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Quote:It's not bad for visual observing, but when I start astrophotography it'll be an issue...Thanx in advance.
Quote:Quote:It's not bad for visual observing, but when I start astrophotography it'll be an issue...Thanx in advance. Yes, poor polar alignment can cause RA drift...but...that tightness in RA (with the lock off) doesn't sound good to me.
Quote:Well, could that tightness be causing theh RA drift? That's my main concern. The RA is locked when using the mount, so "I figured" (meaning, I might be wrong) that wasn't the issue with it being tight. The gears sound great (alot better then before I hypertuned it). The GoTo's are spot on. And I haven't had an alignment failure. There's only a RA drift.
Quote:Hmm...for visual use I find the polar scope to be nearly irrelevant. In fact, you can get good results removing the polar scope and sighting through the empty bore hole. I've never bothered to align my polar scope and find that centerig Polaris plus a two star alignment keep GOTO slews in the field of a medium power eyepiece pretty much all night. Go ahead and align your polar scope, but if that doesn't fix matters, suspect something amiss with the RA rebuild.
Quote:I am not using EQMOD - but I should be...lol. I've downloaded the ASCOM drivers and all that fun stuff, I've just been to lazy to mess with it. Plus, I don't have a CCD camera right now so I haven't been taking out my laptop with me when I observe. Is the EQMOD easy to set up?And knowing that I haven't been using EQMOD, does this mean that the ra drift compensation is correct? Or is that something that can only be set w/ EQMOD?
Quote:Randy, I have been on the verge of rebuilding my Atlas all winter but something else always seems to get in line before it. However, I believe that there is a "felt" pad between the brass ring gear and the brass locking "bolt" that locks the axis in place. Brass on brass would not provide enough friction. I do not know what the pad is actually made of but it will look and feel something like felt. It may have come loose during reassembly and jammed up the works making it stiff then fell out when you reassembled it leaving the brass on brass situation you now seem to have. EDIT: P.S. I have also seen pads made of a hard plastic pellet. I do not know what the Atlas actually uses but there is something in there.
Quote:Randy, The brass surprises me but it would explain why the locks have an all or nothing kind of feel. Also, since my RA is also stiff (Part of why I want to rebuild.) the solution to this riddle is of great interest to me. There is a member of CN that I have not seen in this thread that could know the answer, however, and you might send him a PM. His screen name is "Strgazr27". Please do not forget to let us know the answer if he knows it.


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yung_k wrote:yo yall 5%'s really consider yall selves to praCtiCe islam? niccas i peeped claimin it or @ least the younger generation cats push/praCtiCe it seem hella watered down niccaz used to try n turn 5% godbody 2 get a pass on roccin any color flag lol
thats where most cats get it twisted, this is not a religion. i study islam as a science (hence all the scientific slang we use such as "cipher" or "mathematics") a religion is based off a set of beliefs, what i believe in are SHOWN and PROVEN facts. And basically its the ideology that you are black and love your self because thru u all things are possible. The Muslim population dont own the arabic language- jews in the middle east refer to God as Allah also. and being 5% has nothing to do with a gang- the only right of passage is to have the dedication and discipline needed to study simple and plain. I can stand and preach to you but you wouldnt preach to me - so just to expand your knowledge as to whats happening around you go to http://www.allahsnation.net - the nation of Gods and Earths number in the tens oof thousands in NY alone - there is no flag to represent us but the color of our skin. and the young cats who flag what ever color they want- they might be in a gang or hey they might just be doing whatever the hell they feel like. People are individuals

subset: commoncrawl


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Among the most promising batteries for intermittent grid storage today are "flow" batteries, because it's relatively simple to scale their tanks, pumps and pipes to the sizes needed to handle large capacities of energy. The new flow battery developed by Cui's group has a simplified, less expensive design that presents a potentially viable solution for large-scale production.
Latest International News in English
United States: Poll: 87 Percent of Illinois Voters Want More Renewable Energy
Wide majorities of likely Illinois voters believe it is important that the state maintain its commitment to increase its use of renewable energy and support legislation that would achieve that goal by fixing the state's broken renewable portfolio standard (RPS) law, according to a Zogby poll released this week.
United States: Not Just Blowing in the Wind: Compressing Air for Renewable Energy Storage
Enough Northwest wind energy to power about 85,000 homes each month could be stored in porous rocks deep underground for later use, according to a new, comprehensive study. Researchers at the Department of Energy's Pacific Northwest National Laboratory and Bonneville Power Administration identified two unique methods for this energy storage approach and two eastern Washington locations to put them into practice.
United States: Breakdown: Penetration of Renewable Energy in Selected Markets
The penetration of renewable energy into the electricity supply mix has been much in the news recently. During the first quarter, Portugal generated three-quarters of its electricity with renewable energy. Meanwhile, in Germany, one-fifth of all electricity was generated with renewables, most of that from new sources of renewable energy, such as wind and solar. And recently, at a conference in San Francisco, attendees heard calls for generating not just 100 percent of electricity supply with renewable energy, but far more — 200 percent to 300 percent of generation — in order to meet the need for heating, cooling, and transportation as well.
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I do not understand your post. Not on the basis that you are wrong, but because you don't quote the premises, which makes it slightly difficult for me to follow.
I will therefore provide a summary (based loosely on Argument 1 of post # 21.):
This is the set of the moments prior to the present (i.e the past):
{..., -5, -4, -3, -2, -1}
and the vector of time is forwards, meaning towards 0.
and time has moved moment to moment forwards.
Time has moved through all the moments which are now included in the Past Set - so it has counted all the elements of that set (which we now call 'the past') and now moves on to 0.
Yet it is never the case that all the elements of an infinite set cannot be counted.
Therefore, the elements of the set (which we now call 'the past') are not infinite.
Now I have not taken a decision... now I think about it... now I have taken a decision.
This analogy is weak. It argues on the basis that God is similar to human beings or that change in general by necessity requires a change in the cause. Neither holds.
Neither of these are states. These are descriptions. A man whose wife bears a child becomes a father. But this is not a change in his state. Nothing changes in him.
God is eternally aware of what was and what became and what will be. Therefore, no change happens in His knowledge. He eternally knows that creation begins, how it begins and how it evolves.
Thank you for the question.
The notion of Time emerged with the first creature coming into existing ex nihilo, and prior to the first creature was Eternity, which is not a renewal of moments, as there are no moments.


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HQ Sweet Sixteen with TruStitch
If you love to free-motion machine quilt but struggle to fit your project in a small throat space, you're going to love the HQ Sweet Sixteen®. Sixteen inches of throat space gives you room to quilt even a king-size quilt. The smooth surface of the included table allows your project to glide under the needle. The powerful motor handles quilting with ease and stitches up to 1500 stitches-per-minute. Choose your three favorite top speed settings, on the easy-to-use color touch screen and let the machine remember them.
Model | HQ Sweet Sixteen |
Dimensions | 14" w x 20" h x 26" l |
Weight in lbs | 53 |
Stitch Regulation | Yes TruStitch, Handi Quilters exclusive stitch-regulation for HQ Sweet Sixteen. |
Throat Size | 16" |
Warranty | Warranty 2 Years Mechanical and 2 Year Electronic/electrical |
Full 16" of throat depth provides more than 3 times the quilting space of domestic sewing machines, with over 8" of vertical space
Smooth table surface assures even quilting
Speeds up to 1500 precision stitches-per-minute
TruStitch for full visability stitch-regulation
High-speed rotary hook with large capacity "M"-class bobbin
Hopping foot prevents fabric movement during a full-stitch cycle
Handles any thread: cotton, polyester, rayon, metallics, holographic, etc. Use larger threads for bobbin work
Set your top speed using the intuitive adjustable color-touch screen. Save your preferred speed settings with 3 customizable pre-sets. You can save one speed setting for slow, controlled quilting, one for free-motion and yet another for fast all-over designs
Change needles easily with Thumb Screw Needle Screw
Use Half-Stitch for basting or walking stitch
Responsive foot pedal with half-stitch control
Innovative Light Ring illuminates the quilting area with 28 LEDS
Use HQ Rulers for perfect stitch-in-the-ditch and curved quilting lines
Adjustable Color-Touch Screen includes:
Customizable speed control with 3 customizable settings
Stitch counters: Lifetime and resettable Trip Meter
Serial # display
Hardware and software info
Volume control
Easy setup and take-down
Can be updated to a stand-up machine if desired
ETL - US , Canada , Australia and Europe safety approvalBe the first to review this product!
HQ Sweet Sixteen | 3 boxes | Weight | Length | Width | Height |
HQ Sweet Sixteen Machine Head | 53 | 31 | 15 | 21 | |
Bobbin Winder | 8 | 19 | 10 | 7 | |
Sit down Table | 59 | 42 | 36 | 8 | |
Sit down Extensions | 19 | 37 | 22 | 4 | |
Tru Stitch by Handi Quilter | 3 | 14 | 12 | 6 | |
Table Overlay | 5 | 38 | 31 | 2 |
Interested in learning more about HQ Sweet Sixteen with TruStitch? Fill out the form
below and we will have a local representative contact you.
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When eating pizza, New Yorkers will recommend that you fold the slice in half longways to reduce mess. Now find out about the math and physics working behind the scenes of that tradition in TED Ed's Pizza physics (New York-style) by Colm Kelleher, animation by Joel Trussell.
We wish that all of our foods explained related math and physics ideas to us… and more about shapes, too.


