text:
'Everything about this production (including recorded sound of almost palpable realism) deserves the highest praise' (International Piano Quarterly)
'Hough's playing is glorious' (BBC Music Magazine)
'his playing is unerringly musical in its intentions ... This is a disc of the highest musical and interpretative quality whose appeal lies as much in the quality of the pianism as in the fascinating repertoire' (Hi-Fi News & Record Review)
'This disc is a remarkable combination of artistic vision, stunning performance technique, and curatorial intelligence. Stephen Hough seems to have it all blazing technique, real artistic vision, an adventurous curiosity, and a deft style as an annotator. The sound of the recording is full and faultless. A great piano album' (Fanfare, USA)
'Scintillating performances and vivid sonics from Hyperion. Even the notes, by Hough himself, are superlative' (American Record Guide)
'This disc is a remarkable combination of artistic vision, stunning performance technique, and curatorial intelligence. Stephen Hough seems to have it all - blazing technique, real artistic vision, an adventurous curiosity, and a deft style as an annotator. A great piano album and a loving testament to the strength of a strain of American music that is expressive and humanistic while remaining open to the challenges of its time' (Fanfare)
'Startling virtuosity and probing musicality. I have never heard Copland's Variations played with such variety of tone and pinpoint articulation, nor the Corigliano rendered with such plasticity of tempo and mood' (Piano & Keyboard)
'Hough is supremely and charismatically on top of it all ... An iron fist in a glove of softest velvet ... He possesses a mesmerising range of colours, knows how to be intellectual without being cerebral, and has the knack of making everything sound spontaneous ... Hough has notched up some fine things hitherto. This is probably one of the finest' (Classic CD)
'impressive virtuosity, as musically purposeful as it's exciting ... Hough's brilliantly exact judgement of sonority in Copland's Piano Variations – chiselled, rather than flinty ... makes this the best performance I've heard' (Classic FM Magazine)
'[Hough] applies his formidable technique and fine interpretive sense to nearly overpowering effect ... [Hough] renders these movements sonic collages, contrasting bold colors with subtle hues worthy of the French Impressionists' (New York Times)
'brilliant performances' (The New Yorker)
'a superb survey' (San Francisco Examiner)
'England's most imaginative pianist pays tribute to America's finest solo piano music' (Time Magazine)
'Mr. Hough's choices, which he plays with élan, provide a radically concentrated glimpse at this nation's piano music' (Wall Street Journal)
Etude No 2: Legato
Etude No 3: Fifths to thirds
Etude No 4: Ornaments
Etude No 5: Melody
Scherzo 1
Scherzo 2
This recital consists of works by four New York-based composers—all writing in their thirties—which stride across the century from 1930 to 1991. Although all four composers are probably better known for works using other instrumental combinations, these piano pieces were of crucial, even seminal importance in their development and show them at the height of their powers—their voices fully 'broken'. Although none of them professional pianists, they write for the instrument with consummate insight and invention. Notwithstanding their modernity, there is always a respect for the piano here: an understanding of its tradition, a love for its sonority. |
Introduction |
This recital consists of works by four New York-based composerswritten in their thirtieswhich stride across the century from 1930 to 1991. Although all four composers are probably better known for works using other instrumental combinations, these piano pieces were of crucial, even seminal importance in their development and show them at the height of their powerstheir voices fully broken.
Although none of them professional pianists, they write for the instrument with consummate insight and invention. Notwithstanding the palm-clusters of the Corigliano, the knocking on wood of the Tsontakis or the citrus astringency of Coplands dissonances, there is always a respect for the piano here: an understanding of its tradition, a love for its sonority. John Corigliano (b1938) Etude Fantasy (1976) Among these latter is the Etude Fantasy (1976) which comes from the end of Coriglianos first period of composition, described by the composer as a tense, histrionic outgrowth of the clean American sound of Barber, Copland, Harris, and Schuman. It is a work of tremendous formal unity, as well as being a dazzling display piece for the performer with not a few treacherous stretches of vertiginous virtuosity! It was premiered by James Tocco on 9 October 1976. The following notes from the composer are a succinct guide for the listener: My Etude Fantasy is actually a set of studies combined into the episodic form and character of a fantasy. The material in the studies is related most obviously by the interval of a second (and its inversion and expansion to sevenths and ninths) which is used both melodically and in the building of the works harmonic structure. The first etude is for the left hand alonea 3½-minute, bold, often ferocious statement which introduces both an opening six-note row (the first six notes of the work) and a melodic germ (marked icy in the score) which follows the initial outburst. This etude reaches a climax in which both the row and the thematic germ are heard together, and ends as the right hand enters, high on the keyboard, playing a pianissimo, slow chromatic descent which introduces the next etudea study in legato playing. In this short second etude both hands slowly float downward as a constant crossing of contrapuntal lines provides melodic interest. The sustaining of sound as well as the clarity of crossed voices is important here. The third etude followsa fleet development on the simple pattern of a fifth (fingers one and five) contracting to a third (fingers two and four). In this section there is much crossing of hands and during the process a melody emerges in the top voices. A build-up leads to a highly chromatic middle section (marked slithery) with sudden virtuosic outbursts, after which the melody returns to end the etude as it began. The fourth etude is a study of ornaments. Trills, grace notes, tremolos, glissandos and roulades ornament the opening material (Etude 1) and then develop the first four notes of the third etude into a frenetically charged scherzando where the four fingers of the left hand softly play a low cluster of notes (like a distant drum) as the thumb alternates with the right hand in rapid barbaric thrusts. This leads to a restatement of the opening six-note row of the Fantasy in a highly ornamented fashion. After a sonorous climax comes the final etude, a study of melody. In it, the player is required to isolate the melodic line, projecting it through the filigree which surrounds it; here the atmosphere is desolate and non-climactic, and the material is based entirely on the melodic implication of the left-hand etude, with slight references to the second (legato) etude. The work ends quietly with the opening motto heard in retrograde accompanying the mournful two-note ostinato. Aaron Copland (19001990) Piano Variations (1930) From the start, my first major piano piece, the Piano Variations, had a rightness [ ] It was not composed in the consecutive order of its finished state. I am told that this is at odds with what I have written about the piecethat each variation is meant to develop organically from the previous one and all contribute to a carefully constructed whole. While this is so, it is also true that I worked on the variations individually, not knowing exactly where or how they would eventually fit together. I cannot explain this contradiction. One fine day when the time was right, the order of the variations fell into place. (Copland Vol. 1: 1900 through 1942; Aaron Copland and Vivian Perlis. Faber & Faber, London 1984) It was that summer at Yaddo, the artists colony in Saratoga Springs, when Copland finally distilled his sixty-two pages of sketches into a concentrated, seventeen-page masterpiece which he eventually entitled Piano Variations. The title did not immediately fall into place either: other thoughts had been, Melodic Variations, Thematic Variations, Fantasie on an Original Theme, Chaconne, Declamations on a Serious Theme and so on. The chosen title not only enabled the composer to orchestrate the piece in 1957 and neatly call it Orchestral Variations, but its abstract flavour, its modern sound, suited the mood of the music perfectly. The first performance of the piece took place in a League of Composers concert in January 1931 with the composer as soloist. Copland had wanted Walter Gieseking to play it, but the latter declined in a candid letter from Berlin: This composition is very interesting and most original, but I do not know an audience which would accept such crude dissonances without protesting [ ] a work of such severity of style is not possible among the normal type of concert-goers. It is an intriguing thought that within a few years political forces in that same city would have prevented Gieseking from including the piece on his concert programmes, not just because of the racy originality of its harmonic language, but because of the racial origins of its composer. The piece is constructed as a theme, twenty variations, and a coda, and Copland admits the influence of Schoenbergs serialism in the use of a four-note cell on which the entire piece is built. He also cites as an influence the frugal socio-economic conditions of the time (it was begun only a couple of months after the Wall Street Crash). However, the more audible influences are Stravinsky and jazz, both of which he had discovered whilst studying in Paris in the early 1920s. The short theme is ostensibly in C sharp minor/E major (and reminiscent of the subject of Bachs C sharp minor Fugue from Book 1 of the Well-tempered Clavier); but the B sharpthe note that would lead us to the tonichas been enharmonically distorted to C natural, a foreign body to either key. This theme appears in the course of the work upside down, inside out, backwards, like a cube held up to the light from every possible angleits C natural a bump on its side preventing the music from settling into a comfortable place or pulse. The opening statement of the theme is displaced over two octaves and punctuated by chordal stabspunches leaving the sting of a harmonic hanging in the air. Variation 1 is the only time we hear the theme in its pure form, in the right hand, yet here the left hand tags along a bar behind like a shadow of discord. In the second variation the left hand has caught up with the right but, although they walk arm in arm, the left hand swivels the four-note cell around, replacing notes one and two with notes three and foursharp elbows of dissonance. And so on there is not room in this context to analyse each variation. Suffice to say that there is not a note in the piece which is not