text:
At some point in my life I stopped posting pictures that included my left forearm. It wasn't one of those gradual things where eventually I noticed this to be the case and had to search my soul to figure out why.
I didn't need to figure it out. I knew. My left forearm is covered in scars, and scars are not acceptable anymore. I've grown up and left behind the things that made me sad -- or at least I've told myself that I have.
It could just be that I learned that sadness lasts forever when it's cut into your skin.
That's the thing about scars, though. If you're sad enough or angry enough or empty enough, you don't care about forever, until one day you're grown up and someone is looking at your wrist with a question in their eyes.
People keep saying that scars are beautiful in their own way, that they tell a story. Maybe that's true for others, but not for me. You can't tell a story from the lines of white tissue on my arm. Or maybe you can, and the story is as follows:
"Once upon a time there was a girl, and she was sad so she cut herself. Now her arm is scarred."
And that's the worst story I've ever heard.
Or maybe when they say that scars tell a story, they're referring to the stories we make up about them -- telling children that yes, a cat was very angry, or that my arm is the result of some childhood accident, so always listen to your mother!
I don't like those stories either, though.
Maybe the scars tell the stories that others invent about us. "Desperate for attention." "Chemically imbalanced." "Weirdo."
I guess at some point I started trying to forget. No pictures that include scars, then. Not even if I draw something cool on myself in a fit of boredom, or if I want to show off my new bracelet, or if a salamander crawls along my arm, along my scars, leaving tiny wet footprints. And if someone asks me about what the salamander looked like, I'll just have to try to bring to mind the translucent red skin and the minute movements of its chest as it breathed in and out.
Because if there was a picture of my arm, I'd feel compelled to tell a story about a girl who was sad, and who might even still be sad -- and if you're looking for an ending to that story, you'll just have to keep looking.


text:
OP Senior Member
Thanks Meter: 1
188 posts
Join Date:Joined: Jul 2010
So, I was copying some stuff to my SD card via USB cable from the PC. Now on the phone, it says Mount/Read only..try tapping.. (I cant see the rest of the message)
I tried turning phone off and on with and without card. Wont mount
I dont have a microSD adaptor or another phone to put it into either. Anyway I can just format it with the phone??
Please help!

