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My 12-month-old baby: reaching milestones together
You and your baby have been together for one year, and she is developing a personality all her own. And she is developing quickly. She will soon experience the physical changes of becoming a toddler, so it is time to plan and prepare for her growing needs.
Baby bottle-weaning tips for 1-year-old babies
If your 1-year-old baby has not started using a "sippy" cup yet, here are some helpful tips that could help:
- Offer the cup instead of the morning and evening bottles.
- Do not let your baby carry the bottle around with her. Limit the places she can have it (on your lap, at the table).
- Do not introduce new beverages in a sippy cup. Let her drink only breast milk or baby formula. It might be a good time to switch to a toddler drink such as Similac® Go & Grow® Stage 3, which is designed to help balance toddler's diets and support brain, eye, and physical development from 12 to 24 months.
- Give her a snack before bedtime. It could help her get to sleep.
- Let her spend time with her blanket or favorite special stuffed animal before bedtime, instead of with the bottle.
Engage your 12-month-old baby's growing brain
As your baby turns another month older, she will get more out of playing in social settings as well as the one-on-one time you spend with her.
Here are some helpful tips to keep her mind growing:
- Introduce her to brief playdates to practice playing in groups. There will not be much interactive playing yet, but it will help her get used to the playing environment.
- Show her how to pull a pull toy. To prevent choking, put away toys with long strings when you cannot watch your baby play.
- "Read" a picture book with her — identify what you see on each page to help her learn new words and objects.
12-month-old baby developmental milestones
Your baby will develop at her own pace, which is completely normal. Here is a list of 12-month-old milestones your baby likely will be able to achieve, or will achieve soon:
- Take the first solo step
- Say two words other than "mama" and "dada"
- Make "baby-talk" sentences
- Imitate your actions
- Drink from a cup, without help
Keep learning about your baby's development every week
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If there was a glimmer of hope found in our first quarter Arkansas Consumer Confidence Report, our second quarter survey may have dashed it.
Rising gasoline prices and fear of higher costs on goods and services have consumers hunkered down.
In a survey of 554 Arkansans conducted on Thursday, June 9, only 17% said they planned to spend more money in the next 6 months, while 50.5% said they would spend less. Those numbers are in sharp contrast to our survey three months ago that showed 41% planned to spend more with 29% saying they'd spend less.
57% of those who planned to spend less said they were conserving money, while only 4% thought the costs of goods and services would be lower in the near future.
And, retail gasoline prices – which are averaging about $1 higher than a year ago – were largely to blame. 69% of respondents said that higher gas prices have impacted other areas of spending, while 21.5% said their spending habits were unchanged due to higher gas prices.
"It is clear that while confidence in many areas of the economy has been low since the late 2008-early 2009 recession, the prolonged drumbeat of higher gas and food prices in particular are taking a toll on consumers," said Talk Business executive editor Roby Brock. "The tremendous reversal in expected consumer spending underscores this point. I'd note, however, that as quickly as it changed course from the first quarter, it could do so for the better with potential good economic news."
The Q2 Arkansas Consumer Confidence Report also showed a number of other worrisome areas related to personal finances, the jobs outlook and state and national business conditions.
You can view the complete survey results at this link. Also, Delta Trust and Bank CEO French Hill, a former economic advisor in the President George H. W. Bush administration, offered significant insight on the latest results. You can view his interview below.
Over the next two days, Talk Business will explore a variety of different angles from this latest economic data, including commentary and analysis from economists, bankers and economic developers. The Arkansas Consumer Confidence Report is sponsored by Delta Trust & Bank and the Electric Cooperatives of Arkansas.
This poll was conducted by Talk Business Research. The poll, which has a margin of error of +/- 4.1%, was completed using IVR survey technology on Thursday, June 9, 2011 among 554 registered Arkansas voters statewide. All media outlets are welcome to reprint, reproduce, or rebroadcast information from this poll with proper attribution to Talk Business. For interviews, Brock can be reached by e-mail at firstname.lastname@example.com.
Talk Business
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subset: commoncrawl


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On Assignment: Pool Portrait
We were doing a story on her because she will be competing against men in her next event. She's not superhuman - there was just a scheduling mix-up on a race for which she had properly entered and trained before they cancelled the women's event. So it's gonna be her against the guys.
The assignment was in for 2:00 in the afternoon, which is just in time for bad-quality sunlight. Naturally, I grabbed a flash with a light stand and set out to tame it. I am trying something a little different here and just walking you through the process step-by-step, thinking out loud as I go.
I get there traveling very light, as usual. I am carrying one camera with a wide-angle zoom, a flash with an external battery (overkill in this case) and a portable light stand kit.
I meet her at the front door. She's very personable, and I figure it'll be easy to make a nice portrait of her. As always, one of my first conversation points is to find out how much time she has for me. That's always very important when planning what I'll do. And it also shows that I respect her time constraints, which is important to her.
She tells me that a group of athletes are concurrently being shot by another photographer, Nicole Martyn, a young Patuxent Publishing photographer with a very good eye. So I make it a point to keep an eye on how Nicole is photographing the other athletes. You can always learn something.
The fact that the subject is already occupied with another photographer might have irked me 20 years ago, but now I use it as time and space to figure out how I want to shoot her while I wait. I tell her that I'll need 5 mins to find a spot and set up light, and that works out well for the her, too.
So, where to shoot and how to shoot it?
As I said before, the sun is coming in high and hard. So I am looking to (a) get away from it, and/or (b) make it better. (As it turns out, I ended up both - one each in two separate shots.)
I find an alcove by a door to the locker rooms that is in the shade. The pool is in the background, as seen in the top photo. The shady area is about 4 stops below the sunlit pool area, which gives me a good platform from which to add light.
Within about 30 seconds there is an SB-800 up on a stand to camera left, set on 105mm beam spread and 1/4 power manual. This gives me f/16 @ ASA 200 a few feet away at the wall on the right, as measured by my "Flashmeter LH" (left hand.) As always, I fine-tune my flash exposure by shooting my hand in the subject's light and eyeballing the back of the camera.
It's fast and free. The water drops on the front filter (thanks to the wet kid that just ran by me) even show up at f/16. And at f/16 at ASA 200, I have plenty of shutter-speed choice to set the sunlit pool area just as bright or dark as I want via the shutter speed.
I'm about 3 minutes into the assignment at this point, and catch the eye of the triathlete. She pops over for a minute (not even a minute, actually) and the first shot is done.
Here's the set-up. As you can see, I am using a cardboard snoot on the flash to control the light spill. This gives me a little edge to the light, and a photo with nice, sealed edges.
It could hardly be simpler or quicker. The coiled cord thingie hanging down is my SC-17 off-camera TTL cord, which never ever gets used for TTL. Today, it is doubling as a lightstand-hotshoe adapter, as it has a 1/4x20 thread on the bottom. (When I do use it as an O-C cord, it is in the manual mode.)
I ask here if she can meet me on the other side of the pool in 5 mins. Fine. She goes back to re-join the others, who are being shot individually by Nicole.
Five minutes may not seem like much time to plan a shot. But if you are already familiar with your ambient and have your light already set up, it is more than enough time.
A minute later, I am set up by a ladder on the other side of the pool, facing into the high-angle sunlight. It's coming from overhead background camera left.
I decide to shoot her on the pool ladder to get a clean (water) background that the sun can light for me. I can nuke her from the front, and she will not leave a shadow on the background, either. What I now have are two planes. One is flash lit, and one is ambient. And I can control both independently. Lighting with flash against the ambient this way always give you the most control.
I stick the flash at camera right and set it to 1/2 power on manual. I want the ability to really dial down the water while shooting, without having to alter the flash. I can easily do it with shutter speed at this flash level. The snoot is still on the flash, which will keep the chrome rails from throwing an unmanageable highlight back at me.
Three minutes later, she is back and on the ladder.
I sight down the snoot and aim it right toward her face.
"Can you see the flash at the other end of the tube?"
Good. I know that her face will be lit by the snoot's beam. Who needs modeling lights, anyway?
Now, we all have our different ethical compass points - as do our publications. Mine is such that I feel comfy positioning her for a portrait. This photo does not purport to be a hands-off, documentary action shot of her practicing. It's a portrait. I have already altered the scene by merely showing up and talking with her. Ditto for using flash. And that's true whether it was crappy, direct, on-camera flash or something a little higher on the lighting food chain.
So, if you feel differently, then by all means act on it. But just be aware that an extreme aversion to injecting yourself into a scene for something like a portrait can sometimes be a fear of lighting, masked with the indignance of an ultra-hands-off, documentary artiste.
My position is that you have to convey your subjects with integrity, and balance the fly-on-the-wall times with the times that require you to elevate the technical quality of a photo. On a portrait (if they know you are shooting it) you are already a little bit pregnant with respect to controlling the photo. Learn to work along the ethical continuum in a way that is both honest and allows you publication to have strong images.
Sermon's over. Back to the photo.
Here's a trick I use to improve the quality of light from a snoot when shooting someone. Have them turn their body toward the light and look at it with their face, then have them look back at you with their eyes. It'll help the quality of a hard light. And it is a natural task for the subject to perform. Much easier and less cumbersome than trying to nail everything down and then shoot them while they are stiff as a board.
Just do not get the light too far off of the shooting axis, or it starts to get weird.
So, there's snooted, half-power flash firing into the shadow side of the subject, in line with her face. Looks fine, but the exposure is out of whack for both her face and the background.
This is why I have the flash powered up to give myself some leeway. With the camera set at 1/250th, I pop a test photo. Using the TFT screen on the back as a guide, I adjust the aperture until her face looks properly exposed.
With that nailed down, I repeat the process for the background, except I alter that by adjusting the shutter speed. Takes about 15 seconds.
A minute later, we are done. That makes 10 minutes for the whole assignment, with only two or three minutes of the subject's time actually taken up. Why so fast? After all, I could have shot 300 frames and kept her there for 30 minutes.
My reasoning was two-fold. First, I didn't want to monopolize her time and shortchange the other shooter. And second, it is very good practice for those times when you are shooting someone very important (or consumed by their own ego) and they have very little time.
And, as I am both so very important and utterly consumed by my own ego, that's it for me.
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St. Louis County (KSDK) - UPDATE: Emergency crews have cleared the multi-vehicle crash on NB I-270 at Ladue Rd. All lanes are open, but traffic is heavy.
Right now all but one lane of NB I-270 at Ladue are blocked due to a multi-vehicle crash.
Emergency crews have one lane open, but traffic is moving very slowly. The picture is a still picture from the MODOT traffic cam.
NewsChannel 5 will bring you more as it becomes available.
Read or Share this story: http://www.ksdk.com/story/news/1/01/01/update-major-traffic-delay-on-nb-i-270-at-ladue-rd-/3063929/


