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You have misunderstood what the writer means to convey. Follow this link, its a simple demonstrations of what is meant by "loudness" in this article. This link was posted by deadmau5 to clarify the same issue:
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You have misunderstood what the writer means to convey. Follow this link, its a simple demonstrations of what is meant by "loudness" in this article. This link was posted by deadmau5 to clarify the same issue:
The "loudness" aspect of this article is silly. Songs aren't inherently loud or soft. Songs are recorded at certain levels - whether on tape or digital.
If a song is "loud" on the radio it is because either the radio station has chosen to broadcast the song at a higher level or the listener has turned up the volume of the radio.
Listen to "Strobe" by Deadmau5 It is one of the most dynamic songs in terms of volume and formula
Deadmau5, a canadian electroncia artist has complained about volume and formulaic music for years. He does all his own mastering and beat creating and strives to be original.
You mean just like orchestras have been playing the same pieces of music for hundreds of years, often with little innovation, or with innovation that quickly gets forgotten?
Pop music will always be dull, but that doesn't mean music as a whole is worse off.
"the same pieces of music" are in fact several thousands pieces of work, more or less complex, possibly not for everyone's taste, but hardly all the same stuff... They have of course been played for hundreds of years, but they're still different pieces of music.
The issue is to define whether an album Lady Gaga or Aguilera, played in your ears for a 100 years, even with interpretational efforts and alternate takes, would amount to a type of torture or not. I'm for the "it is torture" interpretation.
I'd argue that the 9 Symphonies, or Rachmaninoff's concerts for piano and orchestra, or Mingus Ah Um, or Zappa's Freak Out, include episodes of music that are each different from the next. Even more recent albums such as Sting's "Nothing Like the Sun", while broadly defined as pop music, carry interesting variations in styles, musical flavors and rhythms and certainly try, at least, to look like they are an artistic effort. It looks like "making an effort" is not really welcome by music industry nowadays.
Mainstream music business is worse off. Luckily, many interesting musicians are finding (sometimes underpaid) options through so-called "new technologies" that are 15-year old. If it were for mainstream radio, TV and commercial internet distribution, you would think that contemporary music is uninventive, shallow and luckily in-tune (most of the times) singing, carrying stupid lyrics or wish-I-were-provocative (jeez, more than 30 years after the White Duke, really??) meanings, and mostly sung by a combination of half-naked black or blonde ladies moving their heads like stereotyped ancient Egyptians (this right-&-left head movement keeping your shoulders still, best served with a characteristic "no" sign with your index finger), and mostly bare-chested well-built guys (and at times you don't even get that last bit) obviously being in the middle of some threesome affair and, why on earth, dancing rather than get on with it... and why not, add in a bit of breakdance 'cause it's so new in a video. It's not even dull, dull is Vangelis.
It is just silly.
Of course.
Totally relativistic opinions.
May I suggest another scientific study
"Pop music and the Crap-o-Metre",
it could be interesting though I suspect that most people over 35 already know the results.
Thank you for putting into words what I've been trying to explain to friends without knowing the technical terminology to back up my hypotheses. I believe I have a critical ear that some others may not possess, as most of my counterparts do not get to what irritating sound I am referring. I hear digital music as flat and extremely harsh with little pleasing tonal quality and melody. To me, it all sounds the same. Edgy and harsh and boring. I love all types of music, but do not listen to any current music as it is extremely annoying to my senses. Garth Brooks, during a recent interview with Larry King, talked about the same thing and also that it was one of the reason's he has not recorded for a while. It appears he prefers the old recording methods to the "supposedly" better digital sound. We have had the best, so why do the big ego guys think they can make it better. Will they ever figure out what us old fogies have known all along?
That is not what this article is talking about. It's not about mp3 vs. analog. It is about the way the music is written and constructed, then mixed and mastered.
Maybe, but it's not a total non sequitur. His point is that digital sampling techniques miss nuances that the best analog recordings capture, and that complexity is lost as a result. The point of the article is that music is being dumbed down, in effect if not in intent. I would go further. An orange contains literally hundreds of flavor elements. An orange TicTac, say, might contain only one or two proxies. People schooled in MIDI are like chefs who have learned their trade using only artificial chemicals. And a whole generation of listeners has grown up not knowing the difference. Are you one of them?
I find it difficult to believe that 44.1kHz is insufficient. There are some humans that can hear 21kHz signals easily, but they tend to be young (high frequency sensitivity is the first to go). Of course, that is beside the point. Analog audio equipment has much less bandwidth than digital. In fact, normal CDs (ie, not SACD or HD) have more bandwidth than most equipment can record as it is. Nonlinearities in even half decent equipment are negligible. If the best analog recordings are better than the average digital one, the difference is in the mastering, not the medium.
As an electronics engineer, I once took an interest in audio, but confess I have not noticed any innovations in sound reproduction in the past ten years or so. Anyway, I suspect your complaint about digital reproduction has less to do with the sampling rate than with the quality (including bandwidth, phase distortion, noise suppression and range) of the analog end of amplifiers. Moreover, it is extremely unlikely that recording engineers compromise on musical fidelity just because of digital mastering. One assumes you are always using superior speakers, too. If your sensitivity is enough to distinguish and detect the noise and artifacts associated with D-A conversion, you must have been intensely irritated by the sound of the obsolete plastic discs, even using excellent pickup heads.
On the converse, the monotony of sampling has not gone unnoticed by the music community. Many electronic artists have learned to experiment with digital sampling in a manner that is pioneering and innovative. The music of Gold Panda and Dan Deacon - for brief example - have been able to push the limitations of digital music into new realm by playing off the stereotypes of electronic music and using the bounds of the electronic genre to create new and challenging music. Good new music does exist, whether it is in the electronic, jazz, classical, or pop genres's; one must simply look for it.
I don't think tech has anything to do with dull. It's the creative process at the source that is unintresting, and you are left to overdose digital enancement (from normalization processes to FX of any sort - like that creepy robotic voice that has been so fashionable for a while now) to bring some quickly fading interest to a song that is just, well, bad.
Instead, write good music and hire good musicians, digital technologies can really make justice to the quality of the musical work and enhance the listening experience.
"9 dB Louder"...that's only the way the pop.records are produced nowadays...it just means that today's fashion while producing relies on over-compressing the tracks and the master. Nothing else. But that just happens because we have the material to do it (they would have done it before if they had the opportunity), and because of the music bussines, more regulated than ever before.
This also relies on the amplifier and monitoring systems (unexistent for a wider audience during the 50's) that have beeing optimized in power during the last fifty years.
For sake of doctor Serrá, he is completely wrong in some aspects. The music of today is not based on the same ten chords....not even the Pop music (depending of what he considers Pop).Arguing with the example of Jimi Hendrix is a clear example of ignorance...there was a time where everything was better is just a simple misstake (and a plain one). The only way he is raght is that up to today's satndart, we have more and more music that seems the same, but only because the musicians have better chances of producing themselves and buying material than before.
There is much more that those ten chords Mr. Serrá, and much more than Stockhausen could have possibly imagined.
Learn how tow frickin spell. And you are absolutely, entirely, completely WRONG.
I Produce for a living, and am quite well at the same with multiple years of theory under my belt, and have a production company with over 300 million records sold to its credit.
Over Compressing tracks and especially their Master would result in a 'smashed, thin sounding song missing it's low end,' and has nothing to do with it's db; to wit loudness and compression are two entirely different aspects with reference to the final db of any master.
Stop misleading the public 'Captain Brilliance...'
"Learn how tow frickin spell."
Regarding the spelling mistakes, did you ever think the person was a non-native English speaker and therefore, actually spelled quite well considering this?
Apologies for the few grammar misstakes in the last comment, I am not a native speaker.
But I am a half professional musician who's father is an aknowledged Sound-engineer/technician, and what?
Misleading is a good one...
I dont want to get into conversation about how most compressors boost the signal given and increases the logarithmic perception in our ears,
Mr. "300millionrecordssold" (even if you are right, loudness and compression are not the same..good bet Mr.Watson).
I am not gonna get into discussions about those things.
Fact is, It is the thruth.
You seem to be one of those guys who thinks about how many records he has sold yet..and not about doing the job in the best possible way.
Today we have better options of recording, producing and what ever we want. The music of today is more interesting than decades ago!
The music bussines is changing (bad luck for you..good luck for me)!
Please focus on capitalisation, orthography and apostrophes before criticising somebody else's spelling. Alternatively, try reading 'U.S.A. Today' and maybe peruse their letters page.
Best wishes,
Learn how to frickin' record. If you don't believe that popular music is far more compressed now than it was 20 years ago, you don't have a clue. Dump, say, the first Rage Against the Machine album (original mastering) into a 2 track editor, then dump in something like the second Disturbed album (I've done this, btw). What you will immediately notice is that the RATM record has dynamics and the Disturbed record is squashed and brick wall limited (you can tell by the insane amount of clipping on the waveforms).
By the way, you may be a producer but you don't know the first thing about audio engineering. When you compress something, the apparent level of the BASS goes up, not the treble. Of course, you can just throw a good EQ in after it (like a GML or old Focusrite) and "fix" that. The fact that you don't know something this basic leads me to believe that you're full of crap on your claims of producing records that have sold millions. That, or the records you produce are horrible. Nickleback sells a lot of records, but they're still quite horrible.
I used to be in the industry, worked as a recording engineer and producer. I've recorded classical, jazz, rock, punk, rap, pretty much everything and actually know what I'm talking about.
Q: How many producers does it take to screw in a lightbulb?
A: I don't know, what do you think?
"9 decibels louder" is a meaningless measurement. Measurements of sound volume require a reference level. Also, loudness is an average of measurement over time. The most common way of measuring loudness is RMS, though when measuring sound pressure in the field, there are different measurement methodologies.
It may be asking a lot for reporters writing on deadline to get things right, but this is an example of using a quantity not understood by most people without any context, which is useless.
This criticism is wrong on both counts.
A difference in average sound pressure level of 9 dB does have real meaning: it means that music today is almost twice as loud as music in the 50's. And the frequency profile used for sound measurements already accounts for any weighted averaging (i.e. root-mean-squared) required to make a measurement meaningful.
I am an audio electronics engineer and I deal with dBSPL, dBFS, dBrA, dBV, and many other audio-related decibel units on a daily basis, so I have to jump in here to correct you both. I'm not trying to one-up you or insult you or anything - I just want to correct the inaccuracies here.
Kent Williams, you're correct when you say that the decibel unit is meaningless when used without a reference. However, dB RMS is equally as meaningless. RMS is simply a way to calculate the average level of a signal over time (which contrasts with a peak measurement). It does not provide a reference.
In order to reference the measurement, you need to use a reference measurement lik dBV RMS, dBSPL RMS, dBOV RMS, or dBFS RMS.