subset: commoncrawl


text:
From Wikipedia, the free encyclopedia - View original article
Cuneiform | |
Trilingual cuneiform inscription of Xerxes at Van Fortress in Turkey, written in Old Persian, Akkadian, and Elamite | |
Type | Logographic and syllabic |
Languages | Akkadian, Eblaite, Elamite, Hattic, Hittite, Hurrian, Luwian, Sumerian, Urartian, Old Persian |
Time period | c. 31st century B.C.E. to 1st century C.E. |
Parent systems | (Proto-writing)
Child systems | none; influenced shape of Ugaritic apparently inspired Old Persian |
ISO 15924 | Xsux, 020 |
Direction | Left-to-right |
Unicode alias | Cuneiform |
U+12000 to U+123FF (Sumero-Akkadian Cuneiform) U+12400 to U+1247F (Numbers) | |
Cuneiform | |
Trilingual cuneiform inscription of Xerxes at Van Fortress in Turkey, written in Old Persian, Akkadian, and Elamite | |
Type | Logographic and syllabic |
Languages | Akkadian, Eblaite, Elamite, Hattic, Hittite, Hurrian, Luwian, Sumerian, Urartian, Old Persian |
Time period | c. 31st century B.C.E. to 1st century C.E. |
Parent systems | (Proto-writing)
Child systems | none; influenced shape of Ugaritic apparently inspired Old Persian |
ISO 15924 | Xsux, 020 |
Direction | Left-to-right |
Unicode alias | Cuneiform |
U+12000 to U+123FF (Sumero-Akkadian Cuneiform) U+12400 to U+1247F (Numbers) | |
Cuneiform script[nb 1] is one of the earliest known systems of writing,[1] distinguished by its wedge-shaped marks on clay tablets, made by means of a blunt reed for a stylus. The name cuneiform itself simply means "wedge shaped", from the Latin cuneus "wedge" and forma "shape," and came into English usage probably from Old French cunéiforme.
Emerging in Sumer in the late 4th millennium B.C.E. (the Uruk IV period), cuneiform writing began as a system of pictographs. In the third millennium, the pictorial representations became simplified and more abstract as the number of characters in use grew smaller, from about 1,000 in the Early Bronze Age to about 400 in Late Bronze Age (Hittite cuneiform). The system consists of a combination of logophonetic, consonantal alphabetic and syllabic signs.[2]
The original Sumerian script was adapted for the writing of the Akkadian, Eblaite, Elamite, Hittite, Luwian, Hattic, Hurrian, and Urartian languages, and it inspired the Ugaritic and Old Persian alphabets. Cuneiform writing was gradually replaced by the Phoenician alphabet during the Neo-Assyrian Empire. By the 2nd century C.E., the script had become extinct, and all knowledge of how to read it was lost until it began to be deciphered in the 19th century.
Between half a million[3] and two million cuneiform tablets are estimated to have been excavated in modern times. Of these, only approximately 30,000[4] – 100,000 have been read or published in modern time. The British Museum holds the largest collection, c. 130,000, followed by the Vorderasiatisches Museum Berlin, the Louvre, the Istanbul Archaeology Museums, the National Museum of Iraq, the Yale Babylonian Collection (c.40,000) and Penn Museum. Most of these have "lain in these collections for a century without being translated, studied or published,"[3] as there are only a few hundred qualified cuneiformists in the world.[4]
The cuneiform writing system was in use for more than three millennia, through several stages of development, from the 34th century B.C.E. down to the 2nd century C.E.[5] Ultimately, it was completely replaced by alphabetic writing (in the general sense) in the course of the Roman era and there are no Cuneiform systems in current use. It had to be deciphered as a completely unknown writing system in 19th-century Assyriology. Successful completion of its decipherment is dated to 1857.
The cuneiform script underwent considerable changes over a period of more than two millennia. The image below shows the development of the sign SAG "head" (Borger nr. 184, U+12295 𒊕). Stages:
The cuneiform script proper developed from pictographic proto-writing in the late 4th millennium B.C.E. Mesopotamia's "proto-literate" period spans roughly the 35th to 32nd centuries. The first documents unequivocally written in the Sumerian language date to c. the 31st century, found at Jemdet Nasr.
Originally, pictographs were either drawn on clay tablets in vertical columns with a sharpened reed stylus, or incised in stone. This early style lacked the characteristic wedge shape of the strokes.
Certain signs to indicate names of gods, countries, cities, vessels, birds, trees, etc., are known as determinatives, and were the Sumerian signs of the terms in question, added as a guide for the reader. Proper names continued to be usually written in purely "logographic" fashion.
The earliest known Sumerian king whose name appears on contemporary cuneiform tablets is Enmebaragesi of Kish. Surviving records only very gradually become less fragmentary and more complete for the following reigns, but by the end of the pre-Sargonic period, it had become standard practice for each major city-state to date documents by year-names commemorating the exploits of its lugal (king).
From about 2900 B.C.E., many pictographs began to lose their original function, and a given sign could have various meanings depending on context. The sign inventory was reduced from some 1,500 signs to some 600 signs, and writing became increasingly phonological. Determinative signs were re-introduced to avoid ambiguity. Cuneiform writing proper thus arises from the more primitive system of pictographs at about that time (Early Bronze Age II).
In the mid-3rd millennium B.C.E., writing direction was changed to left to right in horizontal rows (rotating all of the pictographs 90° counter-clockwise in the process), and a new wedge-tipped stylus was used which was pushed into the clay, producing wedge-shaped ("cuneiform") signs; these two developments made writing quicker and easier. By adjusting the relative position of the tablet to the stylus, the writer could use a single tool to make a variety of impressions.
Cuneiform tablets could be fired in kilns to provide a permanent record, or they could be recycled if permanence was not needed. Many of the clay tablets found by archaeologists were preserved because they were fired when attacking armies burned the building in which they were kept.
The script was also widely used on commemorative stelae and carved reliefs to record the achievements of the ruler in whose honor the monument had been erected.
The spoken language consisted of many similar sounds, and in the beginning similar sounding words such as "life" [til] and "arrow" [ti] were described in writing by the same symbol. After the Semites conquered Southern Mesopotamia, some signs gradually changed from being pictograms to syllabograms, most likely to make things clearer in writing. In that way the sign for the word "arrow" would become the sign for the sound "ti". If a sound would represent many different words the words would all have different signs, for instance the syllable "gu" had fourteen different symbols. When the words had similar meaning but very different sounds they were written with the same symbol. For instance "tooth" [zu], "mouth" [ka] and "voice" [gu] were all written with the symbol for "voice". To be more accurate they started adding to signs or combine two signs to define the meaning. They used either geometrical patterns or another cuneiform sign.[2]
As time went by the cuneiform got very complex and the distinction between a pictogram and syllabogram became vague. Several symbols had too many meanings to permit clarity. Therefore, symbols were put together to indicate both the sound and the meaning of compound. The word "Raven" [UGA] had the same logogram as the words "soap" [NAGA] "name of a city" [ERESH] and "the patron goddess of Eresh" [NISABA]. Two phonetic complements were used to define the word [u] in front of the symbol and [gu] behind. Finally the symbol for "bird" [MUSHEN] was added to ensure proper interpretation. The written part of the Sumerian language was used as a learned written language until the 1st century C.E. The spoken language died out around the 18th century B.C.E.[2]
The archaic cuneiform script was adopted by the Akkadians from c. 2500 B.C.E., and by 2000 B.C.E. had evolved into Old Assyrian cuneiform, with many modifications to Sumerian orthography. The Semitic equivalents for many signs became distorted or abbreviated to form new "phonetic" values, because the syllabic nature of the script as refined by the Sumerians was unintuitive to Semitic speakers. At this stage, the former pictograms were reduced to a high level of abstraction, and were composed of only five basic wedge shapes: horizontal, vertical, two diagonals and the Winkelhaken impressed vertically by the tip of the stylus. The signs exemplary of these basic wedges are
Except for the Winkelhaken which has no tail, the length of the wedges' tails could vary as required for sign composition.
Signs tilted by about 45 degrees are called tenû in Akkadian, thus DIŠ is a vertical wedge and DIŠ tenû a diagonal one. If a sign is modified with additional wedges, this is called gunû or "gunification;" if signs are crosshatched with additional Winkelhaken, they are called šešig; if signs are modified by the removal of a wedge or wedges, they are called nutillu.
"Typical" signs have usually in the range of about five to ten wedges, while complex ligatures can consist of twenty or more (although it is not always clear if a ligature should be considered a single sign or two collated but still distinct signs); the ligature KAxGUR7 consists of 31 strokes.
Most later adaptations of Sumerian cuneiform preserved at least some aspects of the Sumerian script. Written Akkadian included phonetic symbols from the Sumerian syllabary, together with logograms that were read as whole words. Many signs in the script were polyvalent, having both a syllabic and logographic meaning. The complexity of the system bears a resemblance to Old Japanese, written in a Chinese-derived script, where some of these Sinograms were used as logograms, and others as phonetic characters.
This "mixed" method of writing continued through the end of the Babylonian and Assyrian empires, although there were periods when "purism" was in fashion and there was a more marked tendency to spell out the words laboriously, in preference to using signs with a phonetic complement. Yet even in those days, the Babylonian syllabary remained a mixture of logographic and phonemic writing.
Hittite cuneiform is an adaptation of the Old Assyrian cuneiform of c. 1800 B.C.E. to the Hittite language. When the cuneiform script was adapted to writing Hittite, a layer of Akkadian logographic spellings was added to the script, thus the pronunciations of many Hittite words which were conventionally written by logograms are now unknown.
In the Iron Age (c. 10th to 6th centuries B.C.E.), Assyrian cuneiform was further simplified. From the 6th century, the Assyrian language was marginalized by Aramaic, written in the Aramaean alphabet, but Neo-Assyrian cuneiform remained in use in literary tradition well into Parthian times (250 B.C.E. – 226 C.E.). The last known cuneiform inscription, an astronomical text, was written in 75 C.E.[6]
The complexity of the system prompted the development of a number of simplified versions of the script. Old Persian was written in a subset of simplified cuneiform characters known today as Old Persian cuneiform. It formed a semi-alphabetic syllabary, using far fewer wedge strokes than Assyrian used, together with a handful of logograms for frequently occurring words like "god" and "king". The Ugaritic language was written using the Ugaritic alphabet, a standard Semitic style alphabet (an abjad) written using the cuneiform method.
For centuries, travellers to Persepolis, in modern-day Iran, had noticed carved cuneiform inscriptions and were intrigued.[7] Attempts at deciphering these Old Persian writings date back to Arabic/Persian historians of the medieval Islamic world, though these early attempts at decipherment were largely unsuccessful.[8]
In the 15th century the Venetian Barbero explored ancient ruins in the Middle East and came back with news of a very odd writing he had found carved on the stones in the temples of Shiraz and on many clay tablets.
In 1625 the Roman traveler Pietro Della Valle, coming back from Mesopotamia and Persia, brought back a tablet written with cuneiform glyphs he had found in Ur, and also the copy of five characters he had seen in Persepolis. Della Valle understood that the writing had to be read from left to right, following the direction of wedges, but did not attempt to decipher the scripts.
Englishman Sir Thomas Herbert, in the 1634 edition of his travel book A relation of some yeares travaile, reported seeing at Persepolis carved on the wall "a dozen lines of strange characters…consisting of figures, obelisk, triangular, and pyramidal" and thought they resembled Greek. In the 1664 edition he reproduced some and thought they were 'legible and intelligible' and therefore decipherable. He also guessed, correctly, that they represented not letters or hieroglyphics but words and syllables, and were to be read from left to right.[7] Herbert is rarely mentioned in standard histories of the decipherment of cuneiform.
Carsten Niebuhr brought the first reasonably complete and accurate copies of the inscriptions at Persepolis to Europe.[7] Bishop Friedrich Münter of Copenhagen discovered that the words in the Persian inscriptions were divided from one another by an oblique wedge and that the monuments must belong to the age of Cyrus and his successors. One word, which occurs without any variation towards the beginning of each inscription, he correctly inferred to signify "king".[7] By 1802 Georg Friedrich Grotefend had determined that two king's names mentioned were Darius and Xerxes (but in their native Old Persian forms, which were unknown at the time and therefore had to be conjectured), and had been able to assign correct alphabetic values to the cuneiform characters which composed the two names.[9] Although Grotefend's Memoir was presented to the Göttingen Academy on September 4, 1802, the Academy refused to publish it; it was subsequently published in Heeren's work in 1815, but was overlooked by most researchers at the time.[10]
In 1836, the eminent French scholar Eugène Burnouf discovered that the first of the inscriptions published by Niebuhr contained a list of the satrapies of Darius. With this clue in his hand, he identified and published an alphabet of thirty letters, most of which he had correctly deciphered.[7][11][12]
A month earlier, a friend and pupil of Burnouf's, Professor Christian Lassen of Bonn, had also published his own work on The Old Persian Cuneiform Inscriptions of Persepolis.[12][13] He and Burnouf had been in frequent correspondence, and his claim to have independently detected the names of the satrapies, and thereby to have fixed the values of the Persian characters, was consequently fiercely attacked. According to Sayce, whatever his obligations to Burnouf may have been, Lassen's "contributions to the decipherment of the inscriptions were numerous and important. He succeeded in fixing the true values of nearly all the letters in the Persian alphabet, in translating the texts, and in proving that the language of them was not Zend, but stood to both Zend and Sanskrit in the relation of a sister".[7]
Meanwhile, in 1835 Henry Rawlinson, a British East India Company army officer, visited the Behistun Inscriptions in Persia. Carved in the reign of King Darius of Persia (522–486 B.C.E.), they consisted of identical texts in the three official languages of the empire: Old Persian, Babylonian, and Elamite. The Behistun inscription was to the decipherment of cuneiform what the Rosetta Stone was to the decipherment of Egyptian hieroglyphs.[14]
Rawlinson correctly deduced that the Old Persian was a phonetic script and he successfully deciphered it. In 1837 he finished his copy of the Behistun inscription, and sent a translation of its opening paragraphs to the Royal Asiatic Society. Before his article could be published, however, the works of Lassen and Burnouf reached him, necessitating a revision of his article and the postponement of its publication. Then came other causes of delay. In 1847 the first part of the Rawlinson's Memoir was published; the second part did not appear until 1849.[15][nb 2] The task of deciphering the Persian cuneiform texts was virtually accomplished.[7]
After translating the Persian, Rawlinson and, working independently of him, the Irish Assyriologist Edward Hincks, began to decipher the others. (The actual techniques used to decipher the Akkadian language have never been fully published; Hincks described how he sought the proper names already legible in the deciphered Persian while Rawlinson never said anything at all, leading some to speculate that he was secretly copying Hincks.[16]) They were greatly helped by Paul Émile Botta's discovery of the city of Nineveh in 1842. Among the treasures uncovered by Botta were the remains of the great library of Ashurbanipal, a royal archive containing tens of thousands of baked clay tablets covered with cuneiform inscriptions.
By 1851, Hincks and Rawlinson could read 200 Babylonian signs. They were soon joined by two other decipherers: young German-born scholar Julius Oppert, and versatile British Orientalist William Henry Fox Talbot. In 1857 the four men met in London and took part in a famous experiment to test the accuracy of their decipherments. Edwin Norris, the secretary of the Royal Asiatic Society, gave each of them a copy of a recently discovered inscription from the reign of the Assyrian emperor Tiglath-Pileser I. A jury of experts was empanelled to examine the resulting translations and assess their accuracy. In all essential points the translations produced by the four scholars were found to be in close agreement with one another. There were of course some slight discrepancies. The inexperienced Talbot had made a number of mistakes, and Oppert's translation contained a few doubtful passages which the jury politely ascribed to his unfamiliarity with the English language. But Hincks' and Rawlinson's versions corresponded remarkably closely in many respects. The jury declared itself satisfied, and the decipherment of Akkadian cuneiform was adjudged a fait accompli.
In the early days of cuneiform decipherment, the reading of proper names presented the greatest difficulties. However, there is now a better understanding of the principles behind the formation and the pronunciation of the thousands of names found in historical records, business documents, votive inscriptions, literary productions and legal documents. The primary challenge was posed by the characteristic use of old Sumerian non-phonetic logograms in other languages that had different pronunciations for the same symbols. Until the exact phonetic reading of many names was determined through parallel passages or explanatory lists, scholars remained in doubt, or had recourse to conjectural or provisional readings. Fortunately, in many cases, there are variant readings, the same name being written phonetically (in whole or in part) in one instance, and logographically in another.
Cuneiform has a specific format for transliteration. Because of the script's polyvalence, transliteration requires certain choices of the transliterating scholar, who must decide in the case of each sign which of its several possible meanings is intended in the original document. For example, the sign DINGIR in a Hittite text may represent either the Hittite syllable an or may be part of an Akkadian phrase, representing the syllable il, it may be a Sumerogram, representing the original Sumerian meaning, 'god' or the determinative for a deity. In transliteration, a different rendition of the same glyph is chosen depending on its role in the present context.
Therefore, a text containing DINGIR and MU in succession could be construed to represent the words "ana", "ila", god + "a" (the accusative ending), god + water, or a divine name "A" or Water. Someone transcribing the signs would make the decision how the signs should be read and assemble the signs as "ana", "ila", "Ila" ("god"+accusative case), etc. A transliteration of these signs, however, would separate the signs with dashes "il-a", "an-a", "DINGIR-a" or "Da". This is still easier to read than the original cuneiform, but now the reader is able to trace the sounds back to the original signs and determine if the correct decision was made on how to read them. A transliterated document thus presents both the reading preferred by the transliterating scholar as well as the opportunity to reconstruct the original text.
There are differing conventions for transliterating Sumerian, Akkadian (Babylonian) and Hittite (and Luwian) cuneiform texts. One convention that sees wide use across the different fields is the use of acute and grave accents as an abbreviation for homophone disambiguation. Thus, u is equivalent to u1, the first glyph expressing phonetic u. An acute accent, ú, is equivalent to the second, u2, and a grave accent ù to the third, u3 glyph in the series (while the sequence of numbering is conventional but essentially arbitrary and subject to the history of decipherment). In Sumerian transliteration, a multiplication sign 'x' is used to indicate ligatures. As shown above, signs as such are represented in capital letters, while the specific reading selected in the transliteration is represented in small letters. Thus, capital letters can be used to indicate a so-called Diri compound – a sign sequence that has, in combination, a reading different from the sum of the individual constituent signs (for example, the compound IGI.A – "water" + "eye" – has the reading imhur, meaning "foam"). In a Diri compound, the individual signs are separated with dots in transliteration. Capital letters may also be used to indicate a Sumerogram (for example, KÙ.BABBAR – Sumerian for "silver" – being used with the intended Akkadian reading kaspum, "silver"), an Akkadogram, or simply a sign sequence of whose reading the editor is uncertain. Naturally, the "real" reading, if it is clear, will be presented in small letters in the transliteration: IGI.A will be rendered as imhur4.
Since the Sumerian language has only been widely known and studied by scholars for approximately a century, changes in the accepted reading of Sumerian names have occurred from time to time. Thus the name of a king of Ur, read Ur-Bau at one time, was later read as Ur-Engur, and is now read as Ur-Nammu or Ur-Namma; for Lugal-zaggisi, a king of Uruk, some scholars continued to read Ungal-zaggisi; and so forth. Also, with some names of the older period, there was often uncertainty whether their bearers were Sumerians or Semites. If the former, then their names could be assumed to be read as Sumerian, while, if they were Semites, the signs for writing their names were probably to be read according to their Semitic equivalents, though occasionally Semites might be encountered bearing genuine Sumerian names. There was also doubt whether the signs composing a Semite's name represented a phonetic reading or a logographic compound. Thus, e.g. when inscriptions of a Semitic ruler of Kish, whose name was written Uru-mu-ush, were first deciphered, that name was first taken to be logographic because uru mu-ush could be read as "he founded a city" in Sumerian, and scholars accordingly retranslated it back to the original Semitic as Alu-usharshid. It was later recognized that the URU sign can also be read as rí and that the name is that of the Akkadian king Rimush.
The tables below show signs used for simple syllables of the form CV or VC. As used for the Sumerian language, the cuneiform script was in principle capable of distinguishing at least 16 consonants, transliterated as
as well as four vowel qualities, a, e, i, u. The Akkadian language had no use for g̃ or ř but needed to distinguish its emphatic series, q, ṣ, ṭ, adopting various "superfluous" Sumerian signs for the purpose (e.g. qe=KIN, qu=KUM, qi=KIN, ṣa=ZA, ṣe=ZÍ, ṭur=DUR etc.[clarification needed]) Hittite as it adopted the Akkadian cuneiform further introduced signs for the glide w, e.g. wa=PI, wi5=GEŠTIN) as well as a ligature I.A for ya.
-a | -e | -i | -u | |
a 𒀀, á 𒀉 | e 𒂊, | i 𒄿, í=IÁ 𒐊 | u 𒌋, | |
b- | ba 𒁀, | be=BAD 𒁁, | bi 𒁉, | bu 𒁍, |
d- | da 𒁕, dá=TA 𒋫 | de=DI 𒁲, dé , | di 𒁲, dí=TÍ 𒄭 | du 𒁺, |
g- | ga 𒂵, gá 𒂷 | ge=GI 𒄀, | gi 𒄀, | gu 𒄖, |
ḫ- | ḫa 𒄩, | ḫe=ḪI 𒄭, ḫé=GAN 𒃶 | ḫi 𒄭, ḫí=GAN 𒃶 | ḫu 𒄷 |
k- | ka 𒅗, | ke=KI 𒆠, ké=GI 𒄀 | ki 𒆠, kí=GI 𒄀 | ku 𒆪, |
l- | la 𒆷, | le=LI 𒇷, lé=NI 𒉌 | li 𒇷, lí=NI 𒉌 | lu 𒇻, lú 𒇽 |
m- | ma 𒈠, má 𒈣 | me 𒈨, | mi 𒈪, | mu 𒈬, mú=SAR 𒊬 |
n- | na 𒈾, | ne 𒉈, né=NI 𒉌 | ni 𒉌, ní=IM 𒉎 | nu 𒉡, nú=NÁ 𒈿 |
p- | pa 𒉺, pá=BA 𒐀 | pe=PI 𒉿, pé=BI 𒁉 | pi 𒉿, | pu=BU 𒁍, |
r- | ra 𒊏, rá=DU 𒁺 | re=RI 𒊑, ré=URU 𒌷 | ri 𒊑, rí=URU 𒌷 | ru 𒊒, |
s- | sa 𒊓, | se=SI 𒋛, sé=ZI 𒍣 | si 𒋛, sí=ZI 𒍣 | su 𒋢, |
š- | ša 𒊭, | še 𒊺, šé, | ši=IGI 𒅆, ší=SI 𒋛 | šu 𒋗, |
t- | ta 𒋫, tá=DA 𒁕 | te 𒋼, té=TÍ 𒊹 | ti 𒋾, | tu 𒌅, |
z- | za 𒍝, zá=NA4 𒉌𒌓 | ze=ZI 𒍣, zé=ZÌ 𒍢 | zi 𒍣, | zu 𒍪, zú=KA 𒅗 |
a- | e- | i- | u- | |
a 𒀀, á 𒀉 | e 𒂊, | i 𒄿, í=IÁ 𒐊 | u 𒌋, | |
-b | ab 𒀊, áb 𒀖 | eb=IB 𒅁, éb=TUM 𒌈 | ib 𒅁, íb=TUM 𒌈 | ub 𒌒, úb=ŠÈ 𒂠 |
-d | ad 𒀜, ád 𒄉 | ed=Á 𒀉 | id=Á 𒀉, íd=A.ENGUR 𒀀𒇉 | ud 𒌓, úd=ÁŠ 𒀾 |
-g | ag 𒀝, ág 𒉘 | eg=IG 𒅅, ég=E 𒂊 | ig 𒅅, íg=E 𒂊 | ug 𒊌 |
-ḫ | aḫ 𒄴, áḫ=ŠEŠ 𒋀 | eḫ=AḪ 𒄴 | iḫ=AḪ 𒄴 | uḫ=AḪ 𒄴, úḫ 𒌔 |
-k | ak=AG 𒀝 | ek=IG 𒅅 | ik=IG 𒅅 | uk=UG 𒊌 |
-l | al 𒀠, ál=ALAM 𒀩 | el 𒂖, él=IL 𒅋 | il 𒅋, íl 𒅍 | ul 𒌌, úl=NU 𒉡 |
-m | am 𒄠/𒂔, ám=ÁG 𒉘 | em=IM 𒅎 | im 𒅎, ím=KAŠ4 𒁽 | um 𒌝, úm=UD 𒌓 |
-n | an 𒀭 | en 𒂗, én, | in 𒅔, | un 𒌦, |
-p | ap=AB 𒀊 | ep=IB, ép=TUM 𒌈 | ip=IB 𒅁, íp=TUM 𒌈 | up=UB 𒌒, úp=ŠÈ 𒂠 |
-r | ar 𒅈, ár=UB 𒌒 | er=IR 𒅕 | ir 𒅕, íp=A.IGI 𒀀𒅆 | ur 𒌨, úr 𒌫 |
-s | as=AZ 𒊍 | es=GIŠ 𒄑, és=EŠ 𒂠 | is=GIŠ 𒄑, ís=EŠ 𒂠 | us=UZ, ús=UŠ 𒍑 |
-š | aš 𒀸, áš 𒀾 | eš 𒌍/𒐁, éš=ŠÈ 𒂠 | iš 𒅖, íš=KASKAL 𒆜 | uš 𒍑, |
-t | at=AD 𒀜, át=GÍR gunû 𒄉 | et=Á 𒀉 | it=Á 𒀉 | ut=UD 𒌓, út=ÁŠ 𒀾 |
-z | az 𒊍 | ez=GIŠ 𒄑, éz=EŠ 𒂠 | iz= GIŠ 𒄑, íz=IŠ 𒅖 | uz=ŠE&HU 𒊺𒄷 |
The Sumerian cuneiform script had on the order of 1,000 distinct signs (or about 1,500 if variants are included). This number was reduced to about 600 by the 24th century B.C.E. and the beginning of Akkadian records. Not all Sumerian signs are used in Akkadian texts, and not all Akkadian signs are used in Hittite.
Falkenstein (1936) lists 939 signs used in the earliest period (late Uruk, 34th to 31st centuries). With an emphasis on Sumerian forms, Deimel (1922) lists 870 signs used in the Early Dynastic II period (28th century, "LAK") and for the Early Dynastic IIIa period (26th century, "ŠL"). Rosengarten (1967) lists 468 signs used in Sumerian (pre-Sargonian). Lagash and Mittermayer ("aBZL", 2006) list 480 Sumerian forms, written in Isin-Larsa and Old Babylonian times. Regarding Akkadian forms, the standard handbook for many years was Borger ("ABZ", 1981) with 598 signs used in Assyrian/Babylonian writing, recently superseded by Borger ("MesZL", 2004) with an expansion to 907 signs, an extension of their Sumerian readings and a new numbering scheme.
Signs used in Hittite cuneiform are listed by Forrer (1922), Friedrich (1960) and the HZL (Rüster and Neu 1989). The HZL lists a total of 375 signs, many with variants (for example, 12 variants are given for number 123 EGIR).
The Sumerians used a numerical system based on 1, 10 and 60. The way of writing a number like 70 would be the sign for 60 and the sign for 10 right after. This way of counting is still used today for measuring time as 60 seconds per minute and 60 minutes per hour.[2]
Unicode (as of version 6.0) assigns to Sumero-Akkadian Cuneiform script the following ranges:
The final proposal for Unicode encoding of the script was submitted by two cuneiform scholars working with an experienced Unicode proposal writer in June 2004.[17] The base character inventory is derived from the list of Ur III signs compiled by the Cuneiform Digital Library Initiative of UCLA based on the inventories of Miguel Civil, Rykle Borger (2003), and Robert Englund. Rather than opting for a direct ordering by glyph shape and complexity, according to the numbering of an existing catalog, the Unicode order of glyphs was based on the Latin alphabetic order of their "last" Sumerian transliteration as a practical approximation.
Location | Number of tablets | Initial discovery | Language |
Abu Salabikh | 500[18] | 1963 | |
Dūr-Katlimmu | 500[19] | 1879 | |
Girsu | 40,000–50,000[20] | 1877 | |
Mari, Syria | 20,000–25,000[21] | 1933 | Akkadian |
Library of Ashurbanipal | 20,000–24,000[22] | 1849 | Akkadian |
Nippur | 60,000[22] | 1851 | |
Nuzi | 10,000–20,000[23] | 1896 | |
Drehem | 100,000[23] | Sumerian | |
Sippar | Tens of thousands[24] | 1880 | Neo-Babylonian |
Ebla tablets | c.5,000 | 1974 | Sumerian and Eblaite |
Hattusa | 30,000 | 1906 | Hittite |
Alalakh | 300[25] | 1937 | |
Amarna letters | 382 | 1887 | Akkadian |
Ugarit | Thousands | 1929 | Ugaritic |
Assur | 16,000 | 1898 | Akkadian |
Since the decipherment of Babylonian cuneiform some 150 years ago museums have accumulated perhaps 300,000 tablets written in most of the major languages of the Ancient Near East – Sumerian, Akkadian (Babylonian and Assyrian), Eblaite, Hittite, Persian, Hurrian, Elamite, and Ugaritic. These texts include genres as variegated as mythology and mathematics, law codes and beer recipes. In most cases these documents are the earliest exemplars of their genres, and cuneiformists have made unique and valuable contributions to the study of such moderns disciplines as history, law, religion, linguistics, mathematics, and science. In spite of continued great interest in mankind's earliest documents it has been estimated that only about 1/10 of the extant cuneiform texts have been read even once in modern times. There are various reasons for this: the complex Sumero/Akkadian script system is inherently difficult to learn; there is, as yet, no standard computer encoding for cuneiform; there are only a few hundred qualified cuneiformists in the world; the pedagogical tools are, in many cases, non-optimal; and access to the widely distributed tablets is expensive, time-consuming, and, due to the vagaries of politics, becoming increasingly difficult.
Wikimedia Commons has media related to Cuneiform. |