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Residents share mixed views on housing plans
Posted: September 27, 2012|
PLANS for up to 60 new affordable homes in Porthleven were unveiled amid opposition and claims of a "huge need" for them.
The Rowe family held a consultation event on three different options – for 58, 77 or 101 new homes, 60 per cent of which will be affordable – for their land off Shrubberies Hill.
There are thought to be about 200 people on the housing waiting list in Porthleven.
The Rowes said they were "committed to supporting the local community by providing homes for local people with ... 60 per cent for affordable housing".
Consultant Steve Jolly said a large number of people visited the consultation event, both in favour and against the development.
Brenda Richards, Gloria Orchard, Marilyn Lord and Maureen Sutherland told the West Briton while there they were concerned over issues including the access to the site, possible sewerage problems and whether the affordable homes would be allocated to local people.
Another resident said: "We don't want this because we have enough houses in Porthleven at the moment."
There was also the suggestion some of the properties could become holiday homes.
Highways' consultant Jon Pearson said: "This is what localism is about, giving people the chance to make their point before we submit an application."
Cornwall Council Cabinet member for housing Mark Kaczmarek told the West Briton there was an urgent need for more affordable housing throughout Cornwall, including "a huge need in Porthleven where there is a high number of holiday homes".
If the proposals went ahead, he said he would like to see a high proportion of the affordable homes being for rent, rather than sale.
Feedback from Friday's consultation day will be studied between now and the end of October.
There will also be "continuing discussions" with Cornwall Council and the local community.
A planning application could be submitted as early as November, subject to the review of feedback and subsequent discussions.


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Unfortunately, sexual harassment is still a major problem in the workplace. We have successfully represented clients who have had to endure sexual harassment at the workplace by either a co-worker or management. There are generally two types of sexual harassment: quid pro quo and hostile environment.
Quid pro quo sexual harassment is the most commonly recognized form of sexual harassment. It occurs in when one or both of the following things occur:
- when job benefits, including employment, promotion, salary increases, shift or work assignments, performance expectations and other conditions of employment, are made contingent on the provision of sexual favors, usually to an employer, supervisor or agent of the employer who has the authority to make decisions about employment actions, or
- when the rejection of a sexual advance or request for sexual favors results in a tangible employment detriment, a loss of a job benefit of the kind described above.
The fact that an employee may have given in to those demands does not mean there is not a case. The key is that the sexual advances are unwanted.
Hostile environment sexual harassment occurs when the working environment is made hostile because of its sexual nature. An employee may have a claim for hostile environment sexual harassment if the employee is subject to a pattern of exposure to unwanted sexual behavior from the employee's supervisor or persons other than an employee's direct supervisor where supervisors or managers take no steps to discourage or discontinue such behavior. Such unwanted sexual behavior can include making the working environment is made intolerable by photographs, comments, jokes, or other acts of an offensive sexual nature, including physical touching.
Employees often fear that employers will retaliate against them for complaints of sexual harassment. Both Federal laws and state laws in Kentucky and Indiana protect employees from retaliation with adverse employment action after complaining of sexual harassment. This does not mean that retaliation does not still occur. Any retaliation by your supervisor should also be immediately reported to another member of management.
Sexual harassment and retaliation are serious. No one should have to work in such an environment. If you are being subjected to sexual harassment you need to take the proper action. Contact an employment law attorney at Miller and Falkner to discuss your legal options and take steps to protect yourself from sexual harassment.
- Landmark Suit in Transgender Discrimination Case Against the U.S. Government Late last week, the U.S. Office of Special Counsel found that the Department of the Army engaged in discrimination against a transgender veteran. A
- EEOC Updates Pregnancy Discrimination Guidelines The Federal Government's Equal Employment Opportunity Commission recently updated the enforcement guidelines regarding discrimination against
- Even Teenage Seasonal Employees Can Experience Kentucky Employment Discrimination As schools are letting out for the summer, some high school and college students will turn their attention to earning some cash during their break.