directly related to the thematic cell; it is VARIATIONS in capital letters. Ben Weber (19161979) Fantasia (Variations) (1946) Around a decade earlier Ben Weber had been similarly thrilled with the playing of William Masselos and decided to write him a serious piece for piano which became the Fantasia (Variations), premiered in March 1949 at Carnegie Hall, New York. Weber wrote in his unpublished autobiography: I write pieces for my lovers [ ] when I dedicate a piece I dont do it idly. I never did it with success on that level except with Billy Masselos, though it was not physical [ ] The Fantasia is a kind of bond between us, and when I wrote it deliberately, note for note, I was really making love to him through the avenues of sound. (How I took 63 years to commit suicide; with Matthew Paris) (On a personal note I had the privilege of playing this piece for Masselos in the 1980s before he died.) Ben Weber was born in 1916 in St Louis and was largely self-taught. His music was highly regarded by many composers of the time such as Copland, Carter, Cage and Babbitt, and he worked as a copyist for many, including Virgil Thomson and Artur Schnabel, both of whom became admirers and close friends. He was the first American composer to use the twelve-note technique consistently, and he made the following comments on his music (quoted by Oliver Daniel in an article for Broadcast Music Inc. in 1965): By and large since 1938 my music has been usually atonal [ ] but sometimes I have written pieces which have strong functional and tonal impetus, or at least implication. However my use of techniques with twelve-tones, i.e. serial music, has been consistent over a period of now twenty-two years, and most of what I and some others consider to be my most important work is accomplished within these means. The work is titled with a certain precision: Fantasia (Variations), the latter word in both brackets and smaller letters. Thus, like the Corigliano, this piece is principally a fantasya large form with smaller units creating a framework to hold the piece together. (As it is a piece using the twelve-note technique, it is by default variationsany twelve-note row can be seen as a theme which is varied.) The overall structure of the work is three sections: first, a theme with four variations followed by a five-bar interlude; second, three variations in passacaglia form; finally, a free fantasy section based on earlier material which culminates in a climax surging with emotion. In contrast to the cool objectivity of the Copland work, the Weber revels in the sun of its post-Romantic harmony, and is freckled with tonal implications, in spite of the Second Viennese School umbrella. In fact there is even a whiff of Brahmss cigar in the loose folds of the arpeggiated figuration, as well as the more exotic fragrance of Scriabin. George Tsontakis (b1951) Ghost Variations (1991) [Tsontakis] has the luck of having concrete musical ideas that the ear can perceive and the mind hold in memory. These ideas tend to be expressed in concentrated, densely packed, nodule-like motives that the composer treats obsessively, and which, as they spread out in time and spin in figurational, centripetal orbits, create structure and gesture. (George Rochberg) Born in 1951, George Tsontakis was honoured with the prestigious award for lifetime achievement from the American Academy of Arts and Letters in 1995a short lifetime so far, yet one in which he has written a portfolio of works of striking originality and stature. Like many other composers he rediscovered tonality in the mid-1980s, but has managed to trace a uniquely personal harmonic path. Where many merely took out old suits which had been hanging up for a season or two, dusted them off, and began wearing them again, Tsontakis seemed rather to weave his own cloth from familiar melodic and harmonic strands of the past. The result was a bespoke brillianceone of a kindin which the music is new, yet feels as if it is already classic. Musical America described his String Quartet No 4 (1988) as [containing] a reflective emotional power reminiscent of Beethovens late quartets; and there is a real sense in which Beethovens last masterpieces are some kind of springboard for Tsontakisnot in any superficial imitation, but because both composers seem to drink from the same source. The epic Ghost Variations (1991) was the next major work to be written after the Fourth Quartet and its title is deliberately ambiguous. If variation as a concept has itself been varied in other works on this recording, in this piece variation as a structure has disappeared entirely. It is more the idea of metamorphosismaterial (and perhaps even the listener) changing over the course of the piece. The Ghost in the title suggests the world of the spiritualof memory, of dreams; and a play within a play occurs when there is a small set of traditional variations on a Mozart theme (from the third movement of the Piano Concerto in E flat major, K482). Tsontakis admits that when he came across this theme for the first time, out of context, he thought that it was by Beethoven; and the inappropriateness of its stubby, virile treatment in this context is another ghostBeethoven as ghost-writer for Mozart a medium who distorts the message. There are two overriding, opposing psychological elements at work in the piece which could be described as obsessiveness versus dissipation, clear-sightedness versus hallucination, firm purpose versus aimlessness; a contrast between moments when everything matters, and moments when nothing mattersone could almost say a Western/Eastern conflict. The search for enlightenment happens here either by obsessive repetitionas if trying to solve a problem by going over it again and again; or by an unravelling process, becoming muddled or doodling as the composer writes in the score. The work is in three movements and has two harmonic elements which mirror the emotional ones described abovethe tritone versus major tonality. Each movement begins with a tritone and ends with a major chord (thus the whole piece does the same, the opening tritone G and D flat resolving to A flat major at the close of the work); and a melodic cell is implied in this tritone to major-third harmonic structure: the falling or rising semitones which occur throughout the piece. The first movement is in the form of an extended, free fantasy leading up to the Mozart Variationsa theme plus six brief variations, the last of which is repeated. The fantasy section has three distinct musical ideas; a semi-aleatoric section which opens the work like a spilling of beans, stopping and starting and gradually intensifying into the second idea, a syncopated triplet fanfare motive. After further intensification, the third idea follows, a stately yet jagged motive of broken chords, based mainly on fourths, which is underpinned by a chorale in open octaves. This chorale eventually blossoms and sheds the broken chords to bloom into a romantically lyrical section based largely on the falling semitone cell mentioned above. These three ideas are developed and explored with increasing intensity, landing us without warning in the astonishing rococo world of the Mozart theme. This moment is a shock to say the least, and we are not sure whether we should laugh or not; but as we are caught up in the swift journey of the variations we soon realize that this is no laughing matter. The music now has taken on a vigorous, Beethovenian intensity, the Mozart theme a fragile memory a ghost; and the movement ends with blazing B flat major chords hammering out only the rhythm of the theme, the ringing vibrations left hanging in the air like some aural aura. There follow two scherzos, each of which begins and develops with extraordinary, sometimes manic intensity, yet ends up breaking down disintegrating. (Such is the rhythmic excitement of the first scherzo that it literally comes off the rails on the first page, fizzling up the keyboard like a balloon let go before its knot is tied!) The scherzo as a classical movement was generally a lightweight relief after a lengthy slow movement or after a serious first movementa way to bridge a gap. Only with Beethovens later works does the scherzo take on a crucial and pivotal purpose. Tsontakis, with a neo-Beethovenian brio, takes the decorative form of a scherzotwiceand makes it the cornerstone of his building. Although each of the movements pillars crumbles at its close, we are not left with ruins; rather the material has given way to the spiritual. The first scherzo has many jazz and folk elements, from the finger-snapping syncopations of the opening to the finger-plucking strums of the movements close. However, only the skin is jazz-inspired; the soul is too anxious, too frantic, too ready to collapse, both rhythmically and emotionally. Between these two contrasting sections of the movement is much development, including a further variation on the Mozart theme floating sweetly between a blisteringly radiant purge of the scherzos principal theme and a fumbling duet on the same theme, guitar and cimbalom all out of synchronization. The movement ends with simple, quietly plucked chords in the left hand, oblivious of the right hands piercing darttoo high for a human screammarked in the score hollow, into an abyss. There are only two possibilities after the disintegration of this first scherzo: either give up, or get up and begin again. The latter course is taken here with a vengeance, and the second scherzo is even more charged with frenetic energy than its first counterpart. The jazz and folk elements have disappeared, and have been replaced by an asymmetrical tarantella, that symbolic dance of lunacy and delirium. Not only are the triplets of the dance frequently expanded and contracted into fours and twos, but offbeat accents trip up the phrases, leaving us on the edge of our feet. The semitonal cell which was so important in the first movement reappears at the crisis point of the movement, forming a broad, sweeping chorale which tries to stop the frantic flow of the tarantella. This is only a temporary solution, and the opening material of the scherzo returns in full force. After further development of tarantella, Mozart variations and chorale, a climax is reached when the quiet, plucked chords from the close of the first scherzo return in full forceweighty, profoundforming a ground-bass which continues to the end of the piece. The tarantella, its dancing days over, becomes distorted and fragmented over the left-hand chords, until, with an unexpected surge of energy, it re-emerges in Greek folk disguise as wild ricochet for a page-length of abandon. It exhausts itself and, above the omnipresent left-hand chords, the Mozart theme appears again, this time at the top of the instrument. It literally runs out of keyboard in its ascent, the final variation played on the wood of the piano-framethe ghosts first appearance in the flesh as it were. All is unreality, and this Masonic knocking on the door leads the piece into a world we are forbidden to enter. We have reached the threshold but can go no further. Stephen Hough © 1998 |


