with bricks. The principal font of type used was supplied by an Englishman named William Henry West, proprietor of a printing business in Capel St. Because of the sensitive nature of the material and the secrecy surrounding it, the amount of type available was not sufficient and thus, the proclamation was printed in two halves. There is a noticeable space dividing the two sections in the genuine original edition. The compositors also ran short of the letter 'E' in the ornamental lettering used for the heading but solved this problem by marrying a capital 'F' in the same font with some sealing wax to form the letter required. These typographical errors serve as identifiers of original issues of one of Ireland's most famous documents.
The first 500 years of printing saw only minor technological advancements. However, the advent of hot metal mechanical typesetting revolutionised the whole industry. Ottmar Mergenthaler, a German living in America, invented the Linotype in Germany in 1885. Other attempts had been made to develop mechanical composition machines, using a cold metal system, but none proved as successful as Merganthaler's model. In 1888 the Freeman's Journal was one of the first in Ireland to install a 'cold metal' typesetting machine and in 1893 the Dublin Steam Printing Company became the first Irish printers to use the 'hot metal' Linotype. Earlier in 1880, Richard Wright in Dublin started producing his 'Emerald' presses, the first cylinder printing machines to be made in Ireland.
James Joyce's Ulysses was printed on a Linotype (left) in Paris because no Irish printer would print it, thinking it too obscene. None of the French printers could speak English, hence the huge amount of typographical errors in the 1922 edition.
Book typography in the twentieth century reaped the benefit of the Linotype and Monotype systems of mechanical composition. Many new styles of font were developed and illustrations became more elaborate in design. Printers feared that the new machines would spell the end of many positions for compositors but in fact, the opposite happened. The public's thirst for knowledge and newspapers meant that printers were in more demand than ever. They adapted their skills to operate the new machines and a new era of 'hot metal' emerged, one which has only lately left us.
The Longford Leader was the first newspaper house in Ireland to import a Linotype in 1897, just seven years after its invention. Many other newspapers followed the example and within the first decades of the new century, almost all newspapers were produced using the new 'hot metal' method.
Even the most versatile printers however were not prepared for the world-wide changes in the industry that came about in the 1970s and 1980s. The technology of transmitting images to paper through metal type and the letterpress system had served the industry well for centuries and while techniques such as cold setting and offset printing were popular, the basic skills used by typesetters, compositors, machine minders had evolved at a gradual pace and could still be said to come within the traditional crafts imparted by Gutenberg and his descendants.
The changes in the printing industry over the last two decades have been both progressive and traumatic, with much of the trauma experienced by printers who found that the skills they had learned in traditional apprenticeships had suddenly become redundant and who were obliged to either leave the industry or to acquire new and very different skills in a short period of time. Computers now carry out the minute calculations of the typesetter and typographical design is being taken over by Apple Mac and PC operators. As the new millennium approaches, new software is increasingly available to offer ever more simple means of composing text and illustrations. Typographical setting and design does of course still require skills, but these are increasingly computer-related and very different from those of the traditional compositor.


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Cape Town - The DA has asked Auditor-General Terence Nombembe to investigate "skewed spending" by the Minister of Women, Children and People with Disabilities, Lulu Xingwana, following reports that her department spent more than R2 million on redecorating its head office.
Weekend reports said the department had splurged R2.1m in government funds on new custom-made furniture – less than two years after the ministry was set up.
In at least five of the 11 purchases of furniture, crockery, cutlery and kitchen appliances, Xingwana's office allegedly deviated from supply chain procedures and failed to get quotes, as required, from three suppliers before buying the items.
It allegedly spent R500 000 on two occasions with only two suppliers.
The DA spokeswoman on women, children and people with disabilities, Helen Lamoela, said while Xingwana had spent millions on designer furniture, overseas trips and private lawyers to assist in axing some of her staff, it had become "increasingly apparent that the protection of women and children is very low on the minister's list of priorities".
The DA would ask Nombembe to investigate "this latest report of extravagant and wasteful expenditure by the department under Minister Xingwana's watch".
Xingwana, said to be among ministers likely to be axed by President Jacob Zuma should he reshuffle his cabinet, has also come under fire for her spending in other areas.
This includes the allocation of R25m of her department's 2012/13 budget on travel and subsistence, while she allocated only R13.5m to her department's "Children's Rights and Responsibilities" programme, which also recorded a 66 percent under-expenditure.
The department was also heavily criticised for hiring a private law firm instead of using the state attorney to assist in terminating the employment of some of its staff.
It has been accused of flouting tender processes while Xingwana allegedly personally selected the legal team from Fluxmans Attorneys to conduct an investigation into appointment irregularities.
Lamoela said the minister was yet to provide any evidence of "measurable outcomes that provide protection and assistance to vulnerable women, children and people with disabilities. Her department has done little besides throw lavish parties, fly to expensive conferences and redecorate its offices".
The minister's inaction amid a "growing tide of violence against women" and her "lacklustre efforts" in promoting the rights of children and people with disabilities were a "slap in the face of those who depend on her department for support", Lamoela said.
Xingwana's spokesman, Cornelius Monama, said she had "nothing to hide and is therefore unconcerned" by the DA move.
The department had spent "far less" than R2.1m, he said.
The minister wasn't involved in supply chain matters, and the buying of furniture had been handled by the former chief financial officer and approved by the former director-general.
"If there are any transgressions, we must focus on those responsible, not on the minister."
Xingwana had instituted an investigation into irregularities and non-compliance with supply chain processes. "Those implicated are going through disciplinary pro-cesses while others have left the employ of the department."
Political Bureau


