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Artist of The Royal Ballet, Anna Rose O'Sullivan, gives audiences a backstage tour of the Royal Opera House during preparations for Peter Wright's production of The Nutcracker.
Meet Anna Rose as she gets off the tube at Covent Garden and follow her through stage door for a sneak peek at the ROH's backstage areas.
'The Opera House is a bit of a maze because the backstage area holds the sets of so many productions. To walk through it every day is quite incredible in itself.'
Anna Rose makes her debut this Season as Clara in Peter Wright's The Nutcracker – the young girl who is given a nutcracker on Christmas Eve by a mysterious magician, Drosselmeyer. The doll comes to life and Clara is transported on a magical adventure to defeat the wicked Mouse King.
Clara remains on stage for most of the two-hour ballet, which includes an amazing display of dances from the Sugar Plum Fairy in the Kingdom of Sweets.
Watch more films about The Royal Ballet's The Nutcracker here.
The film captures a busy day for Anna Rose. Not only is she performing as Clara for the first time that evening, but she also dances several roles in the matinee performance.
'I dance other roles too, like the angel, a mirliton and a snowflake. It's all about feeling the stage and pacing myself so I can be ready for tonight!'
The Nutcracker runs until 14 January 2016. Returns may become available online, and 44 day tickets go on sale at 10am on the day of each performance.
The production was broadcast live to cinemas around the world on 16 December 2015. Find your nearest encore cinema showings and sign up to our mailing list.
The production is supported by Van Cleef & Arpels and is given with generous philanthropic support from The Royal Opera House Endowment Fund.]]>
Annual careers event TheatreCraft returns to the Royal Opera House on 20 November 2015.
This year's event – the tenth event, and the fourth to be hosted by the Royal Opera House - will be opened by Indhu Rubasingham, Artistic Director of the Tricycle Theatre.
TheatreCraft offers a valuable insight into careers behind the scenes in theatre, from direction to stage management, producing to marketing, and lighting to design. The event is free for 16-to-25-year-olds and last year 1,200 young people attended.
It features workshops led by theatre professionals, a marketplace with training and
education exhibitors, an Ask the Experts zone for one-to-one advice, and networking hubs for interacting with peers and making vital contacts.
'This is a great opportunity for young people to realize that if you have a passion for theatre and don't want to act, there are many, many creative ways to be part of this exciting industry', says Rubasingham, who as well as opening the event, is also its ambassador for 2015. 'That was my journey — falling in love with theatre, but not knowing where I could fit in. I wish TheatreCraft had been around when I was a young person. I am really happy to be part of TheatreCraft – this brilliant resource is free to all, providing access and opportunity for everyone to the pivotal roles within our industry.'
Booking is now open for TheatreCraft 2015 at www.theatrecraft.org
TheatreCraft was created by Theatre Royal Haymarket Masterclass Trust and is now run in partnership with Society of London Theatre, the Royal Opera House, Mousetrap Theatre Projects, and Creative and Cultural Skills.
Find out more about last year's TheatreCraft and employment and work experience opportunities at the Royal Opera House.]]>
You'd expect a theatre like the Royal Opera House to have costume and prop-making departments, make-up teams and scenery workshops, but an Armoury?!
The Royal Opera House is in small company among UK theatres with their very own arsenal - others in this select group include the National Theatre and Royal Shakespeare Company.
The team makes and maintains on stage weaponry for both The Royal Opera and The Royal Ballet, as well as ensuring all artists are fully trained in its safe use.
'As a member of the Armoury Department you need to be able to turn your hand to a vast number of skills', says Assistant Head Armourer Zoe Phillips. 'At the moment the main show we're working on is Guillaume Tell. Currently I'm creating the crossbows but orchestrating the armory for the whole performance too. We have over seventy people to kit out with armoury. That will include individual items like belts and holsters, down to guns and rifles. We also have blank firing guns in the performance.'
Watch more films like this on the Royal Opera House YouTube channel:
Guillaume Tell runs 29 June–17 July 2015. Tickets are still available.
The production will be broadcast live to cinemas around the world on 5 July 2015. Find your nearest cinema.
From gem-encrusted leotards to authentic period corsets, the Royal Opera House Costume Department is responsible for creating, refurbishing and conserving thousands of opera and ballet costumes per season. A 160-strong team is spread across three floors of the Royal Opera House. There is no such thing as a quiet day and, with up to six hundred costumes per production, staying ahead of the game is vital.
The Dye Shop work three to six months in advance, covering eight productions at any one time. Their work includes dying, hand-painting and staining garments (even providing copious amounts of fake blood!). In addition, digital printing enables the team to reproduce historic fabrics no longer available – staging The Winter's Tale for example requires digital printing some 300m of fabric for the Shepherdess costumes alone. The dye team work closely with the Costume Workroom, preparing and painting fabrics as the Workroom team cuts, tacks, sews and fits.
'We always cut initial patterns out of calico – it's inexpensive and versatile, and so the perfect fabric for us to check the design. We then start working with the proper fabric, fitting each costume to the performer', says Catriona Paterson, Head of the Ladies Workroom. 'There are only four full-time sewing assistants in our workroom, and so we focus on the Principals – which is a substantial undertaking in itself. Take Don Quixote – there were only three costumes for Kitri, but we had to do five lots of each for the different casts. Similarly, principal opera singers will only arrive two or three weeks before rehearsals, and costumes need to be ready for them from the very beginning of their time in the studio.'
Ilaria Martello, Costume Supervisor in the costume department at the Royal Opera House © ROH 2015. Ruairi Watson
Eloise Smith, Stockroom Assistant in the costume department at the Royal Opera House © ROH 2015. Ruairi Watson
Apprentice Robin McGrorty and Mal Barton of the Royal Opera House Costume department © ROH/Sim Canetty-Clarke 011
For new productions, the department works with the designer right from the first stages.
'It's quite an intimate relationship with the designer as we work literally next to each other all the time', says Costume Supervisor Ilaria Martello. 'I have to understand and interpret their vision, and arrange what fabrics and processes are needed to achieve the design. At the stage rehearsals, there will be always be changes because of the lighting, distance, interaction and movement. My job doesn't really finish until the first night!'
The costumes on the Royal Opera House stage not only have to fit the designer's vision, but also need to be practical. For ballet, this means enabling free movement – something the Costume Department is all too aware of.
'Ballet fabric needs to be light and stretchy, particularly over the shoulders, to allow for maximum movement', continues Catriona, who is now in her 16th year at the Royal Opera House. 'If the dancer is being lifted, how slippery is the fabric? The designer might have to be told that satin won't work, or we might discreetly add net or rubber patches.'
A huge number of components can be required for any one costume – the much-loved tutu in particular. Each skirt will need elastic, ribbon, hooks and bars, tape and boning, wire and threads. Similarly, a skirt for La Sylphide requires about 100m of netting – seven layers, each with an average of nine panels that each measure up to a metre each. Having everything to hand at the right time is quite a task for the costume stockroom.
'Everything has to be of the best quality so that it lasts a long time – nothing is disposable', says Stockroom Assistant Eloise Smith. 'Space dictates what is ordered and when, but we have to have everything to hand and so we only have small quantities of each item. It's a moveable feast!'
Over the years, the ROH Costume Department has built up a historic costume collection of more than 5,000 items, including shoes dating back to 1861. Some of the collection will soon be housed in the new Costume Centre at the High House Production Park, alongside costumes from productions still in the repertory.
Mal Barton, Head of Costume Workroom, is in charge of maintaining all of the costumes from existing Royal Ballet repertory – the oldest of which includes the costumes in Romeo and Juliet, which are from 1975.
'There are about 500 costumes for Romeo and Juliet, and around seventy percent of them are original,' explains Mal. 'There is a lot of wear and tear – some will have been re-fitted 20 times – but they last a long time because of good maintenance and repair. It takes the entire revival workroom (about 18–20 people) some 1,500 hours to refurbish the costumes in the workrooms, a job we need to start working on at least six weeks before rehearsals start.'
