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Be In LHJ: Calling All Difference-Makers!
June 28, 2010 at 9:19 am , by Amanda Wolfe
Do you make a difference in your community, or know a woman who does? Maybe she started a local charity organization. Or she finds the time in her busy life to volunteer for a cause that's close to her heart. We're looking for these amazing women for our Difference-Makers Contest!
Nominate your difference-making lady today and she could be featured in an upcoming issue of Ladies' Home Journal and on Better!
Categories: Do Good | Tags: charity, contest, difference-makers contest, volunteer | No Comments


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book training
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A key role of the manager or leader is that of coach. Effective coaching can bring out the best in your people, improve your organisational efficiency as well as give the coach tremendous personal reward. This course explores the difference between coaching and training as well as the role of the manager as coach. You will be introduced to a wide range of effective coaching techniques and will be given the opportunity to determine which ones suit your particular circumstances
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1. Saturday, August 17, 2013 - 7:42 AM
When many professional money managers working for companies cannot make a pension profitable, how can anyone expect each of us workers to be able to make our 401K fund our retirement? When will we learn? Like I have said for 40 years if these money managers are so knowledgeable why aren't they independently wealthy?
Ally6770943 posts since
Jan 16, 2010
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Jan 16, 2010
Rep Points: 2,742


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Minted Lamb 'n' Veggie Kabobs Recipe
Mint leaves give these lamb kabobs an enticing flavor and aroma. Served with brown rice, the eye-catching meat and vegetable skewers look and taste special enough to dish up for company. —Michael Rose, Grand Prairie, Texas
- 3 tablespoons olive oil
- 2 tablespoons lemon juice
- 4 garlic cloves, minced
- 2 teaspoons dried basil
- 1 teaspoon dried oregano
- 1 teaspoon pepper
- 1/2 teaspoon salt
- 1/2 teaspoon dried thyme
- 1 pound boneless leg of lamb, cut into 1-inch cubes
- 1 medium sweet red pepper, cut into 1-inch pieces
- 1 medium sweet yellow pepper, cut into 1-inch pieces
- 1 medium zucchini, cut into 1/4-inch slices
- 1 small red onion, cut into chunks
- 16 medium fresh mushrooms
- 1 cup fresh mint leaves
- Hot cooked brown rice
- In a large resealable plastic bag, combine the oil, lemon juice, garlic, basil, oregano, pepper, salt and thyme; add lamb. Seal bag and turn to coat; refrigerate for 30 minutes.
- On eight metal or soaked wooden skewers, alternately thread the lamb and vegetables with mint leaves.
- Grill, covered, over medium heat or broil 4 in. from the heat for 4-5 minutes on each side or until meat reaches desired doneness and vegetables are tender. Serve with rice. Yield: 4 servings.
Originally published as Minted Lamb 'n' Veggie Kabobs in Taste of Home June/July 2006, p31
Medium-Bodied Red Wine
Enjoy this recipe with a medium-bodied red wine such as Chianti, Sangiovese, Malbec or Zinfandel.
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French Projects
News & Events
Majors, Minors, and Concentrations
Useful FL&L Links
With a faculty whose areas of expertise encompass French and Francophone studies, bicultural, multicultural and media studies as well as interactive teaching technology,the French group at MIT constitutes an innovative and dynamic team.The excellence of our group starts in the classroom.This commitment to teaching guarantees that our students will have a rewarding experience learning French and studying French and Francophone related subjects at MIT.
In all our beginning and intermediate classes, our students explore culture while learning French. Beginning students quickly improve their communication skills as French is spoken from the first day of classes. Educational technologies including award-winning multimedia projects developed by our own faculty are used in many of our classes to enhance learning and to help prepare students to spend time abroad.Our more advanced students can now pursue an internship in France through the MIT-France Program. Designed in collaboration with the MIT International Studies and Technology Initiative (MISTI), the MIT-France Program offers internships in France's leading companies and research institutions to students who have satisfied our course requirements.
Together with the other language groups,the French Group also organizes some of its cultural events with the Center for Bilingual and Bicultural Studies(CBBS). Through our language, culture, literature and film courses, our close link to the MIT-France Program and the cultural events we organize, we make sure that our students are equipped to become skilled participants in today's increasingly fluid world.


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For a blog named Garden Gastronomy we have been fairly light in the garden category and so in the spirit of spring, I though I'd give a little tour of what we're working on in the backyard.
There's a squirrel that lives among a row of cypress trees which grow along our fence line. I imagine the squirrel is a "he" and know him to be a bold creature. He's the one who braves a yard patrolled by dogs and cats to get to our persimmon tree during the winter. He's the one who has been caught in bags of chicken feed I have left open. And he's the one who runs along the tops of aging fences to get from one yard to the next. If I were to take the time to study this squirrel I suppose I would have a name for him and could tell you the meanings of the different noises he makes. Instead I am content to know him in passing, besides it's spring now and the creature I have known as a solitary man has made a close friend. While he's busy with that I am busy tending to the small garden I grow for Jessica's kitchen.
This garden is partly a continuance of tradition. You see, in my family everybody grew something in their backyard and we children were encouraged to work these modest plots. We'd push seeds into the ground, pull out weeds and would spend hours getting lost in the spaces created by bushes, vines and fences. It was in the gardens of my family that I learned most of what I know now, simple lessons that culminated into a rich knowledge. When I decided to plant my own garden a couple of years ago, I bought the same tools my father had hanging in the shed and I carved furrows out of the ground the way he showed me to. When I planted onions all around my tomato plants I was trying to recreate the dense garden my grandmother grew, where there wasn't a patch of bare earth. And now, when I'm alone in my garden if I find myself acting out all the other things I saw in the gardens of my father, my grandmother and my aunts and uncles.
I think that if I am really to continue this tradition that it is important that I extend it. That is why I take to this garden as an experiment as well, a chance to try new things and test them for my specific place under the sun. I planted broccoli and brussel sprouts this year and they grew into plants. Unfortunately, they haven't grown much that looks like brussel sprouts of broccoli. Conclusions: try again next year, plant earlier and move on to the next experiment. I have been seeing vermiculture and composting systems for sale in every nursery I go to. The idea intrigued me but didn't feel like paying for a worm bin. Then I read about Will Allen and saw how simple his composting systems were so I built my own out of scrap wood and chicken wire. The compost has now turned a handful of worms into a horde all working tirelessly to convert what would be trash into piles of fertilizer. Conclusion: you don't need to pay for a worm bin. Another experiment of mine has been the backyard chicken project. Across from the garden we have a chicken coop where Penelope, Rosie and Lucy live. This experiment has been simple: Can I keep chickens alive and not piss off my suburban neighbors? Conclusion: Yes and I think so.
You may say, well I cant grow a garden, I don't know how, nobody ever showed me and I have no tradition. To this I'd say that we humans have an agricultural instinct – our hands know what to do when we put them in the dirt. If you say you don't have the space than check out check out square foot gardens and see how you can grow a few weekly salads in a space the size of a balcony. And if you say you don't have the time than I say stop watching commercials and find the outdoors in your own plot of land, whatever size it may be. Plant the flowers that attract bees and hummingbirds, recruit ladybugs to help you fend off pests and get to know the squirrel that makes his home next to yours. By doing this you will find what I found as a kid and have recently found again, the simple joy of bringing your own food into the kitchen.


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SEC Rule 613, Consolidated Audit Trail: Is Your Organization Making Necessary Preparations?
SEC Rule 613 represents a paradigm shift in the regulation of U.S. capital markets. Market participants will need to capture and retain granular trade detail at the beneficial owner level across multiple asset classes and the trade order life cycle. How can you prepare? Learn more about how Rule 613 will require transformation of an organization's approach to the design and support of regulatory reporting and surveillance.
Read more | Register
CCAR and Stress Testing: Evolving Regulatory Expectations and Industry Practices
Rules and guidance for the Comprehensive Capital Analysis and Review (CCAR) and related Dodd-Frank Act requirements have evolved at a rapid pace over the last couple of years with broad impact across the industry. What progress have banks made with respect to implementation of rules? Learn how the changing regulatory landscape could likely impact your financial institution and potential challenges you may face implementing new regulations.
Read more | Register
Financial Services
Investment Management
Private Equity, Hedge Funds & Mutual Funds
Real Estate
Webcasts are archived for 180 days after the live broadcast. CPE Credit is not available for viewing archived programs.
The Small Business Segment: A Ripe Opportunity for Expanded Primary Bank Relationships
July 15, 2014
After the Dust Settles - Revisiting OTC Derivatives Business and Operating Models
June 10, 2014
Potential Impacts of Regulatory Developments in Financial Accounting and Reporting, Valuation, and Structured Products
April 03, 2014
Recent OCC and Federal Reserve Guidance and Rule Changes: Urgent Update
March 24, 2014
New B2C Digital Business Models in Wealth Management
February 25, 2014