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text:
Philip Levine (January 10, 1928 / Detroit, Michigan)
What Work Is
We stand in the rain in a long line
waiting at Ford Highland Park. For work.
You know what work is--if you're
old enough to read this you know what
work is, although you may not do it.
Forget you. This is about waiting,
shifting from one foot to another.
Feeling the light rain falling like mist
into your hair, blurring your vision
until you think you see your own brother
ahead of you, maybe ten places.
You rub your glasses with your fingers,
and of course it's someone else's brother,
narrower across the shoulders than
yours but with the same sad slouch, the grin
that does not hide the stubbornness,
the sad refusal to give in to
rain, to the hours wasted waiting,
to the knowledge that somewhere ahead
a man is waiting who will say, "No,
we're not hiring today," for any
reason he wants. You love your brother,
now suddenly you can hardly stand
the love flooding you for your brother,
who's not beside you or behind or
ahead because he's home trying to
sleep off a miserable night shift
at Cadillac so he can get up
before noon to study his German.
Works eight hours a night so he can sing
Wagner, the opera you hate most,
the worst music ever invented.
How long has it been since you told him
you loved him, held his wide shoulders,
opened your eyes wide and said those words,
and maybe kissed his cheek? You've never
done something so simple, so obvious,
not because you're too young or too dumb,
not because you're jealous or even mean
or incapable of crying in
the presence of another man, no,
just because you don't know what work is.
Read this poem in other languages
I would like to translate this poem »Read poems about / on: brother, work, rain, sad, hate, today, music, hair, sleep, home, night, light, kiss
Comments about this poem (What Work Is by Philip Levine )
Ronald Shields
i heard Philip Levine read this on Fresh Air, it is simply amazing...his poems are written in a clear voice speaking of simple and straight forward truths. He is the perfect Poet Laureate for our times.
Doren Robbins
Philip Levine's poetry evokes the vibrant durability and continuity of things. It is no accident that the seemingly unbreakable thistle, which survives California's harsh summers, is his 'flower.' At least he has celebrated it in such a way throughout his books. Possibly he has done so because its work is to survive, and it does. the way we must, impassively committed surviving, standing up though the harsh heat, the inevitable storms. Levine's poem, 'What Work Is, ' should be read in this context. To work is to survive, and the details of how difficult or debased work can be are evoked in the title poem and the poem 'Growth' (each the book What Work Is) . Levine was the man, he suffered, he was there. But the symbolic importance of work operates as an emblem of the soul as well, since not knowing how to love, Levine writes, is to not 'know what work is.' We may seem to be closer here to the meaning of work as it occurs in the tragedies, desolations, and betrayals of the remarkable book of poems Hard Labor by the Italian poet Cesare Pavese than to the Whitman of 'A Song of Occupations...'
From Doren Robbins essay On What Work Is (Daily Iowan 1992) .
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text:
Vendetta Online is a multi-platform 3D space-combat MMO for Windows, Mac, Linux/32 and Linux/64. The game permits players to interact in a vast online galaxy; fighting, trading, and mining their way to success. A "twitch" type real-time combat model makes true player skill the deciding factor instead of character advancement. Massive capital-ship battles shake the foundations of the major nations at war, while others struggle to push back the encroachment of the AI "Hives". A no-strings free trial is available.
C-Dogs SDL is a port of the old DOS arcade game C-Dogs to modern operating systems. C-Dogs is an arcade shoot-em-up which lets players work alone or co-operativly during missions, and against each other in the "dogfight" deathmatch mode. The original DOS version of C-Dogs came with several built in missions and dogfight maps, and this version is no exception. The author of the DOS version of C-Dogs is Ronny Wester.
SuperTux is a side-scrolling platform game. The hero in this game is Tux the Penguin, the game's only reference to Linux. On the journey to rescue Penny, who has been kidnapped by evil Nolok, Tux faces 23 different kinds of bad guys while jumping and running through 101 beautifully-drawn levels. The soundtrack is available on last.fm and similar sites.
pydance is a dancing game written in Python, formerly named pyDDR. The idea is simple. There's a floor mat with arrows, and the game scrolls arrows up the screen to the beat while playing a song. When the arrows reach the top of the screen (not sooner and not later), the player hits the corresponding arrow on the pad, and given that it's hit on time with the beat, points are scored. Based on how well the dance is put together, s/he is graded at the end of the song. Both keyboard and mat play are supported.