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Vintage Delay & Echo
Vintage Delay & Echo Effects Pedals For sale
I'm sure you can tell by the name what delay & echo products' primary jobs are. They are to create a delay after someone has sung for example, then echo what they've sang. Delay & echo products were developed in the late 1980's and are now commonly used in modern music.
Plugging in one of the available delay & echo products (into your amplifier) you add great effects to your music, no matter what instrument you star in. You can tweak with how long to delay the sound, how many times to multiply it, to what effect and so on.
So if a delay & echo product sounds like a product you would want, check out Vintageandrare.com, as we're offering lots of these products on sale that could be perfect with the style of modern day music. And remember, if there is a certain product you want that isn't in our listings, regularly check back as our website updates often.


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While new MSU basketball coach Rick Ray is off on the recruiting trail – and rollin' in a sweet ride (CLICK HERE) – shooting guard Jalen Steele took time this afternoon to speak with us media hacks. He's essentially become the face of the program, for now at least, what with so many people leaving early and transferring.
There were rumors, too, of Steele possibly leaving the program. Nothing to that, he said.
"I sat back and thought about it," Steele said. "Me and Wendell (Lewis), we've been here so long, and we worked so hard for what we're about to get next year, and how much we worked, and we've still got more work to do. I told Wendell, man, don't listen to all that. We're going to stay still, stay strong, and stick this on out."
(For video of Steele, CLICK HERE.)
I'll have a story on Steele in tomorrow's Journal, but here are a few highlights of the chat.
• "Coming in here from everything I've been through, it's been quite a ride. But I'm here, I'm standing strong, and I'm ready to move on to another year."
• His first impression of Ray: "Everything that he do is hard. No mess-ups, everything's got to be straight forward, everything's on time. He's the type of person that don't accept nothing less than what you can do."
• On expanding his role: "This year I'm focusing more on dribbling and driving more this year, facilitating, getting my other players involved, being more a leader on the court." He added that he'll be the "main focus" bringing the ball up versus pressure and will have some point guard duties.
• On the importance of signing a point guard in this class: "I hope he comes in this summer and works out with us more so we get to know him, and he can get to know us, so we can all develop that relationship so we can have the bond before the season starts."
• On the weightlifting and conditioning regimens under Ray: "It's changed tremendously, too. It's more a fast-paced, more weight. There's no breaks between each rep, like you've got to go, go, go. And once you do that, you get your conditioning up and you get your strength up. It's changed a whole lot."


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Mike Dorman has even more decorations for the Military Missions In Action office. During a reception for Dorman's Presidential Citizens Medal on Sunday, the MMIA founder received the Order of the Long Leaf Pine, a Senatorial statement and a flag flown over the Capitol Building, not to mention a $10,000 donation to the organization.
Dorman's tireless volunteering was on display during the event at the First United Methodist Church in Fuquay-Varina, but he and the other MMIA volunteers are led to give by the efforts of veterans.
"Military Missions In Action gives to those who selflessly have given for our freedom," MMIA Board Chairman Jim Riley said.
It's that passion for the organization that drew N.C. Secretary of State Elaine Marshall to MMIA originally.
"I don't think I've ever seen another (non-profit) that started off so small and personal and in just a few years has become so respected," Marshall said to Dorman at the reception. "You proved that one man with a few friends and a handful of resources can make a difference in the lives of many."
Marshall and N.C. State Auditor Beth Wood presented Dorman with the Order of the Long Leaf Pine, a distinction usually given to state employees when they retire, but given to non-employees for extraordinary citizenship.
And while volunteerism is at an all-time high across the United States, President Barack Obama told attendees of the medal ceremony that it's the work of those like Dorman that led the way.
"On behalf of a grateful nation, thank you for showing us what it means to be a great citizen," the President said during the Feb. 15 ceremony.
State Senators Tamara Barringer and Ronald Rabin presented Dorman with a Senatorial statement that will be read into the N.C. Senate Journal this week.
Mayor John Byrne presented Dorman with the Key to the City of Fuquay-Varina as well.
While the Key to the City doesn't fit into all of the doors in Fuquay, Byrne said it does fit the heart of each person.
"The Key to the City represents every citizen," he said.
Humbly, Dorman puts the spotlight on the many that stand with him – both the volunteers and the veterans.
"(The veterans) need our time, talents and our gifts," he said.
And that need will be there as long as men and women put on the uniform.
Quoting Proverbs 3:5-6, Dorman said he has leaned on God and started the organization for His glory.
Mr. Dorman goes to Washington
While in Washington, D.C., Dorman met with Sen. Richard Burr, Sen. Kay Hagan, Sen. John McCain, Rep. George Holding and Rep. Walter B. Jones, Jr. the day before receiving the medal from the President.
"Thursday was a great day of telling MMIA's story," the organization's treasurer, Keith McCombs, said.
When Burr asked how he could help MMIA, Dorman told the senator to open his checkbook.
"(Mike Dorman) is never shy about how you can help MMIA and help our veterans," McCombs said.
And the organization got a great response. Burr and his committee donated $10,000 to MMIA. Betty Joe Shepheard of Burr's office said the senator really believes in the work MMIA is doing.
"The care of our veterans is absolutely the passion of the senator," she said when she presented the donation at the reception.
Holding even committed to showing up at a job site with his hammer and apron, ready to work.
Great exposure
Dorman always has garnered support locally.
Snapdragon Thrift Store on Hwy 55 donates profits to MMIA. Owner Michele Collier got involved with the organization when she helped assemble care packages with Troop 75. Now, her kids help with Run the Quay each June and she sees the store as a way to do something she loves and give to a worthy cause.
The Woman's Club of Clayton learned about MMIA through a newspaper article originally and the group's Public Issues Committee decided to get involved. The women raise funds for the organization and even have gone to some sites to help clean.
But the second-highest national award for civilians has brought even more exposure to MMIA's cause.
IMRE, the public relations firm that has adopted MMIA, said 29 million people were exposed to the Fuquay-Varina-based organization in February from news media coverage of Dorman's award.
"It was an awareness our organization couldn't have gotten otherwise," McCombs said.
But, with that exposure came more calls for help. Now, he just needs the funds to match.
"I'm confident a surge in donations will come," Dorman said.
Contact Kelly Griffith at firstname.lastname@example.com or 919-552-5675.


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There are a lot of things to like about the Burwood East Motel, especially if you are wanting to stay out in Melbourne's eastern suburbs on a bit of a budget. It is clean, the beds are comfortable, the hosts are polite and welcoming, and room pricing is quite competitive. The surrounding area is safe and fairly quiet (by late... More
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- Burwood East Motel Australia - Greater Melbourne
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- TripAdvisor is proud to partner with Booking.com, Priceline and Agoda so you can book your Burwood East Motel reservations with confidence. We help millions of travellers each month to find the perfect hotel for both holiday and business trips, always with the best discounts and special offers.


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Postsecondary Education
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Published in partnership with: Higher Education Recruitment Consortium
How research -- and a banana -- can help with a job search
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Job seekers should research and follow the companies or institutions where they want to work, recent Ball State University graduate Katherine Marie Priddy writes in this blog post. In her own job sear Read More
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December 6
How to Cope with Exam, Holiday Stress
Follow tips from the Counseling Center on how to get enough rest, eat well and balance your life.
More Recent News
Opportunity to Self Identify Veteran Status or Disability
Read the Affirmative Action Program memorandum and return the self-identification form
September 25, 2012 -
Staffer Earns 10 Professional Development Certificates
Tracy Purcell in the Office of University Architect has earned all 10 certificates HR offers.
March 21, 2012 -
What's with the Green Dot?
A nation-wide movement promoting bystander intervention and a culture of nonviolence arrives at AU.
March 8, 2012 -
HR: Grab Back Some Time
Getting yourself organized, being proactive are keys to managing your time.
January 25, 2012 -
Kogod Gardens Earns 2011 Excellence in Landscape Award
Journal praises garden's sustainable planting of perennials
January 23, 2012


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Vintage Style for a Modern Day Wedding
Monday, April 16th, 2012 | Details, Knoxville Weddings | No Comments
A big trend with brides today is to look into the past for all things antique and vintage. Brides are choosing vintage and making it look new again all at the same time. The following are ways to do this:
Retro-minded brides love all things vintage including birdcage veils. These are veils that drape just over the forehead to the lash line and are adorned with feathers, beads and buttons. This is a great accessory to go with if you are going with a lace gown. Speaking of a lace gown, using the lace of a dress say from your grandmother is a great antique staple. It will also be special to her that you are wearing something that she once did on her big day.
Grooms are also embracing the old feel on vintage. In his attire, instead of renting a tux, wearing a suit is very vintage. Grey is a very popular color right now in men's wear. A tailor made suit in tan or brown is also a great alternative to the black tux.
There are certain flowers that are great for this style. Choosing to use calla lilies, hydrangeas, peonies and English garden roses are a very vinatge feel. Adding crystals and wrapping the stems of bouqets in lace add a nice touch.
Color is a great way to convey a vintage themed wedding. For example, try using tea stained lace overlays on lilac toned linen and soft tones such as peach and creme flowers. Those lighter colors are going to really bring the old look together. Silver and gold candlesticks dispersed throughout the reception add to the old world theme as well.
A vintage wedding is something that all of your guests young or old can enjoy. It is so fun and the differnent accents that you incorporate are things that they might have never seen before, and it will make your day more memorable to them as well. You will be the talk of the town from here on out!