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Private 5 star Lodge with brilliant views and outdoor spa! in Big Bear Lake
- bedrooms 5
- baths 3½
- sleeps 14
- pool no
- hot tub yes
- pets allowed yes
- type Cabin
- community
rates (USD)
/ week
vacation rental description
Walk right out your back door and go hiking and sledding from this gorgeous Castle Glen lodge. This
Lodge backs to an eagle's preserve where you can go hiking just out in the backyard. This home
offers seclusion with only 3 other homes on the culdesac and an abundance of open space. Althouh it
offer seclusion, the cabin is still only a short 5 minute drive to the ski resorts and town. With
plenty of decking and gorgeous tree-top views, you will feel a world away and enjoy everything this
cabin has to offer. A new outdoor spa, bbq, and one of a king log swing set will give entertain
everyone in the family. Inside, this cabin has 5 spacious bedrooms, a large top of the line
kitchen, and beautiful new furniture. In the great room, there is dining for 12 so you can enjoy
that special family holiday here. Or better yet, bring 2-3 families, you will have the space!
Direct garage access will also be welcoming for those cold winter nights! If you come to Big Bear,
enjoy it in style at this amazing lodge!
vacation rental location
property availability
- dates with deals
- unavailable dates
Last modified on 05-25-2014 at 3:26 PM.
email owner view full calendar
Kevin Cobb 310-800-5454
cabin rental amenities
Sleeps 14 Parks 5 cars
5 Bedrooms
3.5 Bathrooms
Beautiful Mountain Decor
Awesome Views
Incredible Kitchen w/Dining for 12
TV/VCR/DVD with cable
Beautiful Decks
Redwood Furniture
Log Swing Set
Washer & Dryer
Towels and Linens Provided
activities and attractions in Big Bear Lake San Bernardino Area
Hiking! Skiing, snowboarding, sledding, fishing, shopping, boating, water ski, jet ski, boat cruise,
off road trails, Octoberfest, tubing, water slide park, zoo, observatory, and more!
vacation rental rates
Summer - $375-$525
Fall - $350-$475
Winter - $475-$675
Spring - $350-475
Maid service and tax extra
Holiday periods may be subject to higher rates. Please inquire.
Kevin Cobb 310-800-5454
accepted payment methods
Prior to paying a reservation deposit, always verify payment instructions by calling the phone number displayed on this listing page. By contacting the owner directly and paying by an approved method - credit card, paypal, check or bank transfer - your reservation payment will be protected up to $1,000.Learn more in our Security Center


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The Eastern Washington women's basketball team has released its 2013-14 schedule, head coach Wendy Schuller announced Thursday, Sept. 5.
EWU will take on a total of six squads that advanced to postseason player last year. Nonconference opponents Iowa State and Gonzaga made the NCAA Tournament last year while Butler earned a bid to the WNIT, respectively, and will provide a stern test for the Eagles. Montana was the Big Sky's representative to the NCAA Tournament while Idaho State and Northern Colorado each earned bids to the WNIT.
Eastern warms up with an exhibition match versus the Master's College on Friday, Nov. 1, before opening its season with a road game at WCC member Portland on Friday, Nov. 8. SMU, member of the newly formed American Athletic Conference, comes to Cheney on Saturday, Nov. 16, followed by a mid-week tilt at cross-town rival Gonzaga on Wednesday, Nov. 20.
The Eagles conclude November with a pair of games in Las Vegas, Nev., as part of the South Point Shootout. EWU takes on Iowa State in its first game on Friday, Nov. 29, before wrapping up its stay against Butler on Saturday, Nov. 30.
"Those are teams that come from really strong leagues and tend to have bigger and more athletic players than we do," Schuller said. "It's a great opportunity for us to challenge ourselves to see if we can raise our game to another level. It's a nice chance to see where we need to be and what we need to be working on going forward."
EWU concludes its nonconference slate with four games at Reese Court, staring with a tilt versus Big West member Cal State Northridge on Friday, Dec. 6. The Eagles will then play three games in seven days starting with Idaho on Saturday, Dec. 14, followed by a date with Northwest University on Tuesday, Dec. 17. A tilt with Boise State on Saturday, Dec. 21 wraps up the Eagles' nonconference schedule.
"It's a chance to really gain some momentum," Schuller said. "It just kind of worked out for us that way, to play our final four nonconference games at home. When you're schedule, sometimes the chips just fall where they do. For us, it's a nice opportunity to be home before finals and the holidays, and to really get a chance to gain some momentum going into league play."
Eastern opens its Big Sky schedule at home, playing its first three league counters in the friendly confines of Reese Court. EWU takes on Portland State on Sunday, Dec. 29, to kick off its league slate before welcoming Weber State and Idaho State to Cheney on Thursday, Jan. 2, and Saturday, Jan. 4. The Eagles will journey to Montana for a pair of games the next week before returning home to take on Northern Arizona and Sacramento State. A tough three-game road trip at Southern Utah, North Dakota and Northern Colorado wraps up the first round of conference action.
The Eagles host the Montana schools on Thursday, Feb. 6, and Saturday, Feb. 8, respectively, before traveling to Sacramento State and Northern Arizona. Eastern welcomes Southern Utah to Cheney on Thursday, Feb. 20, before facing its travel partner, Portland State, on the road on Monday, Feb. 24.
EWU will play its final home games against Northern Colorado on Thursday, Feb. 7, and North Dakota on Saturday, Mar. 1. The Eagles wrap up regular season play at Idaho State and Weber State.
"I think everyone's league schedules are always going to be tough," Schuller said. "You're always going to have hard stretches where you're going to have to show a little bit of resiliency and fortitude. I'd say the three-game road trip that starts at the end of January will be a week where we're going to have to be road warriors because its tough travel and quality opponents. That's probably the stretch, and its midway through, so that'll be a big swing."
Eastern returns four starters and nine letter winners from last year's squad that earned a WNIT bid for the second time in school history. The Eagles finished third in the Big Sky with a 14-6 league mark and advanced to the semifinals of the Big Sky Tournament.
Courtesy: Eastern Washington Sports Information


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Strengthen the levees in New Orleans
"Will ensure that New Orleans has a levee and pumping system to protect the city against a 100-year storm by 2011, with the ultimate goal of protecting the entire city from a Category 5 storm."
Sources: "Barack Obama: Rebuilding the Gulf Coast and Preventing Future Catastrophes"
"Barack Obama: Rebuilding the Gulf Coast and Preventing Future Catastrophes"
Subjects: Infrastructure, Natural Disasters
Levee and pumping system is functionally complete
Updated: Wednesday, August 24th, 2011 | By Robert Farley
In the wake of Hurricane Katrina, the federal government (along with state and local help) committed more than $14 billion to develop a levee and pumping system around New Orleans capable of protecting against a 100-year storm. It would be the biggest civil works project in the history of the Army Corps of Engineers. And Obama promised it would be completed by 2011.
As promised, nearly six years since the devastation of Hurricane Katrina, that goal has largely been accomplished.
According to a May 29, 2011, story by Mark Schleifstein of the New Orleans Times-Picayune, "The new system represents an unprecedented engineering feat that took six years to build, with more than $8 billion spent so far on design and construction. And it required a complete rewriting of the rules used by the corps to build both levees and hurricane levees."
In order to meet its goal by June 1, the start of the hurricane season, the Army Corps of Engineers relied on some temporary fixes that may take several years to complete. One levee section was delayed by Mississippi River flooding. And some temporary gates and pumps will be replaced with permanent equipment. But the goal has been functionally completed.
A May 29, 2011, editorial in the Times-Picayune applauded the milestone: "The corps has met its ambitious time frame for the most part, and that itself is a significant accomplishment that deserves to be saluted."
But even as it saluted the achievement, the paper's editorial board warned there is still "the pressing question of providing defenses from stronger storms -- like Hurricane Katrina."
That gets to the second part of Obama's campaign promise, to point toward "the ultimate goal of protecting the entire city from a Category 5 storm."
To that end, a federal task force sent the Louisiana Coastal Protection and Restoration Study to Congress last year including several options to reach that longer term goal -- along with a projected price tag in the neighborhood of $100 billion.
John Barry, vice president of the Southeast Louisiana Flood Protection Authority-East, said the levees designed to protect against a 100-year storm are "pretty much finished" and that he's satisfied the corps has met that part of its goal.
The task force study of protection options for a Category 5 storm was a "significant initiative," Barry said, but much more needs to be done.
"They came up with a roadmap," Barry said. "But we are still talking about process and concepts rather than actually doing anything. I'd score that as a reasonable step."
In its editorial, the Times-Picayune warned that stronger protection was crucial.
"Completing 100-year protection is a noteworthy accomplishment and deserves to be celebrated," the paper wrote. "But it must be the beginning and not the end."
Although there are some loose ends still to tie up, we think Obama and the Army Corps of Engineers can claim to have met the goal of providing a levee and pumping system to protect the city against a 100-year storm. Obama also said the "ultimate goal" was to protect the city from a Category 5 storm. That was aspirational, not a promise to complete such protection within his term. The federal government has begun serious study of that, and while much more needs to be done to make that happen, we feel Obama has lived up to the measure of this promise. We rate it a Promise Kept.
Levees.org, "Corps defines New Orleans 100 year flood protection," May 12, 2008
Times-Picayune, Op Ed: "What metro New Orleans' 100-year protection from hurricaners means," by John Barry, June 1, 2011
Times-Picayune, Editorial: "Completion of New Orleans' 100-year flood protection system is a significant recovery milestone," May 29, 2011
U.S. Army Corps of Engineers, "Corps' largest project ever begins in New Orleans"
Times-Picayune, "Army Corps of Engineers nears its goal for flood protection," by Jeff Adelson, March 18, 2011
Times-Picayune, "Corps has options aplenty for 'armor'; Dense grass, fabric turf or concrete blocks could buttress area's earthen levees," by Mark Schleifstein, June 11, 2011
Times-Picayune, "Vitter queries corps on levee work; He's concerned by unfinished projects," by Bruce Alpert, June 1, 2011
Times-Picayune, "The corps' flood control engineers have scrambled for 6 years and have spent $8 billion to give the region the best protection yet ," by Mark Schleifstein, May 29, 2011
Progress is being made on rebuilding levees
Updated: Monday, August 31st, 2009 | By Robert Farley
This is actually a two-part promise.
The first part deals with ensuring that New Orleans has a levee and pumping system to protect against a 100-year storm by 2011.
And that part is moving along. The Army Corps of Engineers is more than one-third of the way through construction of an improved levee system to provide 100-year flood protection for New Orleans, and White House officials say the administration is committed to keeping these projects on track to be completed by 2011.
To date, over 220 miles of levees and floodwalls have been repaired and restored to pre-Katrina levels of protection. According to White House officials, the levees and flood walls that were breached during Katrina have been rebuilt to stricter standards and are fortified so that they will withstand a 100-year storm surge.
In addition, storm-surge protection has been installed at Lake Pontchartrain and multiple pump stations have been installed or updated around the perimeter of the city. In addition, some levee armoring has been installed to make the levees more resilient.
Additionally, Congress appropriated $439 million to restore islands along the Mississippi Gulf Coast that serve as the first line of defense against hurricanes.
So we think it's fair to say that Obama has made progress on this front.
But the jury is out on the second part of this promise, "the ultimate goal of protecting the city from a Category 5 storm."
Allison Plyer, deputy director, Greater New Orleans Community Data Center, notes that Katrina was more like a 400-year storm. Even with 100-year storm protection, she said, New Orleans would suffer significant flooding if hit with another storm the size of Katrina.
And, she said, "we have seen no progress toward that (protecting the city from a Category 5 storm); we have not seen any federal attention to that issue."
In an interview with the New Orleans Times-Picayune , published on Aug. 23, 2009, Obama said Category 5 storm protection "is still an aspiration." He said there is an "interagency working group" on the issue.
Since Obama's promise to protect New Orleans from a Category 5 storm was described as an "ultimate goal," we think it's fair to say that was a longer-term goal. Still, we'll keep an eye on this and assess if lack of progress on the longer-term pledge means the promise has become Stalled. But for now, we think there has been enough progress toward rebuilding and repairing the levee and pumping system to protect against a 100-year storm to rate this one In the Works.
Times-Picayune, "'New Orleans has a unique place in American life, and that's why it is so important now.' Analysis," by Jonathan Tilove and Bruce Alpert, Aug. 23, 2009
Interview with Allison Plyer, deputy director, Greater New Orleans Community Data Center, Aug. 28, 2009
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text: Moon trying to do stuff against Peja…didn't work out well. Hornets 101, Raptors 92 In a game with no Tyson Chandler, no MP3 downloads, CB4, no CP3, no C3PO, no R2D2, or CLR, no CCR, and thanks to Rogers, no HDTV or PVR, the Raptors lose 92-101 to the Hornets. The Raps allowed the home …Continue Reading