For the 2015/16 Season, the Costume Department will be working on 12 new productions, and 27 revivals. With such a diverse and demanding workload, it's no surprise that high quality costume-makers are high in demand, and the department encourages training for promising students. Last Season, the department offered 48 work experience placements and, from next Season, will be supporting a new degree course in Costume Construction.
The Costume Department's work is directly supported by the Sewing Appeal, which funds anything from stockroom supplies to work experience placements: £170 will pay for the training of one work experience student, while £150 will buy enough calico for eight prototype costumes and £50 will buy a pot of specialist fabric dye. 'Across both art forms, we produce more than 50 productions per Season, which means we look after 10,000 costumes a year', says Mal. 'When it comes to setting the scene and helping to tell the story of an opera or ballet, costumes are vital.'
Donate to the Royal Opera House Sewing Appeal.
The Royal Opera House is a registered charity and your support makes a very real difference to our work.]]>
In a bid to address the current shortage of high quality costume makers, a new degree course in Costume Construction has been announced by the Royal Opera House, University of the Arts London (UAL) and South Essex College.
The UAL-accredited BA (Hons.) course will be based at the Bob and Tamar Manoukian Costume Centre at High House Production Park in Thurrock and will focus on the cutting and making of costumes for opera, ballet, theatre, film and TV. Modules over three years will include hand sewing techniques, pattern cutting, garment construction, and the history of costumes throughout the years. Students will also get the opportunity to work with professionals from the Royal Opera House on costumes featuring in new Royal Ballet and Royal Opera productions.
Students will be taught how to make costumes that are lightweight and flexible for Royal Ballet dancers to perform in, as well as create costumes that are made to last many years as productions may remain in the ROH repertory for up to four decades. They will also learn how to make a range of different styles of costumes from leotards for contemporary ballets, to historically accurate costumes for opera productions set in specific periods of history.
'This course is a fantastic example of industry and higher education coming together to invest in young people, training them alongside the very best professionals in their field, and giving them skills that employers so desperately need,' says Alex Beard, Chief Executive of the Royal Opera House. 'The skills the students will learn on this course will give them the foundation to work not only in opera and ballet, but also in theatre, film or fashion, expanding the job opportunities even wider for the graduates.'
As well as hosting the Costume Construction course, the Bob and Tamar Manoukian Costume Centre will also be home to more than 20,000 Royal Opera House costumes and wigs, as well as historic costumes from the ROH Collection. The High House Production Park is also home to the ROH's Bob and Tamar Manoukian Production Workshop, the Backstage Centre, and High House Artists' Studios.
To find out more about the BA (Hons) Costume Construction degree, visit the South Essex College website.
The building of the Costume Centre is supported by Bob and Tamar Manoukian, European Regional Development Fund, Thurrock Borough Council, the Foyle Foundation, the Royal Opera House and South Essex College.
'I feel that the general consensus is that ballet is quite an exclusive thing to do', says BBC Radio DJ Sara Cox just before the matinee performance of Swan Lake.
'That's true. It's seen to be for posh people', agrees her mother Jackie Williams, soon to see her first ballet. 'So, it's rather good that cinemas are now showing live theatre, live opera and live ballet. It's amazing, and it's happening at my local cinema too. After seeing it live, I may then go and see it from the theatre at the cinema!'
Sara took her mother to see a matinee performance of Swan Lake last week. Before the performance, she explored the cavernous backstage area ('It's like an airport hangar!') and met Royal Ballet Principal Thiago Soares.
'We all dream of Swan Lake when starting your career', says Thiago. 'It's a well-known title for everyone and there's a very special magic to it. It's the classic of the classics! The two principal roles are very demanding, requiring acting and classical technique, and it's everything that leading dancers want to achieve.'
Listen to the feature here:
The production is given with generous philanthropic support from Celia Blakey, John and Susan Burns, Doug and Ceri King, Peter Lloyd and Gail Ronson. Original Production (1987) and revival (2000) supported by The Linbury Trust.]]>
The walls of the Amphitheatre corridor at the Royal Opera House are currently adorned with an exhibition dedicated to the skill, passion and craft of our apprentices.
The Royal Opera House Apprenticeship Scheme offers young people the opportunity to learn on the job in a world-class organization. We currently employ 17 apprentices across 11 different departments including Costume, Armoury and Scenic Art. The positions are restricted to backstage, practical areas instead of performance roles to encourage a growth of backstage skills and opportunities across the industry.
The scheme has been running since 2007 and past apprentices have gone on to work at the National Theatre, on the costumes for the London 2012 Opening Ceremony, at Factory Settings scenic workshops, with Turner prize-winning artist Chris Ofili and continuing to work at the Royal Opera House.
Bendy Ashfield, Apprenticeships Manager at the Royal Opera House believes that the scheme will create a new generation of experts across the sector: 'We believe that success is supporting people to finish their apprenticeship 'job-ready' and go on to careers in the industry. That way, we're providing future staff for the industry as a whole, not just the Royal Opera House.'
The scheme not only benefits the individuals but also the host departments: 'We love having an apprentice here' says a member of the Royal Opera House Armoury team 'They are a fantastic addition to our team. We can share our passion for theatre and craft skills with them, and their enthusiasm and inquisitiveness keeps us on our toes! It's a great transfer of experience and ideas on both parts.'
As well as the professional training and support, our apprentices receive pastoral support from the Royal Opera House. We have hired a number of young people who are enjoying their first experiences of living away from home so it is important to make sure that all our apprentices feel supported in every aspect of their time with us. Bendy adds that 'We're always particularly proud of those apprentices who need a bit of extra support but who go on to amazing jobs within the sector.'
Our apprentices often find that they experience personal as well as professional growth during their apprenticeship, with one former apprentice telling us that: 'Taking part in this apprenticeship and working for the Opera House has helped me grow as a person and has given me more confidence to know that I can achieve things, if I work at them. It has shown me a world I never knew... With these skills that I have learnt here and the knowledge I have gained, it has opened my eyes to new opportunities for the future.'
While we look for our apprentices to show a clear passion for their chosen area, our recruitment focusses more on enthusiasm and commitment than experience. We will be recruiting in May for the next round of apprenticeships. Find out more about the scheme here.
To see the exhibition and find out more about coming to the Royal Opera House, check out our 'Visit Us' page.
Apprenticeships at the Royal Opera House are generously supported by the Derek Butler Trust, the Ashley Family Foundation and the Gordon Foundation.]]>
Tomorrow (Friday 17 October), the Royal Opera House is hosting TheatreCraft 2014, the best place to learn about careers 'behind the scenes' in the theatre.
From lighting to learning, puppet making to producing, there is an eclectic mix of roles in the arts sector open to people with different skills and experiences. Theatrecraft is designed to provide young people with a chance to learn more about the range of roles available and there will be practical advice about how to start and progress your career in the arts, as well as details of training and work experience opportunities.
We've pulled together some of our favourite films and resources to help you learn more about some of the roles available and the amazing things our staff get up to:
In our Opera Machine you can see how an opera really gets on – and watch a live performance of Wagner's Die Walkure showing the stage management, flys, pyros and hydraulics teams in action.
Try the Opera Machine here.
Our timelapse set change film shows how we move sets backstage and introduces some of the brilliant people responsible for doing this every day. You can also watch how we move sets from our production workshop in Thurrock to the stage at the Royal Opera House.
Jay Francois-Campbell, a tailor based in the Royal Opera House's Men's Tailoring workshop, talks about her role and how the costume department prepares for a new Season. She describes how they make the trickiest costumes and what production she is most looking forward to during 2014/15.
Read about the costume department here.
We've also included our film showing the making of the severed head for the opera Salome. The film highlights the incredible talent of our props team, and how important it is to get props perfect for a performance.
Finally, this feature shows off some of the trade secrets behind an accidental drowning in the final act of Berg's opera Wozzeck, including the health and safety considerations - and what happens when something goes wrong!
Read about the drowning scene in Wozzeck here.