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Crafting With Kids: Splatter Paint Fall Tree
This month's craft comes from Miss Melanie. She found a paint technique to make a perfectly charming fall tree. You can make a splatter paint fall tree, too!
First, you're going to need some old newspaper or a groundcloth to protect the floor. Then you'll need an old shirt to protect your clothes. This project can get pretty messy!
Gather some twigs from outside and glue them onto a heavy piece of paper to make it look like a tree. If you find paint that is thin enough, you can blow paint with a straw to form branches. If you can't, then just use what you have and paint branches with paintbrushes or cotton swabs.
After you've gotten the tree and branches finished, you'll need to get lots of colors of tempura paint and several old toothbrushes. Dip a toothbrush in one color and tap it against another toothbrush, angling down toward the paper with your tree. The tapping will make the paint splatter as it comes off the brush. Experiment with tapping the toothbrushes together quickly or slowly and see what kinds of splatter patterns you get with each kind of tap.
Miss Melanie showed some pictures from Fletcher and the Falling Leaves by Julia Rawlinson to inspire the kids at the program, but you can use whatever inspiration you want. Here are even more fall books to get your creative juices flowing!
You can try lots of different colors, or stick with just a few. You may even want to try painting whole leaves on the tree with the bristles of the toothbrush. Finish up by filling in the background with watercolor paints.
Here are some of the beautiful pictures from Miss Melanie's program:
Enjoy making your own splatter paint fall tree!


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Robert Spall0000-0002-4646-704X
Robert Spall is a Professor in the Mechanical and Aerospace Engineering Department of Utah State University, Logan, Utah, USA, where he has been employed since 1996. Previously, he was an Assistant Professor at the University of South Alabama (1991–1996) and a Research Scientist at High Technology Corporation (1987–1991). He holds a Ph.D. degree in mechanical engineering and mechanics from Old Dominion University and M.S. and B.S. degrees in mechanical engineering from Clarkson University. His teaching interests are in the areas of thermal/fluid design, computational fluid dynamics, and numerical methods. His research expertise spans the areas of applied computational fluid dynamics, swirling flows and vortex breakdown, buoyancy-driven flows, and environmental flows. He has authored over 100 refereed technical publications in these and related areas. He is a Registered Professional Engineer in the State of Virginia and was elected as a Fellow of the American Society of Mechanical Engineers in 2004.
Biography Updated on 27 January 2013


text: I've been trying to stream embedded flash videos (movies, tv shows, and animes) on my Samsung Galaxy s3 but after playing 2-3 minutes the video would stop. When you look at the gray "loading" bar it looks like it loaded all the way to the end but it didn't, it just jumped from where the video stopped to the end. The only way to have it playing again is to refresh the page and skip to where it stopped. But it would stop again after a few minutes. I have been looking online to see if anyone has the same issue and if it's been solve but, no such luck.. Samsung Galaxy s3 (AT&T) Android 4.0.4 Adobe Flash Player 126.96.36.199 Browsers: Stock, Firefox, DolphinHD 4g, LTE, wifi - work and home Already tried reboot; uninstalling, reinstalling flash