text: Pictures of Jamie Oliver's Baby Son Buddy 2010-09-16 11:53:00 Jamie and Jools Oliver Welcome Son Buddy by POPSUGAR Moms 9/16/10 0 Reactions 0 Shares Print 0 0 0 0 0 Previous Photo 1 of 7 View on One Page Next 1 Jamie and Jools Oliver Welcome Son Buddy Read More HeadlinesBaby AnnouncementsBaby NamesBirth AnnouncementsJamie OliverCelebrity Babies Celebrity Babies You're Going to Laugh When You Hear Kelly Ripa's Parenting Motto 2 hours ago The Many Adorable Faces of Prince George 22 hours ago Beyoncé's Sexy Summer Getaways Will Have You Itching For Your Own Vacation 3 days ago Rachel, Gisele, Tori, and More Shared the Sweetest Snaps of Their Tots This Week! 3 days ago Shakira and Gerard Piqué Are Already Adorable Parents 4 days ago Ciara Talks About Life as a New Mom and Getting Her Body Back 4 days ago Link Love Mom forced to stop feeding baby homemade formula — BabyCenter Blog The easiest ways to save on organic food — The Stir A look inside Fergie's second baby shower — Celebrity Baby Scoop Danielle Jonas debuts her baby bump — People Moms & Babies 7 light and fresh recipes to take you through Summer — FitPregnancy Does where you live affect your risk for PPD? — The Bump Where to find the best deals on school supplies — Real Simple Now this is how you announce a pregnancy! — HuffPost Parents Latest


text:
Structured Planning Lead To Better Business Performance
Download Now Free registration required
Executive Summary
To compete successfully today, companies need to look beyond operating efficiencies to improving their processes for managing performance. Many companies have invested heavily in performance management technology, but have placed less emphasis on performance management processes. Our survey of senior finance and IT executives reveals that companies that have adopted clearly defined, well-structured, repeatable processes for strategy setting, business planning, and decision making are more able to make well-informed and timely decisions in response to internal and external changes, among other business benefits.
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Saint Aurea
Immigrated from Syria to France. Nun. Served as abbess of Saint Martial in Paris, France for 33 years. Died with 160 of her sisters during a plague epidemic.
- Book of Saints, by the Monks of Ramsgate
- Catholic Online
- Our Sunday Visitor's Encyclopedia of Saints
- "Saint Aurea". Saints.SQPN.com. 3 October 2013. Web. 27 August 2014. <>


text: July Entertainment Must Haves in Music, TV, and Movies BuzzSugar's Must Haves For July by POPSUGAR Entertainment 7/01/10 4 Reactions 6 Shares Print 0 4 2 0 0 Now that we've put June to bed, it's time to look ahead to all that's coming at you in July. Mad Men makes its highly-anticipated return, but the box office is also heating up with some big-name stars. Here's your 411 — take a look, and then mark your calendar! The Primetime Emmy Nominations What's Your Reaction? 0 0 0 0 0 0 In the wee hours of the morning on July 8, Sofia Vergara and Joel McHale will rattle off the list of names in the running for this year's Primetime Emmy Awards. Get ready to fake surprise, Glee kids. Source: WireImage 1 / 7 The Kids Are All Right What's Your Reaction? 0 0 0 0 0 0 A great-looking film trailer plus catchy tunes have only upped my anticipation for this story of a lesbian couple (Annette Bening and Julianne Moore) and the sperm donor (Mark Ruffalo) who fathered their two kids. Put me down for opening day on July 9. 2 / 7 M.I.A., /\/\/\Y/\ What's Your Reaction? 0 0 0 0 0 0 M.I.A. is always one to cause a ruckus, but when you give an album an unusual title (/\/\/\Y/\) and a catchy first single ("XXXO"), you're pretty much guaranteed to get the public's attention. Get ready for party tunes and attitude when it hits shelves on July 13. 3 / 7 Inception What's Your Reaction? 0 0 0 0 0 0 Two of my favorite boys of Summer, Leonardo DiCaprio and Joseph Gordon-Levitt, team up for Inception. Even though the trailer left me scratching my head, I'm still intrigued by the unusual plot (not to mention the sneak peek photos). The film hits theaters July 16. 4 / 7 Comic-Con What's Your Reaction? 0 0 0 0 0 0 The festival of choice for entertainment nerds everywhere, Comic-Con continues to grow with even more TV shows, movies, and stars in attendance. This year's event promises famous faces from Chuck, The Vampire Diaries, and True Blood, just to name a few. I'll be there for all the fandemonium, so be sure to check back July 22-25. Source: Getty 6 / 7 Salt What's Your Reaction? 0 0 0 0 0 0 Action parts come easy to Angelina Jolie, but I'm particularly curious about Salt, seeing as how the role was originally intended for Tom Cruise. Will the actress be able to pull off the spy character (and all of those wig changes)? All signs point to yes. The movie comes to theaters July 23. 6 / 7 Mad Men What's Your Reaction? 0 0 0 0 0 0 AMC has been trying to appease us with early video footage and photos for Mad Men's fourth season, but I'm still chomping at the bit for the premiere. What's become of Betty? Will Don find success with the new agency? And what is up with Peggy's hair?! Hopefully, we'll get our answers on July 25. 7 / 7 0 4 2 0 0 Read More 2010 Emmy Awards2010 Comic-ConThe Kids Are All RightInceptionJuly Must HavesMad MenMIAMust HavesSalt Mad Men 11 Emmy Facts That Will Blow Your Mind 14 hours ago This Is What Would Happen If Joan Holloway Worked in Your Office Today 1 week ago The Maddest Moments of Mad Men's Final Season 5/27 Watch Bert's Bizarre Final Dance on Mad Men 5/27 See the Mad Men Ladies' Beauty Evolutions 5/11 Don Who? 22 Reasons Roger Sterling Is the Best Mad Man 5/11 Get a Personalized Celebrity & Entertainment Newsletter! Help us customize your newsletter by selecting your interests (optional): A Listers TV Young Hollywood Movies gd101 4 years I'm excited for Salt! :D gd101 4 years I'm excited for Salt! :D Link Love Watch the video for Haim's "My Song 5" — HuffPost Entertainment Get major spoilers for the new season of Arrow — Moviepilot The Simpsons FXX marathon schedule is here — Vulture The Rock's DC superhero role is confirmed! — Moviefone Why superhero movies don't actually need villains — Cracked The biggest meltdowns of The Real Housewives of Orange County — BuddyTV SNL cast members remember late announcer Don Pardo — BuzzFeed The 15 best quotes from this week's PLL — Pretty Little Liars How to steal Taylor Swift's "Shake It Off" looks — POPSUGAR Beauty


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The election of a Sudanese warlord accused of genocide to the United Nations Human Rights Council is now virtually guaranteed, since he has the full backing of the world body's African delegation.
The International Criminal Court has issued a warrant for Omar Al-Bashir — its first ever for a sitting head of state — for crimes against humanity he allegedly committed in Darfur. Yet, his regime is set to take its place on the panel, in the latest bizarre appointment to make a mockery of the UN's human rights credibility, according to critics.
It's like putting "Jack the Ripper in charge of a women's shelter," said Hillel Neuer, executive director of UN Watch.
Neuer's Geneva-based group is calling on UN High Commissioner for Human Rights Navi Pillay to denounce election of the war-torn North African nation to the 47-member body. Sudan is not technically on the panel, but its election is a certainty because only five African nations are vying for the continent's five seats.
Post Continues on www.foxnews.com


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SAG 2013 After Party: The Weinstein Co.
Winners | Complete list| Backstage | Red carpet | Show highlights | Best & Worst | Photo Booth | Quotes
Parks and attractions that have closed through the years.
Living on in infamy.
Remember when they were little?
See photos and videos from Bike Week.
Some of the best photos from dozens of Florida springs
Who consumes the most alcohol per capita?