The author is talking about recording media, so dBSPL, which can only be used in an acoustic system, has no meaning here.
Scotland777, as I mentioned above, dBSPL (sound pressure level) actually has no meaning with regard to audio recordings. dBSPL is a measurement of sound pressure in an actual acoustic listening environment, which means it relies on the speakers, the distance from the listener, the power of the signal through the speaker, and the air through which the acoustic signal propagates. It has no relation to the recording medium.
The measurement referred to in the article is actually dBFS (decibels full scale) in the case of CDs. 0 dBFS (peak) refers to the absolute maximum level that can be represented in the digital recording medium. In analog recording media, the maximum level is 0 dBOV (peak), which refers to the maximum analog level that can be reached without clipping in the electrical domain.
In both cases (analog and digital recording media), what defines "loudness" is the ratio between the average (RMS) level and the peak level of the recorded signal. It's true that this ratio has increased for modern recordings, which conversely decreases the dynamic range of the recording. Metallica's "Death Magnetic" album has one of the lowest dynamic ranges of all time. This is what is commonly referred to as the "loudness war."
I guess you can't blame the author (or the public) for not having a solid understanding of a pretty complex technical concept.
In any case, the author said that the recordings are 9 dB louder. This refers to the crest factor (peak/RMS), which is a power ratio, and our ears distinguish loudness as a power ratio, not a linear ratio. 9 dB equates to a power ratio of 7.9. Basically, it means that music has gotten 7.9 times "louder" in the past 50 years. Another way to think of it is that the dynamic range has decreased by a whopping 88%.
Everything is going to pot. It's all been downhill since Mozart.
As for volume, I talked about this two decades ago on Channel Four: http://youtu.be/BuPSr1syFwk
Dr Serrà's article, and the underlying research, are both nearly harmless nonsense.
While there is plenty of evidence indicating that equal loudness has increased significantly since computers began mixing music (q.v. Fletcher-Munson curves), there's zero evidence that a Fourier transform can extract artistic qualities such as "timbre" from a public domain recording.
Just reliably picking out a melody from a recording, via an automated process, is next to impossible. One recent academic paper was overjoyed to report ~60% accuracy in this regard, and that's only for a single melody line. Good luck acquiring meaningful "pitch" and "timbre" data for half a million recordings of every genre, recorded with every conceivable combination of equipment, with every conceivable frequency response.
Given this highly randomized data set, the authors claim to have found "codewords" which are representative of musical styles and periods. The authors acknowledge the novelty of the codeword idea, and have provided no evidence that codewords actually exist, or provide any indication that codewords are useful for psychoacoustic analysis. No composer living or dead has ever considered a codeword while writing a song.
Unfortunately, this article is only mostly harmless. Friedrich Schenker's school of tonal analysis tried expressly to prove the superiority of German music through complicated tonal analysis. Likewise, the author's claims of "blockage" and "no-evolution" of modern music should be interpreted entirely as the opinions of the authors and not given any further countenance.
If you think that today's music hasn't narrowed in timbre and its attendant recording techniques have been essentially dulled over the last few decades, you are severely out of touch with current popular music and its history. The fact is, whether or not the science is spot-on, this article reflects the current reality of pop music.
But if you admit that the science doesn't necessarily reflect it, then how can you know it as a fact?
It, however, neglects to take into account things like the rise of minimalism as an influence on dance music (from which much of modern pop is derived), changes in recording technology (that it's gotten louder is a big "duh" - yes, the loudness wars have destroyed a lot of DR but music in 1975 was already singificantly louder than 1955,before the loudness wars kicked off).
Also, the timbral thing is a mystery. You cannot tell me that somehow there were more unique timbres in late-60's guitar rock than there were when pop music embraced synthesizers in the late 70's and 80's.
The article doesn't talk about "quality", it's about "diversity" (in a statistical sense).
Two points:
First, it does not make any sense to say that music is now 9 decibels louder than before. The volume of a song is dependent not just on the recording but the volume the listener plays the music at. If a record company increases the volume, the listener can simply reduce it on his end.
Second, volume levels have lost variation because an increasing proportion of music listeners do so in settings with much ambient noise (e.g. subways, cars or airplanes). One of the biggest challenges of a sound engineer today is to keep the decibel level consistent enough so that if someone were to listen to the song in their car, the volume won't vary so much that they would have to increase their volume at their soft parts (where the music is easily drowned out by ambient noise) and then turn it down at the loud. Instead, sound engineers strive to maintain decibel levels relatively consistent, but allow variation in texture to achieve variation in PERCEIVED loudness which is the more important aspect. Hence, focusing on decibel levels is almost certainly going to overstate the degree of homogeneity of modern music.
No no, they're talking about the level in which it was recorded to tape (er, to hard drive). And compression plays a large role in this. Think of it like mountains and valleys ... the mountains in most music are the same height, but the valleys, even 10 years ago, were lower ... so there was more dynamic range between, say, a verse and a chorus in the same song. Today, they're slamming everything so hard that they have to compress the tracks harder, thus the valleys end up being just as tall as the mountains. What does this mean? There is less and less range in any given song today ... the verses, choruses, the singing ... it's all at a continuous volume. THEN, when it's played on the radio, it gets compressed even more. You should read up on the "volume wars" some time, kind of interesting. Anyway, sorry for so many words, but the author of this article didn't go into the technical aspect as much as they should have to fully explain what it means. Hope I did a reasonable job with the whole mountains and valley thing.
No no, guest-iomjwmo, it is you who assume too much.
The article is as the article says (as Forrest Gump might say). They are "talking about" loudness. There is no mention of recording levels or crest factor (peak/RMS) or power ratios or dynamic ranges.
The article clearly states in no uncertain terms "songs are, on average, 9 dB louder" than during the 50's. This is hogwash since everyone knows that "loudness" depends on one thing: the level of the volume on the playback device.
The original article might hold more details but that doesn't mean that the Economist article is not misleading.
lol, they're talking about loudness when they mean something else but it works for the layman. throw a song from the 80's into a 2 track editor (original mastering, not remastered), then something from the last 10 years and compare the waveforms. What you will notice is a LOT more compression (loss of dynamic range) and that the average level of the recording is higher relative to "0dB" (max level in digital). You'll probably notice a lot of clipping in the new recording, none in the old one. When you compress something (or "squash" it) the dynamics are reduced, which means you can increase the overall level printed to tape/disk/whatever. Analog does a bit of this already, which is a big part of why analog sounds different than digital (all the EQ applied and they way tape distorts would be the other main components).
Another way of putting it is, for the same amount of gain after the source (CD player, music server, whatever) a newer record will be louder on average (9dB according to the article).
Up until the mid 1990s, outstanding musicians were paid very well, so a lot of studio-recorded music was of very high quality. Now that the value of recorded music has fallen (because youngsters don't pay for it, or spend their money on other things (e.g. video games)), music is not attracting the same quality of people.
There is still a lot of very good music being made - but now that modern electronic keyboards make it so easy to make "music", it takes a lot of time to sort it from the dross in the long tail. There may be internet radio stations that take the time and trouble to select good new music (good luck finding one!), but the days when you'd hear lots of good new music on free radio, select what you want from among it, and then confidently go out and buy the album have gone.
Our best (only?) hope is the creation of applications that work out your musical taste and then create music for you on the fly.
We do spend our money on music, but not in traditional ways. We don't spend our money on plastic CD's or MP3 files from iTunes, but we do spend our money going to live shows and festivals.
This summer I paid $300 for an admission ticket to a three day festival featuring over 300+ electronic dance music artists.
There is plenty of good music being created, but it is not being played on the radio.
What radio?
Your digital radio stations broadcast compressed crap music. You will never gonna enjoy explosive sounds of drums and base guitars!
CDs, MP3s, iTunes are all craps as well!
Only way you can enjoy real music is to go live band concerts with smallish audiences.
"Quality of people"?
The idea that people create art only if there is profit in it flies in the face of, let's say, all of human history.
uh, musicians (not studio musicians, but musicians who write/play their own music) don't make their money from record sales. They make their money from touring. If a band can consistently sell 1,500 tickets per show, and get $10/ticket going to them, that's $15,000 per show. 100+ times per year and each musician should be pulling in over $100k/year, and that's for a modestly successful band. If you can do an arena tour, you'll make $millions. That doesn't even take merchandise into consideration.
In fact, the current recording label set-up is dying. If the labels were smart (they're not) they would just give the music away and focus on artist development and concert promotion. Give the music away for free and you'll get a lot more people to give it a listen, and if it's good they'll pay to see the band live (where the money is actually made).
Got louder?
What happened to Deep Purple?
Sound like another wasteful don quijote airport project!
As a matter of fact, music got lighter!
All thanks to the spread of compressed digital sound such as MP3, Dolby Digital, DTS, ipod, degital TV, digital radio, etc.
Sound compression starts from narrowing volume variations. In no way, this will make sound louder! I don't see how this got to do with artificial intelligence. I don't see how artificial intelligence can tell the difference of music.
Simply ridiculous!
I think you are perhaps confusing dynamic range compression with digital (file storage) compression. The latter does not cause the former; it may create other issues but that's different.
sikko, dynamic range compression refers to an audio processing technique that alters the average signal level with regards to the peak. It started out as a purely analog technology back in the 40s with vacuum tubes, and it was used extensively by the Beatles, Hendrix, and yes, even Deep Purple.
The human ear perceives "loudness" as the ratio between the average signal level and the peak level. By increasing this ratio, all other things held equal, your brain will tell you that the sound you're hearing is louder. This is not a subjective test - it is simply the way that the brain works. Side-by-side listening tests have told record companies that people prefer "louder" music, so mastering engineers have slowly dialed up the ratio over time. This is commonly referred to as the "loudness war."
You seem to be confusing this concept with digital file storage compression (actually, to be precise, "psychoacoustic compression algorithms", such as MP3), which decrease the size of an audio file and can introduce certain audible artifacts as a result.
These are completely separate concepts.
For further reading on this topic, please check the "Psychoacoustics", "Loudness war", "Dynamic range compression", and "Data compression" articles on Wikipedia.
Here's an easy way to think of what they're talking about....
As Brett said, they're not talking about data compression but dynamic range compression. when you squash everything down to a few dB of dynamics, you can then raise the overall level by a lot and therefore make it louder.
Pop may be so dull because much creative talent has leaked away into other genres and eveybody samples everyone else.
This study sounds reasonable on its face but I am guessing that it takes the wrong approach to interpreting pop music. It assumes that harmonic complexity is the sole basis for judging whether a pop song is interesting or not and Dr. Serra is imposing his own values on genres that have given up on harmonic complexity as a area worth exploring. How many flat 13th chords can you have anyways?