text:
Large Studio with Modern Kitchen and Bath!!! Part time Doorman!!!
This is a spacious, neat, clean, renovated, studio in the heart of the Greenwich Village/Union Square.
The apartment features hardwood floors, modern kitchen and bath, great closets and laundry in the basement.
Perfect location, steps to Union Square, near all transportation, and plenty of cafes, shops and restaurants!!!


text:
Y-Young Master!!! Manga (Original)
Artist description:
Random idea I got after re-reading [Link] (cutest manga ever :'DDD ) no ref. Edit: I wonder why lately, drawings Ive put effort get worse rated than those that Ive put almost no effort D: kinda confusing..
Created Aug 24, 2012. Unless noted Copyright 2012
Memories .
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it's an amazing artwork, and probably out of jealously of how you could manage to draw so well, it's like they say haters gonna hate. And your artwork is amazing, keep up the great work!
I hope you become a real manga artist because your seriously talented its just crazy!!! 5/5
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Our Sterling Silver Hammered Design Rose Drusy ring combines the shimmer and shine of Drusy with hammered silver for a stunning ring. The genuine Rose Drusy Quartz stone has shades similar to Rose Gold, and with the natural texture of the stone it will catch the light for added shine. The round druzy stone measures 3/8th of an inch and is set in a Sterling Silver hammered setting for added detail. This drusy ring comes in your choice of sizes 5-9.
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If your tissue type matches a patient, there will be additional testing. If your tissue type is still the best match, you will then be asked to donate your healthy cells.
You will be contacted and asked to attend an information session to learn more about the donation process. At that time, you will be told the type of donation being requested: either bone marrow or cells collected from the blood, called peripheral blood stem cells (PBSC) donation.
The Be The Match Registry® works with donors throughout the entire donation process. The Be The Match Registry is the registry of the C.W. Bill Young Cell Transplantation Program and is operated under Federal contracts by the National Marrow Donor Program® (NMDP).
On this page:
A Be The Match Registry representative will contact you if your tissue type matches a patient needing a life-saving transplant. However, before you can donate your bone marrow or peripheral blood stem cells, you will:
After you agree to donate your bone marrow or peripheral blood stem cells, the patient begins preparing for the transplant. By the time you begin the donation, the patient has finished treatment to prepare for the transplant and can no longer produce any healthy blood cells. The patient needs your healthy cells to live.
The patient's doctor chooses the type of donation—bone marrow or PBSC—based on what will give the best transplant results for this patient.
Marrow donation is a surgical procedure done in a hospital:
After the procedure, you will probably feel some soreness in your back for a few days, or possibly a week or more. Most donors are back to their normal routine in a few days.
To learn more about this process, see Marrow Donation FAQs.
The preparation for and the donation of PBSC are non-surgical procedures:
The procedure to donate PBSC takes approximately 4 to 6 hours. The effects of the injections that increased the blood-forming cells in your bloodstream will go away shortly after the procedure, usually in a few days.
PBSC is being studied under a research protocol accepted by the Food and Drug Administration (FDA). Under this protocol, the NMDP is monitoring the effects of the donor's experience while receiving filgrastim. PBSC donors are given detailed information about the clinical study and sign a consent form before donating.
To learn more about PBSC donation, see PBSC Donation FAQs
The NMDP wants to ensure your safety before and after you donate your cells. Your Be The Match donor center coordinator will follow up with you until you are able to return to your normal activities.
Learn more about donating marrow or PBSC.


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Alessandro Sette and Rino Rappuoli
SummaryThe sequence of microbial genomes made all potential antigens of each pathogen available for vaccine development. This increased by orders of magnitude potential vaccine targets in bacteria, parasites, and large viruses and revealed virtually all their CD4+ and CD8+ T cell epitopes. The genomic information was first used for the development of a vaccine against serogroup B meningococcus, and it is now being used for several other bacterial vaccines. In this review, we will first summarize the impact that genome sequencing has had on vaccine development, and then we will analyze how the genomic information can help further our understanding of immunity to infection or vaccination and lead to the design of better vaccines by diving into the world of T cell immunity.
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Systems Vaccinology
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AbstractNext generation sequencing (NGS) technologies have redefined the modus operandi in both human and microbial genetics research, allowing the unprecedented generation of very large sequencing datasets on a short time scale and at affordable costs. Vaccine development research is rapidly taking full advantage of the advent of NGS. This review provides a concise summary of the current applications of NGS in relation to research seeking to develop vaccines for human infectious diseases, incorporating studies of both the pathogen and the host. We focus on rapidly mutating viral pathogens, which are major targets in current vaccine research. NGS is unraveling the complex dynamics of viral evolution and host responses against these viruses, thus contributing substantially to the likelihood of successful vaccine development.
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Copyright © 2010 Elsevier Inc. All rights reserved.
Immunity, Volume 33, Issue 4, 437-440, 29 October 2010
A Decade of Vaccines: Integrating Immunology and Vaccinology for Rational Vaccine Design
David A. D'Argenio1 and Christopher B. Wilson1, ,
Corresponding authorSummary
- Vaccination stands as one of the most successful public health measures of the last century. New approaches will be needed, however, to develop highly effective vaccines to prevent tuberculosis, HIV-AIDS, and malaria and to eradicate polio. Current advances in immunology and technology have set the stage for rational vaccine design to begin a "Decade of Vaccines."


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Friday, November 1 - Saturday, November 2, 2013
State Legislative Conference
Broomfield, CO (20 miles from Denver)
Make a difference in your region at the State Legislative Conference. Take a deep dive into the hot issues at the state level, and advocate for family medicine. Network and build relationships with family physicians, constituent chapter leaders, and staff as you discuss state health policy issues.
Share your experiences and participate in discussions on:
- Scope of Practice
- Medicaid Expansion
- Health Insurance Marketplaces
- Opioid Abuse
- State Lobbying
- Rural Workforce
Leave the conference with a network of colleagues to call on for insights and experiences, and leave with a deeper understanding of the state issues that affect family medicine.
Before you go, reach out to your state chapter—find out how they're getting involved.


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« Usher, Jennifer Hudson, & Fantasia Kick Off ESSENCE Music Festival
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Jennifer Hudson is an always was a very classy lady. I love her warm spirit and very kind heart. This superstar is showing growth and maturity on all levels. Love me some Jhud!!!
Music Reply:July 2nd, 2011 at 11:31 am
@norma, I heard that got both her albums and I love them both, Jennifer Hudson a little bit better then I Remember Me, but she a kindered soul.
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Welcome to the Department of Ophthalmology
Welcome to the UVA Department of Ophthalmology website. At UVA, we have a strong and historic legacy of outstanding clinical care, dedicated teaching and innovative research for which the Department has become known. We hope this site will provide current clinical information for patients, training opportunities for residents and fellows, and academic news for our professional colleagues.
We welcome your comments and questions - please send them to our webmaster, Jenny Hinebaugh, at email@example.com. To access important dates and events, please click here.
Peter A. Netland, M.D.,
Vernah Scott Moyston Professor & Chair


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Lil Scrappy & Rolls Royce Rizzy "Grustling 101" Mixtape Download & Stream
Lil Scrappy and Rolls Royce Rizzy drop their latest project, hosted by DJ Iceberg and DJ Grady.
Lil Scrappy and Rolls Royce Rizzy have released their latest mixtape, Grustling 101, via DatPiff.com.
The project, which references Scrappy's 2012 release The Grustle, includes the tracks "Grustle Gang," "Molly Pools," and "DMV Shawty."
Grustling 101 is hosted by DJ Iceberg and DJ Grady.
Scrappy and Rizzy have collaborated on numerous tracks in the past, including "Helicopter," "Bus a Check," and "Body Bag Rmx."
Scrappy is currently featured on VH1's "Love & Hip Hop: Atlanta." He made headlines last summer when he supported Frank Ocean for apparently coming out in an open letter, stating that it would help "keep the AIDS situation down."
Stream the full project below, or download it at DatPiff.com.
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As of Wednesday, August 31, 2011
© Copyright 2014
Gwinnett Daily Post
Sex abuse center established in Snellville
SNELLVILLE -- Two city police departments have teamed with counselors and hospital officials to open a care center for Gwinnett victims of sexual assault in Snellville, officials said Wednesday.
Eastside Medical Center, Snellville and Lawrenceville Police Departments, Walton EMC Operation Round Up and Covenant Counseling of Snellville have formed a partnership to establish the center.
The facilities will be housed in the Women's Center of Eastside Medical Center, and will provide victims a private, safe environment for necessary medical and forensic treatment, officials said.
Victims who report to the hospital -- or to any law enforcement agency in Gwinnett -- may be cared for at the Center by the hospital's staff and victim advocates from Covenant Counseling Services.
The hospital has provided a dedicated space and Sexual Assault Nurse Examiners (or S.A.N.E.) to care for victims.
Officials said the staff is available around the clock, every day of the year, to care for victims. Advocates from Covenant Counseling will be on hand to provide comfort, essential clothing and toiletries at the center, officials said.
A $5000 grant from Operation Roundup, with additional funding from the Lawrenceville Police Department, was used to purchase specialized equipment -- a Culposcope -- for identifying, collecting and documenting evidence used in the prosecution of sexual assaults, officials said.
Snellville police Chief Roy Whitehead called the hospital refuge "a convenient, safe location to serve sexual assault victims."
-- Josh Green
More like this story
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- After stabbing, moratorium placed on personal care homes ( December 16, 2011 )
- Eastside hospital drops 'Emory' from name ( April 1, 2011 )
Marina 2 years, 6 months ago
With so few sex crimes in Snellville, one wonders why the City would give money to a for-profit hospital to duplicate services already provided by the nationally-recognized Gwinnett Sexual Assault Center & Children's Advocacy Center.
MaryE 2 years, 5 months ago
Gwinnett County continues to grow at a phenomenal rate in the 21st century. It is with foresight and concern for the citizens of our county that this sexual assault center has been developed and opened doors to serve victims. Sexual assaults are known to be under-reported, especially in the non-affluent areas of this large county. I applaud the opening of this facility and wish it much success in meeting the needs of our county.


