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Alien Swarm Aliens Mod 0.9Nov 1, 2010 Demo 8 comments
this includes: 4 weapon sounds, smartgun, pulse rifle, desert eagle, smg. motion tracker. swarms now sound exactly like xenomorphs. makes almost ALL of...
this "mod" will replace weapon's data and sounds for alien swarm making it feel like Aliens. Furthermore, maps will be made for this mod and the final version of it is going to be released only when i have done it all but i will release a update every now and then for you to try :). enjoy the little demo. I am also looking at the possobility of modding the weapon models, playermodels, aliens so they are truely Alien.
0 comments by ILOVEZOMBIESIDO on Nov 2nd, 2010
replaced wildcat's killemall sound with "LETS ROCK!"
replaced timor station's guy saying nuke activated with aliens "safe distance" voice.
replaced timor station end song with futile escape. (song from aliens)
Hadley's Hope map is Work In Progress!!!
vegas's "stop" command is replaced with Apone's "NOBODY TOUCH NOTHING."
messing around with the alien.mdl to replace drones in alien swarm.
look out for more updates,
this includes: 4 weapon sounds, smartgun, pulse rifle, desert eagle, smg. motion tracker. swarms now sound exactly like xenomorphs. makes almost ALL of...
my internet is down however i am replacing it this week. i can still luanch alien swarm so modding will continue! WOOT!
Interesting mod dude =)....best of luck.
thanks a lot :D
My advise is this - first try to import some alien or marine model, to see if anything will go right. If so, then go for the maps, everybody can make aliens maps, even there are some of them already made.
i am concetrating on adding secondary functions to some weapons, changing the marine's voices, changing music, change every sound i think needs changing :D
THEN, i will attempt at models becuase they take a long time to do. import, export, take half a year to do some advanced stuff like make a skeleton, recompile, test, get error, do it all again until it works :(
btw i like your profile name :) "LETS ROCK!" - Smartgunner vasquez
it is possible but it is a very complicated and time consuming thing to do, import, export and much more. "I am also looking at the possobility of modding the weapon models so they are truely Alien.", im going to start off small, with maybe reskinning or even remodeling the weapons. :) that'l be neat huh? a pulse rifle :D
ok... GREAT, I understand its time consuming... I just wanted to see what you have planned for this mod
HOPEFULLY all models alien, colonial marines, alien queen everything convereted!!! HOPEFULLY! but its a big task so bare with me, simple stuff first :D thanks for the interest, in the meantime check out the little taster of it. and a map of Hadley's Hope and other maps of alien. like the hive and you will defend it :D just like the movies.
Nice work... really looking forward to the final release of this mod And are you working on this mod alone?
yes i am working on it by myself, i recently found out you can add characters, its possible to do the entire squad of marines with scripting and also, i am really considering modeling. i will try it when i have a full day free :) well im off to watch eastenders :D
btw i have made some progress on Hadley's Hope map that will be included in the final version.
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28 year old man | Winthrop, MA, USA | Seeking women 21-30 within 35 miles
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Life moves pretty fast...if you don't stop to look around once and a while...you might miss it
I work as a pharmaceutical chemist for a private company and enjoy, but ultimately I want to get my masters in forensic science, which i am in the process of getting. I'm a die hard boston sports fan. I try to go to as many games as I can as well as the occasional playoff game. My family is my life and I would do anything for them, and I hope to find someone who shares the same respect for their family. Friends are also important, I love going out with the friends and just venting out either in the city or somewhere local. I love to travel, and try to go on one major trip a year, New Zealand being next on my list. I enjoy all types of music, and I will see almost any movie at least once. I do have a couple of tattoos and want to just get a couple more before calling it quits I would like to just find a laid back person that enjoys going out but sometimes just likes to hang around and relax. Someone who cares about family and friends. Someone who is honest but also has a little sarcasm in her life and knows how to joke around.
Cooking , Movies/Videos , Music and concerts , Nightclubs/Dancing , Playing cards , Playing sports , Travel/Sightseeing , Watching sports
Baseball, Basketball, Billiards / Pool, Bowling, Dancing, Football, Golf, Weights / Machines
I exercise 5 or more times per week.
I like Cats, Dogs
Middle of the Road
Dowtown Boston, Florida, New Orleans, and would love to go back to Europe
Loyola University New Orleans, New Orleans, LA
I'm the kind of guy that listens to any type of music, I don't really have any specific type. I do watch tv, but mostly sports and only a few shows.I enjoy going to the gym as often as possible.
I like to go to pats games as well as red sox games, always end up at at least one red sox vs yanks games. I am always up for a going out for the night, or just lying and watching a movie
Games of Thrones
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|$35,001 to $50,000
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I am in the process of going back to get my masters degree

subset: commoncrawl


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Full detailed profile on Duke Lavery Played by Ian Buchanan on General Hospital Daytime Soap Opera.
Buchanan (Brian To/WENN.com)
Birthday: June 16 1957
Shirtless Nathan is jogging in the park. Levi breaks away from his meditation to taunt him about being a murderer. The cop tells him he's contradicting what he told Maxie yesterday. They get territorial. Levi accuses him of wanting more than Maxie's friendship. He tells him to step away from his 'sublime Sheila'. "Maxie ate my meat and she liked it," Nathan taunts. Levi punches him to the ground. Maxie arrives and shrieks. The Aussie apologizes. Maxie confesses she ate ribs and wonders what they were arguing about. She drags her boyfriend off to the service. Elsewhere, Julian complains to Luke over the phone about the Ric situation. He worries about how many more people have to die. Duke shows up and gets threatening. Julian tells him to end the feud and move on. Determined, Duke still wants revenge and storms off. Later, Sonny shows up and corners Julian.
Back at the church, Epiphany sings "Amazing Grace." Rafe arrives but stays at the back. The parents put the koala on the coffin. After the funeral, Levi apologizes to Maxie for being an ass. She hopes that he and Nathan can learn to get along. Meanwhile, Duke and Anna talk about when they lost their child and wonder about what could have been. He won't stand for Julian walking free. And Sabrina says goodbye to Patrick before leaving with Juan.
Duke drops by Sonny's and they discuss Julian's release. The mobster asks him if he wants to come back to work. Duke would like to but can't. However, he's happy to listen. Sonny spills about Ava killing Connie. He can't tell Morgan what really happened because news that he killed AJ would get to Michael. The mobster needs to do what's best for his children. "As soon as the baby's born, the truth dies with Ava," he says.
Ric paces in his cell and thinks of Liz. Sonny drops by and says he should have killed him when he had the chance. Ric yells that he is being set up and Sonny is still in danger. Sonny walks out. Later, Molly shows up. He swears that he's innocent. She believes him and promises he will get out. Ric says that leaving her was the worst thing he ever did. Upstairs, Duke startles Anna in her office while she's gloating on the phone about her big bust. She gets off the phone. He tells her about his trip and then wonders why she let Julian out. The cop explains it was part of a deal to get Ric. Duke is not impressed by her choice. "You didn't choose us," he says. He's furious and storms out, bumping into Sonny in the other room. Duke has something urgent to discuss with him. Sonny assures him that Julian 'will get his'. The mobster admits he doubts Ric is his real enemy.
Duke and Sonny are in the office laughing about Julian's arrest. Duke abruptly informs him that he's quitting now that the Jeromes have been taken care of. Sonny understands he wants to leave for Anna's sake, but things are far from over. Duke assures him that everything he knows will remain a secret. Sonny takes out a bottle and they drink. Duke tells him how grateful he is for everything he's done for him. The mobster assures him there will always be a place for him in his organization.
Julian is dragged down to the PCPD. He asks Alexis to get him out of there. She advises him to behave while she works the system. After he's taken to the interrogation room, she joins him and he explains his boss likely had Lucas shot. He blames himself. Alexis asks him to give up his boss but he thinks that would just lead to his family getting killed. "I'm stuck," he says. Outside, Anna drags Jordan in, kicking and screaming. Duke arrives and informs Anna that he kept his word and left the mob.
Duke drops by Sonny's office to worry about Shawn and Jordan. He suspects that Jordan is a Jerome dealer and Shawn will warn her about the bust. Shawn arrives. Sonny wishes he'd told him about TJ's mom. Shawn admits that he intended to tip Jordan off but decided that taking Julian down was more important. "I think it's time to let TJ know the truth about his mother," he says.
At Kelly's, Duke tells Sonny that Jerome's operation will be going down tonight. Shawn joins them and the boss fills him in. Shawn thinks Sonny made the wrong call by going to the cops and accuses him of being as bad as Julian. Sonny is sure this is the only way for them to survive. He heads off. Shawn blames all of this on Duke and tells him that TJ is about to lose his mother. Duke reminds him of all the damage that Julian has done and warns him not to warn Jordan about what's coming.