I cite Aaliyah's "Are You That Somebody?" (produced by R&B genius Timbaland) as a initial case to show that Dr. Serra's assumptions may not capture the interesting aspects of modern pop music. Does Serra realize that Timbaland takes a page from musique concrete and actually imbeds a sample of a baby gurgling with glee into the song itself?
Official "Are You That Somebody" video on YouTube: http://www.youtube.com/watch?v=GuWMW7hVdTs
Essentially, Dr. Serra is way behind the times--the pop composers are exploring different areas of rhythmic and sonic complexity that he does not even ken let alone measure. Judging from your article, I bet his efforts to explore timbre are not nearly as mature as his tools to explore sonic complexity, given the amount of sheer sonic wonder that you can find in the best pop music.
For example, Donna Summer's classic 1977 electrodisco tune "I Feel Love" should start doubting Dr. Serra instantly:
Unofficial clip: http://www.youtube.com/watch?v=H7r83-y3j2A
(Note: the only official clip is an inferior live version.)
Huh... a baby making gurgling sounds? This is innovative? I think you need to uncork Pink Floyd's "Dark Side of the Moon" and listen from beginning to end, and you will find a remarkable use of spoken voices and sounds of daily life interwoven into the songs as well as in the transitions between songs. Great stuff.
Simon and Garfunkle also had a great album "Bookends", which had a track "Voices of Old People". Side one of the album is about the phases of aging, and the track fits in nicely with the theme (although side two has the more memorable songs on it).
I love it when folks talk about "innovation" before realizing that some artists did the exact same thing 30 or 40 years earlier.
You're spot on about "Dark Side." I'm honestly not a fan of that album so I don't think I even knew they used found sounds on that album. Also, I would not be surprised if the Beatles used similar approaches when they experimented in tape.
However, what is unique about "Are You That Somebody" (and if I recall correctly, "Dark Side," is that the found sounds are part and parcel of the songs themselves. They are blazing an unusual trail for many musicians employ this technique in mainstream popular music for the following reasons:
1) Until the Akai sampler came into play in the late 80s, sampling found sounds was very complex and either required lots equipment, lots of time, or both. Floyd had all of these things when they did "Dark Side" and only tape-splicing obsessives like John Oswald could offset the cost by sheer dint of effort (and many slashed fingers I presume).
2) The idea of found sounds is still rather unusual in mainstream pop music, even today. I used the Aaliyah track as an extreme example of sonic creativity to make a point. The mega-popularity "Dark Side" is an obvious fluke partly generated by the band's cult following and the pot-influenced legends that sprung up around it.
Even though you are correct about "Dark Side," that does not make "Are You That Somebody" any less unique to the history surrounding use of found sound in pop music.
By comparing the whole database, I think we're missing an important point. A listener of the 50s--whether the 1750s or the 1950s--had access to only a very small percentage of the music produced.
With the digital world, access to music, and types of music, is much greater. As a college student in the 1970s, I struggled to afford the $6-$8 for a single new vinyl album. And these albums were mostly rock (I was fortunate to have room-mates who purchased jazz and classical).
Today, I have most of these vinyl albums in digital. In addition, I have hundreds of other "albums" in digital....in genres that wouldn't have been commonly available or noted in the limited analog age.
Painted with a broad brush the 1950s--or the hits we fondly latch onto--are interesting. Listen to all of the songs on a regular basis, and they also start to sound the same.
And lets not forget to discuss the effect that Apple and Steve Jobs have had in promoting horrible fidelity and music reproduction by choosing and pushing the horrid mp3 format. For this alone, Mr. Jobs can be referred to as the Ray Kroc of the digital age....
Apple uses the AAC format not MP3. Apple and Steve Jobs did not promote "horrible fidelity". They are providing what people want.
Most people are not like you and me. They cannot tell the difference between the sonic quality of a vinyl record, CD, DVD-Audio, MP3, or AAC. The difference is the quality of audio formats is negligible if one is listening to music in his car or through ear buds.
To the overwhelming majority of people, as long as it sounds at least as good as the radio in their car, they are satisfied.
I would say listening to it in my car is where I notice the quality the most, listening on computer can't really tell a lot of difference between flac and 320kbps but in the car I notice it since I have more speakers and much better quality audio gear.
I can notice a difference between 128kbps and 256kbps or higher, but anything more than 256kbps is not noticeable to me at all. I rip all my music at the lowest (i.e. highest quality) compression rate, since storage capacity is now, for all practical purposes, nearly infinite when it comes to digital music (I have a 1 TB hard drive that cost me $70). Even my smartphone can store nearly half of my music collection.
Actually, just a little factoid for you, but MP3 and AAC are simply two sides of the same coin. They are both lossy, psychoacoustic audio compression algorithms that are largely based on the exact same theoretical backgrounds and technologies. They operate on the principle of removing audio data that the listener's brain will not notice is missing, based on a psychoacoustic model. AAC was developed more recently, so it has the advantage of a better compression efficiency thanks to some updated techniques.
Still, it's really just a question of file size rather than quality. AAC is not "better" in a strict definition, it just achieves similar audio quality at lower file sizes.
In other words, if you encoded MP3 at a 3x higher bitrate than AAC, then the MP3 will actually sound much better. AAC generally wins against MP3 when the file sizes are constrained.
Hope that makes sense.
For more reading, check the Wikipedia articles for "Advanced Audio Coding" and "MP3".
And let's not forget that for a good chunk of the past 30 years, people carried cassettes around. You want terrible audio fidelity? MP3's got nuthin on a cassette (especially a home dub).
Music is relative and subjective. Radio-tunes perhaps have gained in volume, but other genres have explored new ideas. The research is overgeneralizing. Perhaps the research falls into an expectation bias of the researcher.
One needs to be reminded that modern pop music is rebellious, relative to classical music, and is intended to create a large market segment, if not already targeting a niche within that. As a result, it has to be short and catchy. But that's only modern pop.
There are more musicians today than ever, plus more musical collaborations.
What defines the decibel a music's range should be?
Rebellious to what? Modern pop music is so mainstream that even older people listen to it. The real rebel will be the one that listens to classical music.
I agree...modern pop is accessible. I am simply pointing out that most modern pop personifies rebellion as a way to entertain - hence, the loud makeup and noise, the simplified chord progressions, the over usage of digital instrumentation, all in order to stand out (to the average consumer).
A listener does not have to be an 'active' listener to enjoy pop music. Whereas to enjoy certain jazz, a listener has to actively find the melody of the solo within the tune.
Besides, I am not suggesting that mainstream music is bad. Again, music is subjective.
It follows from the high level of civil liberties and material wealth nowadays. The kids have it good, today! In certain kinds of Heavy Metal, there is a borrowing of "devices" from the classical era, like semi-operatic vocals, choirs and instruments like the harpsichord. They often use instrumental "songs" which could be seen as an electrified "allegro" or "presto" movement.
This is somewhat off topic, but related. As I move through my Wrinkly years I am less able to hear higher frequencies. I have that annoying "ringing" in my ears. I listen to lots of music, primarily classical, Broadway shows and The Stones. Does anyone make headphones that can cancel out the "ringing" and permit me to hear the high notes?
Editor: please feel free to delete this if you feel it is too far off topic.
You should Google 'Tinnitus'.
It is from a lifetime of abusive enviormental noise exposure.
Sound canceling headphones generate negative tones to counteract live ambient outside noise.
Tinnitus may be internal noise within the acoustic organ itself.
There may be a headphone frequency that may cancel out your 'ringing'. And it may grant you silence.(A real benefit). But will not likely improve your hearing acuity.
You may try it, some responses may be very individual and subjective. A web forum shows some mixed response:
Thanks for the information.
A normal ear picks up physical vibrations of air your inner ear (through hair cells) translates that into electrical signals. Those electrical signals are sent to your brain which process the info and lets you hear the interpretation of that original vibration as sound or noise.
Tinnitus is a neurological phenomena it is not caused by air vibrations. It is caused from a aberrant signal from the hair cells in your inner ear or some connection on the way to your auditory processing centers.
Noise cancelling headphones work on the principle of inverse waves to actually stop matter from vibrating. Therefore tinnitus cannot be cancelled out by noise cancelling headphones since they work at a level of air molecules not on your inner ear hair cells (not cells that grow hair in your ear- these are organs responsible for transfer of motion into electrical signal).
Also, as you get older your ability to hear certain frequencies diminishes. There's no way of getting that back.
The Beatles, Stones and U2 can't touch this:
The UK's Loudest Band for Three Straight Years: SPINAL TAP!!!!
They have the courage to bring it to 11--one more in the loudness race.
Reports on the intersections between science, technology, culture and policy, in a blog named after Charles Babbage, a Victorian mathematician and engineer
The Economist explains: Who would pay a "mansion tax"
The Economist explains
Football and British politics: David Cameron's own goal
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Britain's election campaign: April 26th: The deafening silence of David...
The week ahead: A very normal affair
Football and politics: David Cameron's own goal
America's Ukrainian mission: Training wheels
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Simple Metal Bed Frame
- Online Only
Please Select Size:
- Online Only
- Overview
Rest easy. This Simple Metal Bed Frame's durable steel base comes with casters, so you can easily rearrange the bedroom. Simple and substantial, it forms the foundation for a bed that feels at home in any room.
- Frame and center support are made of 12-gauge high-carbon steel.
- Rivet and keyhole assembly.
- Set on non-locking plastic casters for easy movement.
- No clamps or hardware required.
- Box spring recommended (sold separately).
- Fits with most west elm headboards (sold separately).
- Imported.
- Details + Dimensions
- Twin: 38"w x 71"d x 9"h.
- Full: 53"w x 71"d x 9"h.
- Queen: 60"w x 71"d x 9"h.
- King/Cal King: 72-6"w x 71"d x 9"h.
- All safely accommodate mattresses up to 84"long.
- F/Q/K sizes include 3 middle support legs.
- Make sure it fits! See our guide on measuring for delivery.
- Number of boxes: 1.
- Shipping package: 76.5"w x 7"d x 3.4"h.
- Package weight: 28 lbs.
- Number of boxes: 1.
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Minimal assembly required.
Wipe clean.
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Delivery Information
- Most purchases are shipped from our Distribution Center by UPS, to arrive in as little as 5-7 business days.
- Quick Ship fabric items receive delivery in 1 - 3 weeks.
- Special order fabric (SPO) items receive delivery in 8 -10 weeks.
- For our guide to measuring for delivery click here.
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The shipping rate varies depending on your order total and shipping options. Please note, some furniture, rugs and other large items that are bulky or heavy items have a delivery surcharge listed in parentheses ($) after the item price. These delivery surcharges are in addition to the standard delivery shipping charges. View Shipping Rates and Options
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We take great pride in the quality of our merchandise. If for any reason you are not happy with your purchase, you may return the item(s) within 30 days of receiving the order for a full refund of the merchandise cost. After 30 days, we will replace or refund your purchase against manufacturer's defects ONLY. Please note that we cannot accept returns on mattresses, monogrammed/personalized items, special order upholstery items and special order rugs, one-of-a-kind rugs, or on items damaged through normal wear and tear. We also cannot accept returns of final-sale items, which are identified by a price ending in .99 or .97. Delivery fees are non-refundable.
For further assistance please call our customer service department at 1.888.922.4119 or send an email to email@example.com
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west elm Mattress Collection by Simmons
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subset: commoncrawl