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Expired Property Listing
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Luxurious 4BR Townhome - Hot Tub-Family Friendly in Park City
- bedrooms 4
- baths 3½
- sleeps 9
- pool yes
- hot tub yes
- pets allowed no
- type Townhome
- community Bear Hollow
rates (USD)
/ night
$ 1,500 - $ 3,850 / week
vacation rental description
Stay and play at this NEW Bear Hollow 4BR/3.5BA 2250 sq. ft.
townhouse. Bear Hollow is located in
Olympic Park on the free bus route (the bus stop is just outside of
the entrance to Bear Hollow).
The Canyons is 1.5 miles up the road; Park City Mountain Resort is 5
miles away; Deer Valley is a
short 10 minute drive. Restaurants and shopping are at your
fingertips. We are positive that you
will love our professionally decorated home. The kitchen boasts
granite countertops, gourmet
stainless steel appliances, double ovens and much more. Plenty of
seating at the dining table; High
chair is available; The 42" flat panel TV (with satellite, DVD, iPod
dock, surround sound) is easy
to see from everywhere on the main floor. And of course, step right
out to the private HOT TUB.
Upstairs, the master suite has a plush KING bed with a full bathroom.
The second bedroom has a
pillow top QUEEN bed with sitting area. The TWIN BUNKS with trundle
make up the comfortable third
upstairs room. Relax in the UPSTAIRS LOFT where you will find board
games, poker chips and cards to
play. Luxury sheets, comforters and towels are provided. Pack n Play and High-chair are available if you need it.
Downstairs you will find the fourth bedroom/den, which has a 32" flat
panel TV, DVD and satellite.
Here is a comfortable queen sleeper sofa and it's own private full
In the attached garage, you will find ski and snowboard racks as well
as 2 sets of snow shoes for
your enjoyment. The clubhouse is across the street which has a full
workout room with treadmills,
bikes, ellipticals as well as weights; There is a computer with
internet access, pool (summers only)
and hot tub (there is a PRIVATE HOT TUB in the townhouse.)
Relax, enjoy the mountain air - it doesn't get much better than
townhome rental amenities
Gourmet Kitchen - stainless steel appliances, double oven, 5 burner
Private HOT TUB!!
Flat panel TV's, with DVD, satellite cable, surround sound, iPod
docking station
Attached garage with ski/board racks
Snow shoes (2 pair)
Games - board games, dvd games, poker chips/cards
Secure WIFI is available
activities and attractions in Park City Utah
Cross country skiing
Bobsled/luge at Olympic park
Sled rides/sleigh rides
Outdoor heated pool (summer months)
Fine dining
vacation rental rates
Early Season ......... Nov 22-Dec 17 ... $315/night $1800/week
Holiday .................. Dec 18-Jan 03 .... $550/night $3500/week
Ski Season ............ Jan 04-Mar 31 .... $415/night $2600/week
Sundance .............. Jan 21-Jan 31 .... $550/night $3500/week
Presidents Week ... Feb 12-Feb 21 ... $500/night $3300/week
Spring Skiing ......... Apr 01-Apr 11 .... $300/night $1800/week
Summer ................. Apr 13-Nov 30 ... $250/night $1500/week
$150 cleaning fee & Utah tax not included, Pay Pal/Credit Cards accepted
**ask about last minute discounts!!**


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The Online Master of Arts in Educational Leadership prepares students to serve as effective, innovative educational administrators. Graduates emerge well equipped to fulfill leadership roles in Pre-K–12 schools as principals, assistant principals, teacher leaders, curriculum leaders, and department chairs.
Most students complete the Online M.A. in Educational Leadership with the Online Preliminary Administrative Services Credential (PASC), Tier I in a combined program also offered at APU in an online or on-campus format.
For those interested in earning their degree on campus, APU offers the traditional Master of Arts in Educational Leadership at seven Southern California locations.
Learn more about the program and our faculty.
Program Highlights
- Benefit from online courses and fieldwork aligned with the California Professional Standards for Educational Leaders (CPSEL).
- Learn from faculty with years of experience, many actively working in school administration.
- Integrate rigorous scholarly work with the distinct tenets of the Christian faith.
- Complete your degree in a dynamic online environment without sacrificing the quality of instruction or professor-student interaction.
- Study at a top-ranked, accredited university known for quality in academics and successful graduates.
This online degree is offered by APU's School of Education. View additional graduate education programs.


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Video: Streetwise: Low trading volumes not just result of summer doldrums Add to ...
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David Berman and Boyd Erman report from the Globe and Mail.
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Video: The Amazing Space: Office draws inspiration from the past with vintage typewriters, telephones
Canada Post is changing, but these numbers prove it's not shrinking
Look to other industries for inspiration in your own: Bombardier exec
Today's data management will dictate future success or failure of companies
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Nov. 3, 2008 will forever be known as one of the most regrettable days in Pistons history.
How the disappointing and controversial ending of a sweet shooting former Nuggets guard has obscured what could have been a great career.
Next part in our series about the 1994 Denver Nuggets is a player profile of the one and only Phonz. LaPhonso Ellis.
How a power forward from the University of Alabama almost saved the Denver Nuggets.
Dirk Nowitzi, who has had knee problems throughout this season, won't represent the Western Conference for the first time since 2001.
How one Denver Stiffs writer forged a friendship with his father through the language of basketball.
This is the story behind The Hoop Dream. Brian Joseph Smith is the president and founder of The Hoop Dream and his mission is to bring the game of basketball to East Africa where he currently has...
The Nuggets played admirably in a loss to Miami. But the losses to Orlando and Philadelphia could mean the difference in playoff seeding come April.
Antonio McDyess's agent is reaching out to a select group of teams gauging interest in the 15-year veteran's services.
"The Manimal" - aka Kenneth Faried - became the first Nugget since Carmelo Anthony in 2004 to make the NBA's All-Rookie First Team. It's well deserved and further cements Faried as one of the great...
Ex-Piston Antonio McDyess retires, symbolizing the heart and effort that Detroit will always look to for bright inspiration.
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Next Tuesday, Superintendent Bill Husfelt will make his rezoning recommendation to the Bay District School Board. Back in December, one of the suggestions was possibly closing the elementary portion of the Dean Bozeman School to deal with under-capacity schools in the area.
In his recommendation to be presented next week, Superintendent Bill Husfelt has decided to not include any closures whatsoever.
"We changed it a little bit. We're going to rezone the whole area and relieve some of the population at Bozeman," says Husfelt. "While they're only at 83 percent capacity, they only have one classroom available. They have no where for growth."
The recommendation would rezone the Tommy Smith, Southport, Deerpoint and Bozeman areas. It addresses both the under-capacity schools and the potential growth in the Lake Merial Development.
"This answers two questions. One, it prepares Bozeman for the growth if its going to happen, and two it helps bring the other schools up to a higher capacity and more efficiency. It gives Bozeman some time to see if that area is going to grow up the way they say its going to grow up," says Husfelt.
While closing the elementary portion of Bozeman is off the table, the faculty at the school says there are still a lot of unanswered questions.
Without the elementary school closure being on the superintendent's list of recommendations, obviously there will be some relief with the teachers," says Josh Balkom, principal of Dean Bozeman. "There is still some uncertainty because it is just a recommendation. Who knows how our numbers will adjust, and what that will lead to. Whether we will have a reduction in force, or what will happen."
If the recommendation is approved by the board, it will then be advertised to the public before a final vote. Also, if the new zones take effect, students can be grandfathered into their current school.
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NORMAL, Ill -- School shootings and gun control have gripped the nation's attention in the last few months. While many say the answer lies in safety, local law enforcement and school administrators are hoping to prevent tragedies by learning about student behavior.
"These are not sudden and impulsive incidents. These have been pressures that have been built up in these particular individuals," said Ron Ellis, the director of School and Campus Security Training with the Illinois Terrorism Task Force.
Ellis said the shooters at Virginia Tech, Fort Hood and NIU all exhibited similar behaviors, "Fixation on extreme violence, having access or extreme interest in weapons."
Thursday morning Ellis taught law enforcement and school administrators, mostly from McLean County, how to look for potential issues students are having before there is a tragedy.
Mark Jontry, the Regional Superintendent of Schools, also attended the training. He said, "To take pieces of information that may not seem to be connected at the outset, but if you put the puzzle together, if you will, then it presents a clearer picture and allows us to take appropriate action to allow us to intervene."
School administrators expect to take their knowledge of what to look for, back to teachers, who are often on the front lines of reporting these issues.
"Some early warning signs which are often exhibited in English writing, poems, papers at school and in art where kids tend to express themselves," said Ellis.
A shooting incident at Normal Community High School last September hits home the significance of training like this.
"That is what is making this so important for everybody is to get in here so that we can identify these problems well before we have an incident," said Illinois State Police Trooper Dustin Pierce.
Pierce said keeping students safe on all campuses will take a group effort from parents and teachers, to school administrators and law enforcement.
"Everybody has response plans in place, but we want plans in place too so that we don't have to use those response plans to create a safe learning environment for the students," said Trooper Pierce.