Duke finds Sonny by the pier and tells him Tracy's out at ELQ, and Michael is the new CEO. Sonny knows what the company means to Michael, and AJ. Duke wants to focus on the Jeromes and tells Sonny that Julian has a new drug shipment coming in tonight. He suggests getting Anna involved, combining their sources with Anna's sway. Sonny agrees, hoping to flush Julian's partner out of hiding. Duke leaves to see Anna and Luke arrives, surprising Sonny. He tells Sonny times are dangerous and it might be good to keep Michael away from ELQ. Sonny tells Luke that Michael makes his own decisions. Luke says the word on the street is the Jeromes have him on the ropes. Sonny smiles and Luke asks if he's planning something on Julian? Sonny leaves the question unanswered.
At Kelly's, Jordan gifts TJ with an early graduation gift - keys to a new car. Shawn seethes as TJ runs out to see. He accuses Jordan of buying the car with drug money. She tells him to keep quiet or she'll tell TJ the truth about what Shawn did to his dad. TJ catches them arguing and asks Jordan to quit making Shawn feel bad about the accident that caused his dad's death. Duke meets Anna outside and tells her there's a drug shipment coming in tonight. He has a flash drive with info, but she's reluctant to take it in order to help Sonny. He assures her it isn't about Sonny, but rather stopping Julian. Anna wants something in return – Duke to leave the mob. He sidesteps and reminds her she can have everything she needs to put Julian behind bars for life so she takes the drive.


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Tales of the Cocktail® 2015
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Magnolia Makeup Beauty Basics 2
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Beauty Basics
This will be an introduction to basic beauty application techniques and performance standards. We teach the parts eye and face and how to accentuate your beauty with proper application techniques. This class will have a demonstration and hands on portion. All materials will be provided. 2/hr $50.
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Horror, Suspense/Thriller
One night a year, all crime - including murder - is legal for 12 hours. A man heads out into the chaos, intent on killing thugs as revenge for his son's death, but ends up rescuing a stranded couple.
Rated R for strong disturbing violence, and for language.
Visit the official site
Cast: Kiele Sanchez, Zach Gilford, Michael K. Williams, Frank Grillo, Amy Paffrath
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Directed by: James DeMonaco
Written by: James DeMonaco
Running time: 1hr 44min
Opens: Jul 18, 2014 Nationwide


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I bought sunflowers because . . .
. . . it was my first chance this summer to visit my favorite produce stand.
. . . the dentist said "No cavities."
. . . I ran into an old friend and got caught up on good news.
. . . sunflowers have fewer calories than chocolate. I hope.
. . . they made an elegant centerpiece for a summer dinner party.
. . . a sunflower friend has been on my mind.
. . . life isn't always sunny, but sunflowers usually are.
. . . they were less expensive than the city street vendor's and guaranteed local grown.
. . . they make me smile.
Is there something you treat yourself to as a simple pleasure? What makes you smile?
The Be The Boss Of Me poll is open until midnight Sunday. Click here to vote (or to vote again).


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Let's face it, I'm amazing and that's all you need to know. I also run an entertainment website (www.PocketSizedAnimations.com)which includes web comics, video games, tutorials, and more random things.
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Sasha Plotkin's Deceit
About the Book
Sasha Plotkin's Deceit
It is 1972, and the Soviet Union has planted a mole in the top echelons of the Central Intelligence Agency. Sasha Plotkin, a potential defector from the Soviet KGB, may know the mole's identity. But does he? And will he reveal it to his reluctant handler, Chris Holbeck, the CIA agent with whom he has been through all this before in Stockholm, Sweden in 1969? One sure is clear: the lives of the two agents will be changed forever. An espionage novel with ever widening circles of deceit reminiscent of John le Carre.
Sasha Plotkin's Deceit
- Publication Date: August 1, 2012
- Genres: Crime Fiction, Espionage, Mystery, Thriller
- Paperback: 320 pages
- Publisher: Camel Press


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Learning how to use Adobe Photoshop efficiently and effectively is the best way to get the most out of your pixels and create stunning imagery. Master the fundamentals of this program with Julieanne Kost, and discover how to achieve the results you want with Photoshop and its companion programs, Bridge and Camera Raw. This comprehensive course covers nondestructive editing techniques using layers, masking, adjustment layers, blend modes, and Smart Objects. Find out how to perform common editing tasks, including lens correction, cropping and straightening, color and tonal adjustments, noise reduction, shadow and highlight detail recovery, sharpening, and retouching. Julieanne also shows how to achieve more creative effects with filters, layer effects, illustrative type, and the Photomerge command for creating panoramas and composites.
As you get more comfortable working with layers, there are a few shortcuts that will help you to be more efficient. Let's begin by opening up the composite image, and then I will return back to bridge. I want to open these four images, and I want to add them to the composite, but I don't want to open each one individually. So instead I will choose tools, and then Photoshop and then load files into Photoshop layers. As you can see, Photoshop opened a single document, and it added all four of those documents, into the single document each as their own unique layer.
And in fact, it even named that layer, the name of the document. What it didn't do, however, was add it to the open document to the composite document so, we need to drag and drop the images into the composite layer. But, before we do that, I just want to point out where Photoshop drops images, when you drag and drop them. It's always going to drop the images right above the selected layer. So, watch what happens if I choose window, arrange, and then we select tile so that we can see both documents.
We'll switch over to the untitled document, select all of these layers and then drag and drop them. By dragging from the layers panel, and holding down the Shift key, in order to place them centered into the composite file. It doesn't appear as if they have landed in that file, but in fact if we go ahead and close this document, and we're not going to save changes, and we look at the layers panel in the composite image. It has dropped them right above that previously selected layer, which was the texture layer.
If I hide the trunks layer, we can see in fact, that all of those layers are there. So, it's often a good idea to know what layer is selected before you drag and drop. Now, we can always reorder the stacking order in the layers panel, so I'll select the trunks layer and just drag it down below the logo layer. Now, I don't need the logo layer right now, so I'll also drag that to the top to reposition it and I'll hide it by clicking the eye icon next to the layer. I'm going to want to transform all three of these square images, but I'm not sure how large I want them.
So, before I start transforming them, I'm going to convert each one of them into a smart object. I'll do that by right mouse-clicking, or on the mac, Ctrl+clicking. And then choosing convert to smart object. I want to do these individually, if I were to select all three layers at one time, and convert them to a smart object, it would actually group them in to a single smart object, and I don't want that, because I want to be able to align and distribute these individually. Now before we transform these let's take a look at some of the different ways that you can select layers.
Obviously I can select layers using the Layers panel, but sometimes it's much easier to select layers while you're in the Image area. The first way we can do this is by using the context-sensitive menus. Wherever I choose to Right Mouse click, or Ctrl+Click on Mac. Photoshop will show me any layers that appear underneath, where it is I clicked, and then I can quickly select a different layer. So, in this case, I can select the white trees, and we can see that on my layers panel, that layer has been selected.
If I choose to right mouse click over here, because I clicked over an area that just had two layers, the trunks and the texture, those are the only two layers that I have to select from. If I prefer, I can turn on the autoselect option which is accessible when I have the move tool. By default it's going to be set to group, but I can change that to layer. Now wherever I click on my image, for example, if I click right here, it would automatically select the trunks layer. Or if I click here, it would select the brown trees.
However, it's important to note that there are other layers underneath here that I'm not able to autoselect because their not visible. So that's the only drawback to using the autoselect. If you like auto select but you don't want it turned on all the time we can uncheck it here and then as long as you have to move tool selected if you hold down the command key and click you can go ahead and select any other layer that you click over. Now, one thing to notice right now, as you can see, all of these smart guides that are popping up.
So we'll talk about smart guides in just a moment. But that's what all of those dimensions and pink lines are showing us. So, I'll go ahead and hold down the Cmd key, and click here in the brown trees in order to select them. If I want to select multiple layers, in this case the white trees and the blue trees underneath, I'll use my context sensitive menu and I'll hold down the shift key. And you'll notice that on the layers panel, now the white tree is selected and the blue trees layer as well.
Now with all three of these layers selected, let's go ahead and transform them. I'll use cmd-t or ctrl-t on Windows. And I'll hold down the option key which will allow me to transform from the center and the shift key which will allow me to constrain the proportions. Then I'll reposition them by dragging them up here. I think they're a little bit too small, so I'll hold down the shift key and just make it a little bit larger. Now even though we only see the brown trees, because the white trees and the blue trees are underneath them, they're all being transformed because they're all selected.