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Gen.Variant.Sinowal [Ikarus]Gen.Variant.Sinowal!IK [Emsisoft]Packed.Win32.TDSS.~AA [Comodo]Mal_Obfus-4 [TrendMicro-HouseCall]Gen:Variant.Sinowal.1 [nProtect]Malicious Packer [Panda]OneStepSearcher.P [AVG]Gen.Variant.AdWare.Zwangi [Ikarus]a variant of Win32/Adware.OneStep.Y [NOD32]Win32:Rootkit-gen [Avast5]
More aliases (28)
Uprootkit Automatic Detection Tool (Recommended)
Is your PC infected with Uprootkit? To safely & quickly detect Uprootkit we highly recommend you run the malware scanner listed below.
Download SpyHunter's* Malware Scanner to detect Uprootkit
What happens if Uprootkit does not let you open SpyHunter or blocks the Internet?
Technical Details
File System Modifications
Tutorials: If you wish to learn how to remove malware components manually, you can read the tutorials on how to find malware, kill unwanted processes, remove malicious DLLs and delete other harmful files. Always be sure to back up your PC before making any changes.
- The following files were created in the system:
# File Name Detection Count 1 %ALLUSERSPROFILE%\ Application Data\ ResultUrl\ resulturl131.exe 23 2 %ALLUSERSPROFILE%\ Application Data\ QuestResult\ questresult113.exe 5 3 %WINDIR%\ system32\ xiloadzA4.dll 5
Posted: March 28, 2011 | By SpywareRemove
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Threat Metric
The Threat Meter is a malware assessment that SpywareRemove.com's research team is able to give every identifiable malware threat. Our Threat Meter includes several criteria based off of specific malware threats to value their severity, reach and volume. The Threat Meter is able to give you a numerical breakdown of each threat's initial Threat Level, Detection Count, Volume Count, Trend Path and Percentage Impact. The overall ranking of each threat in the Threat Meter is a basic breakdown of how all threats are ranked within our own extensive malware database. The scoring for each specific malware threat can be easily compared to other emerging threats to draw a contrast in its particular severity. The Threat Meter is a useful tool in the endeavor of seeking a solution to remove a threat or pursue additional analytical research for all types of computer users.
The following fields listed on the Threat Meter containing a specific value, are explained in detail below: Threat Level: The threat level scale goes from 1 to 10 where 10 is the highest level of severity and 1 is the lowest level of severity. Each specific level is relative to the threat's consistent assessed behaviors collected from SpyHunter's risk assessment model. Detection Count: The collective number of confirmed and suspected cases of a particular malware threat. The detection count is calculated from infected PCs retrieved from diagnostic and scan log reports generated by SpyHunter. Volume Count: Similar to the detection count, the Volume Count is specifically based on the number of confirmed and suspected threats infecting systems on a daily basis. High volume counts usually represent a popular threat but may or may not have infected a large number of systems. High detection count threats could lay dormant and have a low volume count. Criteria for Volume Count is relative to a daily detection count. Trend Path: The Trend Path, utilizing an up arrow, down arrow or equal symbol, represents the level of recent movement of a particular threat. Up arrows represent an increase, down arrows represent a decline and the equal symbol represent no change to a threat's recent movement. % Impact (Last 7 Days): This demonstrates a 7-day period change in the frequency of a malware threat infecting PCs. The percentage impact correlates directly to the current Trend Path to determine a rise or decline in the percentage. |


