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October 31, 2014
News 12 at 6 o'clock, December 21, 2007
EDGEFIELD, S.C. - Cynthia Mathis and Ronnie Rouse enjoy watching television before bed. They'd just turned the TV off and laid down for the night when they heard someone knocking on the door.
Exhausted, they didn't answer and surprisingly, the people outside at the door pushed their way in.
"They ran around the corner," explained Rouse, "three young men with guns and masks."
Cynthia and Ronnie say the crooks were demanding money and threatening to shoot them.
"They were steady holding the gun at my friend girl saying, 'Shut up before I kill you," said Rouse.
Rouse was hit in the head multiple times leaving gashes on the right side of his head.
"I just wrestled with this man. My hand got loose...grabbed him in his right eye through the mask and I yanked," said Rouse, "Evidently, I must have made a giant move to him because the mask came off his head and he had his head down."
That's when Mathis says she recognized one of the burglars.
"I knew this figure. I knew these little eyes," said Mathis, "But when the ski mask came off and he looked at me--I said, 'Julius...Julius what are you doing'?
21-year old Julius Griffen was later arrested in connection with the crime. Mathis says he was like a son to her and grew up with her daughter.
"It's like locking your child up. But if your child is trying to take your life...I don't know," said Rouse.
"All he had to do was knock on the door and say,'Bug, this is Julius. Can I talk to you?," added Rouse.
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All audio edited, percussion tracked and arranged by RydMedia.Tracked by Ben Lieberman of Audiogenix.Mixed by (I believe) Liquid 5th Productions.
Another example of RydMedia's experience in a cappella music. Whether you have an album that you've already tracked that needs cleaning, whether you're just starting the recording process and need someone to guide your hand along the way, or whether you have an album that's just waiting for mix, RydMedia has more than 12 years of experience with collegiate a cappella, from arranging to performing to vocal percussion and more.
Songs like these present special challenges—making sure that everything is aurally pleasing and in tune without making that tuning obvious. Tightening up entrances and cutoffs so that all of the sections are tight. These days (with single-tracked a cappella) this is a lengthy and time-consuming process that most groups either don't have time for, or don't have the time to learn the intricacies of pulling off that balance (because, I'll be the first to say: it takes a while to get it right).RydMedia is close with many many producers who work exclusively with a cappella. We can help you get your project off the ground, we can help you figure out who will be the best person for each step of the process (even if that's not with us!), we'll talk you through the tracking, coach your singing, and help you figure out how best to deal with the mixing and mastering process, whether that means doing it here, or sending it out to one of the many other talented producers with whom we're in close contact.
Longstoryshort: RydMedia knows a cappella. Ever since Matt first heard Straight No Chaser in 1998, he's had one ear to the scene and been following everything that's happening. Whether you want an all-natural sounding album with the gloss of studio polish, or whether you want a tricked-out disc with all of the effects and fun tricks that can be thrown at it, we'll help you get there!
All audio edited, percussion arranged by RydMedia.Tracked by the incomparably talented Ben Lieberman of Audiogenix.Mixed by… I'm not sure, actually! This is an older track, and I lost its trail after it left my coffers. Trying to figure out who brought this song to completion!
RydMedia has over 12 years of experience in collegiate a cappella, from performing to arranging to vocal percussion to tuning to editing to mixing to whatever you might be looking for. We have literally DOZENS of other a cappella producers that we're in regularly in contact with, and can help you figure out the best way to get the sound that you're looking for.
Recorded tracks on your own and need them cleaned up? Send them in! Close enough to Chicago that you can come in and track in-studio? Let's set up some times! Want RydMedia to record you, even though you're not nearby? We can bring a portable rig to you! There are a whole bunch of options, and we can help you figure out exactly what you need to make the best a cappella album that your group has ever produced!
Another foray/experiment into a more alt-country sound. This one errs more on the country, less on the "alt-", but I'm still really happy with how it all turned out. This features the full lineup of The Matt Ryd All-Stars.
Feat. Justin Lack (drums), Ben Winter (bass), John Schieber (violin), Joan Hoedeman, Laura Green, Liana Modestas (epic vocal chorus!), Matt Ryd (all the other stuff).
These drums were tracked in a horrible-sounding practice space—the epitome of recording on a budget. But some tweaking and patience later, they sound like they came straight out of the studio! RydMedia, Inc.: Making cheap recordings sound expensive since 2008.
Song (C) 2008, Matt Ryd. Released under Creative Commons BY-NC-SA.
An experiment into a more "Nashville" or "alt-country" sound—trying to expand out a bit from the standard pop/rock umbrella.
Song (C) 2013, Matt Ryd. Released under Creative Commons BY-NC-SA.
Recorded, mixed, and mastered at RydMedia, Inc.
Special thanks to Mike for lending his AMAZING vocals to this track. Seriously, the man is some sort of singing wunderkind, and belted out some seriously amazing harmonies and backing vocals on this track. All off the top of his head.
A simple performance video of Xoe Wise. Shot right here in the RydMedia, Inc. studios. Quick, easy, cheap for Xoe, and she now has a YouTube video that looks significantly better than just sitting in front of a web camera, and instantly rises above so many others on YouTube.
A video created for 1Band1Brand, A-Frames, and Xoe Wise. A simple concept, super-low budget, super-high production values.
All Over (by Lady Laura)
Audio recording/editing/engineering/mixing/mastering by RydMedia, Inc.Film directed/edited by Ben Winter (a good friend of mine, and one of the most talented filmmakers and bassists that I've ever met).
Laura's EPs provided an interesting challenge. 90% of the time I record keyboards on a song (whether I'm playing, or the artist is playing for him/herself), it's on a very nice Yamaha fully-weighted 88-key keyboard that I have here in the studio. I have a few dozen piano plugins—everything from 9-foot grands recorded in concert halls, to honky-tonk uprights that are ever-so-slightly out of tune.
Laura has an upright piano that has been passed down through several generations, and she very much wanted to record all of the keys on her EPs on that piano. Obviously, we couldn't up and bring it to the studio, so that required several on-location sessions. Now, Laura's apartment isn't exactly acoustically treated for recording, and after going back and forth with a bunch of portable baffles, we decided that the piano sounded best when it was able to ring out throughout the living room.
This only became an issue because we recorded her vocals in-studio, as dry as can possibly be. This meant matching the post-production reverb to the natural reverb that we captured on piano, so that the listener wasn't jarred by hearing a voice that was clearly in a different space than the instrument.
In the end, I think everything matched up perfectly, and I'm super-pleased with all of the songs that she put out (and I produced) over the course of this past year.