I'll go ahead and tap return or enter in order to apply that transformation. There are many different ways that we can align and distribute layers. If I want to select only the brown threes I'll use that contact sensitive many here. and choose just brown threes. And then as I start reposition in them, you'll notice that those smart guides are going to help me in my alignment. So now, I know that I'm moving this horizontally. Or, if I move it down I can see that the center of those two layers are in alignment.
If I move it at a diagonal I can see that the base of these are in alignment. Or I can free form it down here so there's a little bit of a gap in between. But look at that, it's also showing me that it is now centered to the center of the larger canvas size. So I'm going to go ahead and release the mouse right there, and then I want to select the blue trees. So I'll right mouse click and then choose blue trees. And as I click and drag down the blue trees, not only does the smart guides help me keep this aligned, but when I have the equal distance, the equal spacing between the blue and the brown trees, and the brown and the white trees, its going to show me that its equal distance with those little double-headed arrows.
And its also going to give me the dimensions. It's showing me them in inches now but that's dependant on what your units and rulers are set to. So once those are equally spaced I'll go ahead and release the cursor. Now for some people the smart guides get to be a little bit too distracting sometimes. So let me go ahead and turn them off by choosing view and then show and then smart guides. And I'll show you another way to align and distribute layers.
In this case, I'm going to select the brown trees. I've got the command key held down, the control key on Windows, and I'll click over the brown trees to auto select them, and I'm just going to move this out of alignment from it. We'll just move it maybe like right up here. Now I'll go ahead and select all three of those layers in the layers panel and once I have more than two layers selected I can go ahead and distribute those layers so in this case I want to distribute the vertical centers.
And then I also want to align them on their horizontal centers. You can see that shifted them over a little bit, but since they're all selected all I need to do is, simply hold down the Shift key, and drag those over if I want to keep them in alignment. If I want to nudge these, I can use the arrow keys, To nudge the images left right up or down. And I can hold down the Shift key, and use the left and right arrows if I want to nudge them in larger increments. So, as you can see you can align and distribute using the controls with the move tool, or you can use the smart guides if that's easier.
Let's go ahead and do a Save As. I'm going to use a keyboard shortcut Cmd+Shift+S on Mac, or Ctrl+Shift+S on Windows. I'll go ahead and call this composite 01, saving it back to the original folder, I'll click Save. I'll maximize the compatibility, and, if we return back over to Bridge, we can see there's our new composite file.
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Posted April 23, 2002 and updated on May 4, 2009
Why is Behind Enemy Lines rated PG-13?
Official MPAA Rating: Behind Enemy Lines is rated PG-13 for for war violence and some language
Please read our content details for this movie to help determine if it is suitable for members of your family. We also encourage you to check our full review and our movie information page.


text: LAS VEGAS -- Summer League is for three things: Improving your game, competing for a roster spot or experimenting with someone's game. For example, Cory Joseph is working on improving his game, particularly the floor leading aspect. Everyone not named Joseph, Aron Baynes and Nando De Colo are competing for a roster spot, be it with the Spurs or another team as there are coaches, general managers and scouts from all 30 teams here watching games. Meanwhile, Nando De Colo is experimenting with a new position, shooting guard.


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Peres checked after collapse
President Shimon Peres was taken to hospital last night after fainting on stage while speaking at an event in Tel Aviv.
Peres, 86, passed out while answering questions from the crowd at the Rabin Center, paramedics said. He regained consciousness on his own a few seconds later.
Peres initially refused to be taken to the hospital, and spent 25 minutes arguing with his aides.
He was ultimately taken to Sheba Medical Center at Tel Hashomer, and agreed to spend the night.
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Letters to the Editor: 12.14.05
I am a World War II veteran and have been around a while.
Never have I seen a president who has so much exposure, promises so much, and delivers so little.
Warren Gamewell
A friend in Corpus Christi sent me the column Bill Chriss wrote about my father, Harry Porter (Viewpoints, Nov. 30).
Chriss captured the very essence of my Daddy. He was quite the character that he portrayed. One of the things I loved most about him was the way he made everyone comfortable.
I'm not sure he ever met a stranger. You could walk into one of his restaurants un-known, but by the time you left, he would know who you were, where you were from and what you did.
In addition to those wild Hawaiian shirts in his wardrobe, there were also Hawaiian print sports coats. He used to tell people that they were specially woven for him underwater by Hawaiian mermaids.
Most of my people skills were learned from him while working summers at the Lahala House. I worked a little at The Torch after I graduated from college in 1965, and then left to seek greener fields in Austin.
Thanks to Bill Chriss for stirring up some very fond memories.
Cathy Porter Lusk
Beach bandwagon
Well, it's begun; just six months ago the City Council decided to close 4,500 feet of beach to help the hotels on the beach and keep the tourists safe.
Now we hear of 1,500 jobs, in trade for 7,500 feet of beach. Isn't that just the greatest news? In five years after all this is built, and we concede another 2,500 feet of beach, we get 60 high-level jobs and 1,440 dishwashers, busboys, waiters, gardeners, handymen, and so forth.
Mr. Scott and Mr. Schexnailder are touting all the work this will develop. What they don't talk about is the illegals who will be taking these crummy jobs.
Check out the hotel and motel jobs and see for yourself just who works these low-level jobs. I am sure these people pay their share of taxes and so forth, so who will this really benefit? The developers, and maybe the campaign chests of the council members.
Now, shortly after this happens, another developer will show up, and guess what?
Another council will grant him another 2,500 feet of beach closed. Then, in 10 to 15 years, we will have another South Padre Island, with no beach access.
Think of this before you jump on this bandwagon.
Gene Bruner
Bush's war
Mr. O'Donnell's recent letter (Dec. 2) claimed that the Democrats' political future rests on the success or failure of the U.S. in Iraq.
The Iraq war is George W. Bush's war. For each enemy al-Qaida who has died, dozens of American troops and hundreds of innocent Iraqis have been killed. If the yardstick is the death toll, al- Qaida and the insurgency are winning.
If we pull out, the Iraqis must defend themselves and bring the terrorism to a halt. At least then we won't see another 10 Marines blown up because of a roadside bomb.
Bush claims that there are 120,000 Iraqi soldiers ready to protect Iraq right now. He says there are only 10,000 insurgent-terrorists there. That's a healthy ratio. Give Iraq the technology, tanks, missiles and drones to fight the war. Redeploy our soldiers nearby out of harm's way and away from the Iraqis (most of whom don't want us there).
Republicans should not try to shift blame for all their mistakes in Iraq onto the backs of Democratic voters. And don't try to divert and deflect America's attention from Republican malfeasance (Libby, DeLay, Abramoff, et al) by the totally false accusation that Demo-crats want the war in Iraq to fail.
Maribeth Schonberg
Great coach
I am pleased to read about Coach Julian Lopez from the Corpus Christi Youth Football League (Nov. 24). As a former CCYFL football coach for several seasons in the junior varsity division, I have learned from Coach Lopez and his brothers and I am privileged to have known him.
He is great mentor for those parents wishing to coach youth football or any other youth sport. Mr. Lopez also volunteers much of his time within the West Oso community, no matter what the cause.
Some coaches and parents are obsessed with winning and having their kids in All-Stars. Coach Lopez is a fair and respected coach within the CCYFL organization and does not teach this concept to his players. It takes patience and tact when dealing with pushy and uncommitted parents as well as those kids with medical concerns (asthma, ADD, etc.).
Caller-Times sports editor John Allen made an excellent decision in highlighting Coach Lopez and the Corpus Christi Youth Football League.
Santiago R. Hernandez
Face traffic
Re: Caller-Times front page picture on Tuesday, Dec. 6.
How can you promote safety with a front-page photo showing a pedestrian walking down Whitecap with her back to the traffic?
I was taught that bicyclists ride with the traffic and incidentally must obey all traffic rules, lights and signs and pedestrians should walk facing traffic.
M.W. Walsh
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2014-2015 Music Courses
First-Year Studies in Music
Each student in First-Year Studies in Music will be enrolled in a full music program (also called a Music Third) that reflects Sarah Lawrence's educational philosophy of closely integrating theory and practice in the study of music. In addition, all students in this course will be members of a weekly seminar, which provides a forum to explore a broad range of musical topics in both artistic and critical ways. Throughout the year, we will attend numerous performances on campus, as well as in New York City—for instance, at the Metropolitan Opera, Carnegie Hall, and the Brooklyn Academy of Music. We will start with live musical experiences in order to generate our investigations. The seminar will also feature frequent in-class performances by guest artists, class members, and the instructor. The music that we study in class will range from the early 16th century to the early 21st. Our emphasis will be on Western classical music and will occasionally include jazz, non-Western, and popular music traditions, as well. In order to develop and improve their insights and their ability to share them with others, students will write regular response papers and give short presentations. In the spring, they will also undertake a larger research project. First-Year Studies in Music is designed for students with all levels of prior music experience, from beginning to advanced.