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The clatter of body armor and weaponry was almost unheard over the deafening roar of the engine of the Autobot the soldiers rode upon. Ironhide didn't mind being used for transport, after all. He was the largest, most open-bodied of the bots that were not kept for more severe situations Optimus, during these sorts of missions, was usually resigned to a transport aircraft high above whatever city they were heading to.
Nearest to the cab rode Major Will Lennox, his hand always resting in the same spot against the big black truck's frame. For the both of them, it was a sign of the friendship they shared... one most humans would never have the opportunity to experience. Smell 'im yet, Ironhide? he questioned. We're getting' restless back here.
Ironhide snorted a response through the smokestacks at his sides, giving his huge body a shake so much like the big bloodhound Sgt. Robert Epps had nicknamed him that the other soldiers gave a ripple of chuckles. Most of them had been on the receiving end of that response at one point or another, when they'd climbed into the bed before Ironhide was ready or hit a particularly ticklish spot helping wash off his truck form from a particularly dirty mission. I'll tell you when I smell 'im. Impatient today?
Just makin' sure you're still paying attention, big guy, Lennox replied with a grin, patting the truck lightly. We're all relying on that super olfactory of yours.
Another snort from the truck. Well, then, you'll just have to be patient, won't you?
Guess I ought to be.
Epps rolled his eyes, an action which did not go unnoticed by the rest of the crew, but most of them kept their mouths shut.
The crew fell silent once again, listening to the planes overhead and the roar of Ironhide's engine until all at once, the Autobot drew to an abrupt, sudden stop. He was muttering something in a language the others did not understand, but Lennox was already starting to grin. These rumblings had made him curious early in their alliance with the alien robots, and he had queried Ironhide on their meanings. The result was him picking up more than his fair share of Cybertronian, and while he could not speak it there were electronic complexities the human vocal capacity just could not replicate he was quite capable of understanding quite a bit of it.
The result was that he always knew when Ironhide was cussing about something he didn't want anyone else to know about. That usually meant they'd found the target. Without needing any sort of go-ahead from their alien partner, Lennox stood, staying somewhat ducked down as he motioned for the team to exit the truck. Scramble, guys. We're at ground zero.
No one really questioned his inside knowledge of the situation, and Ironhide fell silent and still as the soldiers climbed out. Once everyone was free of his frame, he shifted and transformed, one foot falling right next to Lennox as he knelt. It's Shockwave, he reported, optics narrowed. He's a bad one.
Sort of figured by your reaction, Lennox teased. Ironhide snorted and muttered another string of unpleasant words in Cybertronian as the young soldier tried very hard not to laugh. Ouch, big guy. You kiss your mother with that mouth?
He didn't miss the half-smile of response when Ironhide looked down at him. No, but I kiss yours.
Lennox nearly laughed, and would've if the situation around him hadn't been so volatile. Someone had been hanging around Epps too much, picking up yo' momma style jokes. Epps himself was giving them a dry look, trying his best not to seem amused. Hey, if you ladies are done flirting, we've got a job to do, remember?
The robotic truck gave another snort, but Lennox just let his expression drift to more neutral, patting a bar on Ironhide's ankle before he moved forward to get his team prepped. Okay, boys. Let's bring the rain.