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Login or Register
The ignoble American tradition of using "states' rights" to trump real, fundamental human rights carries on with the Roberts Court's decision gutting the Voting Rights Act of 1965.
For the Supreme Court, the key question in Fisher v. University of Texas was this: "Is diversity in college admissions a compelling interest for the government, and are race-conscious policies a legitimate way of pursuing that interest?"
Put another way, is racism over and do we still have to deal with it?
To my—and many other's—surprise, the Court decided to sidestep this question. Rather than support UT's claim that its race-conscious policies fall within the Court's standards for affirmative action, or Fisher's claim that race-consciousness has no place in the business of college admissions, the Supreme Court—in a 7–1 decision written by Justice Anthony Kennedy—sent the case back to the Fifth Circuit Court of Appeals on a technicality.
How three young undocumented activists risked everything to expose the injustices of immigrant detention—and invented a new form of protest.
When Marco Saavedra was arrested for the first time, during a September 2011 protest against U.S. immigration policy in Charlotte, North Carolina, he thought he was prepared. It was what he'd come to do. Still, he was taking a risk. Saavedra is undocumented, and he was aware that the Charlotte police had an agreement with the federal government, under what's known as the 287(g) program, that gave them the power to apprehend illegal immigrants and turn them over for deportation. Saavedra, who was then 21, had known dozens of undocumented activists who'd been arrested without being deported. But as he was sitting, handcuffed, in a gray-brick holding cell at the county jail, it was hard to suppress the fear. He'd felt it most of his life, since his parents brought him from rural Mexico to New York City when he was three; growing up, he'd done all he could to make sure that even his closest friends didn't know his status.
"Majority-minority" is an unusual term—by definition, minorities are no longer such if they're in the majority—but it's a convenient shorthand for what most people expect to happen in the United States over the next few decades. A growing population of nonwhites—driven by Asian and Latino immigration—will yield a country where most Americans have nonwhite heritage, thus "majority-minority."
The last week or so has seen several polls on the popularity of affirmative action, as a preface (of sorts) to the Supreme Court's anticipated ruling in Fisher v. University of Texas. But major differences between the polls make it difficult to judge where Americans stand on racial preferences
Criminal justice reform activists have long argued that the "school-to-prison" pipeline—the process that places children in the criminal-justice system for misbehavior in school—has a destructive effect on future outcomes. A recent working paper from the National Bureau of Economic Research gives a sense of just how destructive. According to economists Anna Aizer and Joseph Doyle Jr., juvenile incarceration—one result of getting caught in the pipeline—drastically reduces the probability of completing high school, and substantially increases the odds of adult incarceration. From the paper:
Every year hundreds of immigrants die along the U.S.-Mexico border. Too many are never identified.
The path across the border is littered with bodies. Bodies old and bodies young. Bodies known and bodies unknown. Bodies hidden, bodies buried, bodies lost, and bodies found. The stories of the dead haunt the frontier towns from Nuevo Laredo to Nogales, and even deep within the interior of Mexico down to Honduras, someone always knows someone who has vanished—one of los desaparecidos—during their journey north.
How soon will changing demographics swamp old Virginia's Republicans?
By the summer of 1864, Confederate armies were hitting the limits of their strength: short on men, short on supplies, and losing ground in key theaters of the war. A reinvigorated Army of the Potomac, led by Ulysses S. Grant, had inflicted heavy casualties throughout the spring, pushing closer to the Confederate capital of Richmond. To regain the initiative, Robert E. Lee directed Lieutenant General Jubal Early to assault the Shenandoah Valley of western Virginia, clear it of Union troops, then move on to Maryland and force Grant to defend Washington, D.C. The plan worked, but the fundamentals of the war hadn't changed. The Confederacy was still weak, and Grant still had more men, more supplies, and a talented corps of experienced generals. At most, Lee had managed to delay the inevitable.
What happens when a state becomes more progressive and more conservative at the same time?
Bill Cook may be a relative newcomer to North Carolina politics—he won his 2012 state senate race by 21 votes, after two recounts—but he has big plans for the state. By this spring's filing deadline, Cook, a power--company retiree from the coastal town of Beaufort, had sponsored no fewer than seven measures aimed at rewriting the state's election rules—largely in ways that would benefit Republicans. Over the past decade, North Carolina has become a national model for clean elections and expanded turnout, thanks to reforms like early voting, same-day registration, and public financing of some races. New voters—mostly people of color and college students—helped Democrats turn the state into a presidential battleground, which Barack Obama won by a hair in 2008 and lost narrowly in 2012.
Byron York's interview with former Heritage Foundation scholar Jason Richwine is illuminating, not because of any new information—it's well-established that Richwine has written for white nationalist websites and drew ideas and inspiration from "race realists" like Charles Murray—but because Richwine follows the pattern of everyone outed for their racism. He denies it. Strenuously:
Richwine knew he was in trouble the minute the first story broke. "The accusation of racism is one of the worst things that anyone can call you in public life," he says. "Once that word is out there, it's very difficult to recover from it, even when it is completely untrue." […]
The link between genetics and I.Q. is unclear, much less the link between genetics and race.
The academic and policy worlds have been roiled by last week's announcement that a Heritage Foundation study on the cost of immigration reform was co-authored by Jason Richwine, who wrote a dissertation on the purported low I.Q. of immigrants. It beyond belief that, in the year 2013, there are still some that want to posit that there is a genetic basis for race. Even more surprisingly, these arguments come endorsed with a seal of approval by some of the nation's top universities, like Harvard in this case. As an alumnus of the Kennedy School and a scholar of race and Hispanic identity, I feel obliged to provide a response.
Writing for Reuters, Reihan Salam has an excellent take on the evolution of Hispanic identity. He doesn't try to relate this with the current push for immigration reform, but it's useful to consider in the broader context of American politics.
Rand Paul's unsuccessful speech at Howard University—where he tried, and failed, to paint the Republican Party as the true home for African American voters—didn't happen in a vacuum. It drew from a heavily revisionist history of American politics, in which the GOP never wavered in its commitment to black rights, and the Democratic Party embraced its role as a haven for segregationists.
It's official—in 2012, African Americans voted at a higher rate than any other racial group in the United States, including whites. And it's that turnout which delivered key states like Virginia, Ohio, and Florida, thus giving President Obama another four years in the Oval Office.
What Jamaal Vassell describes as one of the most challenging days of his life actually began at night, in 2010. An outgoing and popular presence at his neighborhood community center, Vassell, then 17, had traveled from his home in Canarsie, Brooklyn, to neighboring Brownsville to play basketball by himself at his favorite court. After making a few shots, a few younger boys, around 14 years old, joined in. They were all playing ball together until three New York City Police Department officers stopped them.
Vassell was used to it. He had already been stopped twice by NYPD officers—once after popping into a convenience store after school and another time as he walked home from a local recreation center one night.
Republicans voted against his approval as part of a broader anti-civil rights agenda, but the 7 Democrats who joined them ought to be mortified by their own cowardice.
There's no binary opposition between "establishment" candidates and those affiliated with the Tea Party in the state—in other words, no convenient narrative.
In her new book, Dragnet Nation, Julia Angwin shows how badly disadvantaged ordinary people are in the struggle for privacy online.