Theory I: Materials of Music
This introductory course will meet twice each week (two 90-minute sessions). We will study elements of music such as pitch, rhythm, intensity, and timbre to see how they combine in various musical structures and how those structures communicate. Studies will include notation and ear training, as well as theoretical exercises, rudimentary analyses, and the study of repertoire from various eras of Western music. Beginning music students in Theory I are not required to take an ensemble; ensemble participation is optional. This course is a prerequisite to the Theory II: Basic Tonal Theory and Composition and the Advanced Theory sequence.
Theory II: Basic Tonal Theory and Composition
As a skill-building course in the language of tonal music, this course covers diatonic harmony and voice leading, elementary counterpoint, and simple forms. Students will develop an understanding through part writing, analysis, composition, and aural skills. The materials of this course are prerequisite to any Advanced Theory course. Survey of Western Music is required for all students taking Theory II who have not had a similar history course.
Advanced Theory: Advanced Tonal Theory and Analysis
This course will focus on the analysis of tonal music, with a particular emphasis on chromatic harmony. Our goal will be to quickly develop a basic understanding and skill in this area and then to refine them in the analysis of complete movements and works. Our repertoire will range from Bach to Brahms, and we will try to incorporate music that class participants might be studying in their lessons or ensembles. Prerequisite: Successful completion of the required theory sequence or an equivalent background.
Advanced Theory: Ancient Theory/Notation as Language
This course will begin with an introduction to the writing systems of the world and the ways in which they both shape and are shaped by the languages that they encode. Most of the first semester will be an investigation of the same phenomenon with respect to the notation (script) and theory (grammar) of ancient music. Notational and theoretical systems studied will include Ancient Babylonian, Greek, and Japanese music, as well as European chant notation and mensural notation. Students will transliterate existing pieces and compose brief exercises. These compositions will attempt to emerge from the ancient vocabularies and grammars in order to explore the way in which musical ideas can be shaped by the manner of their inscription. The second semester will move into the 20th and 21st centuries and will explore a number of alternate notations and musical grammars, including microtonal composition and graphic notation involving composers such as George Crumb, Karlheinz Stockhausen, Gloria Coates, Anthony Braxton, and Joe Maneri. Again, students will compose brief exercises using these forms. The semester will culminate with students inventing their own musical languages.
Advanced Theory: Jazz Theory and Harmony
This course will study the building blocks and concepts of jazz theory, harmony, and rhythm. It will include the study of the standard modes and scales, as well as the use of melodic and harmonic minor scales and their respective modal systems. It will include the study and application of diminished and augmented scales and their role in harmonic progression, particularly the diminished chord as a parental structure. An in-depth study will be given to harmony and harmonic progression through analysis and memorization of triads, extensions, and alterations, as well as through substitute chords, reharmonization, and back cycling. We will look at polytonality and the superposition of various hybrid chords over different bass tones and other harmonic structures. We will study and apply all of the above to their characteristic and stylistic genres, including bebop, modal, free, and progressive jazz. The study of rhythm, which is possibly the single most-important aspect of jazz, will be a primary focus, as well. We will also use composition as a way to absorb and truly understand the concepts discussed. Prerequisite: Theory II: Basic Tonal Theory and Composition
Advanced Theory: 20th-Century Theoretical Approaches: Post-Tonal and Rock Music
This course will be an examination of various theoretical approaches to music of the 20th century—including post-tonal, serial, textural, minimalist, and pop/rock music. Our primary text will be Joseph Straus's Introduction to Post-Tonal Theory; but we will also explore other relevant texts, including scores and recordings of the works themselves. This course will include study of the music of Schoenberg, Webern, Pink Floyd, Ligeti, Bartók, Reich, Radiohead, Nine Inch Nails, Corigliano, and Del Tredici, among others. Prerequisite: Theory II: Basic Tonal Theory and Composition.
Intermediate and Advanced Aural Skills
This course is dedicated to helping students develop their fluency with theoretical materials through a variety of musicianship activities, including dictation, sight singing, transcription, and rhythmic exercises. Beginning simply with a focus on individual parameters (pitches, rhythms, harmonic progressions), we will progress to perceiving these elements in an integrated way. In addition to course work directed by the instructor, students will undertake one or more self-directed projects that give them the opportunity to apply the skills developed in class to a broad range of musical styles. Permission of the instructor is required.
Sight Reading for Instrumentalists
This course is open to all instrumentalists who are interested in developing techniques to improve their sight-reading skills. Groups from duets to quintets will be formed according to level and will meet once a week. A sight-reading "performance" will be held at the end of each semester.
20th-Century Compositional Techniques
This is a workshop in the art of composition with a focus on 20th-century techniques. We will discuss recent compositional techniques and philosophies, as well as issues in orchestration and notation. We will explore significant works by a wide variety of major 20th-century composers such as Bartók, Berio, Cage, Carter, Debussy, Ligeti, and Stravinsky, as well as recent compositions by established and emerging composers across the world. These will serve as models for original student compositions. It is expected that the students will develop a fluency in using either Finale or Sibelius. Prerequisite: Theory I: Materials of Music or its equivalent.
Introduction to Electronic Music and Music Technology
The Sarah Lawrence Electronic Music Studio is a state-of-the art facility dedicated to the instruction and development of electronic music composition. The studio contains the latest in digital audio hardware and software for synthesis, recording, and signal processing, along with a full complement of vintage analog synthesizers and tape machines. Beginning students will start with an introduction to the equipment, basic acoustics, and principles of studio recording, signal processing, and a historical overview of the medium. Once students have acquired a certain level of proficiency with the equipment and material—usually by the second semester—the focus will be on preparing compositions that will be heard in concerts of electronic music, student composers' concerts, music workshops, and open concerts. Permission of the instructor is required. The course will be taught by Mr. Yannelli in the fall and Mr. Groffman in the spring.
MIDI: Sequencing, Recording, and Mastering Electronic Music
This course will focus on creating electronic music primarily using software-based digital audio workstations. Materials covered will include MIDI, ProTools, Digital Performer, Logic, Reason, Ableton Live, MaxMsp, Traction, and elements of Sibelius and Finale (as connected to media scoring). Class assignments will focus on composing individual works and/or creating music and designing sound for various media such as film, dance, and interactive performance art. Students in this course may also choose to evolve collaborative projects with students from those areas. Projects will be presented in class for discussion and critique. Permission of the instructor is required. The course will be taught by Mr. Yannelli in the fall and Mr. Groffman in the spring.
Studio Composition and Music Technology
This component is open to advanced students who have successfully completed Studio for Electronic Music and Experimental Sound and are at or beyond the Advanced Theory level. Students work on individual projects involving aspects of music technology that include, but not limited to, works for electro-acoustic instruments (live and/or pre-recorded), works involving interactive performance media, laptop ensembles, Disklavier, and improvised or through-composed works. Open to a limited number of students; permission of the instructor is required. The course will be taught by Mr. Yannelli in the fall and Mr. Groffman in the spring.
Survey of Western Music
This course is a chronological survey of Western music from the Middle Ages to the present. It is designed to acquaint the student with significant compositions of the Western musical tradition, as well as to explore the cyclical nature of music that mirrors philosophical and theoretical ideas in Ancient Greece and how that cycle appears every 300 years: the Ars nova of the 14th century, Le nuove musiche of the 17th century, and the New Music of the 20th century and beyond. The course involves participation in listening, reading, and discussion, including occasional quizzes about and/or written summaries of historical periods. This component is required for all students taking Theory II: Basic Tonal Theory and Composition and is also open to students who have completed the theory sequence.
Jazz History
Jazz music of all styles and periods will be listened to, analyzed, and discussed. Emphasis will be placed on instrumental styles and performance techniques that have evolved in the performance of jazz. Skills in listening to and enjoying some of the finer points of the music will be enhanced by the study of elements such as form, phrasing, instrumentation, instrumental technique, and style. Special emphasis will be placed on the development of modern jazz and its relationship to older styles. Some topics: Jelly Roll Morton, King Oliver, Louis Armstrong, roots and development of the Big Band sound, Fletcher Henderson, Count Basie, Duke Ellington, lineage of pianists, horn players, evolution of the rhythm section, Art Tatum, Bud Powell, Bill Evans, Thelonius Monk, Miles Davis, John Coltrane, Charlie Parker, be-bop, cool jazz, jazz of the '60s and '70s, fusion and jazz rock, jazz of the '80s, and modern trends. The crossover of jazz into other styles of modern music such as rock and R&B will be discussed, as will the influence that modern concert music and world music has had on jazz styles. This is a yearlong class; however, it will be possible to enter in the second semester. This is one of the music history component courses required for all Advanced Theory students.