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To accompany our Composing Mass Effect video series, we're presenting written versions of the composer interviews here on Side Mission with much more info than we could fit in each episode. We begin with Jack Wall, the composer responsible for crafting the signature Mass Effect sound, writing much of the music for the first two games. Since his interview is the longest of the bunch, we're saving the second half to coincide with episode 2, but without further delay here's part one of our conversation with Jack.
Jack Wall: I'm a composer for mostly video games. I've done about thirty games in my career since 1996. I've also been the co-creator and music director / conductor for Video Games Live which started in 2005, and I did that through 2010. I worked on games like Jade Empire, Mass Effect 1 and 2, Splinter Cell: Pandora Tomorrow, Rise of the Kasai, Myst III and IV. Things like that.
GT: How did you end up working on Mass Effect? When were you approached?
JW: Back in 2004 and 05, I did Jade Empire for BioWare. Back then they were almost a family business. Ray and Greg were the beneficent heads of the company and everybody knew each other. It was great.
So they asked me to audition for their next game. They had some code name for it, and I didn't even know what it was. They said it was sci-fi. They said, "We want to do something like 80s synthesizer, like Tangerine Dream or Vangelis' score to Blade Runner." I was really intrigued by that because I hadn't done anything like that before. I thought it's like treating the orchestra, but with synthesizers, the way Vangelis did for those early scores. It's such a cool unique sound.
It was really fun because it was an original property, and we got to create the signature for this. That's what we were being asked to do in the audition. So I won the audition, and real quick story – Shauna Perry, who is the person in charge of hiring people: composers, voice over talent, and things. She called me and she said, "I thought you didn't get the gig. We got these CDs with everybody's music on it and everybody's listening blind. Everybody had to give their favorite tracks. So I heard these tracks and they didn't sound like yours at all! So I thought, shoot! It's not going to be Jack. And when we found out it was yours, we were really excited." I was like "Cool."
They flew me up to Edmonton, where they're located, and we sat down to have our initial meeting. We went through the creative direction, where the game was supposed to go, story and things like that. At the very end of that first meeting, they said, "Oh, there's this one other track that was done in the audition that we want to play for you because we really like it." They played it, and it was Sam Hulick's audition piece, but when I heard it, I didn't know it was Sam's, but I heard it, and I was like, "Oh my God, that is so awesome! Why did you hire me to do this?"
They said, "Well you know, we did like your music overall and we have a track record with you and you're more experienced." I guess at the time that would have been Sam's first game. That's sort of the short story of how Sam got involved later on when it got busy. I was like, "We should bring Sam back into this."
That piece by the way is called Uncharted Worlds and that was Sam's audition. I think he did it in about five minutes, but it was just the most enigmatic piece. I think today it's still my favorite piece of all the pieces in Mass Effect. It blows every other one away to me because you hear it and you're in the Mass Effect universe immediately. There's nothing like it. It's just so awesome. We tried to emulate that in various other levels, I think with some success. So that was kind of cool.
GT: What directed that sound moving forward, and what kind of things did you turn to for inspiration or what did you want to avoid?
JW: The whole direction for Mass Effect 1 was ambient synthesizers. Casey Hudson, the director of the game would say, "Imagine that you're in the orchestra with a keyboard synthesizer and it's going through an amplifier and that amplifier is being mic'd and it's got reverb on it and it blends in perfectly with the orchestra."
So his idea was that the synths would be mixed with orchestra, but that it would be heavily synthesizer-based. So Tangerine Dream "Love on a Real Train" that great song when they're making love on the train from Risky Business with Tom Cruise. The music that plays is by Tangerine Dream and it's beautiful. That was a really big reference point for us.
Then Blade Runner, Vangelis's Blade Runner was fantastic. So we wanted to do something like that, but at the same time, we didn't want to sound exactly like that, right? We wanted to modernize all that a bit. It was the 80s synthesizer, but sort of brought into the future. I think the blend that we struck created a real signature sound for the series which I was pretty proud of.
GT: When you're developing specific tracks, whether they're ambient or combat or story, how much do you need from the developers? How much do you get to see when you're in that creative process?
JW: Over the years, it's changed quite a bit. I started in 1996 scoring games, and back then it was like, "Here's some artwork. Write some music that's action-based or ambient or whatever." But flash forward to today, I usually get a video of the gameplay, and I can kind of understand what I'm supposed to do. The hit points are always changing. That's the drag. If I was scoring a film, my life would be easier because all the hit points would be ready to go.
As a matter of fact, the process of composing music for video games is kind of interesting because you spend most of your time writing for the in-game: combat music or explore music or tension music or whatever you need right? Stuff that has to be more interactive, but when you get to the end of the process, suddenly the cinematics department shows up and hands you a giant bucket full of videos to score in like five minutes. But, that's the easiest stuff to score, and that's good that it comes last because you've already established your themes. You can reuse things, but you're really just scoring to picture at that point. Hopefully the timing is locked, so that when you do a big crescendo or whatever, it matches what you see on the screen. So we have to wait till quite a bit down the line to get those assets to score to.
But most of my time is spent trying to imagine from some video what the gameplay experience is going to be like, and that's the real huge difference between Mass Effect 1 and Mass Effect 2. Mass Effect 1 was frustrating because, being the first game of the series, they had schedule issues all the time. They were building the technology for this game. The second one was relatively smoother, I guess, but the first game was a train wreck. Just because that's the way game development is when you're building a new property and you're using the latest technology or the Unreal Engine. A new build comes in for that, and they have to integrate that with their system, and things kept getting pushed and pushed. By the time we were done, it was difficult to implement and integrate the music properly. It was pretty well done, but I thought that it could have been better.
So when Mass Effect 2 came along, and I was the lead composer on that, I said, "Look, let me integrate everything. I'll hire somebody to work with me hand and glove, and we'll integrate it all and hand you finished levels. Then you guys don't have to worry about it, and all the integration's going to be really smooth. Every transition will be really smooth, and it will be my intention." Because half the time I write the stuff and I give it to them and I see it played in the game, and it's like, "That's not what I wrote that piece for!" They'll just cut it up and put it anywhere.
So that had its own bunch of problems because it took us a long time to do that. It gave me a huge appreciation for what the audio people at the developer have to go through, but it was a great learning experience for me to integrate all this music in Mass Effect 2. Plus, I was working with a team of guys. I had to get assets from everybody and then put it in and then test it. It was like two jobs. It was an enormous amount of work beyond just composing the score.
GT: What is it like to find people that match your vision and how do you dole out responsibilities?
JW: A lot of it has to do with how close you are to the composers. For Mass Effect 1, I spent the first six months alone on the project, and then it got kind of crazy. So we brought Sam in, and that created some logistical issues. Instead of Sam and I working directly together or he working with me and there being one voice as the composer, it was like he was talking to them and then I was talking to them. But when we got to the end, there were some big misunderstandings about who was writing what and things like that.
So when it came to Mass Effect 2, I just said, "Look, I really think that I should be the lead composer so that everything's coming through one group of people and we can just give you everything at the same time."
So when I was putting the team together, obviously Sam – I regard Sam as my co-composer on the first two games because he wrote some really great themes. He wrote Uncharted Worlds. He largely wrote the main theme from Mass Effect 1. He came up with that, and then I helped him finish it. Then there was Sovereign's theme which didn't get used a lot, but I was a fan of that. So he wrote some really important themes along with me, and I don't feel like I'm taking anything away from myself when I say that because he's a great composer.
When it came to Mass Effect 2, I looked at the design of the game. Basically, if you had to simplify it, boil it way down, you're going on eight different missions to collect people. Then, when you're done collecting them, you have to do another mission with them to make them loyal to you. So there was an acquisition mission and then there was a loyalty mission. Then all the way through the game, there was the critical path missions which have only to do with the story.
So, there were all these great opportunities to work with other composers on these acquisition levels, where you're going out to get this character or this character. The cool thing about that for the other composers was that I was able to say to them, "It's your level, go with it. I'm not going to write any of the themes in this level. You're going to write everything because I'm going to focus on the critical path which is all the main themes and whatever. But you got Mordin, David you take care of Mordin. Jimmy, you take care of Samara, and Sam, you take care of Legion. They had their whole level to sink their teeth into, and I think it made it more fun for those guys, more rewarding for those guys. That's part of the thing about working on a team. You don't want to be the guy who takes all the credit for what everyone else does. At least, I'm not into that.
I chose Jimmy Hinson. He's really young. He'd never done a game, but his music was fantastic. He kept remixing my music in really creative electronic ways. He literally did an entire album of just my music in like a month, and I thought, "This guy is really good." When Richard Jacques (he was really the last acquisition for me) but Richard Jacques didn't have time to work on Mass Effect 2. So I called Jimmy and had him do it, and he turned out to write some great stuff for Mass Effect 2: Samara, Grunt. He did Grunt. He did a couple other things too, Tali. He had three levels, I think that he worked on. And then David Kates who worked on Mass Effect 1 with me at the end.
When Sam came on with me half-way through the production of Mass Effect 1, he worked maybe for about a month on some stuff that we needed to get done. Then about six more months went by, and I was just toiling away. Then suddenly all the cinematics fell in my lap all at the end. It was forty minutes of cinematics, and we had two weeks to do it. Ok, if you're cooking pretty good, you can write about two minutes a day of really good music. That's really pretty good, right? That's what people can do.
So that would take me a long time to do that by myself, and I can't always make that because you have to do revisions and all this stuff. So taking into account double the time, I said, "I can do it in three weeks, but I need two more guys." So, I had to create a team for the last month of this project and they said OK.
That's when I got Richard Jacques involved, and that's when I got David Kates involved. David Kates is one of my best friends. He lives right down the street from me. So, he's convenient and really talented. Then Richard Jacques was another one who auditioned for the game and they liked his stuff too. So when it came to Mass Effect 2 I tried to get all the same guys, Richard couldn't do it. Jimmy came in to fill Richard's shoes, and that's how we did it.
GT: Talking more specifically about the first Mass Effect, there are times that I feel a dark, almost horror vibe happening. Describe that and where your thoughts were in those pieces.
JW: Well, The Citadel was a really big focus for Mass Effect 1. It was the hub of everything. The Presidium, when you arrive, I wanted to make it this place of wonder and magic, but underneath all that, something isn't quite right. The visual of it was incredible. You get there and you're like, "Oh my God! This is incredible!" It was a beautiful place, but underneath the surface, there's something really, really twisted going on. That's what the whole game was about, trying to uncover some of this mystery.
That's what happens with The Presidium piece, but there's an ethnic, sort of exotic instrument called a duduk that plays and it's dissonant with the harmonic structure of the piece. So it just is a little bit unsettling. Then when you get into The Wards, there's a little more of that in a different kind of way.
The ambient synthesizer signature that's going on throughout all this stuff lends itself to this mechanical nature, all these robots walking around and these different kinds of creatures. It's a melding of different races that have come together in The Citadel to be peaceful and to try to have a galactic civilization. So I tried to reflect that, and it wasn't necessarily meant to be horror, but it should have created some sort of unease underneath the wonder of it all.
Our conversation with Jack Wall will continue alongside episode 2, but come back tomorrow for our full interview with Richard Jacques.