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StSanders Goes Flamenco
- |
- 7:02 am |
- Permalink
Spandex-clad speed demons aren't the only guitarists who make pretentious, unintentionally hilarious faces while they work the six-string. In a new video posted Monday, YouTube guitar-parody king StSanders turns his attention away from heavy metal and onto Flamenco guitarist Paco De Lucia.
The bongos, junk licks and "Dueling Banjos" quote in "Paco De Lucia Shreds" are priceless, but as per usual it's the guitarist's ridiculous facial expressions that sell the joke. De Lucia mostly peers down at his acoustic guitar's neck like he's in the middle of a petit mal seizure, but he occasionally throws his head back to grimace at the sky. While Flamenco undoubtedly will not prove to be as fertile a humor farm as Iron Maiden's monsteriffic stadium shows, it's nice to see StSanders isn't afraid to jump genres. (Can't wait till he gets to one of country music's all-time six-string freaks, Junior Brown.)
P.S. StSanders has been busy: In a second video posted Monday, he gives a little parody love to a fellow Finn. "Anssi Kela Shreds in Finland" is worth watching strictly for the applauding guy with the goofy grin.
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BIKE FRAME MATERIALS - Aluminum, Titanium, Chro-Moly...Does It Matter?Mar 5, 2004
Popular Products in Sport and Outdoor
The Bottom Line Does It Really Matter? Oh Yeah!
Mountain biking is one of my favorite sports. I've been mountain biking (MTB) for over 12 years. I've mostly ridden in the Northwest: Washington, Oregon, Idaho, and Montana. But I've also ridden in Florida and Texas. For me, finding the right bike is a very important process. It's much like choosing a car except more important in many ways, especially if you compete. Your bike will go through a lot with you (like a good pair of shoes for a runner) and it's important to find the right qualities so the experiences are efficient and fun. A very basic consideration when looking at a bike is - "What's the price?" That is often the first question people have, especially beginners who don't necessarily know much about bikes. One of the major contributors to the overall price of a bike is the frame material. Other factors include suspension and components among other things. It is important that the buyer - you - has a good idea of what the bike is going to be used for. If you're just riding with the kids on the weekend you can pass buy the titanium and carbon fiber frames and look at a low cost cro-moly bike. But if you've been training and you're looking for a bike you can race with then you have to take a closer look. Be honest with yourself though because bikes can cost a lot of money. The most expensive bike I've owned was a 2001 Specialized FSR Enduro Comp which I bought for $1,699. High-end bikes can easily break the $4,000 mark. This review will probably be the most helpful for those that are budding MTB competitors. ============================================================ Frame material affects several characteristics of a bike. They are stiffness, weight, and strength. So it's important to get a proper mix of stiffness, weight, and strength that's is appropriate for your biking activities. Though most inexperienced riders won't really be able to tell a difference, with the exception of weight, until they've been riding for a while. There are two major types of MTB racing - downhill and cross-country (XCR). Obviously, weight is not much of a factor for downhill racers where as weight is very, very important for cross-country racers. Other types of racing include dual slalom and trials. There really is no "perfect" material though I think some might disagree with me. With that in mind, lets take a look at the different frame materials available... Chro-Moly Chro-moly is a fancy name for steel. Steel is heavy. But, steel is stiff. A frame made with chro-moly will usually have small tubes. To help reduce weight many steel frames have thin walled tubes. But remember, the thinner the tube walls are the less stiffness you'll have. If you're a heavy rider you'll want a thicker tube wall to support your weight. Reynolds 853 is usually considered the best type of steel for bike frames because it gains strength as it cools after the welding process. All steel has the same inherent stiffness. Positives: * Very Strong * Stiff Ride * Durable * Cheap Negatives: * Heavy * Prone To Rusting Aluminum Aluminum is one of the most common frame materials because it is light and fairly affordable. Aluminum provides the rider with a very stiff ride. Aluminum frames have large diameter tubes that help improve strength and stiffness. This material is often used for unique frame shapes. Positives: * Light * Stiff * Inexpensive * Rust-Proof Negatives: * Less Strength Than Steel * Can Break Under Heavy Use * Difficult To Repair * Thin Walled Tubes Dent Easy Carbon Fiber Carbon fiber frames are very strong and stiff. They are made by braiding fibers of carbon and affixing them with a very strong glue (epoxy). These kind of frames allow for unique frame shapes because they can be molded to the proper shape much easier than metal alloys. Carbon fiber can crack so watch out for that. Positives: * Great Strength * Great Stiffness * Very Light * No Rust Negatives: * Expensive * Prone To Breakage Titanium In my opinion, titanium is one of the best materials for any frame. It combines a great balance of lightness, strength, durability, and stiffness. The best alloys of titanium are as strong as the best alloys of steel frames. For a stiffer titanium frame look for larger tubes. Titanium frames usually come in two alloys: - 3Al/2.5V alloy (3% aluminum / 2.5% vanadium) - 6Al/4V (6% aluminum / 4% vanadium) The 6Al/4V is stronger but more expensive. Positives: * Super Light * Very Strong * Rust Proof * Great For Large Riders Negatives: * Very Expensive * Somewhat Flexible (compared to steel) Butt My Frame Sucka! - When looking at aluminum frames and some large diameter tubed steel and titanium frames you'll want to make sure that the tubes are butted. This increases strength and it's important. What's Up With Flex? - Flex is when there is lateral movement in the frame. This most often happens with the tire but can also come from the seatpost. But there can also be flex in the frame itself. That is why stiffness is important. Be sure to ask about the flex characteristics of the bike you're looking at. Flex can steal power from your pedal stroke and, especially with full suspension bikes, is detrimental when riding uphill (crosscountry racing for example). Ooh, It's So Stiff! - You sick-o I know what you were thinking! Stiffness refers to how much the frame itself absorbs vibrations and bumps in the surface you are riding on. Aluminum is notorious for offering a very unforgiving ride. Steel frames are known for being absorbant. Who Designed This? - In addition to the frame material, what determines a lot as far as stiffness, flex, strength, and even weight is the design of the frame. I would recommend reading some reviews in MTB magazines. Also, since you're on Epinions check out some of the reviews. Frame design is very important. Summary: If you're doing cross-country (XCR) riding you'll want to get the lightest possible bike that has the least amount of flex. For downhill riders, focus on suspension travel, strength, and durability. Light frames and components are important for both, but even more so for XCR. I like aluminum a lot but I would love to be able to afford titanium! There are some nice carbon fiber bikes out there too! My FSR Comp has an aluminum frame. My complaint about it is there's way too much flex in the rear swing arm for it to be a good XCR bike. The rear swing arm is the part attached to your rear tire, rear suspension, and bike frame. Good Mountain Bike Companies: * Specialized * GT * Trek * Barracuda And many more... Final Say: Be sure to research your purchase carefully! Also, be sure you know what you and the bike will be doing, then focus on your price range. Obviously, try to get the best mix of quality components, suspension (if desired), and frame material. Other than that - have fun and enjoy your new ride! Time to shred! Over The River And Through The Woods... Thanks For Reading! |