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Brandon Knutson entered the second round of the South Bend Metro with a 5-stroke lead after firing a 67 Saturday. Sunday proved to be more challenging, but he had a nice shot on 10 to finish the hole with a birdie. But, Knutson shot a 3-over 75 on the day.
Meanwhile, John Urbanski entered the day tied for 2nd at even par, but he also had a great shot on hole number 10, landing it just inches from the cup. He finished the hole with a birdie to shoot 1-under on the day. Urbanski is one shot back of Knutson.
Knutson is 2-under 142, with Urbanski right behind him. Jim Taylor shot 1-under on the day and is in 3rd. Polizzotto and Crosbie are 6 shots back at 148.
The 3rd round will be held Saturday at Erskine, with the final round wrapping up at The Warren Course at Notre Dame Sunday.
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"To give a sense of how families are struggling, a record four out of every 10 school kids in Ohio now qualifies for subsidized lunch."
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Original Citation:
Miles, Adrian. "Softvideography." Cybertext Yearbook 2002-2003. Eds. Markku Eskelinen and Raine Koskimaa. Vol. 77. Jyväskylän: Research Center for Contemporary Culture, 2003. 218-36.
Interactive video has much that it could learn from hypertext. Not the hypertext that is most of the web, nor the hypertext that is parodied in many of the essays in the recent interactive cinema anthology "New Screen Media: Cinema/Art/Narrative"(2002), but the hypertext theory and practice that has spent over 20 years actively making, theorising, reading, and researching multilinear narrative, multilinear structure, link typologies, narrative closure in interactive narrative, anti narrative, and so on and so forth. It would be academically trivial, and probably spiteful, to catalogue the way in which recent writing on interactive cinema literally reprises the anticipation, excitement and assumptions about interactivity and nascent futures that hypertext experienced, or to point out that in three or four years exactly the same retrospective criticisms will be made of interactive video as have been made of hypertext. Multilinear narrative, structure, and architecture are problems common to new narrative in general, so I'd like to extend this research more specifically with an investigation into 'softvideo' practice – critical ressentiment can take care of itself.
In 1988 Diane Balestri published a paper that by its regular appearance in introductory books on hypertext, for example Bolter (1991) and Snyder (1996), can be considered a canonical work. In this essay she discriminates between using the computer to author 'hard copy', that is work which requires a material substrate such as the page, and using the computer to author 'softcopy', work that is only intended to be presented via the immaterial substrate of the screen.
The implications of the distinction between hard and softcopy have been extensively explored in hypertext theory, and have been used to affirm numerous key qualities of hypertext as softcopy: screens are variable in their dimensions and may be multiple; work no longer need have a front, back, or middle; content can be changed at will; readers can manipulate the presentation of content through the alteration of font size and properties, window dimensions, text and window colour; content and structure can be variable during the reading or use of a work; a work may have multiple (and simultaneous) narrative architectures; and it may be unable to be represented or distributed in any adequate hard copy format.
However, much of the literature on softcopy appears to have concentrated on its implications for the presentation or reading of content or documents, whereas softcopy also has obvious and significant implications for how we consider the authoring of content, a point well made in a different context by Moulthrop and Kaplan (1991). All that is meant by this is that if we are working in a fully softcopy environment, that is working on a computer to present material that is only to be realised via the computer, then we can use new or different tools, and certainly different methodologies and practices, than those we might use for hard copy authoring and presentation. This should not be confused with the common Information Technology instrumentality that uses digital tools to do old jobs in new ways, softcopy is instead a paradigmatic shift in the sorts of objects that can now be authored which entails, like most paradigm shifts, new ideologies (or at least the revisiting of old ones) of not just reading but also authoring.
As an example of hard copy (print) ideology in softcopy environments, consider the role of alphabetisisation, which we ordinarily use to serially order things like academic bibliographies. Of course, they only need to have this order because they have traditionally appeared on paper, so that if you need to find a particular bibliographic entry you need to know where in the list it ought to appear. However, in a softcopy environment this is no longer necessary (and its persistence is largely due to the hegemonic hold of print literacy in academic culture) because a simple search function can easily retrieve and display any bibliographic entry, anywhere in the document or docuverse. This is not an argument against the alphabetical ordering of lists in bibliographies, it is only to point out that features like 'sort' in word processing programs are there to facilitate content into hard copy and maintain existing paradigms of content authoring and dissemination. Most hypertext tools, on the other hand, tend not to rely on things like alphabetisation to sort or categorise information, including lists.
To write in a softcopy environment is to begin to recognise some of the ideological assumptions drawn from the hard copy world that have naturalised (and socialised) our approach to the authoring, publishing, and reading of content in softcopy domains. These assumptions are derived from our intimate understanding and experience of the material resistance of hard copy environments (which for instance is why and how we have things like pagination), as it is a sophisticated material literacy that lets me make a list using a biro on paper rather than glass, and mistakes the decision to do this as my own. In print literacy this material resistance includes such things as the materiality of language (de Saussure's signifier), our tools of inscription, and what it is we think we want to say with these. That each of these have been naturalised by the hardcopy paradigm of traditional print literacy is foregrounded by softcopy as a writing and reading practice.
softcopy towards digital video
Simply put, softcopy suggests that it is not only the presentation of objects that may change in digital environments but also the sorts of objects that can be created. However, we can only make these new objects when we are able, as most of us are with print literacy, to recognise and write in and with the qualitative material resistances and affordances of the softcopy world. This materiality is often thought to be superfluous in electronic environments, after all digitisation erases difference at the machine level, but of course as any new media practitioner knows there is resistance in code, the screen, bandwidth, users, and so on. There is a difference however between being able to affirm this resistance as that which constitutes work — work as an object and work as praxis — and regarding this resistance as noise that an imagined electronic future will dissolve.
When we move to video and digital technologies it is apparent that digitisation is firmly established in the production work flow of film making at almost all professional levels, with significant creative and industrial consequences, as Elsaesser and Hoffman's (1998) anthology and McQuire's (1997) report show. Certainly, from introductory film schools to high budget features have adopted digitisation in various guises, and with the introduction of iMovie on the Macintosh and Windows Movie Maker on Windows XP, digitised video is largely the only way domestic users have ever had to edit their work. While the aesthetic influence of the digital as a mode of narration on commercial and industrial production remains relatively minor, though landmark narrative fiction works are probably Tykwer's Lola Rennt (1998), Figgis' Timecode, (2000), Cochran and Surnow's television series 24 (2001), and Nolan's Memento (2000), see for instance Hales (2002) and Dovey (2002), it is also the case that most of the digital tools used in cinema production have been resolutely orientated towards hard copy outcomes, and in fact treat digital video largely as if it were only hard copy orientated. This hard copy view also extends to computer based video work that is not intended for traditional screen based (television and cinema) delivery, such as online, CD and DVD content.
desktop digital video into softvideo
Desktop based digital video is probably at a similar point to what desktop publishing was with the introduction of the first Macintosh in 1984. It is now possible to shoot, edit and print to tape broadcast quality video using a small digital video camera and a laptop computer (indeed Apple's influence here is striking with Final Cut Pro largely revolutionising and redefining digital video production as it moves from the desktop to the laptop). Like desktop publishing before it – right down to the almost but not quite affordable tools — desktop digital video primarily decentralises the ability to do what previously could only be done with very expensive, essentially centralised, capital and skill intensive resources. And, just like desktop publishing, its major effect is not to see a revolution in genres or a revisited poetics of cinema, but simply facilitates access to production resources so that more people more or less can now do more of the same.
This, it must be stressed, is not a bad thing. However, as hypertext rather elegiacly showed us, it was not WYSIWYG design and printing that led to significant new digital genres (indeed the laser printer is irrelevant in this context), but work that was designed to take advantage of the environment that the computer in its entirety provided. In the case of digital video, the same applies. For example, iMovie and Final Cut Pro, Windows Movie Maker, Adobe Premiere, Avid Xpress DV, and Media 100 are all digital editing systems intended to facilitate content for presentation in existing televisual contexts. This means, much like the printer in desktop publishing, that they're primarily used to print content back to tape, whether to the camera or a VCR hardly matters.
If you like, these digital tools are primarily orientated towards publication (or transmission) and this form of publication requires a linear time based substrate, the privileged model of which is of course film and its avatar the video cassette — video hard copy. Now, obviously I am suggesting that this is not so very different from using your computer to get words out onto paper, and it isn't. But of course it also suggests an alternative conception where we can use our computers to work with time based media where the delivery environment is not subject to the temporal temperance of cinema and video. This does not simply mean that we can now make works that are multilinear, which seems to have been the popular understanding (and practice) of much networked interactive media. As we've seen, softcopy in relation to writing includes much more than multilinearity, and while all the formal qualities of softcopy may be formed in relation to their interrogation of the stability of the page, they have also provided a poetics of screen based textual production and reception that productively looks outside of the page or the book. This suggests that we ought to be able to articulate a new poetics for desktop video — where historically digitisation in regard to video has been understood to be little more than a combination of a moving image plus sound track that can be played 'randomly' — that is neither specifically cinematic, videographic, or generically multimediated, a poetics that looks towards the formal possibilities afforded by digital, networked, screen based video. This poetics requires the video equivalent of softcopy, or as I prefer, softvideo.
applied softvideo
A softvideo poetics requires an immanent form of working with digital video that is perhaps modelled as much on writing as it is on film making practice. This is not an argument for the necessity or inevitability of code but only the simple observation that we have a sophistication in the way we use a biro and a piece of paper that is an exemplar of an informed literate poetics. We doodle, take notes, write in the margins, sideways, on recto and verso, apply different pressures for variable densities of ink, and so on. Contrast this to interactive digital video, as a specific, immanent, and emergent digital computer process, and what largely happens is that traditional praxis remains untouched. We shoot, we cut, we compress, we put the moving image plus sound track online or into our interactive work.
What is the difference between hard and softvideo? Largely that in hard video the digitised video remains a singular or if you like sufficient media object in or for itself. I mean this not only in terms of perhaps what the video segment, fragment or sequence might mean, but more specifically as an object in itself where the integrity of the object is and remains singular. It is a moving picture track with a sound track with a fixed duration. This is digital video as a delivery envelope, and even where such content might be inserted and made a part of multilinear interactive works, whether fiction, nonfiction, experimental, online, CDROM or DVD it is not interactive for the video remains mute in regards to interaction which generally happens outside of itself. In other words, it is not that much different from television, click, it plays, click, it stops, click, it gets louder, or perhaps quieter.
However, if we approach video as softcopy, that is as softvideo, then we can think about digital video in dramatically different ways. This thinking, of course, can only be preliminary as I think it is clear that the genuinely novel forms or genres that will emerge from a properly digital video practice are yet to be recognised, or even found. (In much the same way that I would argue that blogs are one of the first major immanent genres for networked Web based writing, and they took a good five years to appear, and probably another two years to become obviously visible and intelligible as a genre.) But such a thinking does and will ground itself within the materiality of digital video as a practice that hears and responds towards that which is immanent to, and enabled by, these technologies, a looking forwards toward the new rather than our current looking backwards to define the forms and uses for digital video.
A first step towards softvideo is to no longer regard digital video as just a publication or delivery format, which is the current digital video as desktop video paradigm (which is of course the same as the desktop publishing model) but to treat it as an authoring and publication environment. This suggests that a major theme for a softvideo poetics to explore is the description or development of a videographic writing practice within video itself, that is to use digital video as a medium in which we write. To return to my hypertext analogy, it is the difference between writing in a native hypertext architecture (say for instance Eastgate's Storyspace, Apple's Hypercard, or even simply HTML) and writing in Microsoft Word and choosing to save your document as a web page. The former is writing hypertext while the latter confuses publishing in a medium with writing in the medium. To write in or with digital video should allow us to articulate a vocabulary of the elements that may constitute the formal contexts of softvideo, so that softvideo can become an engaged rather than imaginary practice.
Currently, as far as I can determine, QuickTime is the only readily accessible digital architecture that supports the qualities of softvideo, and what follows is an explanation and exploration of some of the implications of this as I have developed them in my own applied research practice.
As a simple example of what I mean by the materiality of softvideo is the difference in the way that a softvideo architecture conceives of frames and frame rates. If, or instance, I wish to show a still image with a continuous soundtrack, then in most video editing programs I simply import or capture (or draw) the requisite image, then stretch its duration to the soundtrack. When I save and export this work it will then draw this still image for the required number of frames at the specified frame rate. This is digital video as hard copy, for if my delivery environment is the computer screen then there is no need whatsoever to draw the single image at any frame rate, because there is not in fact a need for a frame rate in this sense — frames per second itself being very much a hard copy or hard video concept.
However, if I author my content in something as simple as QuickTime Player and do the same thing, then the final digital movie that is produced operates in a softcopy manner, QuickTime simply displays one image (one frame if you like) and holds it on screen for the specified duration while the soundtrack plays. In real terms this means that to add (keeping our example rather simple) an image to a soundtrack and then saving this as a completed digital video only adds the size of the still image to the final digital file. This is the case whether the movie runs for one, three, or twenty minutes. This is a softcopy conception of digital video.
A project that illustrates this well is "International Day of Time Dependent Art" (Miles, 2002) where approximately two minutes of digitised video, or if you prefer 2MB, has been stretched to run for twenty minutes twenty seconds. Of course the effect of this is to make the indexical video content (what the video footage is of) appear in extreme slow motion, but the point is that this is a digital movie that now runs for over twenty minutes, yet is only 2MB in size. Stretching its duration to forty minutes, if I am authoring in QuickTime for softvideo, makes no difference to the file size — it would still be 2MB in size.
This is, of course, just a beginning, but it does suggest some of the ways in which cinematic duration becomes problematised in softvideo (a point I shall return to). More significantly for a softvideo practice is the understanding that an architecture such as QuickTime is a multitrack and multiobject architecture. What this means is that a QuickTime (and in the near future MPEG 4) file does not need to consist of one video track and one sound track, indeed the "Day" work mentioned above consists of nine video tracks, one text and one sprite track, but can more or less include any number of video, audio, text, picture, and indeed several other sorts of tracks. Now, this immediately makes possible various forms of videographic collage and montage within a single work, what Manovich (2001) describes as spatial montage. For instance, by combining one picture track with, say, nine video tracks, a movie like "canberra rain"(Miles, 2002) is possible, with the divided video panes in themselves providing a form of montage, a literal cutting, internally within the movie, while also being simultaneously a form of video collage. In addition, nine text tracks are available within "canberra rain" which adds another layer or level of collage within the movie as they toggle between visibility and invisibility in response to user activity, and of course as each text pane partially obscures the video panes it also becomes an additional level of montage, though a montage performed via collage.