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Snack and Barbecue at the Gstaad Palace
Our Snack and Barbecue restaurant, located one step away from the indoor pool, is the perfect spot for a light lunch in the sun. We are happy to welcome our guests to enjoy grilled specialities, a variety of delicious snacks and appetisers as well as a daily cold buffet in a relaxed atmosphere.
Opening hours: 12.00 p.m. to 2.30 p.m. (in summer only, when the weather permits)


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Prices and availability are subject to change from the time and date that you print this page.
4/28/2015 1:33:21 AM. For Customer Service, please call
Pickup Check store pickup options
chain reaction. Modern white cylinder gives rise to tone-on-tone texture. Linking end to end on handmade earthenware form, abstract chain pattern makes a tactile connection.


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One who believes in a god, and there rests, not mixing the one article of his faith with articles of human invention.
If you really want to understand Deism, go read The Age of Reason, by Thomas Paine.
od uživatele antinous
27. Únor 2004
7 more definitions
Top Definition
a person who accepts the belief in god,but does not believe in the religion.He/she has no understanding of being aethiest or religious,but believe in individualism.these type of people usually understand that believing in god completely is rhetorical because for an aethiest and a religious person,in the end neither have proof or a clear explanation on their strong grasp of the belief they so entrust on.
a person with a true mind of freedom is someone not many know a diest.
od uživatele some guy
12. Červenec 2003
Someone who believes that God created the universe, but completely seperated himself from it.
Phil believes in God, but not any form of divine intervention, making him a deist.
od uživatele El Singario
22. Září 2005
A Deist is a person who believs that God created the world. This person might or might not believe in evolution, but knows that God is behind it all and he's satisfied with that thought. He doesn't feel the need to follow a religion; Meaning: A Deist does not give a dime (for the lack of better word) who came fist, who came last, who was the son and who was the prophet, and especially who wrote what in which book. He respects these people and chooses not to talk or even think about them. He know's God is up there and as long as he doesn't steal, lie, and hurt other people he has no need for following religion.
i'm a deist, i know i'm not capable of seeing God and i don't even wanna see him, but i know he's there and watching over and once in a while i sit down and talk to him but he knows that i dont like reading brainwashing mind blowing time consuming religious books because i don't even know who wrote them when pen and pencil were barely invented, and he's totally fine with it. wish myspace had Deist as an option to your religion selection.
od uživatele ChicagoAce
08. Květen 2007
Additionally, being a deist, such as myself, one can believe that a higher power created the universe and that is all. The guy that posted something about how a higher power wouldn't have any dealings with humans was on the right track.
A deist is as close as you can get to athiesm and not be an athiest.
od uživatele Jason Jason
06. Červen 2005
A Deist is any person who believes that God created the universe and dissociated himself from it. They do not believe in divine intervention of in organized religion, such as church gatherings. Some do not believe that Jesus is the son of God, but merely a prophet; however they are still considered Christians, because they do believe somewhat in the Holy Bible. They also believe in the power of science, and if science and scripture contradict one another, they usually lean towards the science aspect because of factual data. The most notable Deist to date are Thomas Jefferson as well as other U.S. Founding Fathers, and rumored John Locke.
"I have never seen a church for Deist."
"And you never will."
"The United States Constitution is based on Holy scripture."
"Only if you consider logic and science a religion, because that is what our foundings fathers believed in."
"And you never will."
"The United States Constitution is based on Holy scripture."
"Only if you consider logic and science a religion, because that is what our foundings fathers believed in."
od uživatele dmccoy
17. Červenec 2006
An atheist who believes in some god.
If you're agnostic or deist, if you believe in (the possibility of) some form of deity but don't let religion run your life, then you're practically an atheist.
od uživatele agnerypershiiion
17. Listopad 2014


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PREVIEW NIGHT at SDCC 2013 - Fantagraphics Land | |
Written by Jen Vaughn | Filed under CCI | 18 Jul 2013 8:55 AM |
Our hands are hot from unpacking this straight-from-the-presses debut books and meeting all you nice people during Preview Night!
If the table's a rockin'....please grab it because its groaning from the weight of our books!
Kristy Valenti holds one of her most recent books Love and Rockets Companion (co-edited by Marc Sobel)
Abrams ComicsArts' editor Carol Burrell laughs and makes Comics Reporter Tom Spurgeon guffaw at the booth.
Wired's Graeme McMillan and Douglas Wolk go ape shit over Cathy Malkasian's Wake Up, Percy Gloom.
Scott McCloud came to oooohhh and ahhh over books and ask the most difficult question: what is your favorite comic book of the last year (that also came out in that time)? There are so MANY on the Fantagraphics' tables, no? Come see us at booth 1718.
That's all for now but there's lots more to come! Keep it tuned here and especially to our Twitter feed!


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order by phone... 1-800-828-4548
order by item number...add items to my cart
Browse more:
Delta Soy Paint offers an eco-friendly alternative to traditional craft paints. It can be applied to paper, wood, plaster, terra cotta, matboard, canvas, cement, and most porous surfaces. Lead-free, low in VOCs (Volatile Organic Compounds), and low-odor.
Color Swatch created using full strength and was applied on student Bristol board (vellum finish) material.
Please select one of your Lists or create a new List.
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Material Safety Data Sheet
™ Delta Creative is a trademark.


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Please make sure to read the description of the item that you are purchasing. We sell actual items and vintage advertising and much more. The ads are great for collectors, framing, identification or even gifts of nostalgia. Happy shopping!
Miss Pack Ratz Contact us! 6052 Swartout RoadAlgonac, MI 48001United States Updated Thursday, May 07 2015©1995-2015 TIAS.com All rights reserved.


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Library News Blog
The Lloyd Sealy Library is now providing reference help via texting! Text us at 646-256-5199 every weekday, 8:30 am to 6 pm. We offer extended texting hours on Wednesdays until 10 pm.
And the Library now has a mobile website at http://www.lib.jjay.cuny.edu/m/ where you can check library hours, connect to EBSCOhost's mobile site (for searching Academic Search Complete, PsycInfo and other datbases), listen to our audio library tour, or watch our Sealy Library video on your iPhone, iPod Touch, Blackberry or other mobile device.
Posted Monday, December 7, 2009 - 12:02pm
The library is running a trial of Early English Books Online (EEBO), which contains about 100,000 of over 125,000 titles listed in Pollard & Redgrave's Short-Title Catalogue (1475-1640) and Wing's Short-Title Catalogue (1641-1700) and their revised editions, as well as the Thomason Tracts (1640-1661) collection and the Early English Books Tract Supplement. EEBO contains virtually every work printed in England, Ireland, Scotland, Wales and British North America and works in English printed elsewhere from 1473-1700. Subject areas covered include: English literature, history, philosophy, linguistics, theology, music, fine arts, education, mathematics, and science.
As we must always be selective in making resource purchases, those that are strongly supported by faculty and students stand a better chance of being purchased in the future. So please take the time to look at this collection and get back to me with any comments. This trial will make the collection available until December 31. Please send any comments to Nancy Egan, the Electronic Resources Librarian at email@example.com.
Posted Wednesday, December 2, 2009 - 10:36am
The Library is featuring trials of two new databases: Global Issues in Context—issues and countries form the core of this dynamic database, containing a wealth of resources, including scholarly and news sources, maps and videos, which explain the historical and contemporary conditions necessary to understand global issues, conflicts and events. GreenR (Global Reference on the Environment, Energy, and Natural Resources)—offers authoritative content on the development of emerging green technologies and discusses issues on the environment, sustainability and more.GREENR is interactive and current, allowing users to navigate issues, organization and country portals. It's a one-stop site dedicated to studying sustainability and the environment.
Please email any comments to Nancy Egan at email@example.com.
Posted Monday, November 16, 2009 - 10:43am
EBSCOhost, the vendor for Academic Search Complete, PsycINFO, and others of our most popular databases, now provides an interface specifically for mobile devices like iPhones, Blackberries, and some Palm devices. Access any of the EBSCOhost databases through the separate mobile device page and select the database you want to search. Then search for articles (and in many cases read them) from anywhere you and your mobile device can access the Internet.
Posted Monday, November 9, 2009 - 1:35pm
The Lloyd Sealy Library will be open its regular hours this weekend, despite the bed bug treatment of other areas of Haaren Hall.
Saturday, Oct. 10 open 10am-6pm
Sunday, Oct. 11 open noon-5pm
Monday, Oct. 12, Columbus Day, closed
Posted Thursday, October 8, 2009 - 10:58am
We welcome our New Reference/Freshman Services librarian Marta Bladek, and congratulate her on successfully defending her English dissertation at the CUNY Graduate Center the day before she started!
Thanks to the Chancellor's Textbook Initiative, the Library now has a textbook collection of over 360 distinct titles, many in multiple copies. All volumes in the textbook collection are being cataloged and listed in the library catalog, CUNY+, and shelved behind the Reserve Desk on the lower floor of the Library. Textbooks can be borrowed for up to 3 hours, for use within the Library.
Check out the blog entries below for news about the Library's "film noir" video tour and our experimental federated search (more news about that to come later!).
Posted Friday, September 4, 2009 - 2:14pm
Our exciting new movie!
Written and produced by Karen Okamoto. Directed, shot and edited by Amala Lane . Starring Jiaying Wang. Featuring Bethany Davis, Quantae D. Davis, Imran Siddiqui, Kathleen Collins, Larry Sullivan. And introducing Kimberly Teets, Paulo Pinho, Vivian Lake. Camera assistants: Anoah Levine, Dan Gallagher. Special effects by Dan Gallagher.
This has been a collaboration between the Lloyd Sealy Library and the Audio Visual Services of John Jay College.
Posted Thursday, August 27, 2009 - 3:53pm
Listen to Chief Librarian & Associate Dean Larry Sullivan talk about the library's recently acquired Fraud and Swindles Collection, which includes an unpublished manuscript tell-all biography by William McMasters, Charles Ponzi's press agent. Broadcast in a segment entitled 'Books on Crooks' on CUNY radio.
Posted Wednesday, July 29, 2009 - 9:22am
Do you want to search across all our databases? Or all databases for a subject area, e.g criminal justice or history? Try our new 360 Federated Search !
How federated search works:
A Federated Search searches across multiple library databases in one go. In the default basic search option, our federated search looks in the title field of each article (magazine, journal and newspaper articles) for the words you type in the search box. You can use the advanced search to search within the fulltext of the article, or in the subject headings, or in any other fields. The searching by subject enables searching across databases that specialize in certain disciplines, e.g. all our history databases, or all our criminal justice databases.
Is federated search a substitute for searching individual databases?
No, we don't think so! But it's a good starting point. Individual databases allow you to control your search far more than federated search does. If you use only the federated search, you may miss important articles.
Do you like federated search?
Email your thoughts to libinfo at jjay dot cuny dot edu
Posted Tuesday, June 23, 2009 - 1:23pm
In May, 2009 Newsday reporter Anthony DeStefano came in to the Lloyd Sealy Library to read one interesting transcript in which the defendants are charged and convicted of kidnapping and murder of 5 year old Joseph Varotta. Further research shows that they were linked by newspaper accounts to the famous "Black Hand".
DeStefano's article in Newsday today reports on the case based on his Transcript Research, but also mentions the New York Times reporting on the story.
As with most transcripts, the crime, investigation, trial and aftermath is further illuminated by these articles, as well as the fact that consistency in spelling of names was not a priority at that time. As DeStefano reports, research in the New York Times online archives or New York Times Historical File shows that the case was not over when the trial ended, and it's no surprise that it still resonates today:
Jun 12, 1921. FIND BODY IN RIVER GARBED IN CLOTHES VEROTTA BOY WORE; Father Identifies Apparel on Child Discovered by Boatman Off Piermont. DISCREPANCY IN HEIGHT Body Is Reported to Be Eight Inches Taller Than Victim of Kidnappers.WAS BURIED AT ONCE New Black Hand Letter Threatens Parent and Detective Fiaschetti With Death. New Black Hand Threat. Prays for Son's Return. BODY IN RIVER HAD LOST BOY'S CLOTHES Five in Tombs Silent. Will Exhume Body Today.Jun 24, 1921. VAROTTA'S LIFE MENACED.; Black Hand Letter Is Sant to Father of Murdered Boy.
Jun 25, 1921 KIDNAPPING BEFORE JURY.; First-Degree Indictments Are Asked Against Five Varotta Suspects.
Aug 6, 1921. Varotta Murder Trial Tuesday.
Aug 19, 1921. DENIES VAROTTA CHARGES.; Raffaele Repudiates Confession in Kidnapping Case.
Apr 17, 1922. ...Varotta Kidnapping Recalled. (bottom of article)
Apr 17, 1922. VEROTTA GETS NEW BLACK HAND THREAT; Warned Against Carving Details of Crime on Monument to His Murdered Son.
Jun 16, 1922. WOMAN FRIES EGGS TO TRAIL MARINO; Mrs. Nicoletti, Police Aid, Says He Promised Return of Boy Afterward Slain.
Jun 26, 1922. VAROTTA GETS ONLY $500; Father of Kidnapped and Drowned Boy Settles $25,000 Award.
Nov 30, 1922. PUTS OFF DEATH SENTENCES; Governor Reprieves Two Until March --One Is Varotta Boy Slayer.
Posted Thursday, June 11, 2009 - 3:11pm