text: Ok guys, Dan Kaminsky finally let the cat out of the bag, and demonstrated some popular software can be exploited. Pretty much a non-event despite all the hype. The only people who can fix this are the major players who are a bunch of fat, lazy, greedy, corporate types. Users are not directly vulnerable to this in most cases. He also made it very obvious this is far more annoyance than threat. Being redirected to a malware site does not present any real danger for Linux users or even to patched Windoze users. That is only the first step anyway. Attackers still must use a secondary vehicle to deliver the main attack once they have diverted you to a site they control. They will probably try to use a hidden Iframe injected into a real banking site to fool you and steal your password. Very old hat and only idiots will fall victim. Secure transactions cannot be successfully faked because the attackers don't have the SSL private key. Your browser will clearly show when the connection has unencrypted portions. Disconnect when in doubt. Duh. Web sites have much more to fear, because they can easily be diverted to porn sites or whatever. Totally harmless except from a reputation standpoint. God.com => Hotporn.com. oops.... actually, that might prove to be a blessing:) No the sky is not falling and this will pass soon. But watch out for that Banana vuln..It's a real killer. Marty B. -- Electile Dysfunction : the inability to become aroused over any of the choices for President put forth by either party in the 2008 election. -------------- next part -------------- A non-text attachment was scrubbed... Name: signature.asc Type: application/pgp-signature Size: 189 bytes Desc: OpenPGP digital signature URL: <http://lists.linuxfromscratch.org/pipermail/hlfs-dev/attachments/20080728/10afbe6d/attachment.sig>


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The National Sleep Foundation is a charitable, educational and scientific not-for-profit organization dedicated to improving sleep health and safety through education, public awareness, and advocacy. Based in Washington, DC, its membership includes researchers and clinicians focused on sleep medicine, professionals in the health, medical and science fields, individuals, patients, families affected by drowsy driving and more than 900 healthcare facilities throughout North America. To find out more about the National Sleep Foundation, visit www.sleepfoundation.org.
PureCare® by Fabrictech designs essential elements necessary to create a healthy sleep environment. PureCare protectors, toppers and PureCare Plush pillows–all of which combine superior technology, innovation and the highest quality materials—are revolutionary to today's health conscious consumers and allergy sufferers. PureCare by Fabrictech continues to change the conversation in the mattress protector industry to focus on health and wellness and has introduced the first Limited Lifetime Stain Warranty. PureCare by Fabrictech is proud to manufacture the official mattress and pillow protectors of the National Sleep Foundation. Please visit www.fabrictech.com for more information.
### High-resolution photos and downloadable copies of brochures are available upon request.


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Manhattan Chase (2000)
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Movie Info
They were on the opposite sides of the law... until now! After six years as a guest of the state, mob hitman Jason Reed (Loren Avedon) wants nothing more than to get an honest job and spend time with his young son. He is not ten steps outside of the prison before being greeted by Keither, an old crony anxious to pick up where they left off. While out for a drive with his son, Jason saves a young woman from a gun-wielding thug, not realizing that he has just managed to ruin Keith's (Steve … More
- Rating:
- Unrated
- Genre:
- Action & Adventure
- Directed By:
- Godfrey Ho
- In Theaters:
- Nov 22, 2000 Wide
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Well done, Mr. Kloves. "The Half-Blood Prince" borders on brilliant. It seems that his changes, omissions and additions were not only aggrandizing (as far as the screenplay is concerned) but actually ingeniously poignant.
It's a ballsy move to alter the tone of an adaptation, particularly one concerning such visually fantastical elements. But director David Yates and writer Steve Kloves decided to skip the action and focus more on Harry and other characters' personal demons instead.
The Harry Potter series has always been the archetypal, modern hero film, mirroring many characteristics of the post-classical period of sci-fi and fantasy.
Particularly in light of the vampire culture-craze (thanks to Twilight, True Blood, and nearly single-handedly Rob Pattison), the magical realms of storytelling seem to have made a monumental comeback amongst audiences.
The difference, however, from the traditionally historical fantasy film is the fluid combination "The Half-Blood Prince" manages to coalesce: it's majestic without being entirely puerile nonsense, and funny without being benightedly cheesy.
Folklore and mythology don't always have to be so elementary, and magic doesn't always have to be so abracadabra. As proven in "The Half-Blood Prince," it can be considerably very macabre and dismal.
Despite its PG rating, "The Half-Blood Prince" contains deep-rooted emotional struggles and a somewhat dark exploration of the human psyche. Even though the novel is full of action-packed scenes, director David Yates and writer Steve Kloves have decided to save the action for the next two installments and delve more into the characters' progression into adulthood and more dire circumstances they are forced to face. Surprisingly, it was a well-played move on their part.
Although it's not always easy to convince the nonbeliever, the Harry Potter movies, now more than ever, are not strictly reserved for a young audience, as many films of the genre traditionally are. Harry, Ron and Hermione are now not only facing exigent responsibilities, but also the traditional struggles many adults know all too well--adolescence.
As far as the writing is concerned, the dichotomy of constantly facing certain death while experiencing the common hormonal torments of teenage love affairs cannot be an easy balance to create. Kloves, however, includes a surprisingly entertaining amount of humor which keeps the audience from constantly holding their breath and fighting back the almost inevitable tears (which, for Potter fans, is nearly unavoidable in the end).
So although the action scenes, among others, are noticeably absent (which clearly contributes to the non PG-13 rating) the implied imminent danger is so dark at times that the violence is questionably more fierce and horrifying than actual visuals of battles and blood.
Voldemort is strictly present as the young Tom Riddle, but the character is so well developed, the creepy boy is actually more unnerving than the demonic, serpent-like adult (which is very effective in many horror films, i.e. "The Omen," "The Shining" "The Exorcist" and nearly anything Stephen King).
As cautioned before, Potter fans must be fully aware of Kloves's variations. A book is a book, and a film is a film. Mediums cannot fully translate, and even in the rare case they do, it often destroys a reader's own preconceived images and characters created through their own imagination. A good screenwriter does not necessarily mean a great adaptation writer.
Just as Rowling requested, the characters remain true to themselves. The film even, in some ways, reveals a pivotal depth and personal turmoil present in some individuals, which many readers did not pick-up on after the climatic, much-anticipated final scene in the novel. Kloves's small couple minute additional interaction between two particular characters, although risky, was powerfully somber rather than menacing.
Aside from it all, as crucial for any summer blockbuster, the production is exquisite, with cinematography only to be truly appreciated in IMAX 3D (also will be released in 35 mm), not just for the 2D to 3D conversion, but the IMAX DMR sound quality.
The special effects are captivating, the art design is even more magnificent than ever, and the swooping camera movements are thrilling, challenging how close film has come to outdoing one's own imagination.
Photo: Daniel Radcliffeat the premiere of "Harry Potter and the Half Blood Prince", in New York, on Thursday, July 9, 2009. (AP Photo/Peter Kramer)


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Ever since last year's Interbike, I've heard nothing but buzz about Giro's entry into the bike shoe market. The claims were they were light, stiff, and had the performances of Levi Leipheimer not only killing it on the road, but winning the Leadville 100 MTB race and setting a new course record in a pair of prototype Giro MTB shoes he received on the day of the event.
Entries by Matt Haughey
The Bicycle Leadership Conference is an industry bigwig event held just before the Sea Otter bike festival in Monterey, California. I got to attend this year thanks to Cyclocross announcer Richard Fries asking me to moderate a panel on Social Media. Overall, it's kind of a weird conference, these aren't bike shop owners but major manufacturers and large bike accessory and advocacy companies. They talk mostly about trends in the industry and where things are headed but there is always a lawyer or two present to make sure there is no collusion or talk of pricing or anything. A common theme at the event was talking about challenges to the industry status quo, but not a lot of talk of people seeing them as opportunities, mostly, it was talking about what historically worked.
What follows are my notes from the sessions from the two day event, and some of it is just regurgitating the stats from the speaker podium but I found the whole event fascinating and gave me lots of ideas of how I'd attack the challenges if I were a shop owner or industry bigwig. There was also a bit of the event on Twitter, using the hashtag #BLC2011.
After spending the past few days in Bend, Oregon for the US Cyclocross National Championships, I've come away exhausted (I didn't even race!) and entertained by the high caliber of racing action. It's the one race of the year a lot of people train for and they always put it all on the line for the stars and stripes jersey and bragging rights of saying "I'm the fastest person in the entire country."
The Venue
The crowds were big for the final races, and the course looked long, slightly muddy, and technical. The weather varied between snow flurries on some mornings, rain at times, and finally sunshine and temps in the 50F range on the final afternoon of racing. Like the weather, the course varied between mud bog, water logged, and got much faster as it dried out.
Though I love cyclocross, I've long had a love/hate relationship with the equipment used on most cross bikes. I ride a variety of terrain on my cyclocross bike including standard cross races (usually flat, sometimes muddy) but also very hilly gravel roads near my home as well as things I'd normally take my mountain bike on. The biggest difference from my MTB and my cross bike is the braking – I have sure-footed discs on my mountain bike that can reliably slow me down any steep descents with good control while my cyclocross bike's ancient cantilever brake design mean I'm mashing them to the rim with all my might, white knuckles showing on the downhills as I watch the edge of the trail approach my front wheel at way too great of speeds.
Cross Vegas, the annual cyclocross event that coincides with Interbike, had its third outing last night on a sprawling spectator-friendly course that served up blistering speeds and some surprising performances to a huge crowd.
As we prepare for Interbike coverage at The Hub, the onslaught of product previews, press releases, and interview requests reaches a crescendo that only stops when you spot something amazing that stands out above the noise.
Getting into bike racing often means having to negotiate protocols and procedures set in place by die-hard veteran racers, but cyclocross is generally non-serious and one of the most welcoming types of bike racing, especially for beginners.
It's almost time for Cyclocross across the country and here in Portland, it's already begun. Portland is often mentioned as the hotbed of cylcocross in the US, with 1200+ racers showing up to every weekend race in the fall. Due to the incredible demand, September is a full-on preseason time to brush up at a skills clinic and maybe even race before the main season begins in October.
You've seen them all over this year's Tour de France coverage. Lance wears them. Cavendish wears them. Hincapie's been wearing them since the earliest prototypes.
It's the new Oakley Jawbone, and I just got my own prescription pair this week. I'm still so-so on the looks of them, but behind the lenses and in the saddle, they're one of the best.
From the moment my daughter was born a few years ago, I counted the days until I could ride with her. I wanted to show her the world at 15mph. I wanted her to experience the sense of independence and wonder of riding yourself to new places both physical and mental. I wanted her to enjoy cycling as much as I do, but after dragging her in a trailer as an infant and toddler, I figured we wouldn't get to really put in miles together until she was 10 or 12.
But then I tried a trailer bike.