We hope these resources give you a taste of just a few of the roles available in the arts and an insight into life behind the scenes. Don't forget to check our Vacancies page to see whether there are any roles at the ROH suitable for you.]]>
Jay Francois-Campbell, a tailor based in the Royal Opera House's Men's Tailoring workshop, was the hands between our scissor image for the Season Appeal and has worked at Covent Garden since 1997.
As our backstage departments at Covent Garden make the final preparations for the Season ahead, we caught up with Jay to find out a bit more about her role and what goes on behind the scenes.
Donate to our Season Appeal
Which production are you most looking forward to next Season?
Andrea Chénier. It will be a big period piece, which is just the kind of production I love. Lesley, our Head of Department, has shown us Jenny Tiramani's designs, which are very exciting. The period is the French Revolution so there are lots of decorative waistcoats to keep me happy!
Over the summer, Jenny gave us a sense of what she was after by bringing in historical clothing from the particular period in which the production will be set. This was extremely helpful, as our costumes are constructed using many authentic techniques and sewing styles. By scrutinizing the garments, we were able to identify techniques for future reference.
Which productions have been most memorable for you over your time with the ROH and why?
There are so many productions I love; it's hard to narrow it down. There have been a lot of memorable ones, some because they were fun to work on. A few were experimental and one or two were time-consuming and stressful.
Artaxerxes, last performed here in 2009, is my favourite for a number of reasons. It was the most structurally challenging productions I have ever worked on at the Royal Opera House. For the main character Artaxerxes, a vintage Japanese kimono was used, but this alone was not enough to complete the costume. A specialist computer was used to produce additional metres to finish the garment, which was the first time I had seen such a technique. The end result was spectacular.
Alice's Adventures in Wonderland, which returns this December, involved an immense amount of work. Many garments were velvet, which can never be rushed as the results can be disastrous. The Mad Hatter was particularly difficult as his trousers comprised many strips of thin velvet which needed stitching down, but also had to be stretchy. This was troublesome as the more strips were stitched down, the less stretchy it became!
What needs to be done over the summer to make sure that you're ready to go come 11 September, when Anna Nicole opens the Season?
We deep clean the department by taking everything off the shelves and cleaning every surface. Unused fabric is returned to the stockroom, or sent to the Learning and Participation department to be used by schools. All the industrial irons and sewing machines are serviced, and scissors are sent away for sharpening.
We update our department 'bibles' with all the costumes we have made that Season, and change our show boards to show current designs of upcoming productions, which are seen by visiting tour groups. All in-house training is undertaken during this period. External specialists are also invited to give talks at this time.
Patterns that have been made over the previous Season are sorted, packaged and stored for future use. Rails are checked for toiles [versions of costumes made to test the pattern] that are no longer required and can be disassembled. New toiles are made, using the latest measurements of the artists, for the first new production of the Season, which will be seen by the designer for approval. If the fabric has already been bought and steamed, it will be cut using the new patterns. If the first new production is large, this gives us a good head start – essential at the start of a busy Season!
To support the cost of these essential preparatory tasks, please make a donation to our Season Appeal today.
The Royal Opera House is a registered charity and your support makes a very real difference to our work.]]>
Try The Opera Machine here
When we are in the audience for an opera we are aware of the artists on stage and in the pit, we are hopefully caught up in the drama of the performance and pulled in by the power of the music. What is invisible – unless something goes wrong – is the team working behind the scenes to put the production on stage; managing and driving what could be described as the 'opera machine'.
Behind the scenes, stage crew, technicians and stage managers come together with the artists in an often pressurized, always carefully coordinated, way to enable the performances and deliver the spectacular theatrical effects.
This staff is usually unseen and often unsung, but we are tremendously proud of having some of the best teams you could possibly imagine. The artists know how important they are - and we now have a way to let you glimpse this part of our world.
Our new project, The Opera Machine, offers an extraordinary multi-angled view of all that is involved: a flaming helix, trap doors and a two-ton spinning wall all feature in this performance of Act III of Wagner's Die Walküre. In one tense moment, the Stage Manager works with colleagues to fix a crucial flaming prop for bass baritone Bryn Terfel, who sings the role of Wotan, delivering it just seconds before Bryn takes to the stage.
Decide how you would like to experience the opera: jump between cameras at will, or watch the director's cut (featuring footage from each of the 17 cameras) all the way through. It's possible to listen to the music alone, hear it with the backstage radio or overlay with commentary from BBC Radio 3's Suzy Klein. You can also dig deeper by following the prompt book, used by the Deputy Stage Manager, to get a sense of what it's like to coordinate such a large team during a performance.
Or if you want to understand even more fully why we think Antonio Pappano is the best Music Director in the world, watch him conduct the whole act through a camera in the pit capturing his every gesture and expression.
This project wouldn't have been possible without the support of Deloitte, who enabled us to film Die Walküre ahead of Deloitte Ignite 2013. We're looking forward to seeing what The Royal Ballet have in store for Deloitte Ignite 2014 this September, which takes the theme of myth as a starting point.
Have fun with The Opera Machine – enjoy it for two minutes or play around with it for hours. I learnt several things that I didn't know about how things work backstage watching this being filmed myself, so we think you will never be able to quite watch an opera performance again in the same way after visiting The Opera Machine.]]>


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Impersonator Christy Miller will perform the country classics of Wynonna Judd from 12pm-1pm and take pictures and sign autographs from 1pm-2pm.
Amy's Band will feature "A KY Mud Tribute" of David Allen Coe, Willie Nelson, Merle Haggard and more on stage from 2pm-3pm.
The Best of Country, Pop and Rock by Pat Portman and Glen Rice will be sure to entertain with stars like Kenny Rogers, Dolly Parton, Elvis, Frank Sinatra, and Neil Diamond on stage from 3pm-5pm.
Kevin Koolie Impersonates the Stars with impersonations of Frank Sinatra, Louis Armstrong and more from 5pm-6pm.
Dawne Gee from WAVE TV, Louisville's very own TV Star will be visiting the Music Fest Tent! From 4pm-5pm she will be signing autographs and taking pictures on the Red Carpet. At 6pm Dawne Gee will address the crowd.
Legendary Jockey Pat Day will also be in the tent at 4pm to take pictures and sign autographs. At 6pm Pat Day will also address the crowd.
Elvis Presley Spotted on Broadway at 9pm. Impersonator, Otis Berry, will be in the tent taking pictures and signing autographs!
The Honky Tonk Hangover will close out the night with Classic Honky Tonk Country, New Country, Rock-a-Billy and Classic Rock on stage from 7pm-10pm.
Check out the complete daily schedule at http://www.tinyurl.com/mikes2013. MusicFest entertainment will take place Thursdays - Sundays now thru June 16, 2013.
Come on out to Mike Linnig's Restaurant and enjoy FREE entertainment while enjoying famous seafood!
Contact Information
- Mike Linnig's Restaurant
- 9308 Cane Run Road, Louisville, KY 40258
- 502-937-9888
Event Time
- Saturday 1st, June 2013
- Entertainment is FREE. Restaurant menu prices apply for food and beverages.

subset: commoncrawl


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`Senator No' Becomes Mr. Chairman Jesse Helms, New Leader of the Foreign Relations Panel, Has Never Wavered in His Conservative Views
The, St Louis Post-Dispatch (MO)
WHILE THE REST OF the Republican Party is trumpeting itself as the harbinger of new ideas, Jesse Helms can say he's been there before.
To the senator from North Carolina, the GOP agenda - line item veto, tax cuts, school prayer, family values, deregulation, the end of the welfare state - is old stuff.
As old as the days when Helms grew up in this cotton mill town, when his teetotaling family attended the Baptist church twice a week and his father served as the police chief.
Since that time, Helms has argued for "small-town values" and battled for them relentless and cunningly. He has used bluster and bombast and has earned every enemy and every friend he has. And he has a lot of both.
When Helms joked that President Bill Clinton was so unpopular on North Carolina military bases he'd need a bodyguard to visit there, and when he suggested that he might block Clinton foreign policy initiatives unless the vote on the GATT agreement was postponed, no one who knew him was surprised.