This song is on her brand-new EP, "Jezebel: Spring". You can pick it and her other EPs up at http://ladylauramusic.bandcamp.com/ and I highly recommend them all. Catchy songs, pretty songs—they run the gambit. And Laura is such a talented singer that we were really able to create a series of EPs that tell a series of stories. Each song will take you on a journey, and you'll feel like you're just sitting in her living room, listening to her tell you about an incredible year of personal trial and growth. Give the songs a listen, and if you like them, go support her so that we can start working on her full-length, full-band LP as soon as possible. ;-)
Talk to ya soon,Matt
Simpleton & Cityfolk wanted a great video from their CD release show, but didn't want to have to hire an entire camera crew to film it.
Luckily, they came to RydMedia, Inc., where some strategically placed tripods, one live cameraman, and some high-quality editing were able to come together to give the band a fantastic music video from a once-in-a-lifetime show.
Another video for which I did the audio mix. This one was interesting — it was direct board audio, which meant that I didn't have separate sources to mix. The bass was originally too low, and Morgan asked if I could make it more prominent. Now, if I had bass and vocals on separate tracks, this would have been an absolute no-brainer. But since everything was all on one track, it required a little bit of finagling. I made duplicate copies of the track—one with a high-pass filter (that allowed the vocals and the harmonics of the bass to get through), and one with a low-pass filter (that filtered out everything except the low bass notes). I applied compression to each of those duplicate tracks and used them as a "poor man's multitrack". Add a little bit of automation to the volume levels, apply some mastering effects across the entire thing, and you wind up with a recording that captured both the subtle nuance of Justin's bass playing and Morgan's incredible vocals. It was an interesting challenge, but both Morgan and I were very happy with the final result. :-) Enjoy!
A recent RydMedia production—I mixed/mastered the audio for this surprise Karmin performance at a pop-up concert in L.A.!
A full-service production company based out of Chicago, Illinois. Offering audio Production, Video Production, Live Sound Engineering, Photography, and much more.


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Kili: (Kili is gently flirting with an Elf maid when he catches Dwalin glaring at him) I can't say I fancy Elves myself, too thin. They're all high cheekbones and creamy skin. Not enough facial hair for me.
(He motions to an Elf walking behind him)
Kili: Although, that one there's not bad.
Dwalin: That's not an Elf Maid.
(the Elf turns around, revealing that he is indeed a male)
Kili: (the Dwarves burst out laughing at Kili's "mistake") That's funny. (imdb.com)
Thorin Oakenshield: You! What were you doing? You nearly got yourself killed! Did I not say that you would be a burden, that you would not survive in the wild and that you have no place amongst us? I've never been so wrong in all my life.
(Thorin embraces Bilbo) (imdb.com)
Hobbit: You! Mr. Bilbo where're you off to?
Bilbo Baggins: I'm already late.
Hobbit: Late for what?
Bilbo Baggins: I'm going on an adventure. (imdb.com)
Bofur: (after falling) Well, that could have been worse...
(Great Goblin falls on the dwarves)
Dwalin: Oh you've got to be joking! (imdb.com)
Balin: It's just the usual; summary of out-of-pocket expenses, time required, remuneration, funeral arrangements, so forth.
Bilbo Baggins: Funeral arrangements?
(reads contract)
Bilbo Baggins: Oh, up to but not exceeding one fourteenth total profit if any. Seems fair. Present company shall not be liable for injuries including but not limited to laceration, evisceration... incineration?
Bofur: Oh, aye. He'll melt the flesh off your bones in the blink of an eye.
Balin: You all right, laddie?
Bilbo Baggins: Yeah, I'll be. Feel a bit faint
Bofur: Think furnace, with wings.
Bilbo Baggins: Yeah, I-I-I need air
Bofur: Flash of light, searing pain, then poof, you're nothing more than a pile of ash.
Bilbo Baggins: (long pause) Nope.
Gandalf: Very helpful, Bofur. (imdb.com)
Gandalf: The world is not in your books and maps. It's out there.
Bilbo Baggins: I can't just go running off into the blue! I am a Baggins of Bag End!
Gandalf: You are also a Took. Did you know that your Great-Great-Great-Great Uncle Bullroarer Took was so large he could ride a real horse?
Bilbo Baggins: Yes.
Gandalf: Well he could! In the Battle of Greenfields, he charged the Goblin ranks. He swung his club so hard it knocked the Goblin King's head cleaned off and it sailed a hundred yards through the air and went down a rabbit hole. And thus the battle was won and the game of golf invented at the same time.
Bilbo Baggins: I do believe you made that up.
Gandalf: Well, all good stories deserve embellishment. You'll have a tale or two to tell of your own when you come back.
Bilbo Baggins: ...Can you promise that I will come back?
Gandalf: No. And if you do... you will not be the same. (imdb.com)
Galadriel: Why the Halfling?
Gandalf: I do not know. Saruman believes it is only great power that can hold evil in check, but that is not what I have found. I found it is the small everyday deeds of ordinary folk that keep the darkness at bay... small acts of kindness and love. Why Bilbo Baggins? Perhaps it is because I am afraid... and he gives me courage. (imdb.com)
(Lord Elrond arrives at Rivendell. He greets the Dwarves, speaking in Elvish)
Gloin: What does he say? Does he offer us insult?
Gandalf: No Master Gloin, he's offering you food.
(the Dwarves quickly have a quiet discussion amongst themselves)
Gloin: Very well then. Lead on! (imdb.com)
Great Goblin: You thought you could escape *me*?
(He swings his mace, knocking Gandalf back)
Great Goblin: What are you going to do now, wizard?
(Gandalf pokes the Great Goblin in the eye with his stick, then cuts straight through his large belly with his sword)
Great Goblin: ...That'll do it. (imdb.com)
Radagast: The Greenwood is sick, Gandalf. A darkness has fallen over it. Nothing grows anymore, at least nothing good. The air is fouled decay, but worst are the webs.
Gandalf: Webs? What do you mean?
Radagast: Spiders, Gandalf. Giant ones. Some kind of spawn of Ungoliant or I'm not a wizard. I followed their trail, they came from... Dol Guldur.
Gandalf: Dol Guldur? But the old fortress is abandoned.
Radagast: No, Gandalf, 'tis not. A dark power dwells in there. Such as I have never felt before. It is the shadow of an ancient horror. One that can summon the spirits of the dead. I saw him, Gandalf, from out of the darkness. A Necromancer has come!
Necromancer: (whispers in an unknown language) (imdb.com)
Thorin Oakenshield: And I am sorry for doubting you.
Bilbo Baggins: No, it's fine. I would have doubted me too. I'm not a hero, or a warrior...
(looks up at Gandalf)
Bilbo Baggins: ... Not even a burglar. (imdb.com)
Radagast: A dark power has found its way back into the world. (imdb.com)
Thorin Oakenshield: Where did you go, if I may ask?
Gandalf: To look ahead.
Thorin Oakenshield: And what brought you back?