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It's SpongeBob's best buddy, Patrick Star, and now he can be yours too! Patrick only fits in his Patrick Pirate Outfit.
©2013 Viacom International Inc. All rights reserved. Nickelodeon, SpongeBob SquarePants and all related titles, logos and characters are trademarks of Viacom International Inc. SpongeBob SquarePants created by Stephen Hillenburg.
This item cannot be shipped outside of the United States. Due to Patrick's unique body shape, he comes firmly stuffed. If a sound, scent or heartbeat is added, it will be placed in the center of this friend.


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Steve Jobs was top choice for Google CEO
Steven Levy's new book, In The Plex: How Google Thinks, Works, and Shapes Our Lives, has some interesting insights regarding the relationship between Steve Jobs and Google throughout the years. Perhaps most interesting is the fact that when Sergey Brin and Larry Page were looking around for a new CEO, their first choice was Jobs.
Jobs turned them down, but he saw enough in Google to see that it could be a success; he offered to mentor the two founders, going so far as to provide them with access to his closest advisers. After Jobs declined the Google CEO position, Brin and Page chose Eric Schmidt as CEO, and Schmidt also later joined Apple's board of directors. That's when things quickly took a turn for the worse.
As Levy states in the book, Jobs was "furious" when he visited Google's Mountain View headquarters and saw that the Android OS sported iOS features like pinch to zoom, among others. Shortly after that visit, Jobs told an Apple town hall meeting what he really thought of Google: "We did not enter the search business. They entered the phone business. Make no mistake: they want to kill the iPhone. We won't let them [...] This don't be evil mantra? It's bullshit."
The book also states that after Jobs found out about Android's similarities to iOS, he felt betrayed enough to somehow keep the development of the iPad hidden from Eric Schmidt while he was still a board member of Apple.
[via The Daily Mail]
Software Updates
more updates- Apple Remote Desktop updated with Yosemite support
- OS X Yosemite 10.10.2, iOS 8.1.3 updates now available
- Sports Illustrated 120 SPORTS channel comes to Apple TV
- Logic Pro X update brings AirDrop support, new effects, tools, and more
- Parallels Access 2.5 released, adds file manager, computer-to-computer remote access
- The Google Translate iOS app is about to get a lot smarter


text:
- 78Promote
Art Print
Collect your choice of gallery quality Giclée, or fine art prints custom trimmed by hand in a variety of sizes with a white border for framing.
Thanks James, it was taken from my seat on a flight to New York from Tampa, FL. That only narrows down by about 1100 miles though, I don't remember specifically where I was flying over :)
It's such a great image! I always forget to take photographs on a plane. This has reminded me why I should.
See More Comments


text: VIDEO Entertainment and Celebrities Filmmakers' Tips With Marc Webb Video Back to Top ▲ Filmmakers' Tips With Marc Webb Video Filmmakers' Tips With Marc Webb Video How To Make Films, With 'The Amazing Spider-Man' Director Marc Webb Share on Facebook Share on Twitter 0 Shares Director of The Amazing Spider-Man, Marc Webb, reveals his five essential tips for aspiring filmmakers. With his help, you'll be directing your own summer blockbuster franchise in no time! Comments Show Comments More Like This Promoted Around the Web Special Features


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3. Almost anything can set it off – like the sensation of brushing your teeth.
Does it still count as good dental hygiene if you're taking breaks to spit into the toilet?
7. Now you're pregnant, you have developed SMELLING SUPERPOWERS. And everything you smell makes you nauseated.
12. You have resigned yourself to the fact that, while travelling, anything about your person – your handbag, your cardigan, some shopping you just bought – will eventually serve as a sick-bag.
13. Morning sickness can be so bad that you have to take time off work.
14. And the worst part is, it normally starts before you're ready to share your news of your pregnancy with your employer.
15. Some pregnant women don't even get morning sickness, which can make them worry that there's something "wrong" with their pregnancy.
16. But you don't always throw up. Sometimes you just walk around retching attractively.
17. Other times you're bowled over by dizzying and debilitating waves of nausea, wishing you could throw up, because at least you'd get some relief.
18. Often, this nausea can feel quite a lot like hunger pangs, so you don't know whether to stick your head in the toilet, or eat all of the bread.
19. Suddenly, just thinking about food that you used to love makes you want to vomit the rainbow.
20. Even water, which makes staying hydrated a really difficult proposition.
NB: If you can't keep any water down for several days, see your doctor to get treatment for dehydration and severe morning sickness.


text:
Book your room at Outer Banks Inn
Standard Room, 2 Double Beds
Max Occupancy: 4 guests (up to 3 children, 3 infants)Standard Room, 1 King Bed
Max Occupancy: 2 guests (up to 1 child, 1 infant)Kill Devil Hills hotel with an outdoor pool
Situated near the beach in Kill Devil Hills, this hotel is close to Destination Fun, Wright Brothers National Memorial and Nags Head Woods Preserve. Local attractions also include Professor Hacker's Lost Treasure Golf and Seaside Art Gallery.
Hotel Features
Recreational amenities at Outer Banks Inn include an outdoor pool and a seasonal outdoor pool. Other amenities include a beach shuttle and complimentary wireless Internet access.
Room Amenities
LCD televisions come with cable channels. Guestrooms also feature complimentary wireless Internet access, refrigerators, and microwaves.
Information missing or incorrect? Tell us!Hotel Amenities
Hotel Amenities
Outer Banks Inn features an outdoor pool and a seasonal outdoor pool. High-speed wireless Internet access is complimentary. This Kill Devil Hills hotel also offers barbecue grills, a picnic area, and laundry facilities. Complimentary self parking is available on site. A total renovation of this property was completed in June 2012.
Outer Banks Inn has designated areas for smoking.
- Free use of nearby fitness center
- Free beach shuttle
- Outdoor seasonal pool
- Designated smoking areas
- Free WiFi
- Outdoor pool
- Total number of rooms - 40
- Number of floors - 3
- Number of buildings/towers - 1
- Laundry facilities
- Television in lobby
- 24-hour front desk
- Barbecue grill(s)
- Picnic area
- Safe-deposit box at front desk
- Free self parking
Available in all rooms: Free WiFi
Available in some public areas: Free WiFi
Free self parking
Room Amenities
- Free cribs/infant beds
- Connecting/adjoining rooms available
- Cable TV service
- Free WiFi
- Shower/tub combination
- Daily housekeeping
- Free toiletries
- Hair dryer
- Air conditioning
- Rollaway/extra beds available
- Iron/ironing board (on request)
- Phone
- Free local calls
- Refrigerator
- Coffee/tea maker
- Microwave
Nearby Things to Do
An outdoor pool and a seasonal outdoor pool are on site.
To make requests for specific accessibility needs, complete the "Special or Accessibility Requests" section of "Trip Preferences" when you book your hotel.
- Accessible path of travel
- Accessible bathroom
- Accessible parking
Hotel Policies
Check-in time starts at 4 PM
Minimum check-in age is 18
Special check-in instructions:
Check-out time is 11 AM
Payment types
You need to know
Extra-person charges may apply and vary depending on hotel policy.
Government-issued photo identification and a credit card are required at check-in for incidental charges.
Special requests are subject to availability upon check-in and may incur additional charges. Special requests cannot be guaranteed.
No elevators
24-hour check-in
We should mention
The property has connecting/adjoining rooms, which are subject to availability and can be requested by contacting the property using the number on the booking confirmation.