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Husband: Rick M. HAYES
Born: at: Married: at: Died: at: Father: Mother: Other Spouses: NOTES
Wife: Patricia Anne BARNUM
Born: at: Died: at: Father:Roston J BARNUM Mother:Alma May SCHMIDT Other Spouses: Charles Wesley CAGLE NOTES
A Research Guide to the Genealogy of the Barnum/Barnam/Barnham Family Worldwide
©1998, 2012. The format of this website and all original statements and narrative included on it are copyrighted and all rights are reserved. Factual information may be freely quoted for use in private genealogical research when accompanied by a full source citation, including the date of acquisition. Click here to view the format of a citation for an Internet resource. The publication of large extracts from this site in any form requires prior written consent.


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A collection of news and information related to Piranha 3DD (movie) published by this site and its partners.
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Interview: The horror! 'Collector' scribe talks fright flicks
When Hollywood needs someone to write a horror movie sequel, it calls Evanston-raised screenwriter Patrick Melton and writing partner and Macomb, Ill., native Marcus Dunstan. Melton and Dunstan, you might remember, won Bravo's "Project Greenlight"...Tags: Josh Stewart, The Collection (movie), Evanston, Halloween II (movie, 2009), The Collector (movie, 2009)
'Piranha 3DD'
Zap2ItA water park is the destination of fun seekers - and also of some very hungry fish - in this latest entry in the horror franchise, with Christopher Lloyd returning as the offbeat expert whose warnings are met with skepticism yet again. Ving Rhames...Tags: Danielle Panabaker, Ving Rhames, Christopher LLoyd, David Hasselhoff, Blu-ray Discs
Movie Projector: 'Snow White' to be fairest of them all at box office
There probably will be a happily-ever-after ending for "Snow White and the Huntsman"at the box office this weekend. The adaptation of the classic fairy-tale -- the second take on "Snow White" to hit theaters this year -- is expected to open with a...Tags: Relativity Media, Andy Garcia, Chris Hemsworth, Comedy (genre), Apple iTunes
Nov 16, 2012
|Story| Chicago Tribune
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|Story| Zap2It
May 31, 2012
|Story| Los Angeles Times
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Westlake Demons back in playoffs for first time since 1989
It's been a pretty good year for the Westlake Demons.
Their baseball team finished as Division I runners-up, Colton Buffington and Lauren Golick won singles state championships in tennis, both boys and girls soccer teams won districts and now their football team is back to where it hasn't been since 1989 — in the playoffs.
After a stellar 9-1 regular season, Westlake was rewarded with a playoff berth for the first time in 23 years, hosting the Mansfield Madison Rams tonight at 7:30 in the Division II, Region 6 quarterfinals.
Click here to read more on this story
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SOURCE: Baptist Health System
North Side Baby Boom Means Expansion for North Central Baptist Hospital
San Antonio, TX (PRWEB) January 23, 2013
North Central Baptist Hospital (NCBH) is bursting at the seams with babies, leading to a major expansion project at the hospital. "We are single-handedly populating the earth" said NCBH president Bill Waechter at recent "sky breaking" ceremony. "Stone Oak continues to see double digit growth of women of child bearing age. "We've outgrown our current facility so we're expanding in order to keep up with the growing need for women's services in this area," says Waechter.
The new floors will expand Labor & Delivery, Postpartum and Anti-Partum beds, the OB pre-op/recovery area, Nursery & Neonatal Intensive Care Unit (NICU) beds and Outpatient areas. "New moms and dads love the large, beautiful private rooms and boutique, world class care they get when they deliver here at North Central Baptist," said Waechter. "We're excited about this expansion, which will allow more special beginnings to take place here."
The expansion will create more than 200 new healthcare jobs, including labor delivery nurse jobs, in the North Central San Antonio area. North Central Baptist is keeping construction work local with contractors JE Dunn and Joeris and subcontractors Brandt and Enterprise Electric.
Construction began June 2012 and is expected to be complete in October of 2013.
About the company:
Baptist Health Systems is a recognized leader in Health Care in San Antonio, Texas with five acute-care hospitals and a dedicated team of health care professionals. To uphold their high standards and meet the growing demand for quality health services in the area, numerous medical careers are now readily available. For more information about BHS Careers, visit their website at http://www.baptisthealthsystemcareers.com.
For the original version on PRWeb visit: http://www.prweb.com/releases/prweb2013/1/prweb10344393.htm


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FURUNO has a number of dealers around the country. There can be a difference in product portfolio and area of expertise so they have been divided into Leisure boat Dealers and Commercial Dealers.
Leisure boat Dealers are those dealers that specialize in leisure boat products. Several of these has outlet stores, exhibitions and online shops.
Commercial Dealers specialize in fishing industry, deep sea market and offshore industries.


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Buena Vista school mess a warning of things to come
Michigan schools will continue to face a crisis until the unsustainable, structural funding issues surrounding our schools are addressed.
Michigan schools will continue to face a crisis until the unsustainable, structural funding issues surrounding our schools are addressed.
Now, the minister is calling on the pastors of Detroit to come together and buy land. The question is: Can the minister be heard now?
Nothing this side of slapping a For Sale sign on the Detroit Water Department would be a clumsier attempt at raiding a Detroit jewel.
So how to explain the White House's belated admission that Obama's right hand knew?
We should expect our government to be transparent enough that our highest elected official is at least aware of issues of major importance.
Skilling, who is an innovative leader in Michigan, says the Common Core standards are nothing short of a 'race to the bottom.'
Mr. Trump, Republicans tried guarded in the last election, and that did not lead to victory.
Instead of being primarily a time for national unity, many natural disasters in recent years have provoked bipartisan horror at conservative Republicans using these crises as an excuse to demand permanent spending cuts. This strategy was famously deployed by Eric Cantor in the wake of the Joplin tornado in 2011, and Oklahoma Sen. Tom Coburn … Continue Reading →
Since Levin is retiring from the Senate next year, here's an idea: Maybe he could open a store.
For us in Detroit a decades-long tornado has been ripping the city apart – just slow enough not to qualify for disaster relief.


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With the holidays approaching, cities across the continent are gearing up to put on a spectacular show. Here are 10 of the best places to take your family to see and experience the magic!
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So I feel like we are still losing the war on terror!
The point of the war was supposed to be stopping the offenders from doing their thing in Afghanistan and destroying their organization. Well it appears that they are still an issue for many people.
Here is an article where this is proven. We have gotten to the point where excessive bathroom use is enough to scramble F-16 fighter planes in a response to paranoia. Seems like another score for the other team… and we are falling behind.
With the economy in shambles, and thousands of soldiers dying in the war [I think the number is about two times larger than the people who died on 9/11... currently], you would think that something should change. Is that not what people voted for anyway, change?
We need a different approach, and I am not sure what that is. What I do know is that doing the same thing and expecting different results is somewhat related to insanity.
…and Obama announced the killing of Osama as if it were some kind of victory!?!
The real victory would be not having to worry about terrorism at all [i.e. not having to worry that you gave someone on a plane the wrong look], or even better, not doing whatever it is that we truly did to create the terrorists in the first place. I would bet that the USA has to have done something to someone [probably many people] to cause such a retaliation.
It IS possible that others just hate us… after all we never seem to mind our own business; but I feel like the response would be a little extreme.
By no means am I saying that we deserved what we got, because that is just silly. 9/11 was a tragedy and I think we better wise up and learn something from that day. SERIOUSLY!!! I don't want to have myself or my loved ones being hurt by people, so if I can do something to stop that, I don't think going about it in a roundabout kind of way is how I will expect results.
I hope everyone is still healing, and I hope the children of 9/11 will make wiser choices about our country than their predecessors.
Hope all is well…