Gandalf: Looking behind. (imdb.com)
Bilbo Baggins: I have... I have never used a sword in my life.
Gandalf: And I hope you never have to. But if you do, remember this: true courage is about knowing not when to take a life, but when to spare one. (imdb.com)
Gandalf: Here lies the Last Homely House East of the Sea.
Thorin Oakenshield: This was your plan all along - to seek refuge with our enemy?
Gandalf: You have no enemies here, Thorin Oakenshield. The only ill will to be found in this valley is that which you bring yourself.
Thorin Oakenshield: You think the Elves will give our quest their blessing? They will try to stop us.
Gandalf: Of course they will. But we have questions that need to be answered. If we are to be successful this will need to be handled with tact, and respect, and no small degree of charm, which is why you will leave the talking to me. (imdb.com)
Galadriel: You carry something. It came to you from Radagast. He found it in Dol Guldur.
Gandalf: Yes.
Galadriel: Show it to me.
(Gandalf takes out a package)
Elrond: What is that?
Galadriel: A relic... of Mordor.
Elrond: A Morgul-blade!
Galadriel: Made for the Witch-king of Angmar and buried with him. When Angmar fell, the Men of the North took his body and all that he possessed and sealed it within the High Fells of Rhudaur. Deep within the rock, they buried him. In a tomb so dark, it would never come to light.
Elrond: This is not possible. A powerful spell lies upon those tombs, they can NOT be opened.
Saruman: What proof do we have this weapon came from Angmar's grave?
Gandalf: I can find none.
Saruman: Because there IS none! Let us examine what we know: A single Orc pack has dared to cross the Bruinen, a dagger from a bygone age has been found and a human sorcerer who calls himself the Necromancer has taken up residence in a ruined fortress. It's not so very much. After all, the question of this Dwarvish company, however, troubles me deeply. I'm not convinced, Gandalf. I do not feel I can condone such a quest. If they had come to me, I might have spared them from this disappointment...
Galadriel: (while Saruman talks) They are leaving.
Gandalf: Yes.
Galadriel: (smiles) You knew. (imdb.com)
Gandalf: Far to the east, over ranges and rivers lies a single solitary peak. (imdb.com)
Bilbo Baggins: My name is Bilbo Baggins!
Gollum: Baggines? What is Bagginses?... Precious. (imdb.com)
Bilbo Baggins: I am surrounded by dwarves! What are they doing here?
Gandalf: Oh, they're quite a merry gathering. Once you get used to them. (imdb.com)
Oin: Ive got parasites as big as my arm.
Kili: Mine are the biggest parasites. I've got huge parasites. (imdb.com)
Gandalf: You will have to do without pocket handkerchiefs, and a great many other things, before we reach our journey's end, Bilbo Baggins. You were born to the rolling hills and little rivers of the Shire, but home is now behind you. The world is ahead. (imdb.com)
Galadriel: The dragon has long been on your mind.
Gandalf: This is true, my lady. Smaug owes allegiance to no one, but if he should side with the Enemy... A dragon could be used to terrible effect.
Saruman: What enemy? Gandalf, the Enemy is defeated. Sauron is vanquished. He can never regain his full strength.
Elrond: Gandalf, for four hundred years, we have lived in peace - a hard-won, watchful peace.
Gandalf: Are we, are we at peace? Trolls have come down from the mountains, they are raiding villages, destroying farms. Orcs have attacked us on the road!
Elrond: Hardly a prelude to war.
Saruman: Always you must meddle, looking for trouble when none exist...
Galadriel: Let him speak.
Gandalf: There is something at work beyond the evil of Smaug. Something far more powerful. We could remain blind to it but it will not be ignoring us, that I can promise you. A sickness lies over the Greenwood. The Woodsmen who live there now call it Mirkwood and, uh, they say...
Saruman: Well, don't stop now. Tell us what the Woodsmen say.
Gandalf: They speak of a Necromancer living in Dol Guldur, a sorcerer who could summon the dead.
Saruman: That's absurd. No such power exists in this world. This "Necromancer" is nothing more than a mortal man, a conjurer dabbling in black magic.
Gandalf: And so I thought too, but Radagast had seen...
Saruman: Radagast? Do not speak to me of Radagast the Brown. He is a foolish fellow.
Gandalf: Well, he's odd, I'll grant you. He lives a solitary life...
Saruman: It's not that. It's his excessive consumption of mushrooms! They've addled his brain and yellowed his teeth! (imdb.com)
Thorin Oakenshield: Rumors have begun to spread, The dragon Smaug has not been seen in many years... Perhaps the vast wealth of our people lies unprotected... perhaps it is time to take back Erebor! (imdb.com)
(Radagast endeavors to cure an ailing hedgehog)
Radagast: I don't understand why it's not working! It's not as if it's witchcraft!
Radagast: Witchcraft... Oh, but it IS. A dark and terrible magic... (imdb.com)
(as the dwarves are disarmed, Grinnah partially unsheathes Thorin's sword, and throws it away in horror)
Great Goblin: (recoils) I know that sword! It is the Goblin Cleaver! The Biter! The blade that sliced a thousand necks! Slash them! Beat them! Kill them! Kill them all! Cut off his head! (imdb.com)
Azog: (in Black Speech) Do you smell it? The scent of fear? I remember your father reeked of it... Thorin, son of Thrain. (imdb.com)
Dwalin: I thought we had lost our burglar.
Thorin Oakenshield: He's been lost ever since he left his home. He should not have come, he has no place among us. (imdb.com)
Radagast: I'll draw them off.
Gandalf: These are Gundabad wargs. They will outrun you!
Radagast: These are Rhosgobel rabbits. I'd like to see them try. (imdb.com)
Gandalf: Does it not worry you that the last of the Dwarf-rings should simply vanish along with its bearer? Of the Seven Dwarf-rings, four were consumed by dragons, two were taken by Sauron before he fell in Mordor... the fate of the last Dwarf-ring remains unknown, the ring that was borne by Thrain.
Saruman: Without the Ruling Ring of Power, the Seven are no value to the Enemy. To control the other Rings, he needs the One. And that Ring was lost long, long ago. It was swept out to sea by the waters of the Anduin. (imdb.com)
Kili: (the ground suddenly begins to split beneath them during the thunder battle, with each brother jumping to a different side of the crack as it widens) What's happening?
Fili: (Reaches desperately towards his brother) Kili, grab my hand! Ki...
Kili: (a look of terror cross his face as the cliff face his brother is on moves further away) Fili! (imdb.com)
Gandalf: Of course I was going to tell you, I was waiting for this very chance. And really, I think you could trust that I know what I am doing.
Elrond: Do you? That dragon has slept for 60 years. What will happen if your plan should fail? If you wake that beast...
Gandalf: But if we succeed. If the Dwarves take back the mountain, our defenses in the East will be strengthened!