First Viennese School
First Viennese School—referring to the 18th-century classical music composers Franz Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven—will delve into the cultural history of their time, along with biographical and compositional study. Backing into this time period with a quick look at late-Baroque and early-classical composers, we will discover how the classical style evolved, followed by an in-depth study of the three great composers, their influence on one another, and a comparative study of their work. The course will include listening, reading, score analysis, and discussion. An ability to read music and some experience in music theory is necessary. This is one of the music history component courses required for all Advanced Theory students.
Keyboard Literature
This class will offer an introductory survey of the history of keyboard music and will include seminal works from the Renaissance to the 21st century. We will study these works for their stylistic and formal properties and will also discuss their social context and performance practices. The course will feature frequent in-class performances by guests, the instructor, and possibly some of the class members. Reading knowledge of music is required, and some theory background would be helpful. This is one of the music history component courses required for all Advanced Theory students.
Music and the Metaphysical Impulse
Throughout its history, music has been a vehicle for the expression of metaphysical and spiritual ideas. The Pythagorean discovery in the sixth century BC of the ratios behind musical intervals linked music to the cosmos and the soul and gave music both a mathematical and metaphysical dimension. Music also became a vital component of various liturgies; it was a physical, temporal, impermanent art that also pointed to the eternal and immutable. This course will examine works from the Western classical tradition that embody these ideas. Bach will be central to this class, but we will also study works by Beethoven, Mendelssohn, Brahms, Stravinsky, and Messiaen, as well as earlier composers such as Machaut, Dufay, and Palestrina. This is one of the music history component courses required for all Advanced Theory students.
Women's Vocal Ensemble
Repertoire may include both accompanied and a cappella works from the Renaissance to the present that were specifically composed for women's chorus. The ensemble will perform winter and spring concerts. Women's Vocal Ensemble meets twice a week. Students are required to attend either the Monday or the Wednesday rehearsal; they are welcome but not required to attend both. All students are welcome to be a member of this ensemble; auditions are not necessary.
Chamber Choir
Early madrigals and motets and contemporary works especially suited to a small number of voices will form the body of this group's repertoire. The ensemble will perform winter and spring concerts. Chamber Choir meets once a week Audition required.
The Blues Ensemble
This performance ensemble is geared toward learning and performing various traditional, as well as hybrid, styles of blues music. The blues, like jazz, is a purely American art form. Students will learn and investigate Delta blues, performing songs by Robert Johnson, Charlie Patton, Skip James, and others; Texas country bues by originators such as Blind Lemon Jefferson; and Chicago blues, beginning with Big Bill Broonzy and moving up through Howlin' Wolf and Buddy Guy. Students will also learn songs and stylings by Muddy Waters, Albert King, and B.B. King and about how they influenced modern blues men such as Johnny Winter and Stevie Ray Vaughn and pioneer rockers such as Jeff Beck, Eric Clapton, Jimmy Page, and Jimi Hendrix. Audition required.
Jazz Colloquium
This ensemble will meet weekly to rehearse and perform a wide variety of modern jazz music and other related styles. Repertoire in the past has included works by composers Thelonius Monk, Duke Ellington, Miles Davis, and Herbie Hancock, as well as some rock, Motown, and blues. All instruments are welcome. Audition required.
Jazz Performance and Improvisation Workshop
This class, intended for all instrumentalists, will provide a "hands-on" study of topics relating to the performance of jazz music. The class will meet as an ensemble, but the focus will not be on rehearsing repertoire and giving concerts. Instead, students will focus on improving jazz playing by applying the topic at hand directly to instruments; immediate feedback on the performance will be given. The workshop environment will allow students to experiment with new techniques as they develop their sound. Topics include jazz chord/scale theory; extensions of traditional tonal harmony; altered chords; modes; scales; improvising on chord changes; analyzing a chord progression or tune; analysis of form; performance and style study, including swing, Latin, jazz-rock, and ballade styles; and ensemble technique. The format can be adapted to varying instrumentation and levels of proficiency. Placement audition required.
Jazz Vocal Ensemble
No longer do vocalists need to share valuable time with those wanting to focus primarily on instrumental jazz and vice versa. This ensemble will be dedicated to providing a performance-oriented environment for the aspiring jazz vocalist. We will mostly concentrate on picking material from the standard jazz repertoire. Vocalists will get an opportunity to work on arrangements, interpretation, delivery, phrasing, and intonation in a realistic situation with a live rhythm section and soloists. They will learn how to work with, give direction to, and get what they need from the rhythm section. It will provide an environment to learn to hear forms and changes and also to work on vocal improvisation, if they so choose. This will not only give students an opportunity to work on singing solo or lead vocals but also to work with other vocalists in singing backup or harmony vocals for and with each other. It will also serve as a great opportunity for instrumentalists to learn the true art of accompanying the jazz vocalist, which will prove to be a valuable experience in preparing for a career as a professional musician. Audition required.
Jazz Vocal Seminar
This seminar is an exploration of the relationship among melody, harmony, rhythm, text, and style and how these elements may be combined and manipulated to create meaning and beauty. A significant level of vocal development will be expected and required. Audition required.
Seminar in Vocal Performance
Voice students will gain performance experience by singing a repertoire selected in cooperation with the studio instructors. Students will become acquainted with a broader vocal literature perspective by singing in several languages and exploring several historical music periods. Interpretation, diction, and stage deportment will be stressed. During the course of their studies and with permission of their instructor, all Music Thirds in voice are required to take Seminar in Vocal Performance for two semesters. This course will be taught by Ms. Pierce-Young in the fall and Ms. Saxon in the spring.
So This Is Opera?
This course is an introduction to opera through an opera workshop experience that explores combining drama and music to create a story; it is open to students in the performing arts (music, dance, and theatre), as well as to the College community at large. Weekly class attendance is mandatory. Audition required. This course will be taught by Ms. Pierce-Young in the fall and Mr. Sanders in the spring.
Studio Class
Studio Class is a beginning course in basic vocal technique. Each student's vocal needs are met within the structure and content of the class. Placement audition required. Studio Class will be taught by Ms. Harris, Mr. Sanders, and Ms. Pierce-Young in the fall and Ms. Saxon and Mr. Young in the spring.
African Classics of the Post-Colonial Era
From highlife and jùjú in Nigeria, to soukous and makossa in Congo and Cameroon, to the sounds of Manding music in Guinea and "Swinging Addis" in Ethiopia, the decades following World War II saw an explosion of musical creativity that blossomed across sub-Saharan Africa. Syncretic styles merging African aesthetics with European, Caribbean, and American influences and instruments resulted in vibrant new musical genres that harken back to traditional African sources while exploring bold and original musical forms. As European powers formally withdrew from their former colonies, newly inspired African musicians took advantage of broadened artistic resources and created vital, contemporary musical expressions. This performance course will explore a wide range of African musical styles that emerged in the second half of the 20th century. We will undertake a broad musical history, considering prominent groups and individual musicians during this time period, and perform tightly structured arrangements of some of their most effective and influential pieces. There will be some opportunities for genre-appropriate improvisation and soloing. A wide range of instruments will be welcome, including strings, horns, guitars, keyboards, drums, and various other percussion instruments. Basic facility on one's musical instrument is expected, but prior experience with African musical aesthetics is not assumed or required.
Bluegrass Performance Ensemble
Bluegrass music is a 20th-century amalgam of popular and traditional music styles that coalesced in the 1940s in the American Southeast, emphasizing vocal performance and instrumental improvisation. This ensemble will highlight, through performance, many of the influences and traditions that bluegrass comprises, including ballads, breakdowns, "brother duets," gospel quartets, Irish-style medleys, "modal" instrumentals, "old-time" country, popular song, and rhythm and blues, among many possible others. Though experienced players will have plenty of opportunities to improvise, participants need not have played bluegrass before. The ensemble should include fiddle, 5-string banjo, steel-string acoustic guitar, mandolin, resophonic guitar (Dobro®) upright (double) bass.