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My forum posts (showing 3951 to 3960 of 4024)
"Is a convertible laptop something you would consider buying?"
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Turntables are alive and well, thank you very much. A-T has a well-deserved reputation for making solid turntables, and keeps hope alive with the introduction of a new model. The AT-LP1240-USB is aimed at both the DJ and home markets. This is a top-of-the-line professional model that is rugged enough to travel on the club circuit, and its gloss black design will fit into home theaters.
This model (clearly inspired by the late, great Technics 1200 series) uses a direct-drive, 16-pole, 3-phase motor. The S-shaped tone arm has adjustable counterweight (tracking force), anti-skate adjustment, locking height adjustment to vary the vertical tracking angle, and removable universal cartridge mount.
The turntable allows easy back-cueing, and forward and reverse play at 33-1/3, 45 and 78 rpm. The platter is cast aluminum with stroboscopic speed markings and slip mat, illuminated speed indicator, adjustable pitch control, start/stop button, removable stylus target light, tone-arm grounding lug, hydraulically-damped lift lever, locking tone arm rest, removable dust cover, and leveling feet.
A built-in switchable phono preamp is compatible with a wide range of receivers and other components. Of course, the turntable features a USB port, so you can transfer your LPs to a computer (Mac or PC) for digital storage. Supplied Audacity software converts analog audio to digital, and has features such as equalization and click-noise removal. The AT-LP1240-USB lists for $530 and will be available in March.
S+V's staffers bring you the latest and greatest in entertainment tech, direct from the country's biggest consumer electronics show.
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Location: BMW / Cars / All M3 1992-1999 (E36) Ads |
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95 M3 in good condition, with recent service. Equipped with S52 3.2L engine, approx 110,XXX. Manual trans, quiet, no leaks. Diff quiet, no leaks. Engine is very strong and runs great, very clean engine bay, no leaks. Clean body, no rust, good paint; although the hood and front bumper have some chips. Black metallic paint, black interior with manual Vader seats. Bilstein PSS suspension, adjustable ride height front and rear, sway bars, adjustable rear control arms. Rebuilt drive shaft, diff bushings have been replaced with new. Recent Powerflex trailing arm bushings. 3.5" Euro MAF, Euro air filter box. (4) M Contour wheels with Blizzak tires are currently installed and are included with sale, good tread. Factory wheels are straight: 2 Bridgestone g-force sport tires, almost new. Other 2 tires are shot and need replacement. Drivers window was working but now broken - I believe the window motor needs replacement. Less than 5000 miles ago: New radiator Expansion tank Stewart water pump t-stat, aluminum t-stat housing, hoses, etc. Front control arms/bushings Brand new BMW oil pump; rod bearings/bolts were replaced at that time as preventative maintenance. Cash and pickup only please. (908) two five one-1018. Please no texts. Thanks for looking, Brian http://s1260.photobucket.com/albums/ii574/scottb93/ |


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Singles (4 X 7 inch box set) (Record Store Day Black Friday Release)
7-inch (Item 591565) Capitol, Late 60s — Condition: New Copy
One of the coolest Beatles collectibles in years – and pretty darn limited, too! The beautiful box features four 7" singles, all reproduced in their original cover art – two of which are pic sleeves from the early days, two more of which are later releases in Apple sleeves! Plus, you also get a 21" square poster, with a mid 60s image of the Fab Four, a single hub for playing the singles, and a handsome box that's exclusively numbered. Singles include "Ticket To Ride" b/w "Yes It Is", "Yellow Submarine" b/w "Eleanor Rigby", "Hey Jude" b/w "Revolution", and "Something" b/w "Come Together". (Indie store exclusive release for Black Friday, 2011. Limited to 10,000 pieces.) © 1996-2013, Dusty Groove, Inc. |
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Run Around (2 x 7inch gatefold set): A cool rarity from the Chicago scene of the 60s – a Windy City obscurity that really sounds wonderful all these many years later! The Cave Dwellers were getting some top shelf help right at the ... read more Rock (7-inch) 12.99 |
Witch EP: Ahh, "The Witch" – the tense, sax-backed, fuzzed out blast of genius that put The Sonics on the garage rock map! A stone classic by one of the greatest and first bands of their kind – ... read more Rock (7-inch) 12.99 | ||||
You Are Doomed (2 x 7inch gatefold set): Raw rock from the Cleveland scene of the early 80s – music that was definitely born in the punk rock generation, yet has the fuzzy edge of garagey material from a decade before! The trio's got a ... read more Rock (7-inch) 12.99 |


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12:00pm (EST)
The bulls are once again pushing resistance as we head into the second half of trading but as we have seen all week, the trouble has been holding these levels on the close. Some of the talking heads are calling it a Romney Rally and we talked about this last month on how this theme could come up. However, until we break resistance (or another wave of support). The market remains in a trading range.
Before we cover the numbers, we wanted to do another quick update on Apple (AAPL, $671.02, down $0.43) as shares have traded on both sides of the ledger today. The stock has reached a high of $674.25 but has pulled since.
The talking heads must have read our midday update on Tuesday because they confirmed our speculation yesterday that Apple could announce the iPad mini this month. Of course, we have been mentioning for a few weeks now that the new iPad announcement was coming but we were hoping the news would have come next week as we were looking to get into some Apple call options.
We said the announcement could come as soon as October 10 and our plan was to pick up some near-term options next Tuesday, October 9.
We profiled the WEEKLY October 675 calls (AAPL121005C00675000, $3.00, down $0.50) on Tuesday and at the time they were going for $1.90. They doubled in less than 48 hours after kissing a high of $3.90 this morning.
The October 675 (AAPL121020C00675000, $13.60, down $0.25) were super expensive and were going for $9.90 per contract midday on Tuesday. These options hit a high of $14.80 earlier today, representing a 50% gain.
We said to watch the $650 level on Tuesday to see if it would serve as support and if so, it could be a signal to go long. Shares were at $658 midday and did indeed test a low of $650.65 shortly after our update. These means both call options actually got cheaper, providing great entry prices at support.
Although we missed the gravy train on these two trades, we said we wanted to review how we trade because we have so many new subscribers. We have been working hard updating our options trading manual, How to Trade Options on Momentum Stocks, and we thought we would share with you how we look at and find trades before we release the updated version in December.
If you are in this trade, we would lock up profits on the WEEKLY call options RIGHT NOW. We mentioned $675 was prior support and this will be the first level of resistance. While it would be nice to hold the regular October 675 calls for a chance at Apple running to $700, we would take the safe money and also lock-in profits if these were official recommendations.
As far as the market, the Dow is up 63 points to 13,557 while the S&P 500 is higher by 7 points to 1,458. The Nasdaq is basically flat (+0.41) at 3,135.
Nonfarm Payrolls are due out before the bell on Friday so we could have a volatile day. The suit-and-ties are looking for a number of at least 120,000 jobs and anything north of this could lead to a break past resistance. If the print is under this level, or heaven forbid under 100K, the bears will pounce.
We have action to take on a trade that is up 111% so let's go ring the register! This marks our 19th winning trade out of our last 21 recommendations since mid-August.
Subscribers, check the Members Area for the updates and we will be back in the morning with a full report.


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Latest News
Announcing 2013 Arts Scholarship Program
The Charles County Arts Alliance is announcing its annual Arts Scholarship Program, which awards a $1000 scholarship to an outstanding graduate at each Charles County public high school and the College of Southern Maryland (CSM).
Read More...Arts Alliance Announces ArtsFest 2013!
Saturday, June 8, 12:00 Noon – 6:00 pm
What do you get when you mix fine art with fun? Whoever you are, wherever you are, the answer is right around your corner on the grounds surrounding the La Plata Town Hall.
Arts Alliance Presents 21 Local Artists in New Exhibit at Waldorf West Library Galleries
The Charles County Arts Alliance (CCAA) presents an exhibit of 21 local artists at the Waldorf West Library Galleries. The exhibit will be held from February – June 2013, with a special meet-the-artists reception scheduled for Saturday, May 4, at 3:00 pm. The galleries are located in the new Waldorf West Library, in St. Charles.
Read More...