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2225 Cheshire Bridge Rd NE, Atlanta, GA
Cozy Thai spot off Cheshire Bridge. Understated but awesome.
1745 Peachtree St NE, Atlanta, GA
Upscale Thai street food by the Nan family? Done.
810 N Highland Ave NE, Atlanta, GA
Solid Thai in VaHi, also has Harry and Son's next door for sushi.
1043 Greenwood Ave NE, Atlanta, GA
It's a one-man-show at Panita, where the experience is as unique as the food.
4880 Lawrenceville Hwy Ste 14-15, Tucker, GA
A Thai spot that's equally as passionate about local/organic as it is good.
1000 Northside Dr NW, Atlanta, GA
King and I's little sister joint; relatively new but outstanding.
1350 Spring St NW, Atlanta, GA
Atlanta's best highbrow Thai food, and one of the city's best overall spots.
768 Marietta St Ste A, Atlanta, GA
Either location, one of the best Thai spots in the city.
961 Amsterdam Ave, Atlanta, GA
Never mentioned among the best Thai, but it's sneaky good.


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Results 1 to 2 of 2
- 02-15-2013, 07:09 PM Thread Author #1
? 'for engineering use only' am I missing HSPA?
Long story short, dropped my 9900 in water. Needed replacement asap, so went to arab cell trader store in mississauga got a 9810 cheap. Upon reboot, no bell, rogers logo, just rim logo with 'for engineering use only...' Didn't think anything of it. But, noticed my browser was slower than my 9900. Just looked at my wife's 9810... On the Version screen, her's says 3G/H+, mine says 3G. On homescreen, her's on rogers is H+, mine on bell is 3G.
Is my 'engineering' model missing an HSPA radio??? - 02-16-2013, 01:49 AM #2
Hmmmm. I don't think the hardware would be any different. Since you have an "engineering use only" model, why not poke around the engineering screens and see if HSPA+ was turned off?
How to Hack your Blackberry (Access Engineering Screen)
Just be careful what you do in there...don't want to turn a phone with a slow browser into a brick.
Similar Threads
Engineering Use Only
By illuvatar87 in forum General BlackBerry DiscussionReplies: 33Last Post: 01-19-2011, 05:10 AM -
So there's only one setting for ringers/"profiles"? Or am I missing something?
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Facebook chat for Beejive--am I missing something here? I don't see it
By bmwmpower in forum BlackBerry OS AppsReplies: 3Last Post: 07-30-2009, 11:44 AM -
Will I be charged for data or roaming when I use only WIFI while in Mexico????
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Original Article
Identifying between-person and within-person factors to enhance understanding of observed score profiles
Article first published online: 28 SEP 2012
DOI: 10.1111/j.2044-8317.2012.02055.x
© 2012 The British Psychological Society
British Journal of Mathematical and Statistical Psychology
Volume 66, Issue 3, pages 435–451, November 2013
Additional Information
How to Cite
Kim, S.-K. (2013), Identifying between-person and within-person factors to enhance understanding of observed score profiles. British Journal of Mathematical and Statistical Psychology, 66: 435–451. doi: 10.1111/j.2044-8317.2012.02055.x
Publication History
- Issue published online: 8 OCT 2013
- Article first published online: 28 SEP 2012
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- Institute for Applied Psychometrics
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eRecruiting for Alumni
CDC provides a web-based system to use as part of a job search. Many employers contact CDC for assistance in identifying candidates (entry level and experienced) for openings. Access to eRecruiting allows you to view positions and apply when appropriate. However, alumni cannot participate in on campus recruiting. Additional eRecruiting instructions are available from the Basics of eRecruiting for Alumni Quick Reference Guide (32 kb pdf).
To register, print the Alumni Registration Form, complete and return it with the non-refundable fee to the Career Development Center. The Alumni registration fee for eRecruiting is $10 per year. Once CDC receives your registration materials, your account will be activated and you will be sent an email with instructions on how to login. Your registration will be active for one year from the date of registration.


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Home / Home and Workshop Products / Air Tools / AT-3705-JK Air Hammer Kit AT-3705-JK Air Hammer KitFeatures & Specs
AT-3705-JK Air Hammer KitThe AT-3705-JK Air Hammer Kit operates at 3,500 blows per minute and includes a hammer, tapered punch, panel cutter, flat chisel, and spot welder splitter.
CONTACT A DEALER FOR SUPPORTOftentimes your local John Deere certified dealer can handle your personal product support needs. Find a DealerAIR TOOLS WARRANTYA 2-year warranty is offered for Heavy-duty impact wrenches, Grinders/Cut-off tools, Air Hammer, Power Ratchet Wrenches, Reversible Drills, and Misc. Air tools. SAFETYWe strive to ensure that John Deere products are of exceptional quality. Safety is our top priority. View Safety InformationYou May Also Be Interested In...*Manufacturer's suggested price. Taxes, freight, setup, and delivery not included. Equipment, models and prices may vary by dealer. Offers valid in the United States. Prices in U.S. dollars. |


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Fort Hays State University > About FHSU > Executive Division > Budget Bulletin May 23
May 23, 2011With a new governor in office and a lot of changes in the membership of the House of Representatives, we had to wait until the final day of this year's session of the Kansas Legislature before we knew what our budget would be for fiscal year 2012, which begins July 1. Now I can share with you what it all means for the students, faculty and staff at Fort Hays State University. The Legislature officially adjourned on Thursday, May 12. We are still sorting through some of the details, but we believe we are facing a reduction of more than $1.5 million for the coming year. Although we don't know exactly, we estimate a reduction of about $750,000 in state funding. Also there are unfunded mandates of nearly $800,000. An increase of more than $600,000 in employer costs for health insurance is the biggest of the unfunded mandates. Another mandate is longevity bonuses for classified employees. The Legislature took away the funding but still requires us to pay the bonuses. Until last week, I had anticipated that the cuts and the unfunded mandates would add up to about $2 million, so this final reduction is somewhat less than we expected. The good news is that thanks to the efforts all of you have made over the past two years, we are in position to deal with these latest cuts. Through your hard work, we implemented numerous efficiencies and we continued to grow our enrollment. At Spring Convocation on May 6, with the legislative session in its final days, you may recall that I said we would need to consider four factors in setting next year's budget: 1. growth and quality; 2. compression and equity; 3. tuition; and 4. base pay and inflation. After visiting with many of you, I concluded that base pay was our highest priority. You have gone two years without raises while taking on greater workloads. Therefore, I have approved merit pay increases for most unclassified employees. Those who are in their first year will not receive merit raises. Those who have been here for at least a year but less than two years will receive raises from a 1 percent merit pool. Those who have been here for two years or longer will receive raises from a 2 percent merit pool. Chairs and supervisors have submitted recommendations for what the individual raises should be from those pools. I have also authorized a $1,000 health care adjustment for all full-time unclassified employees. In addition, we are budgeting a total of about $100,000 for compression increases that will go to employees we have identified as out of line with their on-campus peers. Compression, as you may know, results when the salaries of long-term employees do not keep pace with the salaries of more recent hires. We are also funding degree completion and promotion commitments. Next year's salaries will be calculated by first adding the merit pay increase to an employee's 2011 base pay, then adding the health care adjustment, and finally adding any additional adjustments for equity, compression, promotion, tenure and degree completion. To deal with the issue of growth and quality, we are adding faculty positions in Marketing and Management, in Health and Human Performance, and in Justice Studies. We are also increasing a math position from part time to full time, and we are adding a counselor in Financial Aid and a Texas recruiter in Admissions. Finally, we have submitted to the Kansas Board of Regents a proposal to increase our tuition by 4 percent for the 2011-2012 academic year. This will bring our in-state, undergraduate tuition to $105.20 per credit hour, up from the current tuition of $101.15 per credit hour. Therefore, tuition at FHSU will be $1,578 per semester for a student who is enrolled in 15 hours. That compares to proposals for an increase of $14.80 per hour for a semester total of $3,805.50 at K.U., an increase of $8.80 per hour for a semester total of $3,468.00 at K-State, an increase of $9.45 per hour for a semester total of $2,502.75 at Wichita State, an increase of $8.80 per hour for a semester total of $2,066.00 at Pittsburg State; and an increase of $8.33 per hour for a semester total of $1,932.00 at Emporia State. FHSU offers a high quality education and remains the best buy among the Regents universities by a wide margin, which is important both for our strategy of continued growth and for our commitment to make higher education affordable for all Kansans. Despite a third year of declining financial support from the state, we will hold our tuition increase to a minimum while providing increases in salaries and benefits for most of our employees. Overall, the increases for unclassified employees will average about 4.5 percent. Given the resources we have, this is the most we can do this year. You have worked hard and you deserve it. Unfortunately, our classified employees will get no raises and no health care adjustments. You also must pay a 2.5 percent surcharge or tax on your employer-provided health benefits. We do not know yet how this will be done, but the result is that you will get less take-home pay instead of more take-home pay next year. I know this will create a significant hardship for you. It is not fair, but state law dictates that legislators, not university presidents, make the salary decisions for classified employees. I thank all of you for your hard work. You provided the foundation that allows us to deal positively with these challenges.