Elrond: It is a dangerous move, Gandalf.
Gandalf: It is also dangerous to do nothing or cut the throne of Erebor, it's Thorin's birthright. What is it you fear?
Elrond: Have you forgotten? A strain of madness runs deep in that family. His grandfather lost his mind, his father succumbed to the same sickness. Can you swear Thorin Oakenshield will not also fall? Gandalf, these decisions do not rest with us alone. It is not up to you or me to redraw the map of Middle-earth. (imdb.com)
Bilbo Baggins: Can I help you?
Gandalf: That remains to be seen. (imdb.com)
Bilbo Baggins: Why don't we have a game of riddles and if I win, you show me the way out of here?
Gollum: And if he loses? What then? Well if he loses precious then we eats it! If Baggins loses we eats it whole!
Bilbo Baggins: Fair enough. (imdb.com)
Bilbo Baggins: I just need to sit quietly for a moment.
Gandalf: You've been sitting quietly for far too long! (imdb.com)
(as the trolls are roasting half a dozen of the dwarves on a spit over a fire)
Bilbo Baggins: Wait, wait! You are making a terrible mistake!
Bert Troll: Eh?
Dori: You can't reason with them, they're half-wits!
Bofur: Half-wits? What does that make us? (imdb.com)
Thorin Oakenshield: Out of the frying pan...
Gandalf: ...and into the fire. (imdb.com)
Oin: I've got parasites the size of me arm! (imdb.com)
(Bilbo opens the door)
Dwalin: Dwalin, at your service.
Bilbo Baggins: Um...
Bilbo Baggins: Bilbo Baggins, at yours. (imdb.com)
Frodo: (finds a manuscript) What's this?
Old Bilbo: That is private, keep your sticky paws off! It's not ready yet!
Frodo: Not ready for what?
Old Bilbo: Reading! (imdb.com)
Gandalf: Well, why does it matter? He's back!
Thorin Oakenshield: It matters. I want to know - why did you come back?
Bilbo Baggins: Look, I know you doubt me, I know you always have. And you're right... I often think of Bag End. I miss my books, and my armchair, and my garden. See, that's where I belong, that's home. That's why I came back... 'cause you don't have one, a home. It was taken from you. But I will help you take it back if I can. (imdb.com)
Balin: I have to agree with Mr. Baggins, he is hardly burglar material.
Dwalin: Aye, the wild is no place for gentle folk who can neither fight nor fend for themselves. (imdb.com)
(from trailer)
Gandalf: You asked me to find the fourteenth member of this company and I have chosen Mr. Baggins.
Bilbo Baggins: Me? No! No No No!
Gandalf: Hobbits can pass unseen by most if they chose which gives us a distinct advantage. (imdb.com)
Thorin Oakenshield: (singing) Far over the misty mountains cold / To dungeons deep and caverns old
Dwarves: (singing) The pines were roaring on the height / The winds were moaning in the night / The fire was red, it flame spread / The trees like torches blazed with light... (imdb.com)
Bilbo Baggins: (as Dwarves start musically banging cutlery on the tables) Careful! You'll blunt them!
Bofur: (Amused) Oh, did you hear that, lads? He says we'll blunt the knives!
Dwarves: (Gleefully Start Singing) Blunt the Knives! Bend the Forks! Smash the Bottles and Burn the Corks! Chip the glassed and crack the Plates! That's what Bilbo Baggins Hates! (imdb.com)
(first lines)
Old Bilbo: My dear Frodo, you asked me once if I had told you everything there was to know about my adventures. And while I can honestly say I've told you the truth, I may not have told you all of it. I am old, Frodo. I am not the same hobbit as I once was. It is time for you to know what really happened. (imdb.com)
Ori: That's why we need a burglar!
Bilbo Baggins: hmmm, and I good one too I would say. An Expert
Gloin: And are you?
Bilbo Baggins: (looks behind him then back) am I what?
Oin: He said he's an expert! hey hey! (imdb.com)
Thorin Oakenshield: I cannot guarantee his safety.
Gandalf: Understood.
Thorin Oakenshield: Nor will I be responsible for his fate.
Gandalf: Agreed. (imdb.com)
Gandalf: When did doilies and your mother's dishes become so important to you? (imdb.com)
Thorin Oakenshield: Or do we seize this chance to take back Erebor? (imdb.com)
Balin: Don't mind him, laddie. Thorin has more cause than most to hate Orcs. After the dragon took the Lonely Mountain, King Thror tried to reclaim the ancient dwarf kingdom of Moria... but our enemy had got there first. Moria had been taken by legions of Orcs, led by the most vile of all their race, Azog the Defiler. The giant Gundabad Orc had sworn to wipe out the line of Durin. He began by beheading the King. Thrain, Thorin's father, was driven mad by grief. He went missing, taken prisoner or killed; we did not know. We were leaderless, defeat and death were upon us. That is when I saw him; the young dwarf prince facing down the Pale Orc. He stood alone against this terrible foe, his armour rent, wielding nothing but an oaken branch as a shield... Azog the Defiler learned that day that the line of Durin would not be so easily broken. Our forces rallied and drove the Orcs back; our enemy had been defeated... but there was no feast or songs that night, for our dead were beyond the count of grief. We few had survived and I thought to myself then 'There is one I could follow. There is one I could call King'. (imdb.com)
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USA Rugby has announced the playoff brackets for the 2013 DI-AA National Playoffs.
Middlebury will play St. Bonaventure at 12:30pm on Saturday, April 27 in the Round of 16, while Pitt and Dartmouth square off at the same time.
The winners of the Saturday matches meet in the National Quarterfinal on Sunday, April 28 at 11am. The consolation match is held at the same time.