But the stage is new. Last week "Senator No," a man admired as an idealist and despised as a bigot, became chairman of the Senate Foreign Relations Committee.
Helms never has served in an executive position in government; aside from a term on the Raleigh City Council in the 1950s, he had never held elective office until he was elected to the Senate in 1972.
But from the very start, Jesse Helms never wavering from his conservative mission.
"I'd say he's more moral than a politician," said Hoover Adams, a newspaper publisher in Dunn, N.C. "If it's right, he'll say it."
This is how Helms himself put his credo, in a book published a few years after he reached the Senate:
"Atheism and socialism - or liberalism, which tends in the same direction - are inseparable entities. When you have men who no longer believe that God in charge of human affairs, you have men attempting to take the place of God by means of the Superstate."
The result is government that, in redistributing wealth, "rewards the indolent and penalizes the hard-working," he said.
Helms opposed the U.S. military mission in Haiti, calling President Jean-Bertrand Aristide a "murderer" because of his alleged encouragement of violence.
Foreign aid is a special target for Helms, who has said too much goes "down foreign ratholes." For years, he has questioned the value of U.S. contributions to the United Nations. He supported white-minority governments in Africa because they were alternatives to communists.
In domestic matters, Helms' can be just as blunt, whether in a fight over funding for what he calls "obscene art" or opposing the nomination of a housing official he described as a "militant-activist-mean lesbian."
When a newspaper dropped the comic strip "Little Orphan Annie," he fumed that it was "because she personified the virtues of hard work, frugality and free enterprise."
He uses Senate rules to hold up nominations and delay legislation. He drafted an amendment to prohibit first-class air travel by some midlevel federal officials, and even wrote legislation to require foreign governments, now shielded by diplomatic immunity, to pay parking tickets in the capital.
At the same time, Helms has created a highly sophisticated political fund-raising apparatus that bankrolled his campaigns and conservative causes.
"Senator Alms," the magazine New Republic once called him, referring to this direct-mail fund-raising machine, the National Congressional Club. Over the years, it has raised tens of millions of dollars, often by sending out appeals over the senator's signature. Helms broke with the group in August, reportedly unhappy with some unauthorized mailings. …


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Paul B Woodruff
Professor — PhD, Princeton
Professor of Philosophy and Classics; Dean of Undergraduate Studies
- E-mail: firstname.lastname@example.com
- Phone: 475-7000
- Office: FAC 406
- Campus Mail Code: G8000
Ethics, Plato, Sophocles, Thucydides, aesthetics, philosophy and literature
Well-known for his influential articles on Socrates and Plato, Professor Woodruff has also published a critical edition of Plato's Hippias Major (1982) as well as translations of Plato's Ion (1983) and (with Alexander Nehamas) Symposium (1989) and Phaedrus (1995). He has also written on topics in aesthetics and ethics and translated works by Euripides, Sophocles, and Thucydides. His recent publications include The Necessity of Theater (Oxford University Press, 2008), The Ajax Dilemma (Oxford University Press, 2011), and Reverence: Renewing a Forgotten Virtue (2d Edition, Oxford University Press, 2014). He has contributed to The Cambridge Companion to Early Greek Philosophy (1999), A Companion to Aristotle (Wiley-Blackwell, 2009), Cambridge Companion to Ancient Skepticism (2010), A Companion to Sophocles (Wiley-Blackwell, 2012), and The Blackwell Companion to Ancient Aesthetics (Wiley-Blackwell, 2015). He has been Visiting Professor at the University of Pittsburgh and has twice directed NEH seminars on ancient philosophy. He is currently writing a book on the role of higher education in preparing students for leadership.
GK 390 • Plato
33888 • Spring 2014
Meets M 630pm-930pm WAG 312
(also listed as PHL 381)
Graduate standing and consent of graduate advisor or instructor required.
Course Description
The course will be a study of Plato's approach to ethics, from Socrates' nagging questions to the grand speculations of the Republic, in the light of recent work in ethics and meta-ethics. This will be more philosophy than archaeology—more about whether Plato's ethics stands up to criticism than about how to read the text.
We will begin with Socrates' questions: What do they presuppose about common human resources? What do they presuppose about matters such as reverence and justice? To what extent is Socrates committed to these presuppositions? To what extent is the questioning defined by the pretensions of Socrates' partners to know or to teach virtue? In particular, is Socrates really committed to defining virtue as knowledge, or is this a consequence of his partners' claims to teach virtue? If he thinks virtue is knowledge, and truly thinks he does not have that knowledge, how does he think he manages to live a decent life? After that, we will give special attention to Socrates' arguments with those who appear to reject ethical values as folly, such as Thrasymachus and Callicles.
Plato was closely related to men whose ethical failures were colossal, leaders among the thirty tyrants. Not surprisingly, he was driven by a passion to avert ethical failure in educated people, and this drive led him to important insights about the nature of education and effect of knowledge and ignorance on behavior. With this in mind we will study Socrates' response to Glaucon's challenge, as well as his unblinking realization that even the ideal state will decay as a result of ethical deterioration. This appears to be due to a number of factors, which we will investigate.
Not everyone will read all of the texts; we will to some extent divide and conquer. If one or more members of the class wish to read texts in Greek we will set aside time for that outside class time, not in it.
Initial paper, first week, 5%.
Class presentation, in week assigned, 25%.
Rated on basis of the focus of the talk, clarity, quality of engagement with audience, use of texts, effectiveness of arguments. (By "focus" I mean that the presentation may not be a summary; it must be organized around a thesis or a question/)
Notes assembled for class presentation, 20%.
Rated on focus, organization, clarity, judicious use of secondary material, definitions of terms used.
Participation, 30%
Members of the class are expected to contribute to each week's discussion.
Paper, developed from the notes, due two weeks after the presentation, 20%.
The Cooper edition of Plato's dialogues, with commentaries and scholarly works as appropriate for individual student projects.
All will read Plato's Euthyphro, Apology, Crito, Gorgias, and Republic.
Some will read Charmides, Laches, Lysis, Hippias Major, Alcibiades, Symposium, or Phaedrus.
This course satisfies the History requirement
GK 390 • Justice In Ancient Philosophy
33170 • Fall 2011
Meets M 600pm-900pm WAG 312
(also listed as PHL 381)
Graduate Standing and Consent of Graduate Advisor or instructor required.
Course Description
Very new and very old approaches to the age-old problem of justice, with attention to questions such as these: Can justice be, at the same time, a political virtue and a virtue of character? Is compassion compatible with justice? What kinds of difference in individuals justifies difference in expectations, whether of benefits or of duties? Must justice be principled? Can it be consequentialist? What sort of commitment could a particularist have to justice? What is fairness in relation to justice? Can there be justice among nations? Across nations? Among species?
We will bring new eyes to ancient texts, and we will cast eyes steeped in ancient lore on very recent ones. After a very brief survey of early Greek thought about justice (including tragic poets), we will spend a few weeks on Plato, then Aristotle, then John Stuart Mill. That will take less than half the semester. After that, we will divide up modern authors. Members of the seminar may choose from the list below or introduce authors they are interested in themselves.
Grading Policy
Two shortish papers (well under 2000 words), both to be presented in class (assuming the class is fairly small). After the first month, there will be at least one paper presented per week. One paper about a topic in ancient philosophy, and one paper about a recent work chosen by you (not necessarily from the list above). The papers will count 40% each, and seminar participation will count 20%.
I will order no books, as I assume you will have most of these already, or else we will be reading different books. For Plato, I prefer Hackett translations (Crito, Gorgias, Republic (Grube-Reeve version, 1992). For Aristotle I prefer Reeve's Politics (Hackett, 1998) and Ostwald's Nicomachan Ethics (LLA 1962).