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"Pumped Up Kicks" A Cappella Cover: Surfer Stephen's Viral Video Of The Day
February 23, 2012 11:29 AM
This kid does his version of Foster the People's "Pumped Up Kicks" using nothing but his voice.
Got some spare time on your hands? Why not watch some of Surfer Stephen's previous Viral Videos of the Day?


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Artesunate Plus Sulfadoxine-Pyrimethamine Versus Chloroquine for Vivax Malaria
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- How to Read a Study Record
The purpose of this study was to determine whether the proposed first line treatment for falciparum malaria in this region (sulfadoxine-pyrimethamine + artesunate) would be no worse a treatment for vivax malaria that the standard vivax treatment of chloroquine. In areas where vivax and falciparum malaria co-exist misdiagnosis of vivax malaria as falciparum is not unlikely; it is important to know whether adequate treatment will be received in these cases.
Malaria, Vivax
Drug: Sulfadoxine-pyrimethamine + artesunate
Drug: Chloroquine
Phase 2
|Study Type:
|Study Design:
|Allocation: Randomized
Endpoint Classification: Efficacy Study
Intervention Model: Parallel Assignment
Masking: Double-Blind
Primary Purpose: Treatment
|Official Title:
|A Randomised Non-Inferiority Trial of Sulfadoxine-Pyrimethamine Plus Artesunate Compared to Chloroquine for the Treatment of Vivax Malaria in Eastern Afghanistan.
- Proportion of patients with parasitological cure up to day 28 after treatment (defined as clearance of circulating vivax parasites by day 7 and absence until end of follow-up).
- Parasite and fever clearance times, the proportion of patients free of parasites at 42 days, and the proportion of patients with detectable gametocytes during follow-up.
|Study Start Date:
|March 2004
|Study Completion Date:
|August 2004
In areas co-endemic for falciparum and vivax malaria incorrect differential diagnosis is always a risk. Where the recommended treatment for the two diseases is the same this presents no problem for effective treatment or clinical cure of either species. Chloroquine remains an effective treatment of choice for vivax malaria in most settings, but with the spread of chloroquine-resistant falciparum malaria across Asia, many countries now use artemisinin-based combination therapy for this species of malaria. Differential diagnostic practices, have not improved in parallel. In Afghanistan the adoption of sulfadoxine-pyrimethamine plus artesunate (SP+AS) as first-line falciparum treatment raises the prospect of a significant proportion of vivax malaria being misdiagnosed and treated with the combination. SP is considered to have limited efficacy against vivax malaria and the efficacy of SP+AS against vivax has not been established in areas that have made the switch. A randomized, non-inferiority trial comparing SP+AS (1 day SP, 3 days AS) to chloroquine monotherapy was undertaken on 190 vivax patients in Eastern Afghanistan. A margin of equivalence of 14%, with 90% power and 95% CI (two-sided α = 0.05) was used. Standard WHO procedures for in vivo evaluation of antimalarial drugs were followed. 180 individuals completed the trial to day 42. The primary outcome was proportion of patients free from failure at day 28. Using a per protocol analysis both regimens resulted in ≥96% treatment success at 28 days, but significantly more cases failed in the CQ arm (46%) than in the SP+AS arm (24%) by day 42. Based on predetermined statistical criteria SP+AS was shown to be non-inferior to the standard chloroquine treatment. In areas where vivax infections might be misdiagnosed as falciparum infections and treated with SP+AS, patient management would be as good or better than with the standard CQ treatment.
|Ages Eligible for Study:
|2 Years and older
|Genders Eligible for Study:
|Accepts Healthy Volunteers:
Inclusion Criteria:
- microscopy confirmed P. vivax mono-infection
- age >2 years
- weight >5kg
- >1 asexual parasite per 10 fields
Exclusion Criteria:
- pregnant
- evidence of concomitant infection or serious disease
- recent use of antimalarial drugs
- severe malaria
- known allergy to study drugs
Please refer to this study by its ClinicalTrials.gov identifier: NCT00486694
|Principal Investigator:
|Mark W Rowland, PhD
|London School of Hygiene and Tropical Medicine
No publications provided by London School of Hygiene and Tropical Medicine
Additional publications automatically indexed to this study by ClinicalTrials.gov Identifier (NCT Number):
|ClinicalTrials.gov Identifier:
|NCT00486694 History of Changes
|Other Study ID Numbers:
|Study First Received:
|June 13, 2007
|Last Updated:
|June 13, 2007
|Health Authority:
|United Kingdom: Research Ethics Committee
Keywords provided by London School of Hygiene and Tropical Medicine:
Malaria, vivax
drug resistance
Additional relevant MeSH terms:
Malaria, Vivax
Parasitic Diseases
Protozoan Infections
Chloroquine diphosphate
Fanasil, pyrimethamine drug combination
Analgesics, Non-Narcotic
Anti-Infective Agents
Anti-Infective Agents, Urinary
Anti-Inflammatory Agents
Anti-Inflammatory Agents, Non-Steroidal
Antinematodal Agents
Antiparasitic Agents
Antiprotozoal Agents
Antirheumatic Agents
Central Nervous System Agents
Enzyme Inhibitors
Folic Acid Antagonists
Molecular Mechanisms of Pharmacological Action
Peripheral Nervous System Agents
Pharmacologic Actions
ClinicalTrials.gov processed this record on October 09, 2015


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Best Liquor Store Orange County 2008 - Hi-Time Wine Cellar
250 Ogle St.
Costa Mesa, CA 92627
Confession: We don't really know much about liquor. We just know we like it. So if you've got a good dinner going on, or a certain drink you'd like to attempt to make, plan on making a trip to Hi-Time. No snooty clerks here—only a friendly, knowledgeable staff await. The sheer size of the place is impressive, with a huge walk-in refrigerator filled with all sorts of delicious beers with funny names you've never heard of, plus aisles and aisles of liquor and wine you have and haven't heard of in your life. A decent cheese, cracker and spread selection is also available, and Hi-Time even hosts private tastings. It's the kind of place you walk into for a bottle of Maker's and walk out with more booze than you'll ever know what to do with. Oh, wait, yes, you will: You'll drink it!


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For twenty six years now, the Pet Shop Boys have been releasing impeccably crafted singles and albums. The English duo of Neil Tennant and Chris Lowe continue to remain vital and creative, having just released their second double disc collection of B-sides while simultaneously continuing to work on their eleventh studio album. Beyond being prolific and critically acclaimed artists, the Pet Shop Boys are worshipped by their devoted fans who eagerly discuss and dissect every song, lyric, note, performance, and image.
While The Pets appeal worldwide to music lovers of all persuasions, in the United States they are mostly perceived to be a cult act who's audience consists primarily of gay men. Their preferred musical genre is electronic dance pop; in fact, Tennant and Lowe have previously expressed strong anti-"rockist" sentiments. Lampooning Bono is easy enough, but the Pet Shop Boys aren't that obvious. Who better to marry U2′s "Where the Streets Have No Name" with the Four Season's "Can't Take My Eyes Off You," set it to a pulsing disco beat, and debut it during one of the most theatrical stage productions pop music had ever seen (1991′s Performance tour)? It was thrilling and glorious.
The Pet Shop Boys have addressed gay issues in their lyrics ("To Speak Is a Sin," "Can You Forgive Her?," among many) and penned the most poignant and gorgeous AIDS elegy ever with "Being Boring." They turned a forgotten Village People track ("Go West") into something universally revered equally as soccer stadium chant and gay liberation anthem. They combined "Che Guevara and Debussy to a disco beat." Their songs are iconic, and to employ an overused superlative, they are pop geniuses.
Speaking personally, I first learned of the Pet Shop Boys when I saw that indelible, murky video for "West End Girls" on local Boston music cable network V66, and was intrigued enough to seek out the single. Debut album Please lured me in, and I've been hooked for life. Every new Pet Shop Boys release has been a cause for celebration, and their occasional tours bring out the petheads to gather in mass revelry. Needless to say, I am beyond thrilled to pay tribute to these pop icons at the next Fur & Gold.