Gamelan Angklung Chandra Buana
A gamelan angklung is a bronze orchestra that includes four-toned metallophones, gongs, drums, and flutes. Simple patterns played upon the instruments interlock and combine to form large structures of great complexity and beauty. The gamelan angklung that we will play was specially handcrafted in Bali for the College and was named Chandra Buana, or "Moon Earth," at its dedication on April 16, 2000, in Reisinger Concert Hall. Any interested student may join; no previous experience with music is necessary.
West African Percussion Ensemble: Faso Foli
Faso Foli, a Malinke phrase that translates loosely as "playing to my father's home," is the name of our West African performance ensemble. In this class, we will develop the ability to play expressive melodies and intricate polyrhythms in a group context as we recreate the celebrated musical legacy of the West African Mande Empire. These traditions have been kept alive and vital through creative interpretation and innovation in Africa, the United States, and other parts of the world. Correspondingly, our repertoire will reflect a wide range of expressive practices both ancient in origin and dynamic in contemporary performance. The instruments that we will play—balafons, dun dun drums, and djembe hand drums—were constructed for the College in 2006, handcrafted by master builders in Guinea. Relevant instrumental techniques will be taught in the class, and no previous experience with African musical practice is assumed. Any interested student may join.
Awareness Through Movement™ for Musicians
This course will offer a selection from the thousands of Awareness Through Movement lessons developed by Moshe Feldenkrais. The lessons consist of verbal instructions for carefully designed movement sequences, which allow the students to better sense and feel themselves and thereby develop new and improved organizational patterns. These gentle movements are done in comfortable positions (lying, sitting, and standing), and many instrumentalists and singers have found them to be hugely helpful in developing greater ease, reducing unwanted tension and performance anxiety, and preventing injuries. Another benefit is the often increased capacity for learning and, perhaps most importantly, an increased enjoyment of music making and the creative process.
Chamber Music
Various chamber groups—from quartets or quintets to violin and piano duos—are formed each year, depending on the number and variety of qualified instrumentalists who apply. There are weekly coaching sessions. Groups will have an opportunity to perform at the end of each semester in a chamber music concert.
Chamber Music Improvisation
This is an experimental performing ensemble that explores a variety of musical styles and techniques, including free improvisation, improvisational conducting, and various other chance-based methods. The ensemble is open to all instruments (acoustic and electric), voice, electronic synthesizers, and laptop computers. Students must be able to demonstrate a level of proficiency on their chosen instrument. Composer-performers, dancers, and actors are also welcome. Performance opportunities will include: concerts, collaboration with other programs such as dance, theatre, film, and performance art, as well as community outreach. Open to a limited number of students; audition required.
This is a course in the basics of conducting for qualified students. Prerequisite: Theory II: Basic Tonal Theory and Composition and permission of the instructor.
Experimental Improvisation Ensemble
This class explores a variety of musical and dance styles and techniques, including free improvisation, chance-based methods, conducting, and scoring. We will collaboratively innovate practices and build scores that extend our understanding of how the mediums of dance and music relate to and with one another. How the body makes sound and how sound moves will serve as entry points for our individual and group experimentation. Scores will be explored with an eye toward their performing potential. This ensemble is open to composer-performers, dancers, performance artists, and actors. Music students must be able to demonstrate proficiency in their chosen instrument. All instruments (acoustic and electrical), voice, electronic synthesizers, and laptop computers are welcome. Permission of the instructors is required.
Guitar Class
This course is for beginning acoustic or electric guitar students by recommendation of the faculty.
Guitar Ensemble
This class offers informal performance opportunities on a weekly basis as a way of exploring guitar solo, duo, and ensemble repertoire. The course will seek to improve sight-reading abilities and foster a thorough knowledge of the guitar literature. It is recommended for students interested in classical guitar. Permission of the instructor is required.
Keyboard Lab
This course is designed to accommodate beginning piano students who take Keyboard Lab as the core of their Music Third. Instruction takes place in a group setting, with eight keyboard stations and one master station. Students will be introduced to elementary keyboard technique and simple piano pieces. Placement is arranged by the piano faculty.
Orchestra Projects
Throughout the year, students will have the opportunity to experience and participate in a broad range of musical styles from the Baroque to symphonic and contemporary repertory, including improvisation and experimental music. The Sarah Lawrence Orchestra is open to all students, as well as to members of the College and Westchester communities. All instrumentalists are required to take a Music Third. Audition required.
Saxophone/Woodwind Ensemble
This ensemble is a performance group that plays transcriptions of the classics to modern 20th-century composers. All saxophone, flute, and clarinet players are welcome. A baritone sax and a tenor sax are available for any student who may have played previously but does not own his/her own instrument. This group also encourages students to compose their own compositions and adapt their pieces.
Senior Recital
This component offers students the opportunity to share with the larger College community the results of their sustained work in performance study. During the semester of their recital, students will receive additional coaching by their principal teachers. Audition required.
Violin Master Class
Violin Master Class meets weekly and involves both playing and discussion. Each student is required to prepare a solo piece. An accompanist will be present before and during each class to rehearse and perform with students. Each master class is organized as a series of individual lessons that address recurrent performance problems, including discussions concerning technical and musical issues (basic and advanced), as well as performance practices. All students will receive copies of the works being performed.
Concert Attendance/Music Tuesdays Requirement
The music faculty wants students to have access to a variety of musical experiences; therefore, all Music Thirds are required to attend all Music Tuesday events and three music department-sponsored concerts on campus per semester, including concerts (the required number varies from semester to semester) presented by music faculty and outside professionals that are part of the Concert Series. Music Tuesdays consist of various programs, including student/faculty town meetings, concert presentations, guest artists' lectures and performances, master classes, and collaborations with other departments and performing-arts programs. Meetings, which take place in Reisinger Concert Hall on selected Tuesdays from 1:30-3:00 p.m., are open to the community. Schedule will be announced each semester.
Master Class
Master Class is a series of concerts, instrumental and vocal seminars, and lecture demonstrations pertaining to music history, world music, improvisation, jazz, composition, and music technology. Master classes take place on Wednesdays from 12:30-1:30 p.m. in either Reisinger Concert Hall or Marshall Field House, Room 1. They are open to the College community.
Music Workshops and Open Concerts
Music Workshops are an opportunity for students to perform music that they have been studying in an informal, supportive environment. In this class, participants will present a prepared piece and receive constructive feedback from the instructor and other students. Along with the specifics of each performance, class discussion may include general performance issues such as dealing with anxiety, stage presence, and other related topics. Each term will consist of three workshops, culminating in an Open Concert that is a more formal recital at the end of each semester. The entire College community is welcome and encouraged to participate.


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Originally written on The Hockey Guys | Last updated 1/20/13
By: Mike Luciano @MikeLuci Recently, New Jersey Devils head coach Pete DeBoer made it official that Zach Parise's successor as captain will be defenseman Bryce Salvador. The Devils' community has primarily reflected three main views on the decision to paste the "C" on Salvador's jersey. Fans have either supported the decision, were against it, or focused more on the hypocrisy of how the consensus viewpoint of Salvador has been revolutionized over the past two seasons. When the Devils initially traded for Salvador at the 2008 trade deadline, I was not a fan of the move. I was even more annoyed when Lamoriello brought him back for four more years that same offseason. Salvador was a player that grew on me throughout his ongoing duration in a Devils uniform and I will admit I was one of several fans that speculated and hoped it would be Salvador that was one of the odd men out when the Devils faced the inevitability of getting underneath the salary cap before the start of the 2010-2011 ...
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|ISSN 1088-6850(online) ISSN 0002-9947(print)
Fredholm, Hodge and Liouville theorems on noncompact manifolds
Abstract | References | Similar Articles | Additional Information
Abstract: Fredholm, Liouville, Hodge, and -cohomology theorems are proved for Laplacians associated with a class of metrics defined on manifolds that have finitely many ends. The metrics are conformal to ones that are asymptotically translation invariant. They are not necessarily complete. The Fredholm results are, of necessity, with respect to weighted Sobolev spaces. Embedding and compact embedding theorems are also proved for these spaces.
Retrieve articles in Transactions of the American Mathematical Society with MSC: 58G30, 47B38, 58A12
Retrieve articles in all journals with MSC: 58G30, 47B38, 58A12
Additional Information


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Constellation Energy Group sealed an agreement yesterday allowing Warren Buffett's MidAmerican Energy Holdings to buy the company for $4.7 billion, even as the Baltimore firm's largest shareholder was reported to be weighing a higher bid for the company.
The board of Electricite de France met yesterday to "present different options regarding Constellation Energy," said spokeswoman Carole Trivi. She declined to say what options were being considered or whether a decision was made.
Published reports yesterday indicated EDF is now considering different scenarios, including topping the $26.50-a-share bid from Des Moines, Iowa-based MidAmerican. EDF must make a joint bid with a U.S. company since foreign entities cannot own a majority stake in a nuclear power plant.