Otherwise, lay in what books you wish, borrow from me, or depend on photocopies, as we will be reading what the class decides to read, and not all the same things. We will allow one week for a brief review of Rawls (Political Liberalism, Expanded Edition 2005). Among recent authors, I suggest, in alpha order: Gillian Brock (Global Justice, 2009), G.A. Cohen (Rescuing Justice and Equality, 2008), Raymond Geuss (varia), Richard Kraut (What is Good and Why, 2007)), Martha Nussbaum (Frontiers of Justice, 2007), Joseph Raz (varia) , Amartya Sen, The Idea of Justice (2009), David Wiggins (in Ethics, 2006). I promise not to read all of these, and you will not do so either. We will divide up the work in order to achieve a general view of current work in this area.
This seminar satisfies the History requirement
GK 390 • Smnr: Sophocles
32255 • Spring 2009
Meets W 200pm-500pm FAC 406
GK 390 Seminar in Classical Studies:
Selected topics in Greek studies. Topics given in recent years include Mycenaean documents, Aristotle's ethics, Archaic poetry, and Plato's Symposium.
Original Books
Plato: Hippias Major
Paul Woodruff
Plato: Hippias Major
Hackett Publishing Company
First Democracy; The Challenge of an Ancient Idea.
Paul Woodruff
First Democracy; The Challenge of an Ancient Idea.
Oxford University Press
The Necessity of Theater: The Art of Watching and Being Watched
Paul Woodruff
The Necessity of Theater: The Art of Watching and Being Watched
Oxford University Press
The Ajax Dilemma; Justice, Fairness and Rewards
Paul Woodruff
The Ajax Dilemma; Justice, Fairness and Rewards
Oxford University Press
Reverence: Renewing a Forgotten Virtue
Paul Woodruff
Reverence; Renewing a Forgotten Virtue
Oxford University Press
Edited Books
Facing Evil; Light at the Core of Darkness
Paul Woodruff, Harry A. Wilmer
Facing Evil; Light at the Core of Darkness
Open Court Press
Early Greek Political Thought from Homer to the Sophists
Paul Woodruff, Michael Gagarin
Early Greek Political Thought from Homer to the Sophists
Cambridge University Press
Reason and Religion in Socratic Philosophy
Paul Woodruff, Nicholas D. Smith
Reason and Religion in Socratic Philosophy
Oxford University Press
Loyalty. Nomos LIV
Paul Woodruff, Sanford Levinson, and Joel Parker
Loyalty. Nomos LIV
New York University Press
Plato: Two Comic Dialogues (Ion and Hippias Major)
Paul Woodruff
Plato: Two Comic Dialogues (Ion and Hippias Major)
Hackett Publishing Company
Plato: Symposium
Paul Woodruff, Alexander Nehamas
Plato: Symposium
Apri 1989
Hackett Publishing Company
Thucydides on Justice, Power, and Human Nature
Paul Woodruff
Thucydides on Justice, Power, and Human Nature
Hackett Publishing Company
Plato: Phaedrus
Paul Woodruff, Alexander Nehamas
Plato: Phaedrus
Hackett Publishing Company
Euripides Bacchae
Paul Woodruff
Euripides Bacchae
Hackett Publishing Company
Sophocles Oedipus Tyrannus
Paul Woodruff, Peter Meineck
Sophocles Oedipus Tyrannus
Hackett Publishing Co
Sophocles: Antigone
Paul Woodruff
Sophocles: Antigone
Hackett Publishing Co.
Sophocles: Theban Plays
Paul Woodruff, Peter Meineck
Sophocles: Theban Plays
Hackett Publishing Co.
Sophocles: Four Tragedies
Paul Woodruff, Peter Meineck
ophocles: Four Tragedies
Hackett Publishing Co.
Aeschylus, Euripides, Sophocles: The Electra Plays
Paul Woodruff, Peter Meineck, and Cecilia Eaton Luschning
Aeschylus, Euripides, Sophocles: The Electra Plays
Hackett Publishing Co.
Selected Articles
"Socrates on the Parts of Virtue," Canadian Journal of Philosophy, Supplementary Volume 2, New Essays on Plato and the Pre-Socratics, Roger A. Shiner and John King-Farlow, eds., 1977, 101-116. Repr. In Prior, 1997.
"Socrates on Ontology: The Evidence of the Hippias Major," Phronesis, XXIII (1978), 101-117
"Rousseau, Moliere, and the Ethics of Laughter," Philosophy and Literature, 1 (1977), 325-336
"What Could Go Wrong with Inspiration? Why Plato's Poets Fail," in Julius Moravcsik and Philip Temko, eds., Plato on Beauty, Wisdom, and the Arts. Totowa, New Jersey: Rowman and Littlefield, 1982, 137-150
"Justification or Excuse: Saving Soldiers at the Expense of Civilians," Canadian Journal of Philosophy, Supplementary Volume VIII (1982), 159-176
"Didymus on Protagoras and the Protagoreans," Journal of the History of Philosophy XXIII (1985), 483-497
"The Skeptical Side of Plato's Method," Le Revue Internationale de Philosophie 156-157 (1986), 22-37
"Expert Knowledge in the Apology and the Laches: What a General Needs to Know," Proceedings of the Boston Area Colloquium in Ancient Philosophy, Volume III (1987), 79-115
"Engaging Emotion in Theater: A Brechtian Model in Theater History," Monist, issue entitled "Aesthetics and the Histories of the Arts, ed. by Anita Silvers, Vol. 71 (1988), 235-257
"Aporetic Pyrrhonism," Oxford Studies in Ancient Philosophy, VI (1988), 139-68
"Pathei Mathos: the Thought That Learning is by Ordeal," Medical Humanities Review 5 (1991), 7-23
"Virtue Ethics and the Appeal to Human Nature," Social Theory and Practice 17 (1991), 307-35
"Eikos and Bad Faith in the Paired Speeches of Thucydides," Proceedings of the Boston Area Colloquium in Ancient Philosophy Volume X (1994), pp. 115-45
"The Paradox of Comedy," Philosophical Topics 25 (1997), 319-35.
"Socrates and Political Courage." Ancient Philosophy 27 (2007). Pp. 1-14.
"Euboulia: How Might Good Judgement Be Taught." Lampas: Tijdschrift voor Classici 41.3 (2008). Pp. 252-62.
"Aristotle on Character, or, Who is Creon?" Journal of Aesthetics and Arts Criticism 67.3 (2009). Pp. 301-309.
"Lighting up the Lizard Brain: The New Necessity of Theater." Topoi 30.2 (2011). Pp. 151-55.
"Compassion in Chorus and Audience." Didaskalia 8 (2011): 185-88.
"Theater as Sacrament." Ramus, Critical Studies in Greek and Roman Literature 42 (2013): 5-22.
"What is the Question in the Hippias Major?" Philosophical Inquiry: International Quarterly, 39 (2015): 73-79.
Invited Chapters
"Plato's Earlier Epistemology," in Greek Epistemology, Cambridge University Press, ed. by Stephen Everson, 1990, 60-84. Repr. in Hugh Benson, Essays on Socrates, Oxford University Press (1992).
"Aristotle on Mimesis," in A. Rorty, ed., Essays on Aristotle's Poetics (Princeton University Press) 1992, 73-95
"Rhetoric and Relativism," in A.A. Long, ed. The Cambridge Companion to Early Greek Philosophy. Cambridge: Cambridge University Press, 1999. Pp. 290-310.
"Socrates and the Irrational," in Smith, Nicholas D. and Woodruff, Paul, eds. Reason and Religion in Socratic Philosophy (Oxford: University Press, 2000). Pp. 130-50. Translated and abridged for Pierre Destrée, ed., L' Ethique de Socrate, ***.
"Natural Justice," in Caston, Victor, and Graham, Daniel W., eds. Presocratic Philosophy; Essays in Honor of Alexander Mourelatos. Aldershot: Ashgate, 2002. Pp. 195-204
"Justice in Translation: Rendering Tragedy" In Gregory, Justina, ed. A Companion to Greek Tragedy. Malden, Massachusetts and Oxford: Blackwell Publishing, 2005. Pp. 490-504.
"The Shape of Freedom: Democratic Leadership in the Ancient World." In Joanne Ciulla, Terry L. Price, and Susan E. Murphy, editors, The Quest for Moral Leaders: Essays in Leadership Ethics. New Horizons, 2005.