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Avery® Avery-Style Legal Side Tab Divider, Title: 1-25, Letter, White, 1 Set for $8.29 + free shipping
Rip Proof™ reinforced, dual-sided, laminated tabs make it easy to organize your information. The binding edge is unpunched, so these dividers can fit practically any binding system. Your motion for clean and orderly files has been granted. Ideal for index briefs, legal exhibits, mortgage documentation files and more!


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Brachytherapy Center - Bullhead City, AZBullhead City Cardiologist Doctors for BrachytherapyType of Physician: Cardiologist What is a Cardiologist? A subspecialty certification by the Board of Internal Medicine; practitioners are expert in diseases of the heart, lungs and blood vessels. They consult with surgeons on heart surgery, perform diagnostic procedures, and manage complex conditions such as heart attacks and arrhythmias (abnormal heartbeat). Specialty: Cardiology Common Name: Heart Doctor Cardiologist Doctors in Bullhead City *Southwest Cardiovascular Assocs Southwest Cardiovascular Assocs Southwest Cardiovascular Assocs Southwest Cardiovascular Assocs Southwest Cardiovascular Assocs Southwest Cardiovascular Assocs Vista Health Vista Health Ismail Bokhari MD Medical Clinics of Arizona Medical Clinics of Arizona Cardiovascular Associates Midwest Internal Medicine PLLC Lakeside Heart Crdvsclr Ctr Edward J Quinn MD SW Cardiovascular Vista Health Melvyn V Mahon MD Cardiovascular Center Sonoran Cardiology Bullhead City, ArizonaBrachytherapyWhat Happens During Brachytherapy?First angioplasty is performed, and a "ribbon" of radioactive isotopes is placed through the catheter to the site of blockage. The ribbon stays in place for about 4 to 15 minutes, and the catheter is ... Other Related Brachytherapy ArticlesEmergency Contact for Bullhead City
Nearby Bullhead City Hospitals *Western Arizona Regional Med Ct Valley View Medical Center Colorado River Medical Center Kingman Regional Medical Center *Provider Directory Terms of Use: The WebMD 'Provider Directory' is provided by WebMD for use by the general public as a quick reference of information about Providers. The Provider Directory is not intended as a tool for verifying the credentials, qualifications, or abilities of any Provider contained therein. Inclusion in the Provider Directory does not imply recommendation or endorsement nor does omission in the Provider Directory imply WebMD disapproval. |


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SKU: cwf_tv_1_dvd
Available only in DVD-R
Please verify you have a compatible player before purchasing our DVD-R titles. We are not responsible for the compatibility of your player to our DVD-R titles. Click here to check: (DVD-R Compatibility Chart)
Comes in color cover andcase
Pro wrestling returns to the airwaves of the Carolinas with a familar look and style to those that enjoyed Jim Crockett Promotions from the WRAL studios.
The Carolina Wrestling Federation airs weekly on WGPX presenting wrestling... not entertainment! Airsweekly in the Greensboro/Winston Salem/High Point NC market. See why this show beats out the "Entertainment Programming" in the weekend ratings.
Hostedby Randolph Hedrick, Grant Sawyer, andJenny Taylor.
Volume 1 features:
Show 01 (Aired 04-12-03)
Show 02 (Aired 04-19-03)
Show 03 (Aired 04-26-03)


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M$ is going to use anything it can to hurt Linux.
When Mono projects are vital parts of Linux, they start the trouble.
Just wait.
Phoronix: As It Stands, Ubuntu Has No Issues With Mono
On behalf of Canonical and the Ubuntu Technical Board, Scott James Remnant has issued a position statement surrounding Mono, the open-source project that provides a C# compiler for Linux (along with other operating systems) and other components for a free software .NET stack. However, the legality of Mono is frequently a key concern to free software advocates considering patents and other intellectual property that's owned by Microsoft...
M$ is going to use anything it can to hurt Linux.
When Mono projects are vital parts of Linux, they start the trouble.
Just wait.
You are right, why should they make trouble now if the can wait and make it when more people use it.
Hopeful Mono will never be a important piece of linux.
What I don't understand, why did Debian include Tomboy (which requires Mono) into the default desktop install http://robertmh.wordpress.com/2009/0...fault-install/, if they can use the same app, Gnomte in C++ without Mono?
I think this is a foolish move by Canonical.
Time will tell I guess.
Yes, Mono will be a very powerful weapon against Linux. In fact M$ are in complete control.
I hope Red Hat make a statement about Mono. They are always very careful, and don't include anything with a potential patent or license issue.
What is Gnome and KDE's take on Mono? Do they have Mono programs in their suites?
I read somewhere that Gnome choose some Mono programs to be included in there desktop.
I don't know any KDE apps that uses Mono!
If I'm correct, there are (among others, of course) C# bindings for the kdelibs, but that's where it stops. Luckily.
I thought most of the .net stack was opened after standardization. Also, I don't think the software patents microsoft holds on .net will stand up in court, at least in most of europe. Might be wrong there though, but I thought europe at least is far more strict when it come to software patents
As far as I know, Mono is not used for any common KDE programs. Most of them seem to be written in either C++ or a scripting language like Python. I think it should stay that way. I can see the day (quite easily) when Micro$h!t destroys GNOME because of all the Mono they plan to include. KDE is being smart, as always, and not including it.


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Overview of content related to 'e-learning'
This page provides an overview of 1 article related to 'sherpa'. Note that filters may be applied to display a sub-set of articles in this category (see FAQs on filtering for usage tips). Select this link to remove all filters.
Award winning SHERPA is investigating issues in the future of scholarly communication. It is developing open-access institutional repositories in universities to facilitate the rapid and efficient worldwide dissemination of research. SHERPA services and the SHERPA Partnership are both based at the Centre for Research Communications at the University of Nottingham. SHERPA Services include: RoMEO - Publisher's copyright & archiving policies; JULIET - Research funders archiving mandates and guidelines; OpenDOAR worldwide Directory of Open Access Repositories; SHERPA Search - simple full-text search of UK repositories (Excerpt from this source)
Key statisticsMetadata related to 'sherpa' (as derived from all content tagged with this term):
See our 'sherpa' overview for more data and comparisons with other tags. For visualisations of metadata related to timelines, bands of recency, top authors, and and overall distribution of authors using this term, see our 'sherpa' usage charts. |
Top authorsAriadne contributors most frequently referring to 'sherpa':
Note: Links to all articles by authors listed above set filters to display articles by each author in the overview below. Select this link to remove all filters. |
Title | Article summary | Date |
Workshop on E-Research, Digital Repositories and Portals |
Rob Allan, Rob Crouchley and Caroline Ingram report on a two-day workshop held at University of Lancaster over 6-7 September 2006 |
October 2006, issue49, event report |


text: Housewares for your every need are available from Taylor Gifts. Fill your kitchen, bathroom, family room and laundry room with everything from professional quality cookware to the softest sheets. Fill in outdoors and indoors for less, and even stock up on great presents for all the homeowners in your life!