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1 hr ago | The Arizona Republic
Japan's ANA to resume Boeing 787 flights on Sunday
Japan's All Nippon Airways, the launch customer for Boeing's 787 "Dreamliner," will resume commercial flights of the aircraft on Sunday, just over four months after the jets were grounded due to smoldering batteries.
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Woolwich attack: Two arrested after 'racist and...
The men, aged 22 and 23, were held under the Public Order Act on suspicion of inciting racial or religious hatred after outraged Twitter users alerted police Two men have been arrested on suspicion of inciting racial or religious hatred after offensive comments about the death of Drummer Lee Rigby were posted on Twitter.
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Woolwich Murder: 'Offensive' Tweets Arrests
The 25-year-old serving British soldier was brutally killed in an attack on a street in London on Wednesday.
Authorities hunting for Northern California suspect in murder of family of four
The crime was as shocking as any that investigators in the Czech Republic city of Brno had ever seen: four members of the same family murdered -- some or all with their throats slit, the home they had opened to their apparent killer set ablaze, according to wire service reports.
Facebook is the new religion, Ashton Kutcher says
Internet communities are more trustworthy than some big corporations, but mobile is proving a hard nut to crack even for the best of them, actor and venture capitalist Ashton Kutcher told CTIA Wireless Thursday.
Facebook Delays Home in Europe, Wants a Stronger 'First' Impression
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Google may start bidding war with Facebook over Waze
Google , maker of the Android operating system, is considering buying map-software provider Waze, setting up a possible bidding war with Facebook , people familiar with the matter said.
The Pennsylvania Department of Transportation has started a YouTube channel- www.youtube.com/PennsylvaniaDOT -to expand its public outreach on safety and education initiatives as well as department operations.
Little people, big problem: Roloffs get death threats
WASHINGTON COUNTY, Ore. One of Oregon's most famous local families is getting death threats.
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Did your credit take a nose dive in the recession? Or perhaps you're young and haven't had time to build a solid financial history? We found some financial companies are using social media to connect to their customers, even using it to evaluate if they're credit worthy! For example, BMX biking is Adam Grandmaison's passion and business.
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By Kevin Diakiw - Surrey North Delta Leader Published: May 21, 2013 10:00 AM Updated: May 21, 2013 1:11 PM On Monday, May 20 at about 11:15 a.m., a man in the 13000 block 103A Avenue heard a knock on his door.
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The DVLA has been criticised for their "draconian" approach to the sacking which was revealed following the disclosure under the Freedom of Information Act The employee axed for accessing the social networking site on his mobile phone at the agency's contact centre last year.
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Guest Message by DevFuse
tracy chapmani totally thought this was...
Started by HSMagnet, Feb 15 2012 10:00 AM
5 replies to this topic
Posted Feb 15, 2012 - 10:00 AM
Posted Feb 24, 2012 - 02:39 PM
Thank you HSMagnet, I liked it! I've never heard about him befor.
Posted Feb 26, 2012 - 06:03 PM
And now I understand everything... about this thread. Atleast I do recognize the song from the original Tracy Chapman.
Edited by GOS_LEgiONary, Feb 26, 2012 - 06:03 PM.
Posted Feb 27, 2012 - 02:04 PM
i really thought the song i posted was ms chapman until i googled it
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we were guests at our relations wedding. which was held at melbourne church which is both historical, unusual design and it was a lovely service. this was followed by a very good wedding reception at the above hotel and a lovely evening; . we then stayed the night in a nice spacious bedroom and had breakfast the following morning. the... More
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breaking news
PITTSBURG, KS.--- 2013 brings a new year, and a new addition to the Schoonover family.
"It's exciting," says Tabatha Schoonover, New Mother.
The last thing Tabatha Schoonover expected yesterday was to deliver her baby.
"My due date actually wasn't until February 2nd. Me and my roommate were actually going to baby-sit 4 kids for New Years and so we had to cancel our plans," says Schoonover.
She welcomed her first daughter Brooklin Nicole into the new year just after midnight.
"She's a very quiet baby. She might be easy to take care of. Not a whole lot of crying," says Schoonover.
Brooklin weighed 6 pounds, 15 ounces and was 19 and a half inches.
"It was a shock to us all. We never expected we'd have the baby on New Years," says Schoonover.
Mylinda Schonover was excited to ring in the new year with another granddaughter.
"Very proud, very very proud she did so good," says Mylinda Schonover, Grandmother.
Both spent the first day of 2013 with family and friends by their side, and this year Brooklin has made some special New Year's resolutions.
"Try and be a good mom," says Schoonover.
"Just spoil her rotten," says Mylinda.
Tabatha says she's excited her daughter will be remembered as the first baby born at Via Christi Hospital in 2013.
Readers Feel...