"Socrates Among the Sophists," in Sara Rappe and Rachana Kamtekar, eds., A Companion to Socrates. Oxford: Blackwell, 2005. Pp. 36-47.
"Early Greek Legal Thought," (with Michael Gagarin), in Fred D Miller, Jr, with Carrie-Ann Biondi, eds. A History of the Philosophy of Law from the Ancient Greeks to the Scholastics. Volume 6 of A Treatise of Legal Philosophy and General Jurisprudence. Dordrecht: Springer, 2007. Pp. 7-34.
"The Sophists." With Michael Gagarin. In Patricia Curd and Daniel Graham, eds., Oxford Handbook to Presocratic Philosophy. New York: Oxford University Press, 2008. Pp. 365-82.
"Aristotle's Poetics: The Aim of Tragedy." In Georgios Anagnostopoulos, ed., A Companion to Aristotle. Malden, Massachusetts and Oxford: Wiley-Blackwell, 2009. Pp. 612-27.
"Sophocles' Humanism." In William Wians, ed., Logos and Mythos: Philosophical Essays in Greek Literature." Albany, N.Y., SUNY Press, 2009. Pp. 233-53.
"Pyrrhonian Modes." Richard Bett, ed., Cambridge Companion to Ancient Skepticism. Cambridge: Cambridge University Press, 2010. Pp. 208-31.
"Socrates and the New Learning," in Donald R. Morrison, ed., The Cambridge Companion to Socrates. Cambridge: Cambridge University Press, 2010. Pp. 91-110.
"The Philoctetes of Sophocles," in Kirk Ormand, ed., A Companion to Sophocles. Hobeken: Wiley-Blackwell, 2012. Pp. 126-140.
"Justice as a Virtue of the Soul," in Rachana Kamtekar, ed., Oxford Studies in Ancient Philosophy, Supplementary Volume: Virtue and Happiness; Essays in honor of Julia Annas, 2012. Pp. 89-101.
"Spectator Emotions," in John Deigh, editor, On Emotions: Philosophical Essays. New York: Oxford University Press, 2013. (Essays published in honor of Robert Solomon) Pp. 59-75.
"Euboulia as the Skill Protagoras Taught," in Johannes M. van Ophuijsen, Marlein van Raalte, and Peter Stork, eds. Protagoras of Abdera: The Man, His Measure. Leiden and Boston: Brill, 2013. Pp. 179-193.
"Performing Memory: In the Mind and on the Public Stage." In Peter Meineck & David Konstan, eds., Combat Trauma and the ancient Greeks. New York: Palgrave Macmillan, 2014. Pp. 286-99.
"Mimesis." In Pierre Destrée and Penelope Murray, eds.,The Blackwell Companion to Ancient Aesthetics. Oxford: Wiley-Blackwell. Pp. 329-40.
NOW with Bill Moyers: Paul Woodruff on Reverence
Paul Woodruff on Reverence
The capacity for awe in the face of the transcendent: that is how Paul Woodruff, one of America's foremost interpreters of Plato and other venerable thinkers of ancient Greece, defines reverence. In this program, Bill Moyers and the author of Reverence: Renewing a Forgotten Virtue examine this crucial yet frequently misunderstood and misapplied concept and its implications for the world today. Topics include the nature of the transcendent, hubris versus humility, the reciprocal relationship between justice and reverence, tyranny and terrorism as failures of reverence, the vital link between reverence and politics, and the surprising realization that religion is not always reverent.
Game Changers Excerpt: Paul Woodruff
Game Changers Excerpt
In his book "The Ajax Dilemma," Paul Woodruff uses a parable from classical Greece to shed light on a very contemporary business dilemma: how to reward outstanding players without damaging the team. Tapping into his experience as a boss, a professor, an officer and an employee, Woodruff uses his broad perspective to issue an intriguing call for a compassionate approach to fairness.
Paul Woodruff: The Ajax Dilemma
The Ajax Dilemmat
How should we distribute rewards and public recognition without damaging the social fabric? How should we honor those whose behavior and achievement is essential to our overall success? Is it fair or right to lavish rewards on the superstar at the expense of the hardworking rank-and-file? How do we distinguish an impartial fairness from what is truly just?
Prof. Paul Woodruff builds his answer to these questions around the ancient conflict between Ajax and Odysseus over the armor of the slain warrior Achilles.
LHN - Paul Woodruff's Ethics & Philanthropy Course
LHN - Paul Woodruff's Ethics & Philanthropy Course
In the Spring of 2012 Dr. Paul Woodruff, Dean of Undergraduate Studies, created a new semester-long opportunity for first-year students at UT Austin. This brand new signature course explores ethics and the art of philanthropy. See how these UT students began changing the world before their first full year of college was even over.
Book Discussion on First Democracy: The Challenge of an Ancient Idea
The Challenge of an Ancient Idea
Paul Woodruff talked about his book First Democracy: The Challenge of an Ancient Idea, published by Oxford University Press. He wrote about the theory and practice of ancient Athenian democracy, including freedom from tyranny, the rule of law, the wisdom of citizens, and general education. He also talked about the roots of American democracy and the degree to which it borrowed principles employed in Athenian politics. Following his remarks he answered questions from the audience.
Paul Woodruff, Wednesday, February 12, 2014
Paul Woodruff, Wednesday, February 12, 2014
For his Athenaeum lecture, Professor Woodruff examines a particular strand of ethics in ancient Greek thought. The wisdom literature of ancient Greece developed over a period of four centuries, disseminating from epic poetry (such as Homer) to variant forms of literature such as tragedy, lyric poetry and the prose histories of Classical Greece. Despite its dispersion in a variety of literature, this tradition for explaining ethics to a wider audience maintained a common understanding of what constituted "the good life". Plato, on the other hand, rejected this common approach to explaining ethics and Professor Woodruff's lecture will tease both what tragedy taught a Greek audience about ethics and how and why Plato rejected this tradition.
BYU Forum Address: Paul Woodruff (1/25/05)
Paul Woodruff (1/25/05)
University of Texas at Austin Professor Paul Woodruff speaks to Brigham Young University students. He talks about the difference between respect and reverence and teaches that we need to emphasize reverence in our lives.


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Based solely on their original programming and specials, which premium channel (and their associated channels) would you be willing to pay for and why?
We're an HBO household b/c of Game of Thrones, Eastbound and Down, and (well, for me) Real Time with Bill Maher. Plus, like a total dork, I'm excited for the Beyonce documentary this weekend.
But I do love Homeland, I just wish it wasn't on Showtime.


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ENN CommunityENN Community
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Top Stories
Week in Review: March 28th - April 1st
April 1, 2005 12:00 AM - the Editors, ENN
Monday's earthquake off the coast of Indonesia set the wheels in motion for a renewed focus on the unstable geography of the region and its impact on people and the environment.
ENN Weekly: March 28th - April 1st
April 1, 2005 12:00 AM - the Editors, ENN
Monday's earthquake off the coast of Indonesia set the wheels in motion for a renewed focus on the unstable geography of the region and its impact on people and the environment.
For Small Farms and Garden Entrepreneurs, Challenges Abound
April 1, 2005 12:00 AM - Paul Geary, ENN
Many of the challenges that the gardening enthusiast will face are mirrored by the challenges of small farms. Even if you don't sell your wares, you have to buy many of the same supplies that businesses buy. And of course if you're gardening has taken on a scope big enough that you're selling the fruits of your labor at farmers' markets, you've likely confronted some of the business-related hurdles already.
Sap's Rising but Maple Syrup is Year-Round Melt-in-Mouth Asset
April 1, 2005 12:00 AM - Associated Press
Maple sugaring season is a favorite time for students at the New England Culinary Institute (NECI) in Montpelier, a time when this natural and flavorful ingredient is literally flowing in their back yard.
Food Co-op Hopes for Global Success
April 1, 2005 12:00 AM - Jennifer Gish, York (PA) Daily Record
Cheesesteaks sizzled in an electric skillet and bite-sized samples of brie were stabbed with toothpicks at the Pennsylvania Department of Agriculture offices in Harrisburg Wednesday.