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I just bought this boat on ebay but the AA guns are missing. I knew this when I bid thinking that there had to be an aftermarket kit for it. So far I haven't found it. I have found plenty of wooden decks and PE sets but no AA guns except for a brass detailing set. The plastic core you are supposed to get from the kit.
Anybody know where I can get my guns???
- Leelan


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Hello, and happy new year! Here's a look at some of the things that'll be happening in 2013:
- Kevin Costner will become a letter carrier and save what's left of the world.
- Snake Plissken will escape from L.A.
Plissken, as you might but probably don't remember, is the character Kurt Russell played in the 1981 movie "Escape from New York." It's set in 1997, which seemed like the future 32 years ago. In the movie, Manhattan had been converted into a maximum security prison, and Snake has to escape.
"Escape from L.A." came out in 1996 and took place in the then-futuristic year of 2013. In this one, Southern California has been severed from the rest of the continent by a giant earthquake, and Snake has to escape from Los Angeles.
"The Postman," the 1997 movie where Kevin Costner plays the titular letter carrier, also is set in 2013, after the world has been devastated by nuclear war and the only thing separating us from the animals is the U.S. Postal Service, or something. I don't know. I never saw it, but I'm pretty sure that's the story they outlined in the trailer.
Other than "Star Trek" and the first sequel to "Back to the Future" (hoverboards!), I can't think of any Hollywood movies that predict a rosy future.
According to Hollywood, we're only five years from when the humans will square off against Skynet ("Terminator Salvation," released in 2009, set in 2018) and play Rollerball ("Rollerball," 1975), and we're a mere six years from when replicants will run amok in a rainy and neon-lit Los Angeles ("Blade Runner," 1982).
It's only nine years until an overpopulated world finally chows down on "Soylent Green" (released in 1973, set in 2022).
Since the movies never get it right, here are my predictions for 2013:
- Your phone will get smarter.
- You'll recognize fewer of the names in the "celebrity birthdays" column in the paper (or online or wherever).
- You'll have a mild freak-out when you realize that this year's high-school class of 2013 was born in 1995 and that the following things happened in '94: O.J. Simpson and Al Cowlings fled police in a white Ford Bronco, Nelson Mandela was sworn in as president of South Africa and WXYC, the student-run radio station at the University of North Carolina at Chapel Hill, became the first radio station in the history of radio stations to stream its signal over the Internet.
- Also, in 1994, people were still calling it the information superhighway.
Time marches on. Happy new year.


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Ladies Leather Motorcycle Pant
ITEM: 9647 The attitude is definitely bold and confident, with jeans-like fit and design in soft cowhide leather. Poly lining protects leather and deflects perspiration. Two open-front pockets, one back patch pocket. Hidden zipper with two-snap closure. Imported. Leather clean.Learn MoreRegular Price: $195.00
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Kitten survives miles underneath car in Florida
UPDATED 5:45 PM EDT Aug 29, 2013A kitten born in the wild in Daytona Beach has a new home with a family in Flagler County, and the little guy went to great lengths to find his adoptive family.
Video TranscriptGUESS WHAT? THAT'S WHERE WE'RE GOING TO BE. KITTEN BORN IN THE WILD IN DAYTONA BEACH HAS A NEW HOME WITH A FAMILY IN FLAGLER COUNTY. WESH 2'S CLAIRE METZ REPORTS, THIS GUY WENT TO GREAT LENGTHS TO FIND HIS ADOPTED FAMILY. HE IS JUST A KITTEN AND SURELY USED UP ONE OF HIS NINE LIVES BECAUSE HE TOOK A RIDE NOT IN HIS CAR BUT UNDER IT. HE IS A LUCKY CAT. ROBERT AVERY IS TALKING ABOUT THE NEWEST MEMBER OF HIS FAMILY. THIS TINY CREATURE GOT A ROUGH START IN LIFE. BORN FERAL IN A PARKING LOT. THEN THIS WEEK HE TOOK A REALLY ROUGH RIDE. GOT MY DROP CORD AND LOOKED UNDER THERE AND A KITTEN WAS WEDGED IN BETWEEN THE SUSPENSION. OF YOUR TIRE? YES. AVERY WORKS FOR THE HOUSING AUTHORITY IN DAYTONA BEACH BUT LIVES 38 MILES NORTH IN PALM COAST. HE CRUISED HOME MONDAY NIGHT GOING AT LEAST 65 MILES AN HOUR WITH THE KITTEN WEDGED ABOVE THE TIRE BETWEEN THE SUSPENSION AND THE FRAME. BUT AVERY DIDN'T KNOW IT UNTIL THE NEXT MORNING. I HEARD A NOISE WHEN I WAS IN THE GARAGE AND I KEPT LISTENING. I THOUGHT IT WAS A FROG. AND MY SON AND I JACKED THE CAR UP AND ABOUT 30 MINUTES LATER WE FINALLY GOT HIM OUT. THERE'S STILL SPECKS OF OIL ON HIS NOSE AND IN HIS EARS BUT AVERY SAYS WHEN THEY FIRST SPOTTED THE KITTEN, HE WAS A MESS. HE WAS FILTHY. HE WAS NASTY. GREASE COVERED. NASTY LITTLE FELLA. BUT HE IS ALSO A TOUGH LITTLE FELLA WHO THEY NAMED BUTCH FOR HIS SURVIVAL SKILLS. AND, YES, AVERY SAYS THE ENTIRE FAMILY HAS FALLEN IN LOVE. BUTCH WOUND UP HITCH HIKING HOME. HE SOUGHT YOU OUT. PRETTY MUCH YEAH. HE TOOK A NICE LITTLE RIDE. SO YOU DECIDED YOU HAVE TO HAVE HIM. I THINK WE GOT TO KEEP HIM. MR. AVERY TELLS US HE'LL NEVER GET IN HIS CAR AGAIN AFTER WORK WITHOUT CHECKING THE VEHICLE TO MAKE SURE NO ONE WHO DOESN'T BELONG IS ON BOARD.
The views expressed are not those of this site, this station or its affiliated companies. By posting your comments you agree to accept our terms of use.blog comments powered by Disqus


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Modest Mouse is an American indie rock band. The band was formed in 1993 in Issaquah, Washington by guitarist Isaac Brock, drummer Jeremiah Green and bassist Eric Judy. Since being signed to Sony's Epic Records in 2000, the band has attained significant popular success.
Brock came up with the name "Modest Mouse" when he read the Virginia Woolf story The Mark On the Wall in which the author described the working middle class as "modest, mouse-coloured people."
In 1994, the band recorded their debut EP, Blue Cadet-3, Do You Connect?, at Calvin Johnson's Dub Narcotic Studios, which was then released on Calvin's record label K Records. Then followed a single with Sub-Pop that was recorded by Steve Wold at Moon Studios. During this time, Modest Mouse also recorded their "would-be" debut album Sad Sappy Sucker, but constant delays caused the album to be shelved and forgotten (It was officially released in 2001.) After moving to Up Records Modest Mouse put out several releases recorded at Moon Studios, including 1996's This Is A Long Drive For Someone With Nothing To Think About. This dou...
years active | 1993–present |
origin | Issaquah, Washington |
country | United States |
music genre | Indie rock |
current members | Isaac Brock (musician) |


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HOW TO:How to use the Snap feature on Scrappy Pet harnesses. - To open: Locate the dimple on the snap. Lift up on the snap right where the dimple is. - To close: Hook the opposite side of the dimple to the snap then push down on the dimple side last. Save 10% when you purchase Scrappy Step-In Harness and Scrappy Wristlettogether.For best fit, the buckle side of harness goes on the right leg side of your dog.
80 W Cochran St, Ste A Simi Valley, CA 93065 USA


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HEAT oven to 350°F. Combine chicken and soup; spoon down centers of tortillas. Roll up.
PLACE, seam-sides down, in 13x9-inch baking dish. Top with tomatoes and cheese. Cover with foil.
BAKE 30 to 35 min. or until cheese is melted and enchiladas are heated through, removing foil after 20 min.


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Jameson Armoire
Our Jameson Collection pays homage to turn-of-the-century design, with classic architectural detailing, rustic cast-metal hardware and bun feet.
- Handcrafted of kiln-dried hardwood with fine veneers using mortise-and-tenon joinery
- Hand-carved dentil detail and crown molding
- Hand-finished in antiqued black using an 11-step process that imparts subtle highlights
- Functions as a wardrobe with a removable clothing rod and 3 adjustable shelves; back has a cord cutout for optional use as a media center
- Doors open wide for easy access
- Faux key pulls
- This item is handcrafted with meticulous care. Given its hand-finished nature and natural variations in the wood grain, each item is unique and no two will be exactly alike.
- Furniture Tip Restraint included
- Wood swatch is 6" square; free shipping
Finish Options
Jameson Armoire
- Overall: 46"W x 24"D x 72"H
- Interior without Shelves: 39½"L x 17½"D x 58½"H
- Weight: 253 lbs.
Jameson Armoire