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Browse current and upcoming exhibitions and events.
This artwork is currently on display in Gallery 602
Dating to about 1320, this panel is one of seven showing the life of Christ. Nothing is known of their early history beyond the fact that they were painted for a Franciscan church or convent; however, the masterly depiction of the stable, the carefully articulated space, and the columnar solidity of the figures testify to Giotto's reputation as the founder of European painting. The impetuous action of the kneeling king, who picks up the Christ Child, and Mary's expression of concern translate the Biblical account into deeply human terms. "He made [art] natural and gave it gentleness" (Ghiberti, ca. 1450).
Giotto is the key figure of Western painting. His emphasis on solidly described figures and his exploration of a rational pictorial space set the course of European art for the next five hundred years. His achievement was celebrated by contemporaries from Dante and Petrarch to Boccaccio, who included a story about the artist in the Decameron (sixth day, fifth story). Vasari accords him the leading role in his famous Lives of the Artists, noting that he revived "the methods and outlines of good painting [that] had been buried for so many years . . .". Four main fresco cycles survive: that of the life of Saint Francis in the church of San Francesco, Assisi (the attribution and date were long disputed); the life of Christ in the Arena Chapel, Padua; and two fresco cycles in the church of Santa Croce, Florence.The MMA picture combines two events: the foreground shows the Adoration of the Magi while in the left background an angel announces the birth of Christ to two shepherds. It thus combines the narratives of the gospels of Matthew (2:1–12) and Luke (2:8–13). The Adoration is unusual, if not unique, in showing the oldest king kneeling, his crown set on the ground, and taking the Christ Child from the manger. Joseph, who holds the king's gift, looks on fixedly while the Virgin, depicted reclining on a mattress within the stable, wears a concerned expression. Next to Joseph are two black and one white sheep. The treatment of a canonical scene in terms of a human drama is typical of Giotto, and builds on his fresco cycle in the Arena Chapel in Padua. There, in the scene of the Adoration of the Shepherds, the Virgin is shown reclining on a mattress beneath the stable, turning to place her child in the manger. In the scene of the Adoration of the Magi she is depicted seated, flanked by two attendant angels, regally holding the Christ Child on her lap while in front of her the oldest king kneels to kiss the child. There is no known literary source for the features of the Museum's picture; however, a similar, humanizing, approach to the sacred story was promoted by devotional literature, such as the thirteenth-century Meditations on the Life of Christ, and was developed in liturgical dramas and mystery plays. These popular sources underscore one aspect of Giotto's pictorial revolution, which has often been linked to the populist ministry of the Franciscan order. No less characteristic of the pictorial revolution he promoted is the clear articulation of the space in three stepped tiers, with the shepherds shown as though standing on a notional, far side of the hill behind the stable. The roof of the stable is shown as though viewed from below and to the right. Of the two stars, that in front of the hill is a later addition.It has now been firmly established that the picture formed part of a series of seven scenes, all painted on a single, horizontal plank of wood, each scene separated from the adjacent one by a thin, vertical band of gold. Left to right, the series showed: The Nativity (MMA); the Presentation (Isabella Stewart Gardner Museum, Boston); the Last Supper and Crucifixion (Alte Pinakothek, Munich); the Entombment (Berenson Collection, Florence); the Descent into Limbo (Alte Pinakothek, Munich); and Pentecost (National Gallery, London). All scenes are the same size and the events follow in chronological order. A raised edge (or barb) on the left side of the first panel and the right side of the last demonstrate that an engaged frame once surrounded the series. Uniquely, the reverse of the MMA panel preserves intact part of its gesso preparation as well as a porphyry-colored, reddish paint and graffiti that possibly dates to the fourteenth and fifteenth centuries (see Images). There is also the space where, originally, a vertical batten was affixed, attaching the plank to a more elaborate structure or frame. The scene of the Last Supper, in Munich, and the panels in the National Gallery, London, and in the Berenson Collection, Florence, also have traces of a vertical batten (though the paint has been scraped off). The gold leaf in all of the panels is on a green preparation rather than on the more usual red bole (the use of a green preparation for the gold is also found on panels from an altarpiece painted by Giotto for the chapel of Saint Stephen in the church of Santa Croce, Florence). That the reverse was painted and accessible (and thus vulnerable to being marked by graffiti) pretty much excludes that the series was incorporated into a piece of liturgical furniture, such as the sacristy cupboard panels by Taddeo Gaddi from Santa Croce, Florence (now divided among the Galleria dell'Accademia, Florence; the Alte Pinakothek, Munich; and the Gemäldegalerie, Berlin). More probably, the series formed a low dossal.Of notable importance is the omission from the series of key events that normally form part of a synoptic narrative, most conspicuously the Annunciation and the Resurrection. Such obvious omissions would seem to indicate a more theologically motivated selection. While the inclusion of the Epiphany, the Presentation, and Pentecost can be seen as emphasizing Christ's manifestation and ministry to the Gentiles, the trio of Passion scenes at the center underscores the theme of sacrifice—also present in the scene of the Presentation (the two pigeons required by Jewish law).The center scene of the Crucifixion includes a figure of Saint Francis kneeling to one side of the cross with, on the other side, a female and male donor. Given the presence of Saint Francis there can be no doubt that the series was painted for a Franciscan church. What church this might have been has been much discussed. Ghiberti states that Giotto painted four altarpieces in the church of Santa Croce and it has been proposed (Christiansen 1982) that the series could have served as an altarpiece for the Bardi Chapel, which was dedicated to Saint Francis and in which the figural style is related. Vasari also mentions a picture by Giotto with small figures (di piccolo figure) that had been brought from Borgo San Sepolcro to Arezzo and cut up; the pieces were subsequently acquired by a member of the Gondi family in Florence. The possibility that this unspecified work, conceivably for the church of San Francesco in San Sepolcro, might relate to the series has been proposed (Davies 1951 and Gordon 1989). Finally, a third proposal would have it that the scenes formed a dossal for the high altar of the church of San Francesco in Rimini, where we know Giotto worked and for which he (and/or his workshop) painted a monumental crucifix, still in the church. However, the further suggestion that the two donor figures in the Munich Crucifixion are identifiable with Malatesta di Verucchio and his wife or sister (Gordon 1989) can be excluded, for the male figure is clearly dressed in liturgical vestments (a green cope) while his female companion may be wearing the habit of a secular tertiary Franciscan. Concrete evidence for any of these suggestions is lacking and each one involves a different chronological placement for the series, which has been dated as early as ca. 1305 (D'Arcais 1995) but is more generally placed in the second or third decade of the century.Just as there is a variety of views regarding the dating of the series, so their attribution—whether they were entirely painted by Giotto or merely designed by the master and painted with workshop assistance—has been much discussed. Suffice it to say that Giotto's oeuvre has undergone much re-evaluation in the last few decades and that, today, it would generally be conceded that he painted a good deal more than Anglo-American scholars ascribed to him throughout most of the twentieth century. The most celebrated artist of his day, Giotto clearly had a highly organized workshop to deal with the many commissions he received. However, this series ranks among the finest produced in that shop and most scholars would ascribe to Giotto himself a large hand in the creation of these panels. The Metropolitan's panel is of exceptionally high quality.[2012]
Prince Stanislas Poniatowski, Villa Poniatowski, Rome, later Palazzo Poniatowski, Florence (by 1822?–d. 1833; his estate sale, Christie's, London, February 9, 1839, no. 101, as by Giotto, for £2.18.0 to Hall); General Charles Richard Fox, London (by 1857?–d. 1873; posthumous sale, Christie's, London, July 4, 1874, no. 37, with "The Entombment," as Early Italian School, to Daniell); William Fuller Maitland, Stansted House, Essex (by 1893–about 1911; cat., 1893, p. 12, no. 37, as by Giotto); [R. Langton Douglas, London, until 1911; sold to MMA]
Florence. Palazzo degli Uffizi. "Mostra Giottesca," April–October 1937, no. 105 (as Attributed to Giotto) [1943 ed., as by the workshop of Giotto].New York. The Metropolitan Museum of Art. "Art Treasures of the Metropolitan," November 7, 1952–September 7, 1953, no. 70.Museum of Fine Arts, Boston. "Masterpieces of Painting in The Metropolitan Museum of Art," September 16–November 1, 1970, unnumbered cat. (p. 12).New York. The Metropolitan Museum of Art. "Florentine Paintings in the Metropolitan Museum," June 15–August 15, 1971, no catalogue.Los Angeles. J. Paul Getty Museum. "Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350," November 13, 2012–February 10, 2013, no. 32.1.