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Provided by Jim Angell
Check these recent IRS announcements to see if any apply to you or your business.
If you are responsible for the reporting requirements of a nonprofit organization, this IRS deadline may be important to you. If your organization had its tax-exempt status revoked because you failed to file annual returns for 2007 through 2009, the IRS is giving you a chance to get reinstated with minimum fuss.
Small organizations with gross annual receipts of less than $50,000 can regain tax-exempt status retroactive to the date of revocation if they act soon. The organization must submit an application for reinstatement postmarked no later than December 31, 2012. Filings by that date will qualify for a reduced application fee of $100.
The 2010 health care reform law included a requirement that employers report the cost of health insurance on each employee's W-2 for 2012. The IRS has postponed that requirement for employers issuing fewer than 250 W-2s for 2012 and later. For these employers, the reporting is optional.
The IRS is giving brokers extra time to start reporting the basis in debt instruments and options. This requirement had been scheduled to go into effect on January 1, 2013, but brokers and other involved parties complained to the IRS that this deadline did not give them enough time to build and test the systems required to meet this obligation. The IRS has extended the deadline to January 1, 2014. This reporting requirement was the third phase of investment basis reporting included in a 2008 tax law.
Next year's tax return filing season is not likely to go smoothly, reports National Taxpayer Advocate Nina Olson. The problem is that Congress once again is waiting until the end of 2012 to extend tax provisions that have expired or to pass new tax rules.
The IRS Oversight Board, a nine-person panel, agrees with Olson, saying 2012 refunds will be delayed if Congress enacts late-in-the-year legislation. The IRS needs six to eight weeks to change forms and deal with revisions to the tax code.
For more information about tax issues that concern you, give our office a call.
ABOUT JIM ANGELL: Jim Angell is a Willits-based certified public accountant.


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By VINCE MADURI
ORLANDO, Fla.– On Monday, Orlando City unveiled new owner Flávio Augusto da Silva, a Brazilian businessman who is the third largest shareholder of media giant Abril Educação. The announcement comes as the latest in several strategic moves the club hopes will position it to gain admittance to Major League Soccer in 2015.
Club president Phil Rawlins says the move gives Orlando City "a complete platform to build on moving forward."
"Soccer is not a sport of the future in the US. It is a reality," da Silva said during his press conference before highlighting Major League Soccer's stellar attendance figures in comparison with the rest of the world (the league is 7th in all attendance on the planet).
The Brazilian said he and his business partner, Alexandre Leitão of Octagon Brazil, chose Orlando over several other cities after they decided to invest in American soccer, more specifically the MLS.
"I received three different cities that [a research firm I hired] believed would be a great opportunity to start a new franchise," da Silva said after the press conference. "These three cities are located here in the southeastern [United States]. But we chose Orlando because, first of all, Brazilians love Orlando. But also because Orlando is a great city to invest in soccer, mainly because Orlando City already has more than 7,000 average fans per game in attendance. So, we are miles ahead compared to the other cities, so we decided to invest in Orlando."
Da Silva said he hopes eventually to make Orlando City a "global brand" that benefits both the Orlando economy as well as Brazil.
"Brazil has a special desire to come to the US. The most visited city in the US by Brazilians is Orlando. So, we are sure that having a soccer team to come watch would be very attractive to the Brazilians. They could buy the tickets in Brazil, the same way they buy tickets to Disney or Universal they could buy tickets to Orlando City especially if they have a Brazilian superstar in the team."
Regarding the Brazilian superstar, the new Orlando City owner says they hope to bring a "Brazilian Beckham" to the team by 2015 or 2016 following the World Cup and once Orlando is admitted to Major League Soccer.
"We have many people in mind but we have one especially. I can't tell you who right now obviously, but soon we are going to [announce] which great player we plan on bringing."
Until last week, Flávio Augusto chaired the Ometz Group, with 16 holding companies, including the country's leading English language schools for adults, Wise Up (FIFA World Cup Sponsor). On February 7th, the Ometz Group was acquired by Abril Educação, one of Brazil's largest media companies. Today, Mr. da Silva still leads the Wise Up Group and is also the third largest shareholder in Abril Educação. As part of the acquisition, Mr. da Silva will oversee the development of Abril Educação operations around the world.