Constellation, which owns Baltimore Gas and Electric, agreed this week to be acquired by MidAmerican after Constellation's stock price plummeted amid the credit crisis on Wall Street. By signing the deal yesterday, MidAmerican will purchase $1 billion of preferred shares from Constellation to immediately avert a potentially fatal credit downgrade, which fueled the shotgun sale announced Thursday.
A Morningstar analyst said yesterday that a definitive merger agreement between the two companies would not prohibit EDF, which nearly doubled its stake in Constellation to 9.5 percent recently, from joining the table so late in the game.
"I wouldn't say it's completely unlikely that Constellation could have other people looking at this," analyst Paul Justice said, noting another bid could include compensation for MidAmerican. "Any bid would have to be a substantial premium [above] $26.50. To the right suitor, Constellation is worth substantially more."
Constellation shares gained $1.56, or 6.45 percent, to close at $25.76 yesterday.
Constellation spokesman Rob Gould declined comment on the EDF reports. MidAmerican Chief Executive Gregory E. Abel could not be reached last night.
Paul Fremont, an analyst at Jefferies & Co. in New York, said EDF's move, however, is too late.
"We'd be highly skeptical of EDF being able to change the outcome at this late hour," Fremont told Bloomberg News.
Les Echos, the French financial daily, reported on its Internet site that EDF might decide this weekend to top Buffett's offer, according to Bloomberg News. It said a less likely alternative would be to seek discussions with Buffett to consolidate EDF's partnership with Constellation and increase its stake in the utility.
The Financial Times on its Web site said EDF's board agreed in an emergency meeting to back a joint bid with a U.S. partner.
Abel said this week it was unlikely another company would bid on Constellation. Among other things, Constellation must pay MidAmerican $175 million if it finds another buyer, according to the agreement both companies signed this week.
The agreement, however, gives MidAmerican 14 days to review Constellation's books related to its retail and wholesale businesses, including energy-trading activities. MidAmerican can terminate the deal if the value of such businesses and assets fell by more than $200 million since June 30.
Abel said that clause is needed because of the "sheer magnitude and number of transactions" in Constellation's commodities-trading business.
"Management has given us every assurance again that there are no issues there," he said. "We just need a little bit more time to validate that."
Constellation came under enormous pressure this week as investors lost confidence in the company's ability to access cash and credit to fund its business. The rapid unraveling of Constellation's value - its stock fell nearly 60 percent in three days - forced it to seek a partner with deeper pockets.
In a nearly hourlong interview yesterday at Constellation's Inner Harbor headquarters before EDF indicated it was considering new options, Abel said he was looking forward to the deal closing in nine months.


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Rolled Rib Roast
|Loin/Wing roast
|2 1⁄2 Kilogram
|Vegetable oil/Melted butter
|30 Milliliter
|5 Milliliter
|2 Milliliter
|Fresh ground pepper
|2 Milliliter
|Garlic clove
|1 Small
|30 Milliliter
Mix together in a bowl the vegetable oil or melted butter, paprika, thyme, pepper, garlic and bread crumbs.
Place the roast on a microwave rack or an inverted saucer set in an 8 x 12-inch (20 x 30 cm) micro wave-safe baking dish.
Baste the top fat and the sides of the roast with the spice mixture.
Microwave according to time given in the Beef Roasting Chart.
To make gravy Remove the roast and rack from the baking dish.
Add to the juice in the bottom of the dish 1/4 cup (60 ml) of a liquid of your choice — cold tea, Madeira, sherry or red wine — and 1 teaspoon (5 ml) Dijon mustard.
Mix well, crushing the tiny bits of caramel from the meat that give flavor and color to the meat juices.
Microwave 1 minute at HIGH when ready to serve.
To make a creamy gravy Add to the fat 1 tablespoon (15 ml) flour.
Mix well, microwave 2 minutes at HIGH, stirring once.
Add 1/2 cup (125 ml) of a liquid of your choice, as given previously.
Should you choose Madeira or sherry, add only 1/4 cup (60 ml) plus 1/4 cup (60 ml) cold water.
Stir well and microwave 3 minutes at HIGH, stir ring once.


text:
It is fairly evident that Pat Roles doesn't believe in a middle-ground approach when it comes to managing the timber wolf in the state of Minnesota based on the first sentence of her letter to the editor. Instead of relying on scientific data collected by the Minnesota Department of Natural Resour...Read More
Recently I've heard and read some of the most powerful student essays I've encountered over more than 45 years of work with young people. Students presented them at a statewide conference attracting almost 300 students sponsored by the Minnesota Association of Alternative Programs. Quietly, with...Read More
People have nearly eliminated America's native gray wolves during the last century by poisoning them, catching them in painful traps and shooting them. Today, only about 5,000 remain, on just 5 percent of their historical territory. An argument cited by those in opposition of continued federal pro...Read More
I would extend an invitation to everyone in our community to attend the Memorial Day program, at Lions Park, on Monday. The program begins at 10 a.m. Memorial Day and honors and remembers those whose lives were sacrificed in service to our nation in the many wars and conflicts in our county's hist...Read More
Our country celebrates Older Americans Month each May following the first proclamation by President Kennedy in 1963 to recognize their contributions. The U.S. Department of Health and Human Services selects a theme each year for communities to celebrate older Americans. This year's theme is Get in...Read More
Despite more restrictive requirements, the National School Lunch Program is very healthy and going strong. In fact, of the 2,100 public and nonprofit school sites in Minnesota, only two high schools, Wayzata and Byron, have dropped the mostly federally funded program. In Prior Lake, Janeen Peterson,...Read More
Spring is now upon us, and that means it's time for some spring cleaning. It's a good habit that many of us practice. Spring is also the time Minnesota legislators make decisions about our future, so it's a good time to talk about good habits. We have a great opportunity this year in Minnesota...Read More
Thank you to everyone who supported the VFW and American Legion Auxiliary poppy programs by donating money for a poppy on Elk River Poppy Day, May 8. Thank you to Elk River DECA for all the students' help. Also, thank you to the stores and restaurants that allowed us to distribute poppies. Our vet...Read More
The time has come when penalties for convicted distracted drivers in Minnesota should be more severe and comparable to motorists convicted of drunken driving. In Minnesota distracted driving is defined as drivers engaged in any activity that might distract from the primary task of driving. Legislato...Read More


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I picked up a second hand DH bike recently and am trying to get the suspension dialed in. I'm having trouble moving the bottom out adjuster dial. I put a 3 mm allen key in one of the perimeter holes and the dial just won't turn. Could it be seized? Has anyone else had this issue? I don't want to force in fear that I'll break it.
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Having a go at adding some texture to a photo, not quite what I want but like it in a round about way.
Anyone have any links to tutorials for adding textures to a photo?
|Canon EOS 40D
|Sigma 10-20
|Recording media:
|RAW (digital)
|Borth Ramp 2
|17 Jan 2011 - 11:53 AM
|Black & white, Borth, Digitally manipulated, Landscape / travel, Rnli
|VS Mode Rating
100 (50% won)
These stats show the percentage of wins and the rating score that your photo has achieved. You can go to the VS Mode by clicking on this icon.
Signup to PlusBecome a plus member to see which photo this has won or lost against in the vs mode
|JackAllTog · lesarnott · jameswburke ·
|Unique Views:
Just looked at this shot on another monitor which shows it to have a magenta cast, the calibrated monitor which I edited on gives me a sepia tone.
How do you see it?
Nominating Constructive Critique
Can i say a bit sepia & magenta - Work samsung monitor uncalibrated.
The vertical texture seems to be in conflict with the mostly horizontal line from my POV, i also wonder if the texture is not a bit small for the image, its statring to look like blur not texture.
I've also tried texture but can't get it right, it always seems to soften the whole image, not just where the texture features are.
Thnaks for sharing.
Nominating Constructive Critique
Nice shot. Agree that lines might be netter horizontally. Here's a video tutorial. There are plenty more on the web: http://layersmagazine.com/adding-texture-to-photographs-in-photoshop.html
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i just spit out my applesauce
i just spit out my applesauce
To avoid criticism say nothing, do nothing, be nothing.
This is going to be a rough year... I can already tell
Gold is an idiot.
I think LoSt is a true Democrat.
He is so far set up pretty nicely to write two stimulus checks to a VA resident.
To avoid criticism say nothing, do nothing, be nothing.