See the full bracket here: http://rugbymag.com/index.php/men's-di-college/7778-di-aa-playoff-bracket-set.html


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Posts tagged brian-jarrard
Bungie's Destiny coming in 2013, features microtransactions and subscriptions
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text: Musical Events April 5, 2004 Issue Mysteries of Love Karita Mattila's transfixing Salome. By Alex Ross Table of Contents The first time the Metropolitan Opera staged Richard Strauss's "Salome," ninety-seven years ago, J. P. Morgan's daughter blanched at the sight of a soprano making out with a severed head, and the production was shut down after one night. The ballerina who had performed the Dance of the Seven Veils on the Met stage decided to take her act to a vaudeville house, where she had a considerably warmer reception. America was soon in the grip of a Salome craze. In January, 1909, Strauss's opera reappeared in triumph at Oscar Hammerstein's Manhattan Opera House, with the bewitching Mary Garden in the title role. Not long afterward, a singing waiter at Jimmy Kelly's, in Union Square, wrote a song entitled "Sadie Salome (Go Home)," which told of a nice Jewish girl who dismays her sweetheart, Mose, by playing Salome onstage. "Don't do that dance, I tell you, Sadie," Mose pleads. "That's not a business for a lady!" It wasn't much of a song, but it sold well enough to win its composer a job on Tin Pan Alley. A few years later, he wrote "Alexander's Ragtime Band." Karita Mattila's performance in the Met's new production of "Salome" is unlikely to inspire a commemorative number from the next Irving Berlin, but by rights it should. The only word fit for the occasion is a British one: Mattila left her audience gobsmacked. She sang one of the most taxing roles in the repertory as if it had been written for her, and she delivered a physical performance that might have had any stray Hollywood executives in the audience wondering how to cast her in a remake of "Double Indemnity." She made an organic whole of this outwardly lurid, inwardly elusive part. Salome, the Bible tells us, danced for her stepfather, Herod, and demanded the head of John the Baptist as a reward. Jules Laforgue added the scandal of the kiss, and Oscar Wilde piled on arch Symbolist poetry: "The mystery of love is greater than the mystery of death." But what kind of love is this, and how can we bear to watch it? In the opening scenes, Mattila portrays Salome as an intensely vapid young woman, a club-hopping heiress type, who apes the decadent culture that bred her. Then the game she plays to keep herself amused—seducing the religious fanatic that Daddy/Uncle has trapped in a cistern—becomes an uncontrollable obsession. Mattila makes the transformation so supple that the audience ends up feeling pity rather than disgust. The character is fearfully real. Mattila sang all the notes, which is diabolically difficult to do. In "Salome," a soprano goes up against one of the great monster orchestras in opera history. At the most gobsmacking moment in the score—the point at which the executioner makes a gift of the prophet's head—a hundred instruments flood the spectrum of the chromatic scale, leaving almost no room for the naked human voice. Mattila held out heroically against the onslaught. Her high A-flats glowed like searchlights in fog. Her voice is both richly lyrical and riskily dramatic, and has the same balance of qualities that makes for a great Isolde, which Mattila is certain to be. Only in the lowest register did she lack penetrating power—notably, in the cavernous passage about the mysteries of love and death. But every soprano is missing something in this role. Mattila sings as well as anyone on the twelve recordings I own. Plus, she did a little dancing. Ordinarily, the Dance of the Seven Veils is a would-be titillating moment that makes everyone uncomfortable: opera singers are not, by nature, physical performers, and even the fittest Salomes seem out of their element as they muddle through whatever choreography has been set up for them. In fact, you don't need a Kylie Minogue physique to pull off the role. Deborah Voigt, who was recently fired by Covent Garden because she was too big for a tiny cocktail dress, sings a mighty Salome, and she should be doing it onstage, perhaps with an arty concept to replace the dance. If the scene is to advance the drama, it has to be about something more than a woman taking off her clothes. Mattila, exulting in a transvestite striptease routine that echoed Marlene Dietrich's "Blue Angel" and Madonna's "Material Girl" video, made it more about Herod's mixed-up fantasies than about her own: the tetrarch has more than a little Wilde in him, and he gets off on the ambiguities. There is physical nakedness, and there is emotional nakedness. Mattila gives us the first at the end of the dance, and she gives us the second at the end of the opera, when, after a devouring kiss and a scary spell of heavy breathing, she hangs her head backward over the lip of the stage and delivers the final part of her monologue: "Ah, I have kissed your mouth, Jochanaan." No one will soon forget the desperation in her tone and on her face—the desperation of one who has performed the most extreme act and is still trapped in an agony of dissatisfaction. To this Salome, Herod's closing words—"Kill that woman!"—may sound merciful. In realizing her dream performance, Mattila had much help from Jürgen Flimm, whose productions at the Met and elsewhere—"Fidelio," the current Bayreuth "Ring"—have put him at the forefront of a generally dismal science. He is the rare director who makes tension visible. The sets, by Santo Loquasto, place the action at some vague date in the twentieth century, in a Middle Eastern country where the occupying authorities have hired a security force from the native population. Herod's palace resembles a grand hotel on the edge of the desert: partygoers in opulent clothes descend a serpentine staircase and pose on stainless-steel furniture. John the Baptist is imprisoned not in a cistern but in a desert mine shaft; he is brought up in a rickety cage. The Jewish theologians in Herod's circle are not averse to sipping champagne as they argue the Law. Sand dunes stretch into the far distance, and James Ingalls's lighting hints at a menace lurking in the dark. Black angels with white wings periodically appear, watching and waiting. There might be a provocative allegory at work here—these ostensibly Christian angels have a certain Al Qaeda look—but what really matters is that Flimm creates a charged space in which something terrible is bound to occur. Happily, most of the campy clichés that dog this opera have been suppressed. Herod is too often conceived as a dirty old man, and an aging tenor is let loose to chew the scenery. In fact, Herod is supposed to be quite a bit younger than his wife, Herodias; she acts like his mother, which makes the incestuousness of the scenario all the creepier. Allan Glassman, stepping in on short notice for Siegfried Jerusalem, sang the part instead of rasping it, and in the process revealed some trace of nobility, some tremor of moral compass, at the heart of the wormy tyrant. Larissa Diadkova, on the other hand, was too composed as Herodias; she could have chewed a little more. Albert Dohmen was a rock-solid John the Baptist. (This week, Bryn Terfel takes over the role.) There were some notable singers in the smaller parts: Matthew Polenzani lent his stylish tenor to Narraboth, and Morris Robinson, a former Citadel college football star, showed a glorious bass voice as the First Nazarene. The shaky link of the evening was, surprisingly, Valery Gergiev. The conductor knows this score by heart, and he obtains his usual painterly sounds. There were trombone chords like groans from Hell, string tremolos like moonlight on water. But the middle of the opera, from Herod's entrance to the Dance, sped by in a confusing blur. Many lovely, eerie touches were obscured—the little woodwind runs that suggest Narraboth's blood dripping on the floor, for example—and the brass sounded flustered throughout. Slow down, Maestro: "Salome" is one of the briefest operas in the repertory, and every detail is worth savoring. Earlier this month, the Met unveiled a largely nondescript production of "Don Giovanni." It caused me to reflect on the legacy of Joseph Volpe, the Met's general manager, who recently announced that he would be stepping down in 2006. As usual, the cast featured singers of high polish: Thomas Hampson as the Don, René Pape as Leporello, Anja Harteros as Donna Anna, Christine Goerke as Donna Elvira, Hei-Kyung Hong as Zerlina. But with "Don Giovanni" polish is not enough; Hampson lacked demonic drive, the joy of excess. Pape so completely stole the show that many people may have wondered why he wasn't singing the title role, as he has been doing in Europe. (Answer: contracts signed years in advance.) The best that can be said of Marthe Keller's production is that it has none of the bombast of the affair that preceded it, by Franco Zeffirelli. High brick walls predominate, in front of which perilously little happens; it appears as if funding had been cut off halfway through set construction, which, given the Met's current financial difficulties, might have been the case. The combination of this lacklustre "Don" and the sensational "Salome" encapsulates the lotterylike unevenness of the company's productions in the past decade. Dawn Fatale, the pseudonymous Internet-based opera watchdog, has posted a screed on OperaList arguing that the next general manager of the Met should be something other than a ruthless administrator with a knack for whipping divas into shape. Instead, Fatale says, Volpe's successor needs to be "a compelling spokesperson for the importance of live opera performance in New York and America's cultural life"—a charismatic executive with a unified theatrical vision and a flair for marketing. Volpe and James Levine have maintained the Met's historic eminence, but they have done almost nothing to renovate the company's image. For too long, the Met has subsisted as a tautology: it presents grand opera on a grand scale because that is what the Met has always done. Falling attendance figures suggest that such complacency is inadequate, even suicidal. Like every major classical institution, the Met must devise new ways to sell itself to an uncomprehending but not incurious culture. In truth, the cancellation of "Salome" in 1907 marked not the last gasp of Victorian mores but the beginning of a century of caution. Surely it is time for the Met to get the J. P. Morgan out of its system once and for all. Why does opera matter? Karita Mattila can tell you. ♦ Alex Ross has been contributing to The New Yorker since 1993, and he became the magazine's music critic in 1996. Bio All work & You Might Like Jigsaw Puzzle Strongbox Submissions Goings On App About Us Caption Contest The New Yorker Festival ✕ The New Yorker Strongbox Strongbox is a new way for you to share information, messages, and files with our writers and editors and is designed to provide you with a greater degree of anonymity and security than afforded by conventional e-mail. 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Moving the Cloud at the Speed of Light™
AEPONYX is a global WDM-PON technology provider enabling fiber optic network operators to fully virtualize their Cloud infrastructure.