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Artist Jack Kamen Matt Baker/ Various Artists
Available series in store category "Comic books"
Matt Baker in the
"Matthew Baker is best known for his romance and "good girl" comics. He is considered a master in drawing the female form. Baker started his career in 1944 working for Fox, Fiction House ('Tiger Girl' and 'Sky Girl') and Atlas. He is mostly remembered for his work on the 'Phantom Lady'..." [ Read more ]


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Women & Psoriasis
Diet & Psoriasis
Women & Psoriatic Arthritis
Info Kit
Eight scientists studying psoriasis and psoriatic arthritis each received a one-year, $50,000 Discovery Grant from the National Psoriasis Foundation for early-stage research that aims to advance treatments for these diseases. The grants are also intended to help initiate research for additional long-term funding from the National Institutes of Health and other agencies.
Six scientists on the forefront of psoriatic disease research each received a two-year, $200,000 Translational Research Grant from the National Psoriasis Foundation. The grants, totaling $1.2 million, support projects that move laboratory or clinical discoveries into work that benefits patients.
Twelve early-career doctors each received a one-year, $40,000 medical research fellowship from the National Psoriasis Foundation (NPF) to study psoriasis and psoriatic arthritis. The research fellowships are designed to increase the number of physician researchers investigating psoriatic diseases—leading to more discoveries, better treatments and, ultimately, a cure.
Get the latest research news and tips to control your psoriasis and psoriatic arthritis.


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A Florida federal court has dismissed a class action alleging that the Securities and Exchange Commission was negligent for failing to report that Robert Allen Stanford's $7 billion fund was a Ponzi scheme, finding the Misrepresentation Exception to the Federal Tort Claims Act (FTCA) shielded the SEC. The Misrepresentation Exception bars claims against the United States arising from alleged misrepresentation or deceit and protects the United States from tort liability for pecuniary injuries attributable to reliance on the government's negligent misstatements.
Plaintiffs asserted that the SEC, after several investigations in 1997 and 2004, concluded the Stanford Group was a Ponzi scheme but failed to report those findings to the Securities Investor Protection Corporation (SIPC). Plaintiffs sought to hold the SEC liable for its losses on the basis that the SEC is responsible for reporting the findings of its investigations to regulatory and consumer protection agencies and that their losses would have been avoidable if the SEC had reported its findings to SIPC.
The US District Court for the Southern District of Florida found that plaintiffs failed to "maneuver" their claims outside of the Misrepresentation Exception because they based their cause of action on the assertion that the SEC failed to communicate information about the Stanford Group. The court reasoned that plaintiffs "cannot disguise the essence of their negligent misrepresentation claim by repackaging the SEC's alleged negligence from having failed to 'notify' or 'report'…to having failed to send the required notification.…" Accordingly, it concluded that the plaintiffs' cause of action is a "classic claim for misrepresentation" and thus falls within the Misrepresentation Exception.
Zelaya et al. v. U.S., case number 0:11-cv-62644 (S.D. Fla. August 12, 2013).
See more
DISCLAIMER: Because of the generality of this update, the information provided herein may not be applicable in all situations and should not be acted upon without specific legal advice based on particular situations.
© Katten Muchin Rosenman LLP
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text:
upgradeing from backup 12.5 exec to 2010
Hey everyone
I am upgrade my tape libary hardware. As well as our server. Since we are doing this we would like to upgrade the backup software at the same time
anyone have some good docs or suggestions for this upgrade 12.5 sp4 to backup 2010 ?
Comments 17 Comments • Jump to latest comment
If you are planning to upgrade on same server from BE 12.5 to 2010 just have to install BE 2010 & will be inplace upgrade so is that simple
But if you want to upgrade like in this situation were you one server A is with BE 12.5 & server B is with BE 2010 then please follow the procedure below
If this information helps you, please mark it as solution.
Thank You.
Since you are upgrading your hardware i would suggest you to check the hardware compatibility list of
BE2010 R2 before proceeding with the upgrade of BE.
ok for this part. getting the jobs over but the other prat of my problem is that we are changing the autoloader as well and are keeping the old system around for the restore of our systems if needed.
SO this is a clean and new install I really just want to keep the jobs not the catalog and the hardware media from the old server what do i do to make that happen.
As said, that if you are upgrading from BE 12..5 to BE 2010 on the same server then just run the installer and it will upgrade. This will also upgrade the Catalog folder and the Catalog from the previous installation will be available in the BE 2010 too.
In case if you do not want the Catalog of old data in new BE 2010 then after the upgrade you can just delete the CATALOGS folder from C:\Program Files\Symantec\Backup Exec (this is the default path if you have not changed it). Then you need to restart all Backup Exec services so that a new blank Catalog folder will be generated.
NOTE: By deleting the Catalog folder you will not be able to see old data for the restore. If you want to restore old data then you will again have to Catalog the old tape after which the data from the tape will be seen in the restore
Also for the hardware part, after you attach the new hardware and Inventory the tapes inside it, new hardware information wil be available in Backup Exec 2010. No need to worry about old hardware here.
Do check the Hardware compatibility List to know which hardware are supported.
Now incase if you are migrating from BE 12.5 to BE 2010 from one server to another then in that case there is no need to copy the CATLOGS folder from old server to new server.
Hope this piece of Information Helps you... and if it does then mark this response as Solution....!!!
server A running 12.5 connected to a del tape lib and jobs.
Server B running 2010 connected to a hp 1/8 autoloader.
I want to simply bring the jobs over so i dotn need to rescript them.
I tried the copy solution you mentioned in the other artical however i dont have the option to copy to another media server only itself.
Also once i copy the jobs will they need to be edited in anyway to point to the new media ?
thanks in advance Sush!
I followed this doc minus the catalog or tech50537
cause i dobnt need the catalog so basickly i did the steps 1 through 10 minus the step 9.
once this is done i am unable to start many of the services ....
You need to follow step#9 if the new server has a different name.
renameing occurs at step 8.
Step 9 seems to be about brining over the sql DB from the old server for the catalogs but I dont need the catalogs on my new server as i am using complety new hardware and software and the step 9 says to only do that if both servers are on the same OS which they are not.
old server is 2003 and new server is 2008.
Step#9 is to migrate the database which has your jobs and settings. Catalogs are not part of the database.
So you need to follow Step 9 to migrate the database.
Which service is not starting and what is the error message in the event viewer.
Just to confirm you are following article http://www.symantec.com/docs/TECH67296
In the above article step# 8 is update the new server name in the old database and step#9 is
to migrate the database.
Referring to the technote " http://www.symantec.com/docs/TECH67296 ",
STEp 8 is required as you have changed Backup Exec installation from one server to another. So to change the name of Data Partition in the Database step 8 is performed.
STEP 9 is also require because you are changing the database from one version of BE to another. So to upgrade the DB from BE 12.5 to BE 2010 step 9 will have to be performed.
Hope this piece of Information Helps you... and if it does then mark this response as Solution....!!!
Ok so
so far I did steps TECH67296
AS well as TECH50537
And TECH49757
I cant get the software servers to load the services that will not start are
Processing services
Starting Backup Exec Server on 0MON-BKP-00.
Error starting the service Backup Exec Server on 0MON-BKP-00. Error code returned:
Starting Backup Exec Job Engine on 0MON-BKP-00.
Error starting the service Backup Exec Job Engine on 0MON-BKP-00.
The dependency service or group failed to start.
Starting Backup Exec Agent Browser on 0MON-BKP-00.
Error starting the service Backup Exec Agent Browser on 0MON-BKP-00.
The dependency service or group failed to start.
old server windows 2003 new server windows 2008.
12.5 to 2010 r2
The Backup Exec Server Service detected a schema version mismatch.
For more information, click the following link:
The Backup Exec Server Service did not start. An internal error (-536813108) occurred in object 1.
For more information, click the following link:
I guess you have missed a step a tep thats the reason the services are not starting.
Start allover again and follow each and every step mentioned in the article.
Follow the steps given below:
1) Stop all Backup Exec services and also SQL Server (BKUPEXEC) service
2) Go to C:\Program Files\Symantec\Backup Exec..... (this is the default location if you have not changed the installation path)
3) Copy the DATA folder to Desktop
4) Started SQL Server (BKUPEXEC) service only
5) Go to C:\Program Files\Symantec\Backup Exec
6) Run BeUtility.exe file.... click OK on the warning message
7) Select All Media Servers and right click on your media servername on the right side pane
8) Select the option COPY DATABASE..... this will open a small window with 2 Browse buttons
9) Click on the first BROWSE button and browse to the DATA folder saved on the Desktop
10) Select the BEDB_DAT.MDF file from this DATA folder which is saved on the Desktop
11) Now same way click on the second BROWSE button and select the BEDB_LOG.LDF file from the same DATA folder from desktop
12) After path for both the files are given on the Copy Database window ... CLick OK
13) Click OK or Yes if there is any message that Services needs to be restarted
14) Let the Copy database process be completed sucessfully
Now check if all the services are started and try to login into Backup Exec.
Hope this piece of Information Helps you... and if it does then mark this response as Solution....!!!


text:
Gadget Review: R/C Alien Microfly UFO
6 Comments to Gadget Review: R/C Alien Microfly UFO
Yeah….me need new propellor also.
Hi Heavy cheavy,
Where did you find it for $12.99?
An one know if I can get a replacement propellor anywhere? My 7 year old loves this but I can't afford to buy new ones.
Thanks, Mary
I just bought one of these and I love it.
It's the perfect balance of silly, functional, and sturdy.
Well…except for the controller.
Last night it broke in the most perfect way when the return spring on the throttle snapped.
NOW I can set the throttle and my flier will stay in a stable hover!
If you have the five minutes of experience it takes to be a pro, consider this as a modification.
nice stuff
Great toy for the price. After just a few tries I was able to keep it in the air
and really enjoy this toy.
I was thinking about getting one of these as they are on sale for $12.99 but not being able to control left and right seems like a crap deal and a useless toy!!
So you hover it up and down it will go left and right as it pleases? Seems like a real sort of 'first generation' kind of thing……….