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Star Trek Online Fans Set Record For Most People Dressed As Star Trek Characters
How many people do you think it would take to set the record for most people dressed as Star Trek characters in the same place at once? I guessed 1,000 because I figured that a lot of people cosplayed at Trekkie conventions and what have you, but apparently not, or at least they've never had Guinness there (God please tell me there was at least Bud Light). That's right, it only took 99. That's pathetic! I mean, shit, people organized a 2,510 Smurf get-together.
99 Star Trek Online fans spent the day breaking the most unapologetically dorky world record known to mankind: The most costumed Star Trek fans ever gathered in a single place. We imagine they also broke the "most depressing way to spend a Valentine's Day" record as well, but we don't have any way of empirically proving that.
Personally, that sounds like a great way to spend Valentine's. Plus all the participants scored lifetime subscriptions to Star Trek Online. So that's something. And so is that character on the left. Anybody know where she lives? She looks like something I'd be interested in. Hunting -- with a spear-gun.
Star Trek Online fans set nerdiest world record ever [joystiq]
Thanks to Kevin007, who infiltrated the mob and managed to take some bow tie camera spy-shots up some freaky green chick's skirt. Uh, congratulations?
Did you rush out to see 'Iron Man II' this weekend? I did not. As many of you may know, I've been banned from my local theater for sneaking in a Double Big Gulp of jungle juice and tearing through the screen at the premier of 'Cloudy With a Chance of Meatballs'. F*** those m... / Continue →
Because humans aren't the only animals that like to play dress-up and pretend they're something they're not for awhile to escape the monotony of regular life, this is a series of Star Wars dog costumes from Costume Craze. You should put one on your dog and bring it to the next... / Continue →
This is a video of 30 skiers (although I only counted 25) holding hands and doing a simultaneous backflip. Everybody lands it too. If I'd been participating I would have purposefully fallen and dragged everyone else down with me BECAUSE I'M A JERK. Just kidding, because I ca... / Continue →


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A quick wireless router that boasts lots of features. There are better Netgear offerings on the market though.
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Still, this is plenty of power, and it translated to good speed in our tests. Overall, the N750 ranked third, behind the main award winners this month. At close range over 2.4GHz, we measured average speeds of 11.8MB/ sec, and over 5GHz that climbed to 22.5MB/sec. Long-range speed over 2.4GHz was decent as well, with the N750 achieving an average speed of 3.1MB/sec.
Where it fell short of its cousin, however, was with long-range speeds in the 5GHz frequency band. It did at least connect, where one didn't, but speeds were very slow indeed. We measured an average rate of 0.7MB/ sec at a distance of 40m from the router with a window and a wood wall in the way.
That's disappointing, especially in light of the N600's excellent long-range performance: the N600 router was 52% faster over 2.4GHz and 309% faster over 5GHz in that test. And there are more areas where this doesn't match up. It's compatible with only cable connections where the N600 has both ADSL and WAN ports; there's only one USB socket to the N600's two ports; and NAS performance is middling. With a portable USB 3 drive hooked up, our tests returned 3.8MB/sec.
At least you get the same feature-packed web front-end, with support for media sharing and user-level access control to shared drives, a wireless repeater function for extending existing 2.4GHz networks, and the same bandwidth monitoring features.
But even with four Gigabit Ethernet ports at the rear, all these features, and the raw speed over 5GHz at close range, the N750 can't overcome its biggest problem. The simple fact is that the N600 offers a superior feature set and more balanced overall performance, without costing much more than the WNDR400 N750 does.
This Review appeared in the Jan, 2012 issue of PC & Tech Authority Magazine
Source: Copyright © PC & Tech Authority. All rights reserved.
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Monday - Friday
Tip: | 10mm Proprietary Snooker |
Ferrule: | Brass |
Shaft: | Ash Wood with European (Straight) Taper |
Collar: | None |
Pin: | 5/16x18 |
Forearm: | Black Stained Maple |
Rings: | None |
Wrap: | None |
Sleeve: | Black stained Maple |
Plate: | Black |
Bumper: | Black Rubber |
Warranty: | 1 Year Manufacturer |
Wonderful bargain
Rank: Shark
When I was a kid I took over my Dad's old snooker cue and used it for everything but snooker. I could make the cue ball dance with it and could pull off almost impossible curves and trick shots. Somehow I lost it, probbably left it behind at a pool shoot and I saw this one for such a low price I couldn't resist it. Once I got the tip shaped to my liking it works just as nice as I remember my Dad's doing. I use to impress my Buddies when we do casual shoots and I'm back to being a trick shot artist. Thanks PoolDawg for bringing back one of my fondest memories of my long deceased Dad.
( 3 of 3 people found this review helpful.)
An Experiment
Rank: Rookie
Bought this to play around with. Ended up putting in the lathe and reshaping the taper to a 10mm x 330mm pro-taper. I installed an Elk Master tip and replaced the brass ferrule ring with a short piece of aluminum arrow shaft. The shaft is now quite good for shooting over and around balls, also it draws like nobodies business (2 full lengths of a bar box). Long straight shots and long English shots are however pretty difficult. Think I'm gonna make a tight grained white oak shaft with the same dimensions and compare.
A Great Buy
Rank: Rookie
I just recently bought myself an Elite ELSNK01 Snooker Cue as a Christmas present because my wife said she would never be able to select an appropriate one for me. This week, I used it for the first time and found it to be just what I wanted. I selected the 16 oz. model and found the weight to be just right. It feels great in my hands and I played very well at The Seniors' Centre on Monday. Thanks for the great deal.
Bruno Fornika
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Coastal Eer said...
I have been researching this for a while.
Bge has more accessories and more dealers
Primo is made in america whilw bge is made in mexico. Both are american companies.
Obviously one is black and one is green
In my town we have dealers of both. Do you? You dont wabt to ship one of these. Which is the better local dealer if someything goes wrong?
Persinally I am leaning towards the Bge because of the abundance of grill accessories. I would be very happy with either though if you want to buy both and give me the one you dont like as much
Forrest Gump
- 5 stars Rating: 87
15792 votes total - Cameron Newton
- Heisman
- (32852)
- 27 months
- 5 stars