When child movies (see for example "Child movies", Miles, 2002) are introduced, that is tracks where the content is independent of the parent movie, then further formal problems become evident. For example in "Exquisite Corpse" (Miles and Stewart, 2002) three child movies are arranged within a wide screen parent movie. As the three videos and their accompanying sound tracks are child movies each can be played independently of the parent movie, and independently of each other. This also means that each child movie may also be of variable duration. In the case of "Exquisite Corpse" the user mouses into the upper or lower bar over each video window, which simply runs its associated video pane at normal speed, with full volume. At the same time the next video pane in the series plays at half normal speed, and then the next track at quarter normal speed. Mousing into another video track simply repeats the process in series.
A simpler outcome is effected in "voxvog" (Miles 2002) where the central video window is divided into four transparent sprites that count and store the number of mouse entries (that is the action of the user moving the mouse into the sprite space is counted) and this is used as a variable to control which of 70 individual images to load in each of the four smaller video panes. These four panes are childmovie tracks and so what gets loaded in this particular work is conditional on when and where the user mouses within the video space. Of course these could also have been loaded on the basis of time, a combination of time and user activity, or indeed just randomised.
one softvideo poetics
It is important to recognise within these works, and in softvideo practice in general, that each of the tracks that constitute a QuickTime work are independent objects able to be scripted by the softvideo writer (softvideographer?). That is, each track can be conceived of as analogous to individual nodes in a hypertext work. Furthermore, each of these tracks (as objects) have a range of properties that can be controlled or negotiated via a softvideo writing practice, which in this case is literally scripting, so that their speed, visibility, volume, size, colour, transparency, direction of play, mobility, and even their presence, can be engaged with. While a softvideo movie may contain nine video and nine text tracks each can easily be made to move, play, overlap, disappear, reappear, and so on on the basis of readerly actions.
As a point from which to begin, certainly in the contexts of my own applied research practice, these formal elements constitute the domain of one particular softvideo practice (for softvideo is a methodology rather than a genre, style or formula) involving the use of softvideo for networked interactive desktop video. These works, known as vogs (video blogs) appropriate the generic form of the personal blog as one appropriate model for articulating a softvideo argot. This means the vogs are works that consider themselves to be sketches rather than monuments, after all, in an age of desktop consumer digital video it is probably time that video became as disposable (or cheap) as the word. As the vog manifesto (Miles, 2000) states, networked interactive desktop video are an applied softvideo practice that recognises a set of key terms as enabling and productive constraints. These terms include their production and delivery via a network, on desktops, they require and assume interactivity, and they treat digital video as an authorial plastic architecture rather than a delivery format.
Vogs are networked in that they are distributed via existing, viable network infrastructures, often including low band. In addition, a vog may utilise the network as an integral part of its softvideo practice, for instance in appropriating objects outside of itself that reside on the network (for instance "Bergen Appropriation" Miles, 2001), providing links to objects that are available on the network, or in a more sophisticated model utilise things like QuickTime's child movie abilities to load external content when requested. However, vogs are also networked in a less technical sense through the softvideo writing model they offer. They are small works that, like blogs, tend towards a public intimacy and offer a model for what I'd characterise as a distributed softvideo writing practice, in the same manner as blogs (Mortensen and Walker, 2002). In other words, they are less about consumption (watching others content) than exploring models for authorship and production, for as blogs and most other successful and viable networked communication technologies indicate, it is the ability to participate as communicative peers that is much more significant and viable for distributed networks than our reconstruction into new consumers.
A vog is interactive in that the user has to do something, and this something affects in a literal way the work itself. This is more or less Aarseth's (1997) 'ergodics' where the reader or user needs to perform non–trivial actions to read the text, and these actions are non–trivial because they have consequences for the text. Hence, clicking a play, pause, or stop button is not ergodic, nor is it what I would characterise as interactive — unless we want to call our everyday use of television interactive — as they are essentially trivial actions (much like turning the pages of a book) and do not qualitatively affect the text in itself. Of course, this also presents the possibility that while an individual vog ought to be ergodic, it would be perfectly reasonable when considered as a genre or a collected body of work to have a vog or vogs that in fact are not ergodic. This would be analogous to those hypermedia works that might utilise passages where there is little user choice, for instance parts of "Grammatron" (Amerika, n.d.) or "Hegirascope" (Moulthrop, 1997), and recognises that when interactivity is taken as a given then the lack of such interactivity becomes significant and meaningful. A Web example of this would be the "last page on the internet" screens where the playful irony of the work can only operate because of our now taken for granted assumption that all web pages are in fact linked in and out.
Finally, as an applied videographic networked practice vogs recognise that the visible context of publication or distribution is the personal computer screen. This does mean that the context of viewing is individual, personal, and probably domestic. It also means that users in such environments are generally time, bandwidth, and screen poor. Simply put, most people, most of the time, may not have two hours to interact with your content each week, and so much like blogs, vogs tend to be brief and either self contained or episodic. Even where users have significant bandwidth, for example first world universities, this still poses considerable restraints on the screen dimensions and resolution of softvideo works. In addition, users not only generally have smaller screens than those who work professionally in new media, but of course as a personal and domestic space user computer screens are also being used for other things at the same time, so a vog does not usually attempt to own all of a users screen space. This reflects the way that people actually do use their computers, ordinarily having several windows, programs and activities underway at once. An appropriate use of softvideo for such contexts then ought to recognise this and insert itself within or around what is the desktop computer equivalent of Raymond William's (1990) televisual flow.
conclusions (consequences)
The implications of a work as simple in structure as "Exquisite Corpse" (Miles and Stewart, 2002) are quite dramatic. As each of the child tracks has been scripted to loop "Exquisite Corpse" is a film with no duration, that is it has no end. This is a much more radical implication than simple video looping suggests, where such looping has tended to be singular and stable and so no fixed end simply means iterative repetition, for here there are three loops, with completely independent and variable durations, where the speed of play is partially controlled and negotiated by the user. Hence, to play this work, and here play becomes a very literal and active verb, the user via their action and the scripting is controlling the playing rate of each of the three tracks, and as they move from one to the next the duration of each is constantly changing, effectively always changing the duration of the whole.
Furthermore, the relations or combinations established between each of the three video panels is and remains an open set, for mousing through the movie in the manner required to play it produces forms of collage (images on a common plane in simultaneous vision) and montage (when and where you mouse effects visual changes in the relations between consecutive parts) meaning there is no fixed work, canonical order, sequence, or teleological point that the relations among each of the three works aims towards. Hence, not only is the work of no fixed duration due to the combination of three variable loops, but also each time it is played performs a new and singular iteration of the work.
The recognition that each track within the work is in fact capable of being an independent entity is a major paradigmatic shift in terms of traditional cinematic practice. It does begin to suggest the ways in which softvideography is a qualitative shift from the more usual methods of digital video production and it also helps to illustrate the way in which softvideo is analogous to hypermedia writing rather than traditional visual and audio editing practices where mise-en–scene considers the parts within the scene as 'objects' to be 'written' with, and montage as a second level principle of organisation and decision. In the final work these choices appear as fixed and from an authorial and directorial point of view decisions are singular, as one shot is selected in lieu of another and then inserted into a fixed sequence. In softvideo each track, which of course can be of variable duration, location, size, content, and type, becomes an object to be written with, where this writing with is constituted by or in the event of authoring the work. Each track within a softvideo work is nbow considered as an object so the activity of making or writing softvideo is constituted by not only the decision about which objects to include and when, but also which of the variable properties for each of these objects ought to be scripted, and what that scripting might affect. These objects could be video sequences, soundtracks, still images, text, or even entire other QuickTime movies. Softvideo becomes more or less a form of ongoing and always variable, and so open, mise–en–scène. Once we recognise that tracks in a QuickTime softvideo work are discrete objects writing with these, providing an interface that controls them in some variable manner, and then actually playing these works (where it is clear that to play means much more than stop, pause, start), suggests that softvideo always requires and participates in an engaged and individuated process. It's model is always a contextualised singularity.
All that I wish to mean by this, and I do want to insist on the change it represents, is that rather than compose the work visually and acoustically (before the camera and then in postproduction), then 'flattening' this work into hard copy, there is an ever present malleability to the material that now extends from the moment of content production, past that moment of traditional authorial closure, into its future. This malleability is not the question or problem of the ways in which the work will always be interpreted differently, but affects the very nature of the object that is to be interpreted, as such a work, at least in some respects, will always be a qualitatively different object in each presentation. It is not that the object produces varying interpretations but that users in the act of reading the work will inevitably produce varying works.
That the practice of softvideo raises significant and productive questions for traditional cinematic practice and theory ought to be obvious. One major question revolves around the way in which softvideo problematises montage as a fundamental mode of time based discourse, for each of the works discussed shifts the location, role and function of montage away from the preselection and serial ordering of an eventually fixed sequence towards other possibilities. Montage as a principal of selection and organisation can now reside somewhere between the shooting or gathering of material, a dynamic combinatory system of construction (more or less automated), and a user who (more or less) knowingly controls and determines the particular montage event and sequence.
The use of multiple windows further complicates this as the relation of window to window offers a complex collage practice, whether this be via a multiwindowed work or, in the case of the vogs, that the works appear in an always and already multiwindowed environment (the PC screen) so that a simultaneous visual relationship to other windows is always present. When time is added to this, so we recognise that the collage that is the computer screen also varies in time (this window now opens over that window) then we have a combination of collage and montage that does appear to be one of the major formal properties of such digital environments (Landow 1999, Manovich 2001).
While cinema has always had a sophisticated relationship to temporality it has also had a certain belligerence — ninety minutes of film or video has always and will always occupy ninety minutes. Not in softvideo. Like cinema and hypertext, it is the manner in which the parts reflect a qualitative change in the whole that is the principle of meaning and construction in softvideo (Deleuze 1986, Miles 1999). This suggests that not only is spatiality largely not of great significance for such screen based works, but that the cinema's indexical relation to time may no longer be the bedrock for a screen based interactive softvideo practice. However, as Deleuze more than adequately demonstrates (and for that matter Chris Marker's La Jetée), cinematic duration is not the same as the record or representation of time (time as quantity) but rather the expression of a qualitative change in an always open set. This suggests, to me at least, that Deleuze will offer softvideo an applied argot that will assist in our theoretical consideration and development of a new desktop cinema practice, a theoretical endeavour that I hope will complement a possible future softvideo practice, a videographic écriture.
Aarseth, Espen J. Cybertext: Perspectives on Ergodic Literature. Baltimore: The John Hopkins University Press, 1997.
Amerika, Mark. Grammatron. http://www.grammatron.com/ n.d. Accessed October 7, 2002.
Balestri, Diane Pelkus. "Softcopy and Hard: Wordprocessing and the Writing Process"." Academic Computing 2.5 14 – 17.Feb (1988): 41 – 45.
Bolter, Jay David. Writing Space: The Computer, Hypertext, and the History of Writing. Hillsdale (N.J.): Lawrence Erlbaum Associates, 1991.
Deleuze, Gilles. Cinema One: The Movement–Image. Trans. Hugh Tomlinson and Barbara Habberjam. Minneapolis: University of Minnesota Press, 1986.
Dovey, Jon. "Notes Towards a Hypertextual Theory of Narrative." New Screen Media: Cinema/Art/Narrative. Eds. Martin Rieser and Andrea Zapp. London: British Film Institute, 2002. 135 – 45.
Druckrey, Timothy. "Preface." New Screen Media: Cinema/Art/Narrative. Eds. Martin Rieser and Andrea Zapp. London: British Film Institute, 2002. xxi-xxiv.
Elsaesser, Thomas, and Kay Hoffmann, eds. Cinema Futures: Cain, Abel or Cable? The Screen Arts in the Digital Age. Amsterdam: Amsterdam University Press, 1998.
Hales, Chris. "New Paradigms <> New Movies: Interactive Film and New Narrative Interfaces." New Screen Media: Cinema/Art/Narrative. Eds. Martin Rieser and Andrea Zapp. London: British Film Institute, 2002. 105 – 19.
Landow, George P. "Hypertext as Collage-Writing." The Digital Dialectic: New Essays on New Media. Ed. Peter Lunenfeld. Cambridge: The MIT Press, 1999. 150-70.
Manovich, Lev. The Language of New Media. Cambridge (MA): MIT Press, 2001.
McQuire, Scott. Crossing the Digital Threshold. Brisbane: Australian Key Centre for Cultural and Media Policy, 1997.
Miles, Adrian and Clare Stewart. "Exquisite Corpse". Video blog: vog. http://hypertext.rmit.edu.au/vog/9.2002/corpse.html September 28, 2002. Accessed October 1, 2002.
Miles, Adrian. "Childmovies". Video blog: vog. http://hypertext.rmit.edu.au/vog/vlog/archive/2002/102002.html#3923. (Web Log) October 7, 2002. Accessed: October 7, 2002.
Miles, Adrian. "Cinematic Paradigms for Hypertext." Continuum: Journal of Media and Cultural Studies 13.2 July (1999): 217-26.
Miles, Adrian. "Bergen Appropriation." Video blog: vog. http://hypertext.rmit.edu.au/vog/1.2001/bergencams.html. January 27, 2001. Accessed October 7, 2002.
Miles, Adrian. "canberra rain". Video blog: vog. http://hypertext.rmit.edu.au/vog/8.2002/canberra.html August 8, 2002. Accessed September 19, 2002.
Miles, Adrian. "International Day of Time Dependent Art." Video blog: vog. http://hypertext.rmit.edu.au/vog/2.2002/index.html February 20, 2002. Accessed September 19, 2002.
Miles, Adrian. "melbourne remembering Bergen (3)". Video blog: vog. http://hypertext.rmit.edu.au/vog/5.2002/nordicsky.html May 18, 2002. Accessed September 19. 2002.
Miles, Adrian. "patience". Video blog: vog. http://hypertext.rmit.edu.au/vog/1.2001/bergencams.html January 27, 2001. Accessed September 19, 2002.
Miles, Adrian. "Vogma: A Manifesto." Video blog: vog. http://hypertext.rmit.edu.au/vog/manifesto/index.html. December 12, 2000. Accessed October 7, 2002.
Miles, Adrian. "Voxvog." Video blog: vog.. http://hypertext.rmit.edu.au/vog/9.2002/voxvog.html September 24, 2002. Accessed October 7. 2002.
Mortensen, Torill, and Jill Walker. "Blogging Thoughts: Personal Publication as an Online Research Tool." Researching ICT's in Context. Ed. Andrew Morrison. Oslo: University of Oslo, 2002. 249-79.
Moulthrop, Stuart, and Nancy Kaplan. "Something to Imagine: Literature, Composition, and Interactive Fiction." Computers and Composition 9.1 (1991): 7-23.
Moulthrop, Stuart. "Hegirascope". http://raven.ubalt.edu/staff/moulthrop/hypertexts/hgs/hegirascope.html. October 1997. Accessed: July 18 2000.
Snyder, Ilana. Hypertext: The Electronic Labyrinth. Interpretations. Ed. Ken Ruthven. Melbourne: Melbourne University Press, 1996.
Williams, Raymond. Television: Technology and Cultural Form. 2nd ed. London: Routledge, 1990.
Figgis, Mike. Timecode. 2000.
Marker, Chris. La Jetée. 1962.
Nolan, Christopher. Memento. 2000.
Tykwer, Tom. Lola Rennt. 1998.
Various. 24. 2002.