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- Northern New York Newspapers
- Watertown
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Bradleys Service and Little Dirty Gringo posted wins in recent Kiwanis Youth Soccer action.
Bradleys 3, Peters Beauty Salon1: Samara LaFlair scored twice with Noah Malette getting an assist and Sierra LaFlair connected from Destiny Nugent for Bradleys. Olivia Roberts scored from Lynee Lesperance and Sam Duprey for Peters Beauty.
Little Dirty Gringo over DeFelsko: A pair of goals from Chad Bruyere and Camden Griffith and a singleton from Laughlin ODonnell lifted Little Dirty Gringo.
Drew Blevins, Addison Gravelin and Gwen Thomas were all cited for great hustle.
For DeFelskos, Landon Marcellus, Richard Bedford, and Owen Sias each scored withe Madelyn Dickinson and Audrey Harradine working hard in net.
Thousands of readers like you have made Northern New York Newspapers the number one ranked website* for local news and sports coverage in the north country.
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Click on a thumbnail to go to Google Books.
L.A. Confidential (original 1990; edition 1997)
by James Ellroy
Work details
L. A. confidential by James Ellroy (1990)
Top Five Books of 2014 (706)
1990s (40)
» 6 more
No current Talk conversations about this book.
(Creo que James Ellroy odia al genero masculino )
Me hizo acordar a esas historias antiguas de detectives . LOs hombres duros y las "muñecas" ; todo es corrupto , todo es maligno y el super macho va en camino a salvar a su Peggy , Jenny o Mary . Ja! ELlroy lo adapta bastante bien .
AHora puedo ver la pelicula !
It took me a while to dip into the story because of the concise and strong spelling style which was switching from one event to the next one. Once, I became accustomed to it I wasn't able to put it away. What made me most impressed was the unimaginable corruption within the police department and the politic. The gangster had more or less free hand to deal with drugs, prostitution and blackmail and some of the police officers were playing alongside with them. There were only two police officers who tried to solve this state. They couldn't have been more opposed characters and through the most part of the story I've got the feeling that they were trying very hard to put each other obstacles in the way.
The story is very gripping and praise of James Ellroy's spelling style and historical knowledge a must-read.
This is a terrific police mystery, filled with suspense and continued action. This is the best of the three I have read of Ellroy's LA Quartet.
I'm looking forward to watch the movie, so I wanted to get done with the book first.
Gave it 60 pages; I'm sure it's not bad and maybe it's just me at the moment, but the style keeps me trailing off of the page after every second sentence, and there are so many names and characters thrown at you, that I don't have the endurance to read it right now.
Will move on to the movie, and keep the book, maybe for later years.
The third book in the L.A. Quartet, L.A. Confidential, has been hailed by critics as one of seminal works of neo-noir. Published in 1990, it was Ellroy's coming out party as a force to be reckoned with in the genre and the dawn of a new generation in crime fiction. Why? Because it's that freaking good. It's also because, at the time it was published, no one had ever written a book quite like it. The style is dense and clipped with abbreviated sentences trimmed down to only the essential elements, and the language is short and sweet, often culled from police, criminal, and 1950s pop vernacular. What results is a reading experience that feels a lot like picking through shattered glass. It's a slow and painstaking process, trying to absorb every bit of meaning while not cutting yourself on the jagged edges.
His "kick you in the nards" style came into being when writing the novel White Jazz. The first manuscript he turned into his editor was a whopping 900 pages, and they asked him to trim it down to 350. He refused to remove scenes or subplots and instead trimmed it by distilling the words into their barest form (and simultaneously gave the finger to all those grammar Nazis that run high-school English classes). What resulted became Ellroy's signature style. Here's an example from the text:
"Dusk, Chermoya Avenue: Hollywood, a block off Franklin. 5261: a Tudor four-flat, two pads upstairs, two down. The lights—probably too late to glom "Chester" the day man. Jack rang the B buzzer—no response. An ear to the door, a listen—no sounds, period. In with the key."
See what I mean about "dense"? A 400 page book written by Ellroy contains as much story as a 1000 page book from any other writer. There's so much narrative in there, it's hard to keep it all straight. L. A. Confidential was my fifth Ellroy book (prior to that it was Brown's Requiem, The Black Dahlia, Destination: Morgue!, and Blood's a Rover, if anyone out there is keeping score), and I have to say, I'm glad I didn't try to tackle it right out the gate. It's not an easy read, and anyone thinking of reading it would benefit from a little warming up before inviting Ellroy to pound their brains raw.
There are three narrative streams in the book, each one following a different character in the Los Angeles police department. First is Ed Exley, a young war hero, college boy, and coward hell bent on moving up the ranks of the LAPD and living up to his daddy's as a police officer. Then there's Wendel "Bud" White, a dumb bruiser with a penchant for "excessive force," especially when exercised against wife beaters and child abusers. And finally there's "Trashcan" Jack Vincennes. He works as an official advisor on the fictional TV series Badge of Honor (a.k.a. Dragnet, if anyone out there remembers that bit of La-La-Wood gold) and rousts celebrity drug users for the scandal rag, Hush-Hush. In other words, he's totally bent. All are deeply flawed characters, but in different ways. The novel takes place over several years, with excerpts from local newspapers and police reports filling in the blanks between the passage of years.
All three characters are in some way involved with several key events in the story. It starts off with "Bloody Christmas," a vicious beating perpetrated by dozens of officers upon four young Hispanics. The three officers' actions during and subsequent to this event form the framework for their relationships (or lack thereof) with one another, and set in motion many of the other events in novel. A couple years later, six people are shot-gunned into oblivion in an all-night diner called the Nite Owl. All the men three all have a hand in the arrest and slaying of three negro youths accused of the crime, the cover-up of which becomes vital to unraveling the central mystery. But in addition to that, there are a ton of other subplots that weave their way into the narrative—a decades old serial murder, gruesome porn magazines, hookers cut to look like movie stars, stolen heroin, murdered prostitutes, the Badge of Honor TV show, a millionaire chemist, the Hush-Hush gossip rag, police corruption, organized crime, and gangland murder. I could go on, but there isn't any point, really. Explaining the plot in detail won't help you understand it any better. If anything, it'll just make you even more confused. Suffice to say that there's a lot of shit. But that was probably the thing that amazed me the most about this novel—that Ellroy could spin a story with so many subplots and characters and thematic elements and still be able to tie them all together at the end. That alone takes a special kind of brilliance.
Another spot of brilliance (hell, what am I talking about? The whole damn thing is brilliant) is Ellroy's re-imagined version of L.A. Underneath the veneer of glitz and wealth and suburban bliss lies a malignant and festering sore. What makes it different than the real L.A., you ask? It's because Ellroy takes all that corruption and depravity and kicks it up to eleven. A musician doesn't just get high on dope. He gets high on dope and screws dogs and rapes underage hookers. A man isn't just a wife-beater. He beats his wife to death while his young son watches and then leaves the kid to die chained up in the kitchen. A serial killer doesn't just target young kids. He targets young kids, chops up their bodies, and sews them together to make a Frankenstein Pinocchio. The violence, perversion, and decay of Ellroy's L.A. is a caricature of the real thing, amped up on steroids and blasted in your face out of a fire hose. He wants you to be shocked. He wants you to be disgusted. We've been desensitized by sensational media and gruesome crimes, and exaggerating the moral decrepitude is Ellroy's way of grabbing you by the shoulders and shaking you awake. Because of that, L. A. Confidential isn't going to appeal to everyone.