Nursery Business is Green as Gardening Interest Spurs Industry Growth
March 31, 2005 12:00 AM - Ann Bailey, Agweek Magazine
When it comes to houses, it's not just what's on the inside that counts. For many homeowners, beautifying the outside with landscaping is just as important as remodeling the inside. It's a growing trend that started a decade ago when the housing market strengthened, says Bob Fitch, Minnesota Nursing and Landscaping Association executive director.
Mexican Environmental Authorities Say Oil Pumps, Valves Also at Risk
March 31, 2005 12:00 AM - Associated Press
A study commissioned by environmental authorities following a string of embarrassing oil spills at Mexico's state-owned Pemex oil company found problems at pumping stations and valve systems, as well as in the pipelines themselves.
New York OKs $1.8M for Cleanups
March 31, 2005 12:00 AM - Bill Egbert, Daily News
Several of New York City's brownfields will be getting some of Albany's green. An agreement signed last week by Gov. Pataki and the majority leaders of the state Senate and Assembly allocates $30 million for cleanup projects statewide, with just over $1.8 million coming to the city.
Wintry Canada to Use Solar Power to Heat Homes
March 31, 2005 12:00 AM - Reuters
Canada, better known for snow than sun, plans to build a 52-home solar powered community in Alberta that will harvest the sun's rays in summer and use them to heat homes in winter, the government said Wednesday.
Washington State Lawmakers would Require New State Buildings Be 'Green'
March 31, 2005 12:00 AM - Rachel La Corte, Associated Press
Schools, universities and other public buildings would have to be built to meet energy efficiency, water conservation and other environmental standards under a bill given final approval by lawmakers Wednesday.


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I'm a bit of a geek and I'm just tossing this out:
I'm a bit of a geek and I'm just tossing this out:
great, but spokes with equal tension will sound different depending on whether they go over or under... etc.
"No self-respecting man rides 70 miles and has salad at a pizza joint!" - PhotoJoe
Yeah, I certainly wouldn't trust that.
I just got that app and sampled it with the two bikes that are here at our vacation house. Looks pretty cool and simple to use. It was able to detect slight differences in tension. It has suggestions to get more accurate results. And over versus under shouldn't matter, because it says to use the length (and diameter) or the spoke only from bottom of nipple to the first crossing, which makes sense from an engineering perspective.
I'm not planning to use it to build wheels from scratch (been doing that by feel, ear, and no tension meter for more than 20 years with great results). But I see no reason it wouldn't work just fine.
I know that when i pluck spokes on a 3x wheel, the tensions can be identical and I get at least 3 distinct tones on a front wheel, and more on a back wheel. I'm sure it's "good enough" for a general checkup though.
"No self-respecting man rides 70 miles and has salad at a pizza joint!" - PhotoJoe
Hearing different "tones" may be actually hearing different timbres, that is different distributions of audio power in the overtones. I believe the app uses an FFT (Fast Fourier Transform algorithm) to sort thorough this and identify the fundamental.
As for accuracy in measuring length, the tension determination is proportional to length so a 5% error in length will give 5% error in tension, to first order anyway.
Eschew simplistic dogma.
I played around with this app last night with several wheels, measuring different sounding spokes on the same wheel, and trying different input values for length and diameter on the same spoke. First, the output tension values were quite consistent with the same spoke and input values - typically repeatable within 1 kgf. And it easily indicated a different tension value for spokes that sounded slightly different, as it should, but repeatably showed the same tension for same-sounding spokes. Changing length by 2-3mm didn't make much difference, but the wrong spoke diameter changed the indicated force by 5-10 kgf.
At one point I was doing this as my wife was using electric toothbrush in a nearby bathroom - that changed the base level quite a lot, and added some error. So the directions to use in a quiet place are appropriate. It didn't seem to matter much with my wheels if I intentionally damped the other crossing spoke.
I don't have a tension gauge to compare with this (and with this app, I'm not likely to get one), but the outputs it showed seemed quite reasonable compared to the recommended tension values I've read. BTW, all the wheels that I was checking have proven to be extremely reliable, and I don't have any "bad wheels" to try. But it did show the quite high DS tension I expected on my most recently built rear wheel that has about 300 trouble and tweak free miles.


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Kölner Zoo: Ballons, Elephant
150th anniversary of cologne zoo: celebrate with us!
Advertising Agency: Preuss und Preuss, Berlin, Germany
Creative Director: Michael Preuss
Art Director: Zuzana Havelcova
Copywriter: Michael Preuss
Consultant: Nina Preuss
9 comments
This one is the best, as it not a hand. :-)
That's me!
Put me in the "yea" column.
"Ubi hubave lubearned thubat ubanuby fubool cuban wrubite uba bubad ubad, bubut thubat ubit tubakes uba rubeal gubenubiubus tubo kubeep hubis hubands uboff uba gubood ubone."
-Lubeo Buburnubett
what counts here is the nicety. To hell with an intelligent 'idea'. It wouldn't matter a fig to these people even if every person employed in the advertising world pledges not to visit the zoo on account of lack of 'idea' in their ads.


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Skip to comments.Dave Says a Mobile Home is Just a Large Car to Live In
Posted on 11/22/2011 8:41:51 AM PST by Kaslin
Dear Dave,
Ive heard you tell people not to buy mobile homes. We bought one when we moved out of our apartment, and its been much cheaper for us. Why do you feel this way?
Dear Debbie,
Its simple. Mobile homes go down in value. When you buy a house, it goes up in value in the long run. From a financial standpoint, mathematically, when you buy a mobile home, youre buying a very large car in which to live.
Now, Im not necessarily against manufactured homes. But the phrase manufactured home can mean different things to different people. My test goes something like this: If its a type of housing that doesnt look like it had the wheels yanked off, then it will probably go up in value over the years.
Theres nothing wrong with renting an apartment for a while. When you pay out rent, thats all youre losing in the deal. But when you buy a mobile home, youre losing out with the payments and youre losing money every day as the thing goes down in value.
Thats why I tell people not to buy mobile homes!
Dear Dave,
My stepdaughter is 17 and will be starting college this fall. Her dad and I want to help her with expenses, but shes chosen a private university (with the help of her other parents) that costs $250,000 for an undergraduate degree. We dont want her going into student loan debt, but we cant afford that kind of money, and shes really pressing the issue. What do you suggest?
Dear Christina,
The biggest problem I see is that youve got a 17-year-old girl wagging the dog. I can tell you right now this wouldnt happen at my house. When it comes to the parent-child relationship at that age, the adults tell the children what to do. It doesnt happen the other way around.
If this child is going to take your money, then she needs to take your advice too. If shes not willing to be reasonable and take your advice, then she gets none of the money. Theres no undergraduate degree on the planet worth $250,000. The whole idea is absurd, and somebody needs to say that out loud.
This girl can work, and she can go to a state school and get a great education for about a fourth of that price. Since youre in Texas, theres absolutely nothing wrong with the University of Texas or Texas A&M. Theyre great schools. And at that price range, Im sure it would allow you guys to pitch in and help out some.
But seriously, a quarter of a million dollars for an undergrad degree? I dont think so!
"When you buy a house, it goes up in value in the long run."
He must be thinking of a vry long run...
It's good advice, but only if you feel the future economic situation will be stable. Not many are feeling that way. If you have the ability to own mobile shelter, it may be a better investment than he thinks.
Dave, dear Dave; tune in, please. As a 30-year Real Estate professional, I will verify that mobile homes decrease in value just like an automobile. But, YOU CAN SELL THEM! Currently, the finest homes ARE NOT SELLING unless you live in Dave Ramseys' dreamland, and no one knows when this will change. Those that do will not appraise for much more than 80% of original value under the best of circumstances. Most of us are lucky if we can just hold on to our homes. You, of course, made all the right decisions and have nothing but disdain for those of us who didn't. Please; you've become boring. The system doesn't provide us those mega-dollars to start over on; at least not today. And, I'm not and 'occupier'; just a guy who spends all day, every day, looking for a job!