AEPONYX is a global WDM-PON technology provider enabling fiber optic network operators to fully virtualize their cloud infrastructures.
We stand behind a full array of products and solutions enabling fiber optic network operators to take advantage of dense wavelength division multiplexing technology (DWDM).
On the WDM-PON front, the products as part of our AEPON solution include the AEPONYX Colormux™, the Colornode™ and the Omnicolor SFPs™'s.
On the DWDM front, our products include the AEPONYX DWDM Muxpanel™ as well as a complete line of SFP+'s and XFPs.
AEPONYX stands behind Active Ethernet PON, which is non-proprietary WDM-PON Solution that is fully standalone strictly composed of 2.5 gigabit per second SFPs and passive multiplexers.
An Active Ethernet Passive Optical Network (AEPON™) can be implemented in as little as 5 easy steps:
The AEPONYX WDM-PON Solution is plug and play, entirely passive and backwards compatible with all existing SFP-based equipment.
The solution enables 40 channels of 2.5 Gbps to share a single fiber and supports distances of up to 60 km.
Active Ethernet when provisioned over optical fiber means dedicating one or two strands of optical fiber to each customer.
Active Ethernet provides better quality of service than Ethernet PON or Gigabit PON technologies (EPON, GPON). With Active Ethernet, bandwidth does not have to be shared in time between multiple users.
Active Ethernet networks can be provisioned wirespeed, where the uplink capacity exceeds the capacity of all downlinks, under the assumption that all circuits are used at full speed simultaneously.
It is not possible to provision GPON and EPON networks wirespeed, as those technologies are based on a single wavelength broadcasted to all users behind the same convergence point power splitter.
Further, with GPON and EPON, the service provided to end-users is usually very assymetrical. For instance, in a GPON network, the broadcasted downlink is 2.4 Gbps and the TDMA uplink is 1.2 Gbps shared amongst all users of a local converence point. There is only one return wavelength which has to be alloted one user at a time.
The customer premise equipment is controlled by the central office equipment to discriminate which packets are destined to it and thus presented to the end-user. In that sense, GPON and EPON technologies are inherently insecure and communications should ideally be encrypted.
GPON and EPON are used today to dramatically lower the costs of operating telecom access networks, as these technologies allow for the fiber optic access network, to be built using distributed local convergence points of 32 customers sharing the same feeder fiber. GPON and EPON allows for the fiber optic access network to remains entirely passive for 20+ km, meaning that no element in the access network requires powering of any kind.
GPON and EPON technologies are widely recognized for being far more cost effective than the traditional way of building Active Ethernet fiber optic access networks.
Without using WDM-PON, Active Ethernet networks have to be built using the same topology and cost inefficiencies built into the copper telephone network, that is, traditional Active Ethernet networks require large count cables with as many strands as there are customers. In order to make use of lower count cables, Active Ethernet networks require the servicing of customers from many point of presence locations with active electronics in the field requiring real-estate, power and backup power. Traditional Active Ethernet access networks suffer therefore from large CapEx and OpEx related to the construction, management and maintenance of these points of presence.
With WDM-PON technology, it is possible to build an Active Ethernet Network, with attributes of wirespeed aggregation and dedicated capacity per end-user, but also with the efficiencies of passive optical network topologies. This means a fiber optic utside plant free from any active electronics and which does not require any power. Further, with WDM-PON technology, because all components benefit from low insertion losses, it is possible to deploy at even greater distance than that possible with EPON or GPON, even with 40 circuits sharing the same single optical fiber. Whereas a typical power splitter may induce a 17 dB loss, an AEPONYX™ Colornode™ will split amongst 40 circuits, yet have an insertion loss of less than 6 dB.
This is what AEPONYX™ refers to as AEPON™, or Active Ethernet PON (Passive Optical Network).
AEPON™ technology is based on well understood dense wavelength division multiplexing passive optical networks (DWDM-PON) theory and practice.
In a WDM-PON network, 1:32 power splitters found in EPON or GPON networks are ideally replaced by an AEPONYX 40 channels Colornode™ acting as a WDM-PON remote node.
The behavior of the AEPONYX Colornode™ is not that of sending the same signal down 32 paths, but that of routing only two of the 80 wavelengths (a pair of C+L lambdas) down an output dedicated to a customer.
The technology behind AEPONYX Colornodes™ is known as Cyclic Athermal Arrayed Waveguide Gratings (AAWG's) and is also found in long-haul transmission networks, but modified for the needs of outdoor (Athermalized) single fiber (Cyclic) access networks.
The inherent Cyclic properties of AEPONYX Colornodes™ which are made with premium-grade outside plant rated AAWGs, makes it possible for 40 lambdas in the C band as well as 40 lambdas in the L band, to share a single fiber.
This makes it possible to achieve 40 full-duplex channels leveraging all 80 lambdas on a single fiber.