But it's not all death and depravity. There's a note of redemption, too, the idea that bad men can overcome their flaws and administer absolute justice—no matter how ugly the outcome might be. The coward can be brave, the bent can be straight, the thuggish can be heroic—but only through commonality and dependence upon their fellow man. Throughout the book, each of the characters attempts to solve the same problem by attacking it by themselves from different angles. Proving true the old adage that "the whole is greater than the sum of its parts," they're only able to surpass their own flaws and administer justice by working together and forgetting past wrongs. There's a larger message in there about the human condition, but instead of waxing sappy (or sappier than I have already), I'm going to let you figure it out on your own.
Like I said before, L. A. Confidential isn't an easy read. The writing style takes some getting used to, and the subject matter is uncomfortable at times. But at the same time, I can't encourage you enough to pick it up and give it a try. Even if you don't usually like crime or mystery fiction, I have a feeling you'll enjoy it. So long as you're not easily offended, of course. Or a child--definitely not a book to let your kids get ahold of. Anyway, the point is that it's not just a good mystery. It's good literature.
And if you've seen the movie and you're worried the book will be a bore because you know everything that's going to happen, then don't. The second half of the book is totally different from movie. I mean, it'd have to be. If they put everything in the movie the way it was in the book, that sucker would be twelve hours long.
Is contained in
L.A. Quartet (The black dahlia; The big nowhere; L.A. confidential; White jazz) by James Ellroy
The Dudley Smith Trio: "Big Nowhere", "L.A. Confidential", "White Jazz" by James Ellroy
Has the adaptation
Is abridged in
References to this work on external resources.
Wikipedia in English (1)
Amazon.com Amazon.com Review (ISBN 0446674249, Paperback)James Ellroy's L.A. Confidential is film-noir crime fiction akin to Chinatown, Hollywood Babylon, Raymond Chandler, Dashiell Hammett, and Jim Thompson. It's about three tortured souls in the 1950s L.A.P.D.: Ed Exley, the clean-cut cop who lives shivering in the shadow of his dad, a legendary cop in the same department; Jack Vincennes, a cop who advises a Police Squad- like TV show and busts movie stars for payoffs from sleazy Hush-Hush magazine; and Bud White, a detective haunted by the sight of his dad murdering his mom.
Ellroy himself was traumatized as a boy by his party-animal mother's murder. (See his memoir My Dark Places for the whole sordid story.) So it is clear that Bud is partly autobiographical. But Exley, whose shiny reputation conceals a dark secret, and Vincennes, who goes showbiz with a vengeance, reflect parts of Ellroy, too.
L.A. Confidential holds enough plots for two or three books: the cops chase stolen gangland heroin through a landscape littered with not-always-innocent corpses while succumbing to sexy sirens who have been surgically resculpted to resemble movie stars; a vile developer--based (unfairly) on Walt Disney-- schemes to make big bucks off Moochie Mouse; and the cops compete with the crooks to see who can be more corrupt and violent. Ellroy's hardboiled prose is so compressed that some of his rat-a-tat paragraphs are hard to follow. You have to read with attention as intense as his—and that is very intense indeed. But he richly rewards the effort. He may not be as deep and literary as Chandler, but he belongs on the same top-level shelf.
(retrieved from Amazon Thu, 12 Mar 2015 18:01:19 -0400)
Three troubled cops-- Ed Exley, desperately seeking glory; vengeful Bud White, a witness to his mother's murder by his father; and Jack Vincennes, a shakedown artist with a dark secret-- tread a fine line between right and wrong in 1950s Los Angeles.
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The MLB All-Star Game And The Sluggish Economy: Do Cities Benefit From Hosting?
July 13, 2011
Last night, the National League defeated the American League 5-1 in the eighty-second MLB All-Star Game, posting its second consecutive victory after more than a decade of losses to the AL. Last night's game took place at Chase Field, the home of the Arizona Diamondbacks. (For those of you questioning the wisdom of holding the All-Star Game in Phoenix at this time of year, remember that the field has a retractable roof and massive cooling system, which lowered the game-time temperature to a pleasant 72 degrees.) But what did the event mean for Phoenix?
Why The Big Budget Deal Won't Happen
July 08, 2011
Because conservatives won't go for it: Mr. Obama, seated between Mr. Boehner and the Senate majority leader, Harry Reid of Nevada, told the lawmakers he would not sign an interim deal, only one that extended through the 2012 election. Then he surveyed the eight leaders about their preference for three deals of different sizes — the largest being up to $4 trillion in deficit reduction over the next decade, according to aides briefed on the discussion. Six of the eight expressed their support for the biggest deal, the aides said.
Why I Miss Sandra Day O'Connor
July 01, 2011
The Supreme Court term that ended this week would have looked very different if Justice Sandra Day O'Connor were still on the bench. Twenty percent of the cases were decided by a 5-4 vote, and, in many of those cases, Justice O'Connor would have voted to swing the result the other way. In two interviews this week at the Aspen Ideas Festival, O'Connor, a former Arizona state legislator, suggested to me that she disagreed with the 5-4 decision striking down Arizona's public campaign financing system. She worried that it might call other public financing schemes into question.
The Arizona Campaign Finance Law: The Surprisingly Good News in the Supreme Court's New Decision
June 27, 2011
Campaign finance laws have now gone 0 for 5 in the Roberts Court. Monday's Supreme Court decision striking down the matching funds portion of Arizona's voluntary public financing law—which provided extra public financing for candidates facing free-spending opponents or major outside spending—was no surprise. Indeed, I predicted laws like Arizona's were doomed back in 2008, on the day the Court struck down a portion of the McCain-Feingold law which raised contribution limits for candidates facing millionaire opponents.
What The Norquist Rebellion Means
June 15, 2011
Kevin Drum thinks the defection of 34 Republican Senators from the Norquist line doesn't matter much: [M]aybe this is more of a good old sectional fight than a real schism on the proper interpretation of Norquist's anti-tax pledge. We'll see. The theory here is that having once voted to end a tax expenditure (the ethanol subsidy), Republicans will now be more willing to defy Norquist and vote to end other, bigger tax expenditures (mortgage interest, employer healthcare contributions). I have my doubts about that. Sen.
The Arizona Wallow Wildfire: A Sign of Climate Change to Come?
June 14, 2011
The Wallow wildfire is still raging after more than two weeks, today becoming the largest wildfire in Arizona history. The Wallow wildfire has already burned over 733 square miles, but as of yesterday, only 18 percent had been contained, with more than 4,000 firefighters working to put it out. The monster fire has some people wondering—does climate change mean there will be more fires like this in the future? Probably, scientists say. A study by A.L. Westerling and H.G. Hidalgo called "Warming and Earlier Spring Increase Western U.S.
Sarah Palin: She's Just Like Us!
June 03, 2011
Despite the fact that she no longer holds office, has not clarified her political intentions, and seems intent, mainly, on making money, Sarah Palin coverage show no signs of letting up. Her recently launched bus tour—for the all-important purpose, as she has stated, of inviting "more people to be interested in all that is good about America"—is no exception. As we parse the constant updates from Palin's not-a-presidential campaign, let's take a look at previously issued breaking news on our favorite obsession. Sarah Palin rides a bike.
Caught Green-Handed
May 19, 2011
A few years ago, four of the current Republican presidential candidates—Mitt Romney, Tim Pawlenty, Newt Gingrich, and Jon Huntsman—all supported a cap-and-trade approach to cutting greenhouse-gas emissions. In the years since, however, conservatives have made "cap-and-trade" a dirty word, and climate denialism is now de rigueur on the right.
The Court of Celebrity
May 05, 2011
Justices and Journalists: The U.S. Supreme Court and the Media By Richard Davis (Cambridge University Press, 241 pp., $28.99) The way in which every person, every institution, relates to people is essentially, though often unconsciously, theatrical. We are experts in self-presentation, in acting a part to further our aims and interests. We have, all of us, a public relations strategy. This is true of the Supreme Court, too, and of the individual Supreme Court justices.
Could State Immigration Laws Spur Washington Action?
April 12, 2011
It may take years to sort out the constitutionality of the Arizona law that, among other provisions, would have required police to check an individual's immigration status while enforcing other laws and during routine stops. But today's ruling by the 9th Circuit U.S. Court of Appeals continues to block the most controversial provisions from taking effect. The Arizona law, passed nearly one year ago, was initially stayed in July of 2010 by U.S. District Judge Susan R.