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Yanks tab Pettitte to start second half vs. Red Sox
After playing six games in Bronx, rivals meet up at Fenway for first time
With one of the most intense rivalries in sports, the Yankees and Red Sox already are plenty familiar with each other. The second-half schedule is only going to foster that relationship.
New York and Boston will return from the All-Star break by opening a three-game series on Friday night at Fenway Park. It is the first of 13 meetings the clubs will have for the remainder of the regular season and the first of nine on Yawkey Way. Boston holds a 2 1/2-game lead over the Rays in the American League East and is six games ahead of the fourth-place Yankees.
"I think there's urgency no matter what," Yankees outfielder Vernon Wells said. "The good thing is we have several games left against Boston, against the teams ahead of us. You control your destiny in the second half. You play well, you give yourself a chance."
The Red Sox hold a 4-2 lead in the season series, with all six games in the Bronx. They will try to make the Yankees less comfortable than they were at Fenway last year, when New York went 7-2 in Boston.
After a rough 2012, the Red Sox have bounced back in a big way behind first-year skipper John Farrell. After finishing the first half by going 5-5 on a 10-game West Coast road trip, Boston will play 13 of its first 16 after the break at home.
"Oh, these will be -- whether it's New York, whether it's Tampa, Baltimore, whoever it might be -- these are going to be strongly contested games," Farrell said. "We just came off a very competitive road trip and a really challenging series in Oakland. We fully expected that.
"We have the utmost respect for what the Yankees will bring in this series, and know that's going to be a challenge in and of itself. But I think the most important thing for us is that we get off the road, we get back into this ballpark and feed off the energy of the people here in Fenway. We're looking forward to the start of this homestand."
The Yankees will have plenty of opportunities in the second half to cut into a steep division deficit.
"It's not the end of the world either way, but that's kind of the vision that I think we have as far as knowing whatever's ahead of us," first baseman Lyle Overbay said. "It's on us. We control our own destiny."
Andy Pettitte will get the first shot to help the postseason cause when he takes the ball on Friday, looking to begin his second half on a high note. The veteran left-hander comes in 7-6 with a 4.39 ERA, having struggled since coming off the disabled list on June 3. In eight starts over that span, he has posted a 4.96 ERA, with opponents hitting .301 against him.
Pettitte's most recent outing came on July 11 against the Royals. He surrendered four runs (three earned) on eight hits over 5 2/3 innings, walking one and striking out one.
One of Pettitte's strongest efforts this season came in his first start, on April 4 against the Red Sox. He pitched eight innings in that one, giving up one run on eight hits.
The Red Sox will counter with lefty Felix Doubront, who owns a 2.70 ERA over his past 11 outings, holding opponents to a .220 average. On July 10, he held the Mariners to one run on five hits over seven innings, striking out six.
Doubront (6-3, 3.91 ERA) has excelled against the Yankees, with a 2.52 ERA in nine career games, including five starts.
Yankees: All eyes on Jeter, Cano injuries
The Yankees are expected to have news soon on shortstop Derek Jeter's right quadriceps, which he strained in his season debut July 11. Jeter was playing his first game of the season after breaking his ankle in last year's playoffs, and finds himself back on the shelf.
New York is hoping fellow middle infielder Robinson Cano won't have to join him after Cano was hit by a pitch in the first inning of Tuesday's All-Star Game. The second baseman was removed shortly thereafter, but he expects to play Friday.
"They called [Yankees head athletic trainer Steve Donohue] and everything is good with them," Cano said. "They said just put ice on it, the X-ray was negative and get some rest."
After being hit in his right leg by a 96-mph fastball from the Mets' Matt Harvey, Cano attempted to stay in the game but voluntarily took himself off the basepaths after one batter.
"You've been waiting for this moment for a long time," Cano said. "I mean, that's like any kid's dream come true. You're in front of the home [New York] crowd, second pitch of the game. It's disappointing, but at the same time, you know that's part of the game. What else can you say?"
Red Sox: Drew set for Saturday return
Shortstop Stephen Drew will be activated from the 15-day disabled list Saturday, a day after he plays his final rehab game for Double-A Portland. The veteran hasn't played with Boston since June 28 as he recovers from an injury to his right hamstring.
Drew is hitting .233 with five home runs, 31 RBIs and a .722 OPS in 66 games this season, his first with Boston. When he comes back, he will reclaim the everyday shortstop job, with Jose Iglesias shifting back to third base, according to Farrell.
Worth noting
• The Red Sox are 31-16 at home this season.
• Pettitte has a 3.87 ERA in 100 career innings at Fenway Park.
• David Ortiz has 72 plate appearances against Pettitte, the most of any active Major Leaguer. He is hitting .361 with seven doubles, a home run and 13 RBIs.
Andrew Simon is a reporter for MLB.com. Follow him on Twitter @HitTheCutoff. This story was not subject to the approval of Major League Baseball or its clubs.


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Name | Updated | Category | Author | Stage | |
Name | Updated | Category | Author | Stage | |
Asylum: West Wing |
Nov 24, 2011 | Planning | |||
You find yourself in a mental Asylum, but its dark, alone and there's something hunting you. in the shadows, but its your past, can you face it? or will it consume you? After writing a screenplay or college I originally wrote this for Amnesia but due to limitations on the engine i have put it off. and i feel its best to bring it to skyrim. Also, this sadly wont be out until I can get the creation kit when its released, so please wait. if anyone knows how to mod skyrim without it, let me know... |


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Kershaw looks to slam brakes on Dodgers' skid
D-backs hand ball to Miley eyeing sweep of last-place ballclub
The Dodgers keep waiting for something to spark the season. At least Clayton Kershaw is on the mound Wednesday.
After losing their sixth straight game Tuesday night, falling, 5-3, to the D-backs, Kershaw takes the mound as one of the lone bright spots on a team that believes it's underachieving.
Kershaw, who has a 1.66 ERA and 52 strikeouts in 48 2/3 innings this season, has won just three games. The Dodgers are scoring just 2.43 runs per game when he starts, tied for the seventh-lowest run support among qualified starters this season.
"You're going to have streaks where you're not playing good," manager Don Mattingly said. "We have a lot of guys who have been through these stretches before, they've played long enough. At this point, everything is kind of in the rear view. Anything that's happened to this point is really just to be learned from for us."
Carl Crawford, who made two miscues in Monday's 9-2 loss to Arizona, believes the Dodgers are pressing.
"Everybody is just trying to do too much," said Crawford. "Me, trying to do too much. I probably should have played it off the hop. We all just want to do good. Everybody is trying too hard and stuff like tonight happens. We've got to relax and go out and play our game. We've got high expectations and we're definitely not playing up to what we're capable of."
Wade Miley takes the ball for the D-backs, who have dominated the Dodgers recently, winning 14 of their last 17 meetings.
Miley has followed up his strong sophomore campaign with a good beginning to the 2013 season, posting a 3.06 ERA and 30 strikeouts to 17 walks in 35 1/3 innings.
During his last start, though, he felt like he was rushing his delivery, as he allowed four runs on nine hits and three walks in five innings, taking his first loss of the season. Miley said he might have been losing velocity while letting the front of his body fly open too early.
"A lot, because you've got no lower half," he said. "Spinning off means you have no power below. So it's kind of a positive in a way. I just have to get in the bullpen and work on some things."
Dodgers: Greinke making progress
Zack Greinke threw a successful bullpen session Tuesday, though the Dodgers are still unsure when he'll be able to advance to game situations. He's been on the 15-day disabled list since April 13, when he underwent surgery after fracturing his left collarbone in a confrontation with the Padres' Carlos Quentin.
Greinke said his arm strength felt pretty good and Mattingly reported 90-mph velocity coming from the bullpen session.
D-backs: Kennedy hones mechanics
Manager Kirk Gibson said Ian Kennedy has gotten away from who he is as a pitcher. Kennedy's ERA has risen from 2.88 in his first year with the Arizona to 4.02 last to 5.19 this season.
In an effort to get back to basics, the 28-year-old righty spent time trying to find consistency in a bullpen session Tuesday.
"There's no quick fix to anything," Kennedy said. "It's just about getting back to making sure all the little points are good throughout the bullpen and not getting lazy about it."
Worth noting
• Martin Prado was out of Tuesday's lineup, but he walked as pinch-hitter in the eighth inning and is expected to start Wednesday.
• The Dodgers recalled utility man Elian Herrera from Triple-A Albuquerque on Tuesday and placed Jerry Hairston on the 15-day disabled list with a left groin strain. Herrera will likely be used in a backup outfield role.
• D-backs relievers lead the National League in strikeouts with 106. Four of them, Josh Collmenter, Heath Bell, J.J. Putz, and David Hernandez, have more strikeouts than innings.
Jason Mastrodonato is a reporter for MLB.com. Follow him on Twitter @jmastrodonato. This story was not subject to the approval of Major League Baseball or its clubs.


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An English inspired sconce with a meticulously chased linenfold cire perdu backplate and candle holder, joined together by a fluted, flared and tapered arm.
Overall: 37 cm h. x 14 cm w. x 23 cm d.
Backplate: 14 cm diameter
Single SES/E14 socket, maximum 60 watts
IP44 rating also available.
For other configurations and sizes, see our Fitzwilliam Family.
Burnished Nickel, Dark Antique Brass, Dark Pewter, Dark Waxed Bronze, German Silver, Light Pewter, Oil Rubbed Bronze, Polished Nickel, Satin Nickel
View Finishes


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COMMERCIAL DESCRIPTION As with any good epic, herein lies the promise of larger-than-life experiences, heroics, and twists and turns as the adventure unfolds. This bottle-conditioned ale is chapter eleven. Now is the time to enjoy it in a vertical tasting side by side with its ten Stone Vertical Epic Ale brethren! Each one unique to its year of release. Each with its own twist & turn in the plot line. Each one released one year, one month and one day from the previous years edition. This years Stone Vertical Epic Ale is the very last one. Yep, this is it. The final chapter. Or as they say on the last slide in some old films: Fin. No worries though: this edition is particularly well-suited for prolonging the experience, as its as cellarable as any in the series, or more. In this, the final edition, you can expect a perfectly balance *womp* of spices: cinnamon, ginger, allspice, sweet orange peel, clove (only a little!) and rosehips, all in the context of a dark Belgian style abbey-ish beer but not as sweet. Dry even. Stone style. Thanks for coming on this Epic Stone-style journey with us! You can rest assured there will be new adventures to come
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BMW Oracle rocks the America's Cup
There's an old maxim in racing, and it goes along the lines of "when the flag drops, the bulls**t stops" and after more three years of legal action and posturing between the teams' billionaire principals, Larry Ellison and Ernesto Bertarelli, it was a much awaited start in many ways that mercifully kicked off the America's Cup yesterday. Just 40 nautical miles (nm) later, the whole event seems all but over, as BMW Oracle was clearly faster downwind and particularly so upwind in comparison to the defending champ Alinghi V in conditions which were expected to favor the Swiss team. The racing was compelling and very spectacular, but in the best of three series, with the second race scheduled for Sunday …
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