text:
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orIf you have forgotten your password, please enter your account email below and we will reset your password and email you the new password.
Based on the mechanism for chromophore formation in red fluorescent proteins, we developed three mCherry-derived monomeric variants, called fluorescent timers (FTs), that change their fluorescence from the blue to red over time. These variants exhibit distinctive fast, medium and slow blue-to-red chromophore maturation rates that depend on the temperature. At 37 degrees C, the maxima of the blue fluorescence are observed at 0.25, 1.2 and 9.8 h for the purified fast-FT, medium-FT and slow-FT, respectively. The half-maxima of the red fluorescence are reached at 7.1, 3.9 and 28 h, respectively. The FTs show similar timing behavior in bacteria, insect and mammalian cells. Medium-FT allowed for tracking of the intracellular dynamics of the lysosome-associated membrane protein type 2A (LAMP-2A) and determination of its age in the targeted compartments. The results indicate that LAMP-2A transport through the plasma membrane and early or recycling endosomes to lysosomes is a major pathway for LAMP-2A trafficking.
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text:
NLS board approves $157K in budget cuts
NEW LONDON — The New London-Spicer School Board on Monday approved a resolution cutting $157,564 from the district's budget for the upcoming 2014-2015 school year.
The reductions included the non-renewal of one teacher's contract, that of probationary middle school reading and language arts teacher Terri McCarthy-Wermerskirchen.
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text:
Ice Cream Carts for Sale COLD PLATE CARTS (hold temperature for 8-12 hours without electricity or dry ice)
**Meeting health department requirements is the customers responsibility. Talk to us for clarity on this before making your purchase. The BDC-8 has the original, built in cold plates that will keep product below zero for up to 12 hours if it is plugged in the night before and "charged up". If you need a cart that will hold temp all day without electricity or dry ice, this is the cart. If you are seriously considering this cart, please make sure you read this entire e-mail, as it has a lot of information you need to review and answers a lot of common questions. Any text that you see in blue below is a link, just click on it. If you want to save something to a folder on your computer, just right click it and hit save as. If you're going to have access to power, you can just keep the cart plugged in and it will operate like a regular freezer. It has a complete refrigeration unit. You can adjust the temperature if you want. You can also store the cart unplugged for long periods of time. You don't have to worry about operating it, then turning it off and storing if for weeks or months. If you want to use the cart to store your product long term, you can just keep it plugged in. Your cost = $2850 + $290 shipping (48 states) = $3140. We only charge sales tax in NC, so this is you net cost if it ships outside of NC. Add $145 for an umbrella (see them HERE) - or buy your own locally - the bracket holds any standard umbrella. The come in a few different colors if you want one without text. The color combos are blue/white, yellow/white, red/white. Note: Canopy is not included in the above quoted price. If you want the canopy shown in the video, add $1600. Custom Graphics are $600 as we have the graphics printed on the inside of the clear panels - making it high end and scratch proof. Most people have the graphics done locally in vinyl decals for example since you can do that for a lot less and it still looks really nice. Going to a local printer will save you some $. Want a DIPWELL for this model? Check out the attached PMDW (poor man's dip well:-). This system is a great, affordable option and can be easily attached to the cart and removed when not needed. Add $585 + $75 shipping (total of $660) when ordered with BDC-8. If ordered without cart, figure $725 total cost. If you are dipping out of this cart, make sure you let us know - the plates will be custom for dipping. Holds six 3 gallon tubson top and 4 in storage underneath. Want a square glass sneeze-guard on the BDC-8? Add $300 The BDC-8S you also see on the spec sheet has a little bit more interior space. This cart is not a good option if you plan to dip. It has a smaller door than the standard BDC-8 and it is made primarily to sell pre-packaged items. The bike wheels that you see in the picture of the BDC-8S are a $600 "add on option" - they are not included. They are a really neat look, but they do not help the mobility of the cart. They actually hinder it a bit, so its a good looking option if the cart is going to be in one spot most of the time. Cost of the BDC-8S is $2975 + $295 shipping = $3270 total. Add $145 for umbrella. Add $600 for bike tires installed. MAKE SURE WE KNOW WHAT PRODUCT YOU PLAN TO SELL - WE MAKE 3 TYPES OF COLD PLATES - ONE FOR ICE CREAM NOVELTIES, ONE FOR ICE CREAM SCOOPING AND ONE FOR SCOOPING ITALIAN ICES. If no graphics are ordered from us, the carts ship with plain white "lexan" - which is like plexiglass, and you can apply the vinyl decals to those panels. Below are a series of important links - that you might need in the future, so it would be a good idea to download these (click and then right click to save to a folder on your computer): Watch video on the BDC-8 HERE See SPEC SHEET. Dimensions of the BDC-8 are: 44 1/4" Long X 30 3/4" Deep X 40" High The cart weighs approx 350 lbs. Warranty information HERE Drawing with internal and external dimensions of the BDC-8 HERE Panel dimensions and "trim bleed" info for graphics HERE 3-D Panel dimensions for graphics HERE See photos of the BDC-8: Pic 1 Pic 2 Pic 3 Pic 4 Click HERE for a good trailer option for towing the cart or carts. Or click HERE for a "towable option". This option adds $1200 to the above total including shipping. But be careful if you choose this "towable" option. The cart is "fixed" to the trailer, which means you won't be able to roll the cart inside and through standard doors, etc. So this option, while convenient to transport the cart, can be inconvenient in other ways. Click HERE for a good, inexpensive way to meet the requirement in some counties for a hand washing station. Click HERE for a list of Italian Ice Suppliers in your state. Click HERE for a good option for storing your ice cream bars and tubs or Italian ices. Italian ice, water ice, other products must be specified at time of order for other temperatures. Standard sizes of cold plate ice cream carts listed below. Model BDC8 Ice Cream Push Cart
* Capacity 8.5 cu.ft. Lead time can be as little as 1 week, but up to 4 weeks, so please check with us. The carts ship via common carrier, and once it ships, you will receive an email from us with tracking. Orders must be paid 100% before they are shipped. We accept all major credit cards, or you can mail a check, make a direct deposit in our Wells Fargo account if you have a nearby branch, or you can wire it. All cold plate pushcarts are manufactured with stainless steel bottoms and have built-in cold plates for maximum efficiency and quick freezing for an overnight charge. Cold plate pushcarts have an average of 3" of poured insulation and oversized compressors and are capable of operating at the specified temperature in 90 degree weather. The tops on these cold plate ice cream carts are made of stainless steel with welded corners. All electrically operated carts will be ETL or UL listed for outdoor use. All pushcarts will be NSF listed for the appropriate use. All ice cream pushcarts have oversized electrical power cords suitable for outdoor use. Lid locks and umbrella brackets are provided on all ice cream carts as standard equipment. All ice cream carts have heavy-duty welded aluminum base frames for maximum strength and minimum weight. Our carts are standard for ice cream novelty temperatures. Alternate uses, such as carts for Italian ice, water ice, other products can be specified at time of order for other temperatures. watch video below (press the play button) on our best selling cold plate cart - the BDC-8 BDC-8 Pictured Above - BDC-8 with Optional Canopy Pictured Below SPECS FOR COLD PLATE CARTS BELOW - SEE DRAWINGS AND DIMENSIONS AND PRICING FURTHER DOWN THE PAGE - no assembly is required
BDC-4 drawing below BDC-6 drawing below (small lid opening - mainly for novelties) BDC-8 (best seller) drawing below BDC-8S drawing below BDC-10 (the monster) drawing below Pricing - LOWEST PRICES ANYWHERE Guaranteed (call or email us for shipping): Gravity Feed Dip Well System Pictured below - Only $768 (includes premium 16" dipwell) - easy to attach and remove depending on needs Gravity Feed Dip Well Picture above on CLT-6 cart - Picture is from Server Side. Customer sees stainless steel on other side. WANT TO SELL BEVERAGES (cold water, beer, soda, etc.)? We can customize the BDC-8 to hold beverage temperature. Just let us know. See pic of a beverage cart below. We can also make a beverage cart like the blue one below without refrigeration or cold plates, in other words, you put ice in it - this will save you about $1,200. Self Contained Mobile Hand Washing Sink Below - SPECS FOR NSF APPROVED MOBILE CART SINK
Cash Drawer for Cart PUSH CART Our BDC-8 Cold Plate Push Cart was featured on the hit TV show, The Apprentice on September 23, 2010 Check out the episode on the screen below. Apprentice teams were challenged with selling ice cream novelties in the heart of New York City. Pretty funny stuff, and watching the episode will give you a really good idea of what the cart looks like "in action". CLICK THE SCREEN BELOW AND PLEASE BE PATIENT IT WILL TAKE A FEW MINUES TO LOAD - EVEN IF YOU GET AN ERROR MESSAGE ABOUT SPONSORS, WAIT A FEW MINUTES (seconds will tick down on top of screen) AND THE SHOW WILL START SHORTLY AFTER THE COMMERCIALS |


text:
Gloves for truckers
The Panther Driver's Gloves line now includes durable leather gloves lined with 40 grams of 3M Thinsulate lining. The gloves come in sizes small through XX-large.
GALETON COMPANY, galeton.com, (800) 221-0570
OverdriveOnline.com strives to maintain an open forum for reader opinions. Click here to read our comment policy.


text:
Oops! It looks like the page you are looking for was entered incorrectly or no longer exists.
Please use the navigation above to find what you're looking for. You can also check out the most current upcoming events below.
The Appel Room
Betty Carter blazed her own trail as one of the most original jazz vocalists of our time. Her flawless phrasing, uncanny unpredictability, and signature glissando placed her in a league of her own as a true "musician's singer." Drummer and music director Alvester Garnett and vocalist Charenee Wade celebrate the legacy of Carter, who would have turned eighty-five this year.
Dizzy's Club Coca-Cola
The Incredible Jazz Guitar of Wes Montgomery
Featuring Calvin Keys and Yotam Silberstein
With guitarists Calvin Keys, Yotam Silberstein, and Andrew Renfroe; Hammond organist/pianist and music director Brian Charette; and drummer Jordan Young
Varis Leichtman Studio
WeBop Goes Marching In
Join the WeBop Family Band as they march and parade along to the funky beat of New Orleans.
Palacio de Belles Arts
The Jazz at Lincoln Center Orchestra with Wynton Marsalis (JLCO), comprising 15 of the finest jazz soloists and ensemble players today, has been the Jazz at Lincoln Center resident orchestra since 1988.
Palacio de Belles Arts
The Jazz at Lincoln Center Orchestra with Wynton Marsalis (JLCO), comprising 15 of the finest jazz soloists and ensemble players today, has been the Jazz at Lincoln Center resident orchestra since 1988.
Rose Theater
Featured artists include David Daniels, Mark Delavan, Plácido Domingo, Christine Goerke, James Morris, Diana Soviero, Frederica von Stade, and Sting.
Dizzy's Club Coca-Cola
"The biggest surprise of the night… a bit like Mulgrew Miller on classically trained steroids, and with a progressive bent… Right and left, jaws were dropping." – JazzTimes review of Yamanaka at the 2011 Umbria Jazz Festival
Dizzy's Club Coca-Cola
With saxophonist Anton Schwartz, trumpeter Scott Wendholt, pianist Danny Grissett, bassist Ugonna Okegwo, and drummer Lorca Hart
Dizzy's Club Coca-Cola
With vocalist Jazzmeia Horn, trumpeter Lesedi Ntsane, pianist Victor Gould, bassist Barry Stephenson, drummer Kush Abadey, dancer Jamie Philbert, and poet Phantom Knoet
Dizzy's Club Coca-Cola
With pianist Orrin Evans, vocalist Milton Suggs, bassist Ben Williams, and drummer Obed Calviere


text:
Using Library Copiers and Printers
From the main bay of computers, you may print in black and white or color. The printer is located at the Information/Reference Desk, and you pay for your printouts before you pick them up from the desk.
* Black and white printouts are 10 cents per page
* Color printouts are 25 cents per page
The majority of our computers run Windows 7 and Windows 8 along with Microsoft Office Suite 2010. Children under 9 can access the Internet and Microsoft Office Suite 2010 in the Children's Room.
The library also has two black and white photocopiers (one is up by the front door and the other is located near the DVD collection). The machines accept nickels, dimes, quarters and dollar bills.
* Black and white copies are 10 cents per page
If you have questions about any of the printers or copiers or how to use them, please ask the librarian at the Information/Reference Desk for assistance.