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Two Minute Lick - Hank Goldberg
Name: Hank Goldberg
Birthplace: Newark, NJ
Known as "The Hammer," Hank Goldberg is a lover of all things pari-mutuel. The South Florida sports radio legend is a familiar face on ESPN thanks to his football handicapping and reporting, and he also was a key, on-air member of ESPN's horse racing telecasts.
Most influential person in my career: My father, who was a columnist. When I was young, he used to go to spring training with the [New York] Yankees in St. Petersburg. I was a bat boy for the Yankees at one time during spring training. He covered racing, too. His picture was up in the press box at Pimlico when I was there.
My out-of-the-box idea for Thoroughbred Racing: They really need to promote the game to young people and make them interested. And make the game less intimidating. Make racing more customer friendly.
My favorite racetrack: The one nearest to me. But I love Santa Anita, still. Saratoga's a great experience. I could say something positive about almost every racetrack I've been to.
My fantasy job: Playing opposite of Diane Lane in the sequel to Secretariat. Or The Cotton Club. Or any other movie she's been in.
What I like most about my job: ESPN is a wonderful place to work. The people there are very supportive, and if I have a story idea they'll listen to it.
Other sports/teams I follow: I cover pro football, but not so much now. I still handicap five games every Sunday and one for Monday Night Football. And I love college basketball.
My Heroes: I broadcast the [Miami] Dolphins for 15 years, and I covered [Dan] Marino and looked up to him. [Joe] DiMaggio was a hero of mine; my dad covered his career, and when I was a kid I had my picture taken with him a couple of times. I've been really fortunate; I've met a lot of great people in sport and racing who I've looked up to over the years ... Laz Barrera, [Charlie] Whittingham … real legends of the sport … and I became friends with a lot of them.
Something about myself that would surprise those who know me: I don't always win, but I don't think that would surprise people. I love politics, too – I'm very interested in that.
My favorite athletes of all-time: Marino and DiMaggio. I also admired [Don] Shula a lot. He was the only coach I ever covered during the 15 years I wrote about the Dolphins.
Most treasured possession/memento: It's a boxing glove. When I had my gall bladder out, Angelo Dundee brought me a signed boxing glove from Muhammad Ali.
A Pet Peeve: Listening to some of the talk shows, some of the hosts jump to conclusions and throw opinions out there without backing them up.
Favorite Magazines: I read People every week.
Favorite websites: I keep up with pro football information, because I handicap five games a week, and I'm always looking for an edge.
Gadget I cannot live without: Nobody can live without a cell phone, let's face it.
Last concert I attended: Eagles – and I'll go see them again on their next tour. They're amazing.
Favorite foods: I like Italian food, and I like Greek food. I worked for Jimmy the Greek years ago, so I got to know some Greek dishes that I still like. And I love chicken livers with onions.
What I drive: I have a Saab convertible, and they stopped making them recently, so I don't know what I'm going to do when the lease is up.
If I could be on stage with any musical group the instrument I would play is: Bass guitar, no question. Those are the cool guys.
Favorite Actor: Matt Damon – I've never seen anything he's been in that's bad. Brad Pitt, too. He was great in Moneyball.
Newspaper I read daily: I read five every day: Miami Herald, Sun Sentinel, USA Today, the New York Post, and the New York Daily News every Sunday because of Mike Lupica. And when I can, I read the L.A. Times.
I'd like to have dinner with: Steve Cauthen, Jack Kennedy and Frank Sinatra
Best racetrack food can be found at: They have good food at Gulfstream, but the best food is at Keeneland. Best corned beef sandwiches.
Accomplishment I am most proud of: Picking the Trifecta when Blame beat Zenyatta – I picked it on the nose, 1-2-3, on the air.
My philosophy on life: Get it all in while you can.
Things I collect: I have some nice racing memorabilia. I have a montage of all Triple Crown winners that Pete Axthelm's widow brought me. People send me sports books that they have written, and I've kept them.
Favorite authors: I like spy novels and books about the movie business. Mike Lupica has written some pretty good books. Definitely Elmore Leonard, too.
Favorite animal other than a horse: Greyhound, I guess.
The actor who would play me in a movie: Brad Pitt, of course! No, I don't know, I've never really given it a lot of thought. Brian Dennehy is a good friend of mine.
Favorite non-Thoroughbred racing sports event I have attended: I've been to most Super Bowls. Wimbledon was pretty good – I really enjoyed that. And right before I went to Wimbledon, I went to Royal Ascot. But the Super Bowl is always great. When Whitney Houston sang the National Anthem, when the [New York] Giants played [the] Buffalo [Bills], the highlight was definitely her singing. The atmosphere in the stadium was electric. There are few events that can replace the excitement when the gates open at Churchill for the Derby. Another moment is when Zenyatta pranced into the paddock for the Breeders' Cup. I said on the air, "The last time I was an entrance to a sporting event like that was when Ali walked into the ring." That was an all-time moment for me.
The historical figure I most identify with: I'm a person who likes to have a good time. I think I identify with a hysterical figure, not a historical one. I'm a Jack Lemmon-type rather than a historical type.
The living person I most admire: I admire Shula a lot. I also admire the Kennedy family. I admire Al Michaels. When I did my first Derby for ABC, sitting next to Al on the set, working with him—that was exciting to me. We're friends, and he can cover any sport. He's still on top of his game and he never seems to lose it. He's the greatest living guy.
No. 1 Bucket List Item: I've been to every sporting event I've ever wanted to attend, I think. I've never been to Australia – that's something I'd like to do. I wouldn't mind owning a Triple Crown horse.