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South African Airways (SAA) scored a notable double success at the 2012 World Airline Awards, with air travellers voting SAA as the Best Airline in Africa, and winner of the title for Best Airline Staff Service in Africa.
The Best Airline in Africa award is the tenth in a row for SAA whilst the Best Staff Service in Africa award is the third in succession for the airline.
The awards, by SKYTRAX, were announced today at the Farnborough International Airshow currently underway in the UK.
The SKYTRAX awards are based on customer responses to a survey which is run over a period of 10 months. This year, 18 million businesses and leisure air travellers from 100 countries were polled.
The survey measured passenger satisfaction across 40 key performance and service indicators including the airport and on-board environments.
South African Airways, www.flysaa.com


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Prevent autodial with No Call patches 4
This tip is only for webOS phones running webOS 2.1 and higher
Whenever you tap a phone number within webOS, be it from a contact record, a missed call notification or the call log, the phone app will automatically load up and dial that number for you. While this may be a convenient feature to quickly dial that number, it can also lead to some accidental (and potentially awkward) situations for when you didn't intent to call that person. Luckily, homebrew developer Herrie has created a trio of patches that will interrupt this process and instead of actually dialing the number, it will just prefill the number into the dialer. You will still need to press the big dial button in the Phone app to initiate the call, and you can even edit the number before calling if you need to.
Just install any or all of the "No AutoDial from Contacts", "No Missed Call Callback" or "No Autodial from Call Log" patches from Preware or webOS Quick Install and you should be good to go. Just remember that any time you try to dial a number, even if it's from a Just Type search or by using speed dial, you will still need to press that call button. That extra step takes some getting used to, as you will find yourself immediately putting the phone up to your ear after tapping a phone number and realize that your ear or cheek has continued to dial additional numbers.
4 Comments
I wish that I had this a few weeks ago!! GRRRRRRR THANKS!!
well, these patches have been around for months...you need to check preware more often! :-)
I once had them installed as well until I noticed that I could no longer initiate a call from my car's bluetooth interface because the phone only pre-filled the phone number into the phone application but did not do the actual dialing. Removing the patches made bluetooth dialing from the car working again. Otherwise a very helpful patch, I just can't use it because of that.


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Email and Attachments
Asked on Feb 12, 2013 - 19:54 UTC
I'm thinking of purchasing the premium version and would like to know whether with the ability to send from email to todoist, the email attachments are also sent along as well.
All responses
Replied on Feb 12, 2013 - 20:03 UTC
Hello Michael,
Unfortunately, if you send an email to your Todoist Project, the attachment will not be uploaded. You may upload files manually to task notes, though.
We will consider adding this option in the future and you're welcome to vote for this request in our Votebox: http://todoist.com/Vote/showProposal/108/
Best regards,


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Rating: 3.82 stars 28 reviews
Issues: Health, Human Services
Location: 1715 Yankee Doodle Road Suite 301 Eagan MN 55121 USA
Results: Since 1997, there have been 21.7 million people who registered with CaringBridge and more than 530,000 sites created.
Target demographics: CaringBridge is dedicated to providing a space for people to rally their community of support during a health event. The CaringBridge community is made up of patients, authors, visitors and/or donors, communicating with friends and family during a loved one's health event.
Direct beneficiaries per year: In 2014, 72,000 sites were created with 35 million people visiting CaringBridge to support their family and friends during a health journey.
Geographic areas served: CaringBridge serves people in all 50 states and more than 236 countries and territories around the world.
Programs: CaringBridge offers safe, private, ad-free websites where you can post health updates during any type of health event as well as organize help for a family in need. Friends and family visit your site to stay informed, leave supportive messages and sign up to lend a hand (meals, rides, caretaking, etc.). CaringBridge services are available to anyone, anywhere, at no cost. These free services are made possible by the generosity of donors and the support of volunteers within the CaringBridge community.
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Nancy Kathleen Smith
GERMANY - Nancy Kathleen Smith, 72, of Germany and formerly of Pawtucket, passed away February 24, 2013 in Germany.
Born in Pawtucket, she was the daughter of the late William Collins and Katherine (Leonard) O'Neill. Nancy was an educator of elementary school children for the Department of Defense for the last twenty years in Germany. Prior to that she was a school teacher at Our Lady of Mount Carmel in Bristol.
Gail M. DeCarlo
PAWTUCKET - Gail M. (Lemieux) DeCarlo, 57, passed away unexpectedly at home on Saturday, March 2, 2013.
She was the beloved daughter of Ida B. (Costa) and Albert E. Cartwright of Pawtucket and the beloved daughter of the late Donald Lemieux. Gail was an avid reader and enjoyed completing puzzles; going to the beach and eating Chinese Food.
Helen Regan
PAWTUCKET - Regan, Helen, 92, of Pawtucket passed away Monday, March 04, 2013 at home surrounded by her family. She was the wife of the late Maurice Regan. Born in Rockford, Illinois, she was the daughter of the late Peter and Margaret (O'Malley) Phillip. She had lived in Pawtucket over sixty years.
Norbey Gonzalez
CENTRAL FALLS - Norbey "Johnny" Gonzalez, 33, passed unexpectedly on March 2nd.
He was the husband of Kelly Greene.
Born in Cali, Colombia, he was a son of Elizabeth Ortega and the late Humberto DeJesus Gonzalez.
Norbey had been employed as a truck driver by Management Services.
Besides his wife and mother, he is survived by a son, Johnny Gonzalez, two daughters, Justina Gonzalez and Kathleen Joanna Rivera, a sister, Duffay Salazar and other sibling in Colombia.
Lillian A. Medeiros
CUMBERLAND - Lillian A. Medeiros (Trudeau), 89, a lifelong Cumberland resident passed away Sunday in the St. Antoine Residence, North Smithfield.
Born in Central Falls she was the daughter of the late George and Bella A. (Dube) Trudeau.
She was employed by the Hindley Mfg. Co., Cumberland for 30 years until her retirement.
EAST PROVIDENCE ŌĆö The city is soliciting proposals for 2013 Small Cities Community Development Block Grant (CDBG) funds for community development and housing needs and will hold a public hearing on the application Thursday evening.
The hearing will give residents the chance to offer input on which projects should be prioritized in the city's grant application, due in May. This year, the city is applying for $620,175 in grant funding, which will be available for programming during the fiscal year that begins July 1 and ends June 30, 2014.
PAWTUCKET ŌĆō A first-ever ŌĆ£Parents for Peaceful CommunitiesŌĆØ conference will be held at Jenks Junior High School, 350 Division St. (across from McCoy Stadium), on Saturday, March 9 from 8 a.m. to 12:15 p.m. The conference is intended to afford parents the opportunity to receive important information through workshops related to their childrenŌĆÖs educational achievement and interact with other parents to help build a safer, more informed and more peaceful community.
PAWTUCKET ŌĆō The cityŌĆÖs General Fund ended Fiscal 2012 with a surplus of $2.7 million before allocations to rebuild the cityŌĆÖs reserve fund, according to the annual report of the cityŌĆÖs outside auditor.
The surplus was achieved by total revenues exceeding budgeted spending allocations, with positive revenues due to tight fiscal controls, tax receipts, interest on taxes and state aid.
The surplus allowed increases to the city reserves fund, which over a period of several years was tapped almost to depletion to help balance annual budgets.
James W. Trudell
PAWTUCKET - James W. Trudell of Manton Street, Pawtucket passed away on Saturday, March 2, 2013. He was the husband of Mona (Viens) Trudell.
Mr. Trudell was born in Pawtucket the son of the late Harold and Ellen Trudell. He was a Korean War Veteran of the United States Army. Mr. Trudell was a supervisor for the Copper and Brass Company in North Attleboro, Massachusetts for many years.
Dorothy H. Fitzpatrick
PAWTUCKET - Dorothy H. Fitzpatrick (Earnshaw), 95, of Pawtucket died March 3, 2013 at Home and Hospice Care of RI. She was the wife of the late Fred R. Fitzpatrick. Mrs. Fitzpatrick was born in Fall River, MA, daughter of the late Robert and Eva (Hall) Earnshaw. She was a homemaker and a member of Wesley United Methodist Church.


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Differences Between Monte Carlo Models for DIS at Small-X and the Relation to BFKL Dynamics
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Add your own review
Rating: 3 / 5
What I liked:Easy to make, boil 14-16 oz water (depending upon how runny you like it) pour it in, reseal it, stir / squish for 10 minutes, Viola! Easy cleanup, reseal, repack, repatriate.The taste is good. (assuming you like Chinese or Kung Pao)What I didn't like: Salt is starting to get up there, 70% of your RDA for this single package.The taste was good, reminds me of KP but clearly was not in the same relm of most resturants' Kung Pao.Mildly spicy by me (OK, I like and grow Habanero peppers).I believe they can make a quality good tasting meal without all the salt.
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