text:
Product Description
Available while supplies last.
This cock-a-doodle doo accent rug by Bacova comes in a 17.5-in x 29.5-in size. It is offered in red. Part of the Kitchen Slices collection.
Accent Rugs have unique, original designs for distinctive home decorating. The Accent Rugs have easy care features and can be used anywhere around the house - indoors or outdoors.
- Quality, fashion & durability
- Stain/fade resistant
- Skid-resistant Stic-Tite latex backing
- Easy care - machine washable
Size: | 17.5-in x 29.5-in | |
Rug Shape: | Other Shapes | |
Color: | Red | |
Mat Features | All-Weather | |
Floor Mat Type | Utility Mat | |
Mat Features | Non-Slip Backing, Washable | |
Floor Mat Shape | Slice / Wedge | |
Mat Features | Stain Resistant |
Items in this collection
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Group # | 420394 |
Category | Floor Mats - 1640 |
Style | Outdoor Rugs - 281 |
Sales Rank | 117 |
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text:
Sensual Torture:
You are but a simple pawn;
Caught in a maelstrom of ill feelings and turmoil.
You were not meant to be here -
But unfortunately, here you are my friend...
Now then, I do not wish to drag this out;
There is no purpose in badgering someone who knows so little.
However - without your confession - I'm afraid that
I would not know whom I should share my - pleasures with...
Though I'm certain that you will be sharing plenty...
Of course, it will probably be a poor idea to make you scream,
At least not while I'm still enjoying your fear.
Instead we'll begin with a simple agony;
A quick taste of your pain to whet my appetite...
We'll begin with just a thin incision,
One that is made in the center of both your eyelids.
And then, then we'll make another cut - this one just above the eyes...
Ah, I will adore the feeling of watching your skin peel apart
As the scalpel bites in and draws it aside; much like the curtain
Set upon a theatre stage. It is the signal for our show to begin.
The pain and the pressure of blinking with torn eyelids
Will most likely force you to scrunch up your entire face.
And as you endure this agonizing trial, the first droplet of blood
Will slowly ride down toward your wounded eyes;
A gentle river of red, flowing down your skin.
It will eventually fall against your Sclera, searing it, burning it
It will make you blink and shiver with pain as your body jerks and convulses.
An endless cycle of discomfort and suffering, as that which should relieve it
Perpetuates it for an eternity...
That my friend, is when you truly realise what I can do with you
That is when you will pray to your gods for release; but none will come.
And I shall enjoy every moment of watching your mind break
As I gently and tenderly lick the cold sweat away from your neck.
The taste of fear, the gasps of air that are locked within your lungs;
A sensual torture that is beyond imagining. This pain, this pleasure
Is my gift to you. It is my art, my worship and my devotion
To the Lady whom I serve eternally.
Now tell me my dearest Bishop:
"Where is the temple keeping my loving queen Morgana?"
-Chen Yuan Wen, 3rd November 2012


text:
Arizona Diamondbacks
Arizona Diamondbacks avoid salary arbitration with RHP Josh Collmenter
The Arizona Diamondbacks have avoided salary arbitration with right-handed pitcher Josh Collmenter, signing him to a new two-year contract.
Collmenter, 28, was one of the most reliable bullpen options for the D-backs in 2013, posting a 5-5 record with a 3.13 ERA in 49 appearances. The Homer, Mich. native also led the National League with a franchise-record nine relief appearances of three or more innings and 29.0 innings pitched in extra-inning games -- the most in baseball since Tug McGraw of the New York Mets in 1972.
Since becoming a 15th-round pick of the Diamondbacks in 2007, Collmenter has posted a 20-18 record with a 3.40 ERA in 108 games.
In addition to Collmenter, Arizona outfielders Mark Trumbo and Gerardo Parra and relief pitcher Joe Thatcher are eligible for salary arbitration.
Most Popular
- Bill Ripken, MLB Network analystBill Ripken previews the Diamondbacks season including the multiple position battles.
- Chip Hale, D-backs managerChip Hale previews the start of Cactus League play for the Diamondbacks.
- Dave Stewart, D-backs General ManagerDave Stewart talks about how pitching has changed over the years.
- Paul Goldschmidt, D-backs first basemanDoug and Wolf ask Goldschmidt how he's recovering from his injury.
- Brad Ziegler, D-backs PitcherBrad Ziegler updates the guys on his time table to return to baseball.


text:
Kanye West – "All Day" (Feat. Allan Kingdom, Theophilus London, & Paul McCartney)
Kanye West debuted his much-leaked single "All Day" at the Brit Awards last week, and now a studio version has emerged. The So Help Me God song's bouncy, bass-heavy beat also features verses from Allan Kingdom and Theophilus London, and a massive "Monster"/"Black Skinhead"-style riff slices through the track from time… More »


text:
1966 Sunbeam Alpine, unfinished project, barn find. In dry storage 25+ years. Rebuilt engine and transmission, the rest is up to you. $3,500.00.... More
?1967 Sunbeam Alpine '67 Sunbeam Alpine in blue with black interior. This car comes with the original spare and soft top. This is an... More
1967 Sunbeam Alpine '67 Sunbeam Alpine, red with burgundy interior, excellent original car, same owner for many years, great car with lots of potential needing... More
SUNBEAM: 1966 Alpine, solid car, engine runs great, new top and dash, new Pete's wiring harness, stainless exhaust and new header, Minilite wheels, converted... More
SUNBEAM: 1963 Alpine GT, cream, red interior, freshly restored car in excellent running and driving condition, asking $22,500. 800-837-9902, IN; www.significantcars.com... More
SUNBEAM: 1967 Alpine, completely restored by RM of Canada approximately 10 years ago with photos and receipts, this Alpine is in the same flesh... More


text:
Complete statistics and more, for any player. Enter as much of the player's name as you know. |
Find statistics for every player in a single organization and navigate the farm system for any organization. Start by selecting an organization. |
View the statistic leaders for every league, individual and team and check to see the scoreboard for each league. |
Carlos Beltran, of, Yankees
Proper Name: Carlos Ivan Beltran Born: April 24, 1977 in Manati, Puerto Rico High School: Fernando Callejo HS, Manati, P.R. Ht.: 6-1 Wt.: 210 Bats: B Throws: R |


text:
Linux Journal Contents #48, April 1998
Using Linux in a Control and Robotics Lab
by Jon Davis
How a lab at Queen's University is using Linux to develop programs and control hardware experiments.
Biomedical Research and Linux
by Roger S. Flugel
Linux is readily establishing itself in the biomedical field as a powerful and reliable system for research computing.
Latvian Government Uses Linux
by Dmitrie Komarov
Mr. Komarov tells us how he used Linux to give an old database new capabilities and thereby saved his government money.
Satellite Remote Sensing of the Oceans
by Simon J. Keogh, Emmanouil Oikonomou, Daniel Ballestero and Ian Robinson
Presented here is an overview of the kind of remote sensing that is done at Southampton University and how Linux has helped improve our productivity.
Small Business Marketing of Linux
by Cliff Seruntine
Linux is a good business product. This article deals with the why, how and who of selling Linux.
News & Articles
Building Projects With Imake
by Otto Hammersmith
Here's an explanation of how Imake works and how you can use it to build your executables—an article for programmers with C and Unix programming skills.
Linux Network Programming, Part 3: CORBA: The Software Bus
by Ivan Griffin, Mark Donnelly and John Nelson
This month we are presented with an introduction to the networking of distributed objects and the use of CORBA.
Financial Calculation Programs for Linux
by James Shapiro
Mr. Shapiro shows us how to write a program to compute internal rate of return using three programming languages supported by Linux—Perl, C and Java.
LJ Interviews Mr. Eid Eid of Corel Computer
by Marjorie Richardson
Helping Netscape Make History
by Eric S. Raymond
Netscape source is now free, who would have thought it? Eric Raymond, that's who. Here are his insights into this momentous event.
Product Reviews Visual SlickEdit: A Commercial Editor for Programmers
by Larry Ayers
Product Reviews WordPerfect 7 for Linux
by Michael Scott Shappe
Product Reviews TeraSpell 97 for Emacs
by Daniel Lazenby
Book Reviews Practical Programming in Tcl and Tk
by John McLaughlin
Book Reviews Protecting Your Web Site with Firewalls
by Leam Hall
At the Forge Using What We've Learned
by Reuven M. Lerner
This month Mr. Lerner shows us how to set up a web site using many of the techniques he's taught us over the past months.
Letters to the Editor
From the Editor
Workplace Solutions
by Marjorie Richardson
Stop the Presses
The Software world—It's a Changin'
by Phil Hughes
New Products
System Administration Managing your Logs with Chklogs
by Emilio Grimaldo
Managing your Logs with Chklogs An introduction to a program written by Mr. Grimaldo to manage system logs.
Kernel Korner Writing a Linux Driver
by Fernando Matia
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Southampton , New York
Tel: 631 283 1233
Concierge.com's insider take:
Southampton is the most self-consciously dressed-up of the Hamptons, so it makes sense that Main Street would be the spot for an outpost of this Manhattan gelateria and restaurant. This is the place to go when you've had enough of the sun-soaked beach atmosphere and feel the need to stand at a bar and be served a $6 cappuccino and an equally overpriced prosciutto-and-fresh-mozzarella focaccia sandwich by wisecracking Italian-speaking gentlemen in black ties and vests. Up front is a long glass case with many flavors of gelato (try the mango or blueberry); in the back is a small, more formal dining room that serves Italian standards such as spaghetti alla bolognese, risotto with asparagus, and breaded veal chops.
Open daily 10 am to 10 pm.
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Work detailsThe Mad Monk of Gidleigh by Michael Jecks
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References to this work on external resources. Wikipedia in EnglishNone Amazon.com Product Description (ISBN 0755301692, Paperback)Alone in his isolated, windswept chapel on the edge of Dartmoor, his only companions moor men and povertystricken serfs, who could blame the young priest, Mark for seeking affection from Jane, the local miller's daughter? But when Jane's body is found brutally stabbed, Mark is the obvious suspectand the discovery that Jane was pregnant seems to confirm his guilt. Called in to investigate, Sir Baldwin Furnshill and Simon Puttock soon begin to have their doubts. Could it not have been one of Jane's many admirers who murdered her in a fit of jealousy? Or her father, the miller, who is acting in an increasingly disturbed manner? And what exactly is the local Baron trying to hide? In their search for the truth, Furnshill and Puttock unwittingly place themselves and their families in the greatest danger they have ever faced. (retrieved from Amazon Mon, 30 Sep 2013 13:28:58 -0400) Medieval mystery. As the winter of 1323 descends on Dartmoor, life is bleak for the young priest in his isolated chapel. So who could blame him for accepting companionship when it is offered by the local miller's daughter, Mary? But when Mary and her unborn child are found murdered, it is obvious where the villagers will point the finger of blame. And when the priest flees the village of Gidleigh, its seems to confirm his guilt. Investigators Baldwin Furnshill, Keeper of the King's Peace, and Baliff Simon Puttock soon begin to have their doubts, as it seems that Mary was far from the simple girl she seemed. In their search for the truth, Baldwin and Simon unwittingly put themselves in the greatest danger they have ever faced.… (more) (summary from another edition) |
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