AEPONYX promotes the upgrade of EPON and GPON with its AEPON™ Solutions enabling 1:40 splitting ratios at local convergence points that are centralized, by simply removing the 1:32 power splitters and replacing them with 40-channels AEPONYX Colornodes™.
With AEPON™, it is possible to provision 40 circuits onto a single fiber over distances of up to 60 kilometers, allowing operators to expand their networks without need for overbuilding them.
The lambda multiplexing layer that empowers AEPON™ DWDM technology gives rise to the name of AEPONYX. In AEPONyX, the y represents an inverse lambda and the X represents the multiplexing of lambdas on a single fiber. Hence, with its AEPON™ technology deployed over a layer of Lambda multipleXing, AEPONYX conveys the meaning to its name.
Exactly like GPON or EPON are single fiber technology so is Active Ethernet PON (AEPON) from AEPONYX. AEPONYX enables critically important single fiber operation, yet without any of the speed shortcomings of GPON or EPON.
This enables compatibility with existing pre-connectorized outside plant technology built for GPON. This also eliminates all of the engineering, training and avoids all errors associated with building the access network for two-fiber operation to a customer location.
By enabling 40 circuits to share a single fiber, WDM-PON enables fiber optic network operators to leverage passive optical networking. This means that the outside plant does not consume any electricity. This also means that with WDM-PON, buildings with multiple tenants can be served without need for any active electronics shared by multiple tenants and the associated requirement for backup power. AEPONYX even enables buildings to be served with dual homed 'east-west' redundant feeds as it is as trivial as putting a 1x2 coupler in front of the Colornode™.
Unlike GPON which shares bandwidth of 2.4 Gbps downstream and 1.2 Gbps upstream in the time domain, AEPONYX provides WDM-PON technology wherin each of the 40 circuits get a dedicated 2.5 Gbps capacity. This means an aggregate of 100 gigabits per second is shared amongst 40 customers. This is 40 X more capacity than GPON in the directions towards customers and 80 X more capacity than GPON in the direction of the customers towards the network.
The incremental costs to provide this much capacity compared to GPON or EPON is simply found in the use of dedicated pairs of AEPONYX Omnicolor SFPs for each circuit (on dedicated lambdas) whereas GPON or EPON use a single transceiver on the service provider switch to provided connectivity to 32 different customers in the field.
AEPONYX is a global WDM-PON technology provider enabling fiber optic network operators to fully virtualize their Cloud infrastructure.


text:
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Personally I like the name "Social Justice Warrior" because I enjoy the romanticising of medieval times. You know what a warrior does? They fight for what they love, for who they love, they fight FOR people. They are not soldiers who follow orders without though.
Being for social justice? How can you not understand what that means? Are you concussed? Social meaning of or relating to an organisation and Justice meaning just or fair treatment.
We are a social group, an organisation that want fair treatment for all. We are warriors because we don't just fight for ourselves or a "leader", we fight for our friends, families, strangers.
Choose your words carefully, because calling us Warriors is not an insult, it's empowering.
Okay, I can understand that.
The difference is this. When a blogger laughs at a term that people have applied specifically to the hurtful and...
fuck off and get a job arsehole. I hope you don't breed.
"You're a Transsexual but don't agree with my death threats against this person, or disagree slightly with me? TRUSCUM...
stop appropriating the medieval era. i am a medieval warrior and i am offended.


text:
Wearable Tech 8: Gadget Gloves
Summary: Give your fingers some extra functionality with these geeky gloves.
11 of 16Image
Vibrating texting glove
Allows the wearer to compose and transmit messages to smartphones.
Intended for people who are both deaf and blind and use Lorm. Lorm assigns letters of the alphabet to different parts of fingers and palm.
Textile pressure sensors on the glove allow the user to compose a message using Lorm, then transmit it to the intended recipient through Bluetooth.
Created by: Design Research Lab, Germany
Credit: Ecouterre
Wearable Tech 4: Clever Clothing
Winter night biking gloves
Conductive fibers knit into the fingertip and palm areas. Making a fist closes the circuit and lights up the LED arrows on the backs of the hands. The conductive thread in the fingertips also enables gloves-on touchscreen use.
Credit: Irene Posch
Wearable Tech 4: Clever Clothing
Wireless Music touch glove
Used with a piano keyboard. Vibrates your fingers so that you know which keys to play when learning the instrument.
Credit: Georgia Tech
Wearable Tech 4: Clever Clothing
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text:
Heart Failure Health Center
Manage Heart Failure With Lifestyle
Exercising Regularly
Given the weakness that many people with heart failure experience, which can even make moving across a room exhausting, the idea of exercise may seem ludicrous. "We used to tell people with heart failure to just rest," says Bennett, "but now we know that in many conditions, you're probably healthier if you get a little exercise."
Indeed, a recent statement from the American Heart Association, based on a review of the medical literature, indicated that exercise seems to be beneficial for heart failure patients, even for those with advanced forms of the disease.
Of course, anyone with heart failure absolutely must check with a doctor before undertaking an exercise plan. But all sorts of aerobic activity -- walking, biking, and swimming, for instance -- appear to be beneficial in many cases. Exercise improves the condition of blood vessels and lowers the levels of harmful hormones in the bloodstream.
Exercise also makes people feel better, it improves heart-failure symptoms, and it makes it easier to do normal, everyday physical tasks that can become difficult in advanced stages of heart failure. The American Heart Association recommends 20 to 30 minutes of aerobic activity three to five days a week; people with advanced heart failure may need longer warm-up periods.
However, Bennett cautions we still need more data from large studies before we can be sure of the types and amounts of exercise to recommend for heart failure. She also points out the benefits of exercise have been shown only in patients who were medically stable, so it may not be safe for everyone.
"I think that exercise may play an important role in treatment," says Bertram Pitt, MD, internal medicine professor at the University of Michigan. Although he cautions that we don't know all of the answers yet, he is optimistic about a new study of exercise in heart failure patients that has just begun.
Sleeping Well
Getting a good night's sleep is, not surprisingly, good for people with heart failure -- just as it is for anybody. But for people who sleep less than eight hours a night, a recent study suggested that the less you sleep, the higher your risk of developing heart disease. The reasons aren't entirely clear, but it is known that during sleep, the pulse, blood pressure, and levels of certain hormones are lowered, allowing the body to rest.
Unfortunately, some medications used to treat heart failure may make it hard to sleep soundly. For instance, people taking diuretics often wake up several times a night to go to the bathroom; talk to your doctor about scheduling your doses to help lessen or prevent this problem.
A particular concern for people with heart failure is a connection between this heart problem and sleep apnea, a disorder in which a person temporarily stops breathing for ten seconds or more while asleep. Sleep apnea -- usually caused by a physical obstruction in the airway -- is seen in about a third of people with heart failure. Treatment involves surgery or wearing a breathing mask during the night. A recent study showed that treatment with the breathing mask -- called CPAP -- improved symptoms of both heart failure and sleep apnea.