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A 60-YEAR-OLD man has fallen victim to an alleged distraction thief who stole his card at a cashpoint in Grays.
Police want to identify a man who they think may be responsible for the distraction theft.
The incident took place at the Barclays cashpoint in Lodge Lane, Socketts Heath, sometime between 9.30am and 10am on Tuesday, July 15.
The man is believed to have distracted the victim, a man in his 60s who lives in Grays, whilst he was using the cashpoint and then took his card.
The card was later used to try and withdraw money from his bank account.
The man in the image is described as being aged between 25 and 35 was around 6ft tall and had black, short hair. He was wearing a top and dark trousers.
He was seen driving a black car, possibly a Peugeot.
Investigating Officer PC Paul Lamb said: "I would urge anybody who recognises this man to come forward.
"Luckily the victim managed to alert his bank before his cash card was used. I would also urge people to be aware when using cashpoints, make sure nobody is hovering nearby when you use them."
There is extra advice on staying safe on the Essex Police website, www.essex.police.uk Anybody with any information is asked to contact Pc Paul Lamb at Grays on Essex Police 101 or call Crimestoppers anonymously by calling 0800 555 111.


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As a youth in the wilds of America in the 70s, I was exposed to a lot of syndicated cartoons, featuring a lot of superheroes left over from the 1966 Batman TV boom. (Side-note: You don't ever want to watch 'Super-President.' Just… trust me on this one, okay?) Among my favorites were such luminaries as Underdog, Hong Kong Phooey and pop-sensations-turned-supers The Impossibles, heroes that my young mind considered the equal of Superman, Batman and the Fantastic Four. Indeed, even now I think that Gizmo Duck is as much hero as The Red Tornado, and would put solid money on Paperinik versus Daredevil in a straight fight. (Donald Duck has a temper, is all.) Even Jeff Rovin, in the seminal 'Encyclopedia Of Super-Heroes' refused to separate El Kabong from Zorro, but somehow, we still have folks who complain about a talking duck cameo in a movie that is primarily about a noble talking tree, which leads us to today's fan-riffic query…
The MS-QOTD (pronounced, as always, "misquoted") longs for an amazing Darkwing Duck crossover with Hong-Kong Phooey to the very core of his being, asking: Should comical superheroes be considered a separate breed from their "serious hero" counterparts?
11 Comments
I don't have an answer to your question as I'm too preoccupied by your team up idea.
I love that characters like G'nort, Ambush Bug, Plastic Man, Slapstick, Howard the Duck and others exist in the same universes as other more serious characters rather than a comical alternate universe. To me, it isn't that different from how there are different kinds of people in the real world, ranging from the super-serious to the fanatical crazies to the people who try to crack jokes no matter what the situation is and so on.
Heck, with the right creative team, I'd be more than happy to see a story where Darkwing Duck ends up visiting the Marvel 616 universe.
I was going to add something, but this covers all the bases pretty much. Am I the only one who'd love to see a Space Ghost (not as a TV host) revival?
No, you're definitely not the only one!
By the way, I was very disappointed when the supposed "Birdman" movie ended up not being about a guy in a yellow suit fighting crime with solar beams.
Absolutely not! As a matter of fact I'm kinda tired of people asking for more 'serious' superheroes. I want my superheroes to be fun! And also I want them to be super! I want more flying, more zappy powers, more laughs!
And by the way, I love the image!! The Impossibles, the Galaxy Trio, the Space Ghost, the Mighty Mightor, Frankenstein Jr and the Herculoids? I'd totally watch that movie!
If comical, you mean Hanna-Barbera 'heroes', yes. They ought to be put under lock and key and the key tossed way.
As for regular comics, no.
I would love to see Ambush Bug and 'Mazing Man have a slap fight in the background while the Justice League is saving the day in the foreground.
"Jonny Quest"
Doh! Hit send before I was done. Anyway,JQ was both the comical/serious show that I liked the most and would really like to see it return.
Yea, Jonny Quest is probably the exception. The original 60s version was excellent. I wish HB had stayed with that quality of work rather than delving into their goofy low-rent animation.
HB had some really good stuff, and some terrible stuff. It's unfair of me to say ALL HP animation is bad. In addition to JB, they did put out Herculoids, Swat-cats among others.


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"Georgetown upset" is no longer applicable. Read »
Pay up. Read »
Or if you are Maryland or George Mason, no tournaments at all! Read »
Some will be dancing, while others will be standing against the wall. Read »
There is some buzz in the media surrounding the AP mention that Georgetown and Bayi, whose Thursday brawl made international headlines, will "play each other again on Sunday in Shanghai." But according... Read »
The Georgetown men's basketball team is on an exhibition trip to China, where things got pretty intense on Thursday. Read »
The Georgetown basketball team is currently touring China on a cultural trip, and one very special fan stopped by to cheer them on. Read »
The president is distraught over his bracketology skills. Read »
Georgetown spent the day watching basketball and waiting to play. Read »
Georgetown basketball coach John Thompson III shows how comfortable he is in his own skin with some new ads. Read »