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Book to receive parking ($19 value) and WiFi access ($12.95 value) each day you stay!
Relax in contemporary accommodations at DoubleTree by Hilton. All the essentials and more are covered in our modern, stylish guest rooms with an array of amenities to make you feel at home. View our amenities guide and choose a room that's right for you.
The spacious guest room décor reflects our seaside location with a neutral and ocean-toned palette accented by natural wood, aged iron, botanical prints, and rich detail. In-room guest amenities include: Freshly baked DoubleTree Chocolate Chip Cookie for each guest upon arrival, furnished patio or balcony in every room, complimentary turndown service upon request, mini-bar, oversized desk area, high-speed internet access, electronic locks, HDTV with complimentary HBO, ESPN, ESPN2, and Disney channels, in-room On Command Video (pay-per-view movies), feather pillows (non-allergenic foam pillows available upon request), double vanities, and more.
View All Guest RoomsWe offer five different suites, Studios, Executive, Junior, Parlor, and Presidential. In addition to all the amenities featured in our standard guestrooms, our suites also offer: Bose Stereos with speaker connectivity for MP3 players and CD players, plush terry robes, 42-inch flat-panel television with complimentary HBO, ESPN, ESPN2, and Disney channels, all suites have a seating area; some suites have separate living and sleeping rooms.
View All SuitesEnjoy all the same amenities in our standard guestrooms as well as a minimum 40-inch clearance on all doorways and between furnishings, accessible vanities and closets, alarm system, and roll-in shower in select bathrooms. The corresponding photo may not reflect the specific accessible room type or room feature.
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By Ms. Candaras, a petition (subject to Joint Rule 12) of Gale D. Candaras and Joseph F. Wagner for legislation relative to charitable gaming. Economic Development and Emerging Technologies.
Sponsors: | |
Status: | Referred to Joint Committee on Economic Development and Emerging Technologies |
Date | Branch | Action |
11/14/2013 | Senate | Referred to the committee on Rules of the two branches, acting concurrently |
11/25/2013 | Senate | Rules suspended |
11/25/2013 | Senate | Referred to the committee on Economic Development and Emerging Technologies |
11/27/2013 | House | House concurred |
2/4/2014 | Joint | Hearing scheduled for 02/12/2014 from 11:00 AM-01:00 PM in B-2 |
Petitioners: Gale D. Candaras, Joseph F. Wagner
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This is cool! Kingwood TX.
N of Houston
This is cool! Kingwood TX.
N of Houston
Summer '83-Off Site
Dec '95- Shades Of Green
March '03-All Star Movies
March '06-All Star Movies
October '07-POFQ
March '10-POFQ
March '13 POFQ
June '14 POFQ
Nov'14 All Star Sports-F&WF W&D 1/2 Marathon!
HIya Turkeymama!!! Try it again and let me know if it works. I'm here to help!!
Lou Mongello
Host, Author & Site Owner
I'm here in Flutter land................Cape Cod MA. But, some of you KNOW that already..............
I just added myself. You can just assume DH's pin is right next to mine.
I could have sworn I did this before, but I couldn't find myself.
always plotting, planning, and looking forward to our next adventure...
Celebration FL, originally from Connecticut, then moved to Spring Hill (45min north of Tampa) and now here.
LOL @ Flutter. Ah Yeah, I think so..................Once or twice maybe? LOL
-Don-Your heart can just take wing,You can live out all your dreams......it's time to Remember the Magic!Yo Ho, Yo Ho, A Pilot's Life for Me...
Just added myself! Only Dutch podperson on the map! Can't miss it. Is it just me, or aren't there that many people on the WDWT map? Did I do something wrong?
i am in sebastain florida!
Your 14 year old disney expert!
If I go crazy, will you still call me superman?
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I do not mistrust the future; I do not fear what is ahead. For our problems are large, but our heart is larger. Our challenges are great, but our will is greater. And if our flaws are endless, God's love is truly boundless. Some see leadership as high drama, and the sound of trumpets calling, and sometimes it is that. But I see history as a book with many pages, and each day we fill a page with acts of hopefulness and meaning. The new breeze blows, a page turns, the story unfolds. And so today a chapter begins, a small and stately story of unity, diversity, and generosity shared, and written, together.
George Herbert Walker Bush
We all have the same God, we just serve him differently. Rivers, lakes, ponds, streams, oceans all have different names, but they all contain water. So do religions have different names, and they all contain truth, expressed in different ways forms and times. It doesn't matter whether you're a Muslim, a Christian, or a Jew. When you believe in God, you should believe that all people are part of one family. If you love God, you can't love only some of his children.
Muhammad Ali
It is easier to be a lover than a husband, for the same reason that it is more difficult to be witty every day, than to say bright things from time to time.
Honor de Balzac
Life is meaningless only if we allow it to be. Each of us has the power to give life meaning, to make our time and our bodies and our words into instruments of love and hope.
Tom Head
The most powerful symptom of love is a tenderness which becomes at times almost insupportable.
Victor Hugo
Go around listen to how many times a day you say, "I love" instead of, "I hate." Isn't it interesting that children, as they learn the process of language, always learn the word "no" years before they learn the word "yes"? Ask linguists where they hear it. Maybe if they heard more of "I love, I love, I love" they'd hear it sooner and more often.
Dr. Felice Leonardo Buscaglia
These are the times that try men's souls: The summer soldier and the sunshine patriot will, in this crisis, shrink from the service of his country; but he that stands it Now, deserves the love and thanks of man and woman. Tyranny, like hell, is not easily conquered; yet we have this consolation with us, that the harder the conflict the more glorious the triumph.
Thomas Paine
Why would you shed a tear for them when they in return crack a smile for your loss because of the impending extra money they will receive in their next paycheck for sitting at your loved ones crime scene of 6 hours because of the overtime they will accrue.
Christopher Jordan Dorner
By the end of the decade it had become obvious that perhaps the one constant of our variegated and strung-out peer groups was a pervasive sense of self-consciousness that sent us in grouchy packs to ugly festivals just to be together and dig ourselves and each other, as if all of this meant something greater than that we were kids who liked rock 'n' roll and came out to have a good time, as if our very styles and trappings and drugs and jargon could be in themselves political statements for any longer than about fifteen stoned seconds, even a threat to the Mother Country! So we loved and loved and doted on ourselves and our reflections in each other even as the whole thing got out of hand and turned into mud and disaster areas and downs and death.
Lester Bangs
I think God leaves me alone to let me find my own strength because no one else can give it to me. Sometimes it is very lonely. But I know the lonely times teach me the most. I must let go in order to let anything in. No one can love me, for me. Take.
Sabrina Ward Harrison
Accept that all of us can be hurt, that all of us can and surely will at times fail. Other vulnerabilities, like being embarrassed or risking love, can be terrifying, too. I think we should follow a simple rule: if we can take the worst, take the risk.
Joyce Brothers
Liberals become indignant when you question their patriotism, but simultaneously work overtime to give terrorists a cushion for the next attack and laugh at dumb Americans who love their country and hate the enemy.
Ann Coulter
You may have buried or repressed your own power for so long a time that you feel incapable of moving on without the strength and support of a lover, even the lover you just left behind.
Howard Bronson
Our generation has an incredible amount of realism, yet at the same time it loves to complain and not really change. Because, if it does change, then it won't have anything to complain about.
Tori Amos
The only time I can really relax is up a tree or somewhere outside. I love being outside.
Tom Felton
How often in this world are the actions that we condemn the result of sentiments that we love, and opinions that we admire.
Anna Jameson
Hatred does not cease through hatred at any time. Hatred ceases through love. This is an unalterable law.
Love sees sharply, hatred sees even more sharp, but Jealousy sees the sharpest for it is love and hate at the same time.
Arab Proverb
Most people have a harder time letting themselves love than finding someone to love them.
Bill Russell