Giorgio Vasari. Le vite de' più eccellenti pittori, scultori, ed architettori. 1906 ed. Florence, 1568, vol. 1, p. 395, mentions a work by Giotto with small figures, possibly referring to the series to which this picture belongs, brought from Sansepolcro to Arezzo and broken up, with some pieces later taken to Florence for the collection of Baccio Gondi. List of paintings belonging to Stanislas Poniatowski being exported from Rome. 1822, nos. 104–7 [Archivio di Stato, Rome, Camerlengato I, Titolo IV, Busta 37, fascicolo 19; see Ref. Gordon 2011, p. 239 n. 59], includes four items described as works of the Quattrocento with subjects corresponding to the four panels from this series (this work, London Pentecost, Boston Presentation, and I Tatti Entombment) sold in the Poniatowski sale of 1839. [Gustav Friedrich] Waagen. Galleries and Cabinets of Art in Great Britain. London, 1857, p. 234, mentions two pictures of the school of Giotto in the Fox collection, London, acquired from Reverend John Sandford [sic], probably referring to this work and the Entombment [see Ex collections]. B. B. "The Adoration of the Kings by a Pupil of Giotto." Metropolitan Museum of Art Bulletin 6 (October 1911), pp. 215–16, ill., attributes it to a pupil of Giotto, dating it before Giotto's death; calls it one of two known fragments of an altarpiece and observes that the composition resembles the Nativity in the Arena Chapel, Padua. Frank Jewett Mather. Letter to Bryson Burroughs. October 27, 1911, believes it was designed and partly executed by Giotto but painted in the main by Taddeo Gaddi; dates it about 1320–25 and considers it part of a series that included the Presentation in the Temple (here called the "Purification") in the Gardner Museum, Boston, but does not believe the series formed a predella. Jean Paul Richter. Letter. November 21, 1911, attributes it to Giotto, connecting it with the panel in the Gardner Museum, Boston [see Ref. Mather 1911]. Bernard Berenson. Letter. January 13, 1912, attributes it to the same close pupil of Giotto who painted an Entombment in his collection at Villa I Tatti, Florence. Frank J. Mather Jr. "General Meeting of the Archaeological Institute of America, December 27–29, 1911." American Journal of Archaeology 16 (1912), p. 102, says it belonged to a series which he believes were probably door panels that includes the Presentation in the Temple in the Gardner Museum (here called the "Purification" and ascribed to Giotto), the Entombment in the Villa I Tatti, Florence, and the Last Supper in the Alte Pinakothek, Munich. Osvald Sirén. Giotto and Some of His Followers. Cambridge, Mass., 1917, vol. 1, pp. 79–82, pl. 60, no.1, adds the Cruxifixion and the Christ in Limbo from the Alte Pinakothek, Munich, to the series grouped by Mather [see Ref. 1912]; attributes the six panels to Giotto, allowing for the assistance of pupils, and suggests they were part of at least twelve scenes from the Life of Christ painted for a Franciscan church, possibly decorating the doors of a sacristy cupboard; notes in the MMA picture the unusual combination of the Nativity and the Adoration of the Magi and compares it to the frescoes in the Arena Chapel, Padua. Raimond van Marle. Recherches sur l'iconographie de Giotto et de Duccio. Strasbourg, 1920, p. 9 n. 5, ascribes it to a pupil of Giotto. I. B. Supino. Giotto. Florence, 1920, pp. 270–71, pl. 242, calls it Giottesque and finds similarities in the frescoes from the church of San Francesco, Assisi . Wilhelm Hausenstein. Giotto. Berlin, 1923, pp. 15, 189, 191, considers the series unimportant among the works assigned to Giotto. Frank Jewett Mather Jr. A History of Italian Painting. New York, 1923, p. 475, lists the series as from the workshop of Giotto, dating it after 1330. Raimond van Marle. "The Florentine School of the 14th Century." The Development of the Italian Schools of Painting. 3, The Hague, 1924, pp. 186–88, fig. 108, attributes the series to an assistant of Giotto, and dates it at about the time of the frescoes in the chapel of the Magdalen in the lower church of San Francesco at Assisi; tentatively assigns to the same artist a Crucifixion in the Gemäldegalerie, Berlin, a Crucifixion in the Musée des Beaux-Arts, Strasbourg, a crucifix in the church of San Felice in Piazza, Florence, and a Madonna in the Goldman collection, New York. Georg Graf Vitzthum and W. F. Volbach. Die Malerei und Plastik des Mittelalters in Italien. Wildpark-Potsdam, 1924, p. 265, attribute it to the workshop of Giotto. Frank Jewett Mather Jr. "Two Attributions to Giotto." Art Studies 3 (1925), p. 31, calls the series a product of Giotto's school rather than his workshop. Curt H. Weigelt. Giotto: Des Meisters Gëmalde. Berlin, 1925, pp. 242–43, ascribes the series to a pupil of Giotto, assigning to the same painter a Madonna in the Goldman collection, New York, a Saint Stephen in the Museo Horne, Florence, and a Saint Peter Martyr in the Loeser collection, Florence; suggests that it formed the predella of an altarpiece or the decoration of a sacristy chest. William Rankin. Letter to Bryson Burroughs. August 1926, tentatively attributes it to Giotto. Philip Hendy. "The Supposed 'Painter of Saint Stephen'–I." Burlington Magazine 52 (June 1928), pp. 284, 290, 295, challenges the attribution to the painter of the Saint Stephen in the Museo Horne [see Ref. Weigelt 1925] whom he identifies as Taddeo Gaddi. Philip Hendy. "The Supposed 'Painter of Saint Stephen'–II." Burlington Magazine 53 (July 1928), pp. 17, 23, pl. II B, D (overall and detail), rejects the attribution to the painter of the Saint Stephen in the Museo Horne, Florence, and ascribes the series to Giotto. Pietro Toesca. Florentine Painting of the Trecento. Florence, 1929, p. 66 n. 16, attributes the series to a follower of Giotto. Roger Fry. "Notes on the Italian Exhibition at Burlington House—I." Burlington Magazine 56 (February 1930), p. 83, hesitantly attributes the series to a close follower of Giotto. Roberto Longhi. "Progressi nella reintegrazione d'un polittico di Giotto." Dedalo 2 (1930), p. 290, attributes the series to Giotto; suggests that it belonged to one of the four altarpieces by Giotto that Ghiberti mentioned as in the church of Santa Croce, Florence, forming a polyptych that contained as its main panels a Virgin and Child (National Gallery, Washington), a Saint Stephen (Museo Horne, Florence), and a Saint Lawrence and Saint John the Evangelist (both, Musée Jacquemart André, Chaalis). Philip Hendy. The Isabella Stewart Gardner Museum: Catalogue of the Exhibited Paintings and Drawings. Boston, 1931, pp. 171–72, attributes the series to Giotto and reports an inscription on the back of the Entombment in the Villa I Tatti, Florence, stating that it was joined to the MMA picture [see Ref. Davies 1951]. Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 235, lists it as a product of Giotto's workshop. P. G. Konody. Works of art in the Collection of Viscount Rothermere. London, 1932, unpaginated, under pl. 3, attributes the series to Giotto. Lionello Venturi. "Romanesque and Gothic." Italian Paintings in America. 1, New York, 1933, unpaginated, pl. 30, attributes it to Giotto. Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 202. Millard Meiss. "The Madonna of Humility." Art Bulletin 18 (December 1936), p. 456 n. 74, calls it a work of the school of Giotto and discusses its iconography. Emilio Cecchi. Giotto. Milan, 1937, p. 124, pl. 173, assigns it to Giotto's workshop. Luigi Coletti. "La mostra giottesca." Bollettino d'arte 31 (August 1937), p. 57, considers the series probably executed under Giotto's direction. Carlo Gamba. "Osservazioni sull'arte di Giotto." Rivista d'arte 19 (1937), p. 274, attributes the series to Giotto, assisted by pupils. Mostra Giottesca. Exh. cat., Palazzo degli Uffizi. Bergamo, 1937, p. 42, no. 105, pl. 61, as Attributed to Giotto. Mario Salmi. "La mostra Giottesca." Emporium 86 (July 1937), pp. 358–60, ill., attributes the series to the workshop of Giotto and suggests that the scenes were originally disposed in two rows, forming a small altarpiece for a Franciscan church, perhaps in northern Italy where this type of altarpiece was rather common . Wilhelm Suida. "Die Giotto-Ausstellung in Florenz." Pantheon 20 (July–December 1937), p. 350, ascribes the series to Giotto's workshop . Cesare Brandi. "Giotto (II)." Le arti 17 (December 1938–January 1939), pp.125–26, fig. 27, attributes the series to a follower of Giotto . Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 9–10, ill., attributes it to the workshop of Giotto. Tancred Borenius. "The New Giotto Panel." Burlington Magazine 81 (November 1942), p. 277, adds to the six known panels the newly discovered Pentecost in the National Gallery, London, ascribing them all to the workshop of Giotto but very near to Giotto himself. Pittura italiana del duecento e trecento: Catalogo della mostra giottesca di Firenze del 1937. Exh. cat., Galleria degli Uffizi. Florence, 1943, pp. 339, 341–343, no. 105, ill., attribute it to the workshop of Giotto, calling the series similar in style to the frescoes in the church of Santa Croce, Florence. Roberto Longhi. "Giudizio sul Duecento." Proporzioni 2 (1948), p. 51, cites the entry in the Sinibaldi and Brunetti catalogue [see Ref. 1943]; attributes the series to Giotto, dating it to the time of the frescoes in the Peruzzi chapel in the church of Santa Croce, Florence. Martin Davies. The Earlier Italian Schools. London, 1951, pp. 180–81, 304, attributes the series to the workshop of Giotto; cites the passage from Vasari [see Ref. 1568] possibly referring to these panels; interprets the inscription on the back of the Entombment at I Tatti to mean that it and the MMA panel were merely framed together, not actually joined [see Ref. Hendy 1931]. Millard Meiss. Painting in Florence and Siena after the Black Death. Princeton, 1951, p. 149 n. 70 [similar text as Ref. Meiss 1936]. Pietro Toesca. Il Trecento. Turin, 1951, p. 610, attributes the series to a pupil of Giotto who collaborated with him in the frescoes of the Arena chapel, Padua. Roberto Longhi. "Presenza di Masaccio nel trittico della Neve." Paragone 3 (January 1952), p. 8, suggests that the series belonged to one of the four altarpieces by Giotto that Ghiberti mentioned as in the church of Santa Croce, Florence, probably the one for the Peruzzi chapel. Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 223, no. 70, colorpl. 70, identifies the standing figure on the left as Saint Jerome (probably a misprint for Saint Joseph). Tutta la pittura di Giotto. Milan, 1952, p. 50, pl. 196, accepts Salmi's attribution to the workshop of Giotto [see Ref. 1937]. Theodore Rousseau Jr. "A Guide to the Picture Galleries." Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), p. 1, ill. p. 8, attributes it to the workshop of Giotto. Richard Offner. "The Fourteenth Century." A Critical and Historical Corpus of Florentine Painting. 5, section 3, New York, 1957, p. 212 n.1, calls it Giottesque, discusses its iconography, and considers it the earliest Florentine painting to combine different episodes related to the Nativity. Federico Zeri. "Due appunti su Giotto." Paragone 8 (January 1957), p. 78, attributes the series to Giotto. Cesare Gnudi. Giotto. Milan, 1958, pp. 220, 222, 248, pl. 160, ascribes the series to Giotto and considers it contemporary with his frescoes in the Peruzzi Chapel in the church of Santa Croce, Florence; says the reconstruction proposed by Longhi [see Ref. 1930] would produce an polyptych too large for the chapels in Santa Croce. Martin Davies. The Earlier Italian Schools. 2nd ed., rev. London, 1961. Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 82, lists the series among the works of Giotto's assistants. Decio Gioseffi. Giotto architetto. Milan, 1963, p. 66, fig. 64B, quotes Salmi [see Ref. 1937] and attributes it to the workshop of Giotto. Roberto Salvini. All the Paintings of Giotto. New York, [1964], vol. 1, p. 62; vol. 2, p. 94, pl. 238, as Attributed to Giotto. Robert Oertel. Die Frühzeit der italienischen Malerei. Stuttgart, 1966, pp. 98, 232 n. 30, attributes the series to a gifted assistant of Giotto, and finds it close in style to the frescoes in the Arena chapel, Padua. Giovanni Previtali. Giotto e la sua bottega. Milan, 1967, pp. 112, 346, colorpl. 81, ascribes the series to Giotto, considers it part a Franciscan altar frontal, and suggests dating it about 1310–15; notes a close resemblance between the kneeling Magus in the MMA picture and an apostle in the Dormition of the Virgin in the Staatliche Museen, Berlin. Edi Baccheschi in The Complete Paintings of Giotto. New York, [1969], pp. 115–16, no. 131, ill., observes signs of retouching. Ferdinando Bologna. Novità su Giotto. Turin, 1969, pp. 97–99, quotes the passage from Vasari [see Ref. 1568], and suggests the seven panels belonged to an altarpiece painted by Giotto for the church of San Francesco in Sansepolcro . Ferdinando Bologna. I pittori alla corte Angioina di Napoli, 1266–1414. Rome, 1969, pp. 190–91, 229 nn. 79, 81, dates the series about 1327 and calls it part of the altarpiece painted by Giotto for the church of San Francesco in Sansepolcro [see Ref. Vasari 1568]. Paolo Venturoli. "Giotto." Storia dell'arte 1/2 (1969), p. 156, supports Longhi's reconstruction [see Ref. 1930], saying the series formed the predella of a polyptych for a chapel in the church of Santa Croce, Florence. Luisa Vertova. "I Tatti." Antichità viva 8 (November–December 1969), p. 73, states that the series was designed by Giotto and executed by assistants. Edith A. Standen in Masterpieces of Painting in The Metropolitan Museum of Art. Exh. cat., Museum of Fine Arts, Boston. New York, [1970], p. 12, ill. (color), tentatively attribute it to Giotto. Calvin Tomkins. Merchants and Masterpieces: The Story of The Metropolitan Museum of Art. New York, 1970, p. 169 [rev., enl. ed., 1989]. Andrea Busiri Vici. I Poniatowski e Roma. Florence, 1971, pp. 331–32, 359 n. 35, fig. 148, mentions it as formerly in the Poniatowski collection, Florence. Everett Fahy. "Letter from New York: Florentine Paintings at the Metropolitan." Apollo 94 (August 1971), pp. 150–51, fig. 2. Everett Fahy. "Florentine Paintings in the Metropolitan Museum: An Exhibition and a Catalogue." Metropolitan Museum of Art Bulletin 29 (June 1971), pp. 430–31, ill., cites Zeri's attribution to Giotto [see Ref. Zeri and Gardner 1971] and notes that the gold ground was laid down on a pale green, rather than the customary red, preparation. Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School. New York, 1971, pp. 13–16, ill., attribute it to Giotto but believe some areas were executed by assistants; place the series in Giotto's mature period and date it about the time of the frescoes in the Peruzzi chapel in the church of Santa Croce, Florence. Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 87, 271, 606. Philip Hendy. European and American Paintings in the Isabella Stewart Gardner Museum. Boston, 1974, pp. 104–6, suggests that the series may date prior to the 1320s. Franco Renzo Pesenti in An Illustrated Inventory of Famous Dismembered Works of Art: European Painting. Paris, 1974, p. 20, rejects the hypothesis that the series comes from the polyptych that contained as its main panels a Virgin and Child (National Gallery, Washington), a Saint Stephen (Museo Horne, Florence), and a Saint Lawrence and Saint John the Evangelist (both, Musée Jacquemart André, Chaalis) [see Longhi Ref. 1930]. Alte Pinakothek München: Katalog V, Italienische Malerei. Munich, 1975, p. 52, lists it with the other panels in the series. Everett Fahy. "Italian Paintings at Fenway Court and Elsewhere." Connoisseur 198 (May 1978), p. 29, fig. 1, attributes the series to Giotto and dates it about 1320; doubts that the panels composed the predella of a polyptych, suggesting instead that they were arranged vertically on the doors of a sacristy cupboard, as part of a tabernacle, or as the compartments of a dossal. Denys Sutton. "Robert Langton Douglas, Part III, XIV: Agent for the Metropolitan Museum." Apollo 109 (June 1979), p. 421, fig. 17, attributes it to Giotto and quotes a letter of 1911 in which Robert Langton Douglas attributes it to Giotto's early school. Alessandro Conti. "Un 'Crocifisso' nella bottega di Giotto." Prospettiva 20 (January 1980), pp. 48–49, 54, attributes the series to Giotto. Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 216, 219, fig. 388 (color). Luciano Bellosi. Giotto. Florence, 1981, p. 65, fig. 135 (color), states that the series may come from an altarpiece painted between the decoration of the Peruzzi and Bardi chapels in the church of Santa Croce, Florence; recognizes Giotto's participation in the execution of the panels and notes similarities in the frescoes in the Arena Chapel, Padua. Keith Christiansen. "Fourteenth-Century Italian Altarpieces." Metropolitan Museum of Art Bulletin 40 (Summer 1982), pp. 50–56, figs. 46 (color, overall and detail), 47 (reverse), 48, inside back cover (color detail), attributes its design and execution to Giotto, but identifies details probably painted by an assistant; argues that the series was arranged horizontally rather than vertically, and believes that it formed an independent altarpiece or the predella of an altarpiece, possibly for the Bardi chapel in Santa Croce, Florence. Dillian Gordon. "The Conservatism of Umbrian Art: Raphael and Before." Journal of the Royal Society of Arts 134 (January 1986), pp. 112–13, considers the series designed and partly executed by Giotto; supports Christiansen's horizontal reconstruction of the series [see Ref. 1982], but agrees with Bologna [see Ref. 1969] that it formed an altarpiece for the church of San Francesco in Sansepolcro. Elvio Lunghi in La pittura in Italia: il Duecento e il Trecento. Milan, 1986, vol. 2, p. 576, attributes the series to Giotto and says it formed a Franciscan polyptych; implies a date between 1320 and 1328. Roberta J. M. Olson and Jay M. Pasachoff. "New Information on Comet P/Halley as Depicted by Giotto di Bondone and other Western Artists ." Astronomy and Astrophysics 187 (1987), p. 10, fig. 10, attribute it to a follower of Giotto, and discuss the comet which Christiansen calls a modern addition [see Ref. 1982]. Alessandro Conti. "Oro e tempera: aspetti della tecnica di Simone Martini." Simone Martini: atti del convegno. Florence, 1988, p. 119. Sandrina Bandera Bistoletti. Giotto: catalogo completo dei dipinti. 1989, pp. 119–20, 123, no. 32, ill. (color), says the series constituted an altarpiece for a Franciscan church, possibly for one of the chapels in Santa Croce, Florence. David Bomford et al. Art in the Making: Italian Painting Before 1400. Exh. cat., National Gallery. London, 1989, pp. 64, 66–71, colorpl. 49 (reconstruction), fig. 36 (x-ray), follow Ref. Gordon 1989 on the attribution of the series and the structure of the original altarpiece; discuss the unusual gilding and color effects . Dillian Gordon. "A Dossal by Giotto and his Workshop: Some Problems of Attribution, Provenance and Patronage." Burlington Magazine 131 (August 1989), pp. 524–31, figs. 1, 2 (x-ray), proves that the panels in the series come from a single poplar plank, arguing that they originally formed a horizontal altarpiece in dossal format, designed and partially executed by Giotto but completed by his workshop; dates this altarpiece between 1305 and 1317 and suggests that it may have been commissioned by Malatesta di Verucchio for the church of San Francesco in Rimini about 1311; notes that the Nativity and the Epiphany are frequently combined in Riminese painting of about 1330–40 . Jill Dunkerton et al. Giotto to Durer: Early Renaissance Painting in the National Gallery. New Haven, 1991, p. 214, fig. 2a, believe the series formed an independent altarpiece, possibly made for the church of San Francesco in Sansepolcro, or for the church of San Francesco in Rimini. Elvio Lunghi in La pittura nel Veneto: il Trecento. Milan, 1992, p. 525 [same text as Ref. Lunghi 1986]. Alberto Busignani. Giotto. Florence, 1993, pp. 206, 210, 307, no. 117, ill. (color), cites Longhi's opinion that the series formed an altarpiece for the church of Santa Croce [see Ref. 1930]. Francesca Flores d'Arcais. Giotto. New York, 1995, pp. 212, 216, 218, ill. p. 214, assigns the series to Giotto's workshop, dating it not long after 1305, but also proposes an attibution to the Relative of Giotto. Luciano Bellosi. "Due tavolette di Giotto." Scritti per l'Istituto Germanico di Storia dell'Arte di Firenze. Florence, 1997, p. 41 n. 1. M[iklós]. Boskovits in Dizionario biografico degli italiani. 55, Rome, 2000, p. 416. Miklós Boskovits and Giorgio Bonsanti in Giotto: bilancio critico di sessant'anni di studi e ricerche. Exh. cat., Galleria dell'Accademia. Florence, 2000, pp. 90–91, 174–75, ill., attribute the series to Giotto, dating it about 1320–25; find Gordon's argument for a Riminese provenance inconclusive [see Ref. 1989] and believe it could be from a Franciscan church in Sansepolcro. Angelo Tartuferi. Giotto: guida alla mostra: itinerario fiorentino. Exh. cat., Galleria dell'Accademia. Florence, 2000, p. 74, under no. 23, attributes the series to Giotto. Julian Gardner. "Giotto in America (and Elsewhere)." Italian Panel Painting of the Duecento and Trecento. Washington, 2002, p. 161. Andrea De Marchi. "La tavola d'altare." Il Trecento. Florence, 2004, p. 36. Angelo Tartuferi. Giotto. Florence, 2007, pp. 129–30, 132, dates the series to the mid-1320s; states that it is unclear whether they were part of a larger complex, and that they could come from the church of San Francesco in Sansepolcro or have been part of one of the four altarpieces Giotto made for Santa Croce. Rachel Billinge and Dillian Gordon. "The Use of Gilded Tin in Giotto's 'Pentecost'." National Gallery Technical Bulletin 29 (2008), pp. 76, 78, 80 nn. 6, 22, pls. 8, 11 (color, overall and detail). Dillian Gordon. The Italian Paintings Before 1400. London, 2011, pp. 233–39, figs. 5 (color), 12a (x-radiograph), dates the series to the 1310s; notes that recent microscopic examination of the male donor in the Munich panel of the Crucifixion confirms that he is tonsured and therefore a cleric; states that a list of paintings being exported from Rome by Stanislas Poniatowski in 1822 includes four items described as works of the Quattrocento, with subjects that correspond to the four panels from this series sold in the Poniatowski sale of 1839 [see Ref. Poniatowski 1822]. Eve Borsook in Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350. Exh. cat., J. Paul Getty Museum. Los Angeles, 2012, pp. 17–18, 23 n. 52, calls the panels Giottesque and thinks that there may have originally been a total of twelve scenes; notes that even though they come from a single piece of wood, they are as likely to have formed a double tier on either side of a central panel as a single horizontal row. Bryan C. Keene and Yvonne Szafran in Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350. Exh. cat., J. Paul Getty Museum. Los Angeles, 2012, p. 381. Christopher W. Platts in Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350. Exh. cat., J. Paul Getty Museum. Los Angeles, 2012, p. 188. Victor M. Schmidt in Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350. Exh. cat., J. Paul Getty Museum. Los Angeles, 2012, pp. 90–91 n. 25, refers to it as a low dossal and attributes it to Giotto's workshop. Christine Sciacca in Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350. Exh. cat., J. Paul Getty Museum. Los Angeles, 2012, p. 243. Angelo Tartuferi in Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350. Exh. cat., J. Paul Getty Museum. Los Angeles, 2012, pp. 170, 172–76, no. 32.1, ill. pp. 140, 171 (color, overall and detail), calls all seven surviving panels substantially autograph and believes that there may originally have been a total of twelve, arranged in several tiers; thinks they most likely formed part of Giotto's altarpiece in San Francesco, Sansepolcro, mentioned by Vasari.


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Judge rules in favor of IHSA's pay-to-broadcast policy
Streaming live video is not an inherent right for media outlets. That has always been the policy of the Illinois High School Association. Only now, the IHSA is asserting its legal right to charge news organization for the right to broadcast high school games.
According to Sangamon County 7th Judicial Circuit Court Judge Patrick W. Kelley on Nov. 13, the IHSA is simply upholding the by-laws it has already in the books.
Recently, a news outlet associated with the Illinois Press Association was told that it would not be allowed to live stream a game without paying a fee. Following that, the IPA challenged the ruling.
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TGIF Spurs Stuff
It's Friday (finally!) and the Spurs have a game against the Warriors, plus the March Madness continues (Go Kentucky!). There's a nice article at hoopsworld.com on the maturation of Spurs youngsters DeJuan Blair and George Hill. Both have had to start a significant number of games this year and are clearly going to be integral pieces of the Spurs' future.