Super 32 Challenge - October 26-27, 2013
"Good things happen when you wrestle for a full seven minutes." -- Jayson Ness, post-finals press conference
My picks went 2-2 vs the spread but I picked 3 out of 4 winners. Even though I picked Danny I did have a hunch Jake might pull it out so good for him.
This should have the PSU really stoked about the next few years. DT, ER & LM are all RSing. JK I think is out due to transfer from OU as the sooners won't release him.
Last edited by kr1963; 11-05-2009 at 09:01 PM. Reason: WTFN?
I don't want to take away from the laugh at Lost party, but this win also really shows how good Jake Kemerer is and how good he might be after a year in the room with Casey Cunningham and then the rest of the middleweight talent.
Now cmon guys, enough is enough. I am not the one who picked Vallimont by 6-8...
I'm just pissed that he lost.
Gold is an idiot.
LoSt--Your sig: I'm an idiot.


text:
|| | College: Oklahoma
With injuries and experienced players no longer blocking him from regular playing time in the 2009, Carter proved to be a legitimate top safety prospect. The graduation of Nic Harris and Lendy Holmes opened a starting spot in '09 and Carter received second-team All-Big 12 honors with 88 tackles, 2.5 for loss, four interceptions and five pass breakups.
The Las Vegas native got a quick start to his career as a Sooner, earning playing time in five games and making one special teams tackle. He redshirted in 2007 because of a severely pulled hamstring. In Carter's sophomore season, he started two of 12 games, made 36 tackles (14 on special teams) and broke up two passes. He followed up that 2009 season with a strong senior campaign, garnering first-team all-conference honors with 92 tackles, 2.5 for loss, four interceptions, and five pass break-ups.
Carter is exactly the type of versatile defensive back NFL teams are looking for to slow down the pass-happy offenses in today's game. He has played strong and free safety in Bob Stoops' defense at Oklahoma because of his physicality and speed; his ability to make the big hit, support the run, play centerfielder, or even line up in man coverage is rare among college safeties. He should one of the top two or three safeties selected in April.
Read & React: Heady defender against the run and pass. Very quick to close on bubble screens whether lined up in man or coming down the hash. Capable of moving to the sideline quickly from the two-deep look, though he is sometimes a step late to recognize when the corner needs help. Comes off his coverage to close on the ball while it's in the air, often gets to the receiver as the ball arrives or a split second later.
Man Coverage: Athletic safety who can step up to play outside or in the slot, if needed. Asked to jump out on receivers on corner blitzes, can stay with them down the sideline or on the hot route over the middle. Needs work staying low and over his feet in his backpedal, as well as using his hands to prevent separation and knock receivers off their routes at the line.
Zone Coverage: Has the speed and playmaking ability to be an effective two-deep centerfielder. Closes to the ball in a hurry to make bone-jarring hits, forcing fumbles or incompletions. Owns good hands for the interception whether the ball is thrown at his numbers or in a jump-ball situation. Adjusts well to balls thrown behind him. Noses up against the run and when the quarterback scrambles, leaving his corner on an island if his man heads downfield. Late to get to the sideline at times, even when there is no threat of a run.
Closing/Recovery: Excellent closing speed to attack receivers and running backs in space. Plants and drives forward with a nice burst to the ball. Effective blitzer because of his speed and timing. Fair recovery speed and change-of-direction ability for a safety; can catch up to receivers if beaten on a quick initial move. Takes aggressive angles because of his speed, elusive NFL runners may take advantage of that.
Run Support: Headhunter in run support, attacking plays whether playing near the line or well off. Chases down ballcarriers from sideline to sideline. Willing to lower shoulder into lead blocks so others can make the play, but lacks great strength to take on linemen and disengage to make plays.
Tackling: Solid tackler who is a reliable last line of defense because of his athleticism and aggressive style. Is an intimidating presence, loves to lay the wood on the sideline and over the middle (will get penalized for big shots late, was actually thrown out of practices for being too jacked up). Will be the second or third man into the pile, forcing it backwards on most occasions by bringing his hips and keeping his feet moving. Comes in high on some tackles, grabbing shoulder pads and allowing shorter or stronger players to slip away.
Intangibles: Exceptional leader on the field and in the locker room. Receiving degree in sociology with a non-profit organization studies, but already has started has own non-profit called SOUL (Serving Others with Unity and Leadership) to help kids in the Las Vegas area. Redshirted the 2007 season with a severely pulled hamstring, also missed the beginning of the 2008 season with surgery on a slightly torn knee ligament.
|2010 Season
First Team All-Amercan by AFCA, AP and Sports Illustrated All-Big 12 first team by coaches and second team by AP tied for team lead with four interceptions, two of which came against Oklahoma State also picked off passes vs. Utah State and Texas has three double-digit tackle games, including a career-high 17 vs. Texas Tech (highest tackle total by OU DB since '02) had 14 tackles at Missouri and 10 at Baylor recovered a fumble at Cincinnati his 217 career tackles are No. 8 in OU history by a DB.
|2009 Season
All-Big 12 second team by coaches and honorable mention by AP took over starting position at free safety spot and responded as team's second-leading tackler with 80 stops tied career high of 10 tackles twice vs. BYU and Texas Tech eight tackles and an interception in the Sun Bowl win over Stanford had at least seven tackles in eight games picked off passes against Tulsa, Kansas, Kansas State and Stanford also recovered a fumble against BYU broke up two passes against Kansas.
|2008 Season
Started two games at safety when defense shifted to five starting defensive backs collected a career-high 10 tackles in first career start versus Kansas had eight tackles, including two big hits, in second start at the Big 12 Championship broke up passes in wins over Kansas State and Missouri also had five tackles versus Texas Tech third on team with 14 special teams tackles led team with 14 solo special teams tackles.
|2007 Season
|2006 Season
Played in five games, all on special teams units had one tackle against UAB earned a reputation as one of the secondary's most physical players.
|High School
As quarterback for Cheyenne High, threw for more than 650 yards and eight touchdowns during regular season ran for 400-plus more yards earned all-league honors as a junior runs the 40-yard dash in 4.5 seconds also a standout basketball player coached by Dave Snyder.
Born July 20, 1988 son of Clemon and Sandra Carter graduated high school a semester early and enrolled at OU in January 2006 owns a 37-inch vertical leap and runs a 4.45 40.
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the cost and quality of communication may influence inter-firm loyalties and market relationships. At the level of the family, the research examines how easy access to remote and personalized information sources and communication partners changes the family's dependence on local resources, among other topics. He wrote a biographical essay, "Re-engineering Social Encounters," in 2003 for the American Psychological Association. In 1980, his research on the evolution of the human face won a Proxmire Golden Fleece award. His biographical essay, "Why Bowlers Smile," and Ed Diener's essay, "Why Robert Kraut Smiles," describe the legacy of that award. Kraut received his BA from Lehigh University in 1968 and his PhD from Yale University in 1973.
Alessandro Acquisti is an associate professor of information technology and public policy at the Heinz College, Carnegie Mellon University. He is the co-director of the CMU Center for Behavioral Decision Research (CBDR), a member of the Carnegie Mellon Cylab, and a fellow of the Ponemon Institute. His work investigates the economic and social impact of information technologies, and in particular the economics and behavioral economics of privacy and information security, as well as privacy in online social networks. His research has been disseminated through journals (including the Proceedings of the National Academy of Sciences, Marketing Science, Journal of Consumer Research, Marketing Letters, Information Systems Research, IEEE Security & Privacy, Journal of Comparative Economics, Rivista di Politica Economica, and so forth), edited books (Digital Privacy: Theory, Technologies, and Practices [Auerbach, 2007]), book chapters, international conferences, and international keynote addresses. His findings have been featured in media outlets such as NPR, NBC, MSNBC.com, the Washington Post, the New York Times and the New York Times Magazine, the Wall Street Journal, New Scientist, CNN, Fox News, and Bloomberg TV. Acquisti has received national and international awards, including the PET Award for Outstanding Research in Privacy Enhancing Technologies, the IBM Best Academic Privacy Faculty Award, the Heinz College Teaching Excellence Award, and various best paper awards. Two of his manuscripts were selected by the Future of Privacy Forum in their best Privacy Papers for Policy Makers competition. He is and has been a member of the program committees of various international conferences and workshops, including ACM EC, PET, WEIS, ETRICS, WPES, LOCA, QoP, and the Ubicomp Privacy Workshop at Ubicomp. In 2007 he co-chaired the DIMACS Workshop on Information Security Economics and the WEIS Workshop on the Economics of Information Security. In 2008, he co-chaired the first Workshop on Security and Human Behavior with Ross Anderson, Bruce Schneier, and George Loewenstein. His research has been funded by the National Science Foundation, the Humboldt Foundation,