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MILWAUKEE -- On Friday night, the Pittsburgh Pirates took advantage of three Milwaukee Brewers errors in a runaway victory.
On Saturday, the Pirates simply took advantage of the National League Central leaders.
First baseman Pedro Alvarez led the way, bashing two home runs, and catcher Russell Martin added a third as the Pirates thumped the Brewers 10-2 at Miller Park.
Alvarez had been struggling. In 16 August games, he was batting .171 (6-for-25) with four RBIs and 16 strikeouts.
"We're always happy for any player that breaks out," Pirates manager Clint Hurdle said. "When you're steadfast and continue to put in work, your teammates believe in you, the coaching staff believes in you and the manager believes in you."
Pittsburgh collected 12 hits off Milwaukee pitching and got most of its offense from the center of its lineup. Martin, Alvarez and second baseman Neil Walker combined to go 7-for-12 with three walks, six runs and nine RBIs.
The brunt of the damage came in the fifth inning when the Pirates put five on the board against Brewers right-hander Wily Peralta.
Trailing 3-2, Peralta retired third baseman Josh Harrison to open the inning, but right fielder Travis Snider reached on an error by second baseman Scooter Gennett, advanced on a single by center fielder Andrew McCutchen and scored a double by Walker.
That brought up Martin, who took two sliders from Peralta before crushing a fastball to left. Alvarez followed with his second home run of the game.
"Anytime you can do something like that, especially when you help your team win a ballgame, is huge and it feels good," Alvarez said.
The offensive onslaught snapped what had been an impressive streak from Peralta (15-8), who had won six of his last seven starts while holding opponents to eight earned runs in 45 1/3 innings.
He went just five innings Saturday and was charged with eight runs (seven earned) on seven hits and three walks while striking out five.
"I thought he was throwing the ball well," Brewers manager Ron Roenicke said. "He came out the first three innings and looked good."
Peralta coasted through his first three innings, allowing only a two-out walk in the second inning. He retired the first two batters in the fourth but walked Walker and gave up a double to Martin before missing on a 1-0 fastball to Alvarez, who sent it to left for his 16th home run of the season.
"He's got a lot of power (to) both sides of the field," Peralta said. "I just fell behind and threw a fastball right down the middle. When it's right down the middle, you pay for it."
Peralta put two more runners on in the inning before retiring Pirates starter Edinson Volquez to get out of it.
Milwaukee took a 2-0 lead behind a solo home run by second baseman Scooter Gennett and an RBI double by left fielder Khris Davis. But the Brewers stranded runners at second and third in both the second and third innings, then had the bases loaded with one out in the fourth but couldn't cash in.
"We definitely had our chances," Roenicke said. "Our big boys were up when we needed them up, but they got the big hits when we didn't."
The Brewers managed just two runs off Volquez, who gave up 11 hits and two walks in 5 2/3 innings but improved to 11-7 with his fifth consecutive victory and sixth in his last eight starts.
"We got beat, that's it," Brewers center fielder Carlos Gomez said. "The last two games we didn't play well. They did and they take the 'W' and go home happy. We have to move forward. Tomorrow is another day and we have to come strong."
With three straight victories, Pittsburgh moved to four games behind the Brewers, who began the day with a 1 1/2-game lead over second-place St. Louis in the NL Central.
Milwaukee has lost three in a row.
NOTES: Milwaukee has held at least a share of first place for the NL Central every day since April 5, a span of 140 days. ... Pittsburgh INF Clint Barmes continued his minor league rehab assignment Saturday with Triple-A Indianapolis, going 2-for-4 with a walk and two runs scored. He's expected to play all nine innings Saturday and Sunday, and could be back with the Pirates on Monday against the Cardinals in Pittsburgh.


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Does your yard look more brown than green? If so, it's time you do something about it. Cottom's A... More>
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Cottom's A-1 Sod
(888) 244-8522
With 40+ years of sod and sodding installations experience behind us, we at Cottom's A-1 Sod are ... More>
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Earthscapes Unlimited Inc
(352) 748-0351
Hello and welcome to Earthscapes Unlimited Inc your full service landscape company located in Wil... More>
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Search Tags: Dan Ackerman
The current state of business intelligence
Guident Executive Vice President Dan Ackerman and Senior Vice President Ken Raffel join host John Gilroy to talk about how business intelligence is changing.
January 24, 2012
Tags: technology , Guident , Business intelligence , efficiencies , data effectiveness , predictive analysis , data management , content intelligence , mobile technology , federal budget , budget cuts , cost cutting , John Gilroy , Federal Tech Talk
Business intelligence and secure virtualization
Dan Ackerman, executive vice president and partner at Guident, is this week's guest.
Aug. 10, 2010
Tags: technology , Federal Tech Talk , Guident , John Gilroy


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Through the Conservation and Research Grant scheme, Chester Zoo supports a wide variety of smaller conservation projects each year.
Ranging from species monitoring and habitat protection to training and education, these projects work to conserve threatened species worldwide.
In 2013, we helped finance and coordinate over 50 different projects around the world. These projects are listed in full in the zoo's Annual Report.
The grant funding cycle runs in three periods and applications will be accepted any time during these three periods. We aim to make funding decisions within two months of the final acceptance date.
For consideration within the current funding cycle applications will be accepted:
Competition for the Chester Zoo Conservation & Research Grants is always high and our major criteria for grants include conservation impact and opportunities to link our ex- situ activities and our in situ outreach support.
For information on how to apply for a Chester Zoo Conservation & Research Grant please email firstname.lastname@example.com
Further information on grants.
Below are a few examples of projects we are currently supporting through our grants scheme.
Cheetah conservation at N/a'an ku sê Carnivore Research Project in Namibia.
Find out more
Protecting the world's largest living lizard in Indonesia.
Helping to save the native snails of French Polynesia.
Researching the Lowland Tapir in the Brazilian Pantanal.
Saving the threatened hornbill species of Thailand.
Supporting the Kibale Fuel Wood Project in Uganda and protection of the national park.
SAVE up to 10% online
And you'll also beat the queues with Fast Track admission
We're open till 4.30pm. Last entry 1 hour before closing.
Full opening times
Help us save wildlife from extinction.100% of donations goes directly to our field projects.
Act for Wildlife
Our expert presenters are on hand to give free daily animal talks around
the zoo.
Animal talks this week
In spring 2015 we're opening Islands, the largest zoo development in the UK and a new experience at Chester Zoo.
Discover more


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Barbara Palvin being cute, and succeeding at it. Just lovely.
For your consideration: reading The 10 Best Ways to Kill a Cat.What will you do today?
Jul 13, 2012
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