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Lake Guntersville State Park is preparing for a grand reopening of its campground this weekend.
It comes more than two years after it was seriously damaged by the April, 2011 tornadoes.
Some things will need some time to get better, but the park used the time to make many things much better.
Campers are already arriving in advance of this weekend's reopening of the state park's campground.
The campground was closed after the tornadoes struck, but sections of the campground have been reopened since that time.
Workers are frantically putting on the final touches of the last section to open before this weekend.
Park officials say there will be fun things for the kids to do such as a water slide and dunk tank. There will also be live music from three bands for all to enjoy.
"We've reduced our rates by $6 a night. Now it's $19 for a full hook up site, and if you come in and stay with us Friday or Saturday night, you get Sunday and Monday too," said park superintendent Mike Jeffreys. "So not only are we ready for this weekend, but we're going right into Memorial Day and we're open and ready for business."
The event starts with a ceremony at 11 a.m. and the fun lasts until 4:30 on Saturday.
Copyright 2013 WAFF. All rights reserved.
1414 North Memorial Parkway
Huntsville, AL 35801
WAFF Is a Proud Member
of the Raycom Family of Stations
FCC Public File
EEO Report
Closed Captioning


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http://cgi.ebay.com/ebaymotors/ws/eBayI ... AMEWN%3AIT
This looked like a nice clean magneto...I still have not received it.
I would like to have it inspected and restored electronically but there is no one in my area who can do it.
I would like to know what is involved to restore the mag for use on a '47 cub restoration. Or, can anyone recommend a person who could do the work. Any idea of how much it would cost to have it restored?


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The Academy Museum of Motion Pictures Opens In 2017; See Photos and Plans
Posted on Friday, April 12th, 2013 by Germain Lussier
After Thursday's news that the legendary Hollywood landmark, TCL (formerly Grauman's) Chinese Theater was getting an IMAX upgrade, another Los Angeles movie destination has been revealed. A few years back the Academy of Motion Picture Arts and Sciences announced plans to create a movie-themed museum. Now, we know what it will look like, and what'll be in it.
Called The Academy Museum of Motion Pictures, the venue located on Fairfax and Wilshire will be a six-story, 290,000 square-foot museum attached to a massive 1,000 seat dome for movie events. There will a full red-carpet experience, an interactive moviemaking exhibit, and floors dedicated to the history of cinema. The plan is to have it open in 2017. Read more below. Read More »


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Discover Adionomy, Your Online Radio Advertising Campaign, Fast, Easy and Custom-Made!
The Polecats were a new wave and rockabilly revival band in the late 1970s and early 1980s. The Polecats formed in 1977. The original line-up was Tim Worman (a.k.a Tim Polecat, vocalist), Martin "Boz" Boorer, (guitarist and vocalist), Phil Bloomberg (bassist), and Chris Hawkes (drummer), who originally played under the name "Cult Heroes." Finding difficulty persuading promoters to book them on the Rockabilly circuit with a name sounding "too punk", they adopted Hawkes' suggested band name The Polecats. Hawkes was later replaced by Neil Rooney.
0 played on Radionomy


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Sorensen: Physician retention "needs work"
Regional West Medical Center President and CEO Dr. Todd Sorensen says physician retention will continue to be a challenge.
Sorensen told the Scottsbluff Noon Kiwanis Club that since the Integrated Physicians Clinic was established over four years ago they have added 48 physicians. However, twelve of those physicians have left. Sorensen says he's not pleased with that rate and knows they need to make efforts to improve it.
Sorensen says the hospital needs to be more selective in the people recruited. But he noted there are a number of very good physicians that are now part of the hospital since the recruitment process started.
In addition to those that left, eleven physicians retired and one died, leaving the hospital with a positive gain of 24. Sorensen says physicians are more mobile now than when he was practicing, especially in cases where they are part of physician clinics and don't have major investments in their own practices.
Sorensen also confirmed the surgical suites construction planned by the hospital when they moved Avenue B is on hold. Sorensen says the number of surgeries being performed at the hospital started declining when the project was completed, a time when nationwide the same thing was happening due to the recession.
Sorensen said with the decline and the uncertainties surrounding the health care bill, the hospital has put the proposed $50 million expansion on the back burner until there is a "clearer view of where we are headed." Sorensen also noted the hospital has made improvements to existing surgery suites that have helped lessen the need for expansion.
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