The line has been blurred between mobile homes and stick built homes, with 'manufactured' homes, on permanent foundations...and even basements.
I did work for a housing developer who did an entire development with manufactured homes - no problems. Then HUD and FHA changed their rules...no HUD financing option for buyers, had to go back to stick built.
Anyway, I like manufactured homes, and have no problem with them. However, a large segment of potential buyers have been peeled away - so their value may not grow at the same pace of stick built.
The line has been blurred between mobile homes and stick built homes, with 'manufactured' homes, on permanent foundations...and even basements.
I did work for a housing developer who did an entire development with manufactured homes - no problems. Then HUD and FHA changed their rules...no HUD financing option for buyers, had to go back to stick built.
Anyway, I like manufactured homes, and have no problem with them. However, a large segment of potential buyers have been peeled away - so their value may not grow at the same pace of stick built.
Dave missed a very important point. If the mobile home goes down in value, why not buy a USED mobile home? I know some selling a very well maintained one with low miles for $8K. Cheaper than rent in the not so long run.
If I lost my house I would live in a mobile home on a few acres before I would go back to an apartment.
I hate living on top of, below and next to other people.
But yes, it's not true real estate even if you secure it to a foundation.
$250,000 for an undergraduate degree!?!?!?!?!
Exactly. My nephew bought a used one for like $5k... cheaper than a car, will work out about the same as paying rent over the long run. But when he has saved up enough to buy a stick built home he can sell the mh and use whatever he gets for that to help buy furniture.
Heck - I bought a nice doublewide in a "posh" San Jose neighborhood for $65K (yup - that's right) in 1986. Sold it 9 months later when my assignment was up - for $72K!!!
Single bedroom apartments were renting for $1200/month - it was a no-brainer.
Sarah Lawrence is said by Forbes to be the most expensive school in the entire country, and the full freight (tuition, board, books, etc.) is "only" $58K a year. Not even $240K. And much of the expense is because it's located in New York City.
Oddly enough, except for the University of Chicago, none of the most expensive schools are on the "best" lists. In many cases they are specialty schools such as arts schools, or finishing schools for wealthy young ladies (I'm sorry, I know it's co-ed, but that's what Sarah Lawrence still says to me.)
My daughter went to a top flight, but still MUCH less expensive, private Presbyterian college.
I wonder what preppers think of buying a motor home.... If the SHTF you can always change locations with a motor home. Plus, it's relatively easy to maintain, compared to a house.
I bought a manufactured home in 2005, with the expectation/hope that it WOULD decrease in value as I'm on a fixed income and don't want to be squeezed out by rising property taxes "because the value has increased" (bad enough it will increase via rising state costs). That was the reason I bailed out of my stick-built retirement home as the price almost doubled in five years and the taxes were rising accordingly.
My boy in PA, around Allentown, was renting at $1,800 a month - nothing that wasn't a slum was renting for anything less. He bought a used mobile/manufactured home in a development for $15,000 cash, fixed up a few things, and is paying $650 a month park rental and pocketing the difference. If, years down the line, things get better, he plans on paying cash for a stick built. (I think by then, he'll prefer the manufactured homes).
As others have said, they are not a bad deal if bought used. In these uncertain times it may even be advisable for a couple to buy a used RV, stay in a park, and be a lot more ready to move to were the jobs are if theirs go belly up and there's nothing else locally.
^^Then again, where would you put all your stock piles of food, etc. Darn.
Possibly they are looking at the anticipated inflation of costs. Many universities are raising costs at a rate of 9-12% per year these days. If she's 17 now, the senior year might be 5-6 years out.
It is not the mobile home itself. If one takes care of it, just like anything else the resale value can be good. Plus it will look great both inside and out.
It is they type of people who live in them, and trailer parks. Two words "white trash". Not to generalize here, but trailer parks are nothing but a white trash ghetto that I hope to never see again for the rest of my life!
The person is talking about motor home not mobile home. I actually can see savings if the motor home is payed for. The Money saved on electricity, taxes, upkeep, and mortgage would add up really fast. All the interest you give to the mortgage company going into your account is much better than the amount your house will go up. IMO.
We had considered having it shipped to TN when my husband was on orders for Germany in 1977, but I told him that I don't want to step in another mobile home again and so we just sold it
58K X 4 years is $232K. 58K X 5 years is $290K.
And that is the most expensive school in the country. What are the chances this girl got into Sarah Lawrence? There are so many better places academically to attend. Even the Ivies aren't nearly that pricey - around $50K all told for Princeton and Harvard - and you get the Ivy degree which is still worth a great deal (if you can put up with all the nonsense to get it).
More likely to be a middle tier private school which would run between $35 and $40K per annum. Still not pocket change, but considerably less.
I detect exaggeration, either by Ramsey or his correspondent.
Up until 2008 FHA did insure financing of manufactureds on acreage, so long as the foundation construct complied with specific requirements. The supports had to be mortared, not dry-stacked, and the tie-down material requirements were more stringent. Has that changed since?
You can sometimes get excellent deals on mobile homes on lots. You often pay only the cost of the lot, which you recoup when you sell, often at a profit.
If you give me the choice of a mobile home with 10 acres in the country or living on top of one another like stacked wood, I'll take the trailer every time.
WTH??? Tell her the "private" option is off, if it's on you to pay for it!!! Are her "other" parents ponying up???
I couldn't wait to shake the dust of New Jersey from my sandals. And yes, my poor parents paid for my education, as we paid for our daughter's. And it was money well spent.
Theres nothing wrong with renting an apartment for a while. When you pay out rent, thats all youre losing in the deal. But when you buy a mobile home, youre losing out with the payments and youre losing money every day as the thing goes down in value.
Thats why I tell people not to buy mobile homes!
Once again Dave misses the mark with his "one size fits all" advice.
If the PITI and association fees on a mobile home adds up to less then, the same, or just a smidgen more than rent of a comparable property then the mobile home makes more sense.
Dave treats his audience like children. As a functional adult I can run the numbers and weigh my options accordingly.
Ditto. Can always re-build at a later time, if desired. My first home purchase was a mobile home in 1981, and when I sold it in '84, I got $1,000 equity proceeds at closing. Not bad for an Air Force E-4 with a family.
I'll take a mobile home that I own with a little space over a rented apartment any time.
What a load of horse hockey. I would invite him to show me ANY house that has gone up in a 20-year period, AFTER inflation is adjusted out. TRUE inflation (vis-a-vis the price of silver), NOT the Consumer Price Index.
Why does anyone listen to Dave Ramsey, other than the advice to get out of debt?
I totally agree. And while Dave is correct in saying a mobile home will decrease in value somewhat... what "increase" in owned value is seen in renting? I resent paying someone else's mortgage.
The primary question with a mobilehome is who owns the land under it? If you're in a rental park, the rent on that land is going to continue to increase over time. Although various rent control schemes may impact short term increases, in general the park will be able to increase the rent when you re-sell. The net effect of the increase will reduce the resale price and you end up in a situation where the comparison with the consistent loss in value when owning a car is pretty accurate.
If, on the other hand, you own the land under the coach, the appreciation will usually track the increase in land prices in your area, reducing and sometimes cancelling the depreciation on the coach.
The big landlord/tenant battle in rent controlled parks these days is over the desire of tenants to sell-off the right to remain under rent control to the next purchaser of the coach. In some cases, that right can represent more than half the sales price. Park owners, on the other hand, think they should be able to raise the rent to market value when a tenant moves out. They seem to have the "quaint" notion that it's their land, so they have a right to profit from its increase in value.
Individuals who buy into rent controlled parks under a promise that they'll always be able to pay discounted rent for their plot are taking a huge risk. Rent laws are usually subject to change every time the City Council majority changes. If they adopt "vacancy decontrol", you've just spent a large chunk of money for an empty promise. Park residents in Oceanside, California are currently having that experience.
The politics surrounding mobilehome rent control laws can get pretty noxious. Marxist activists love to get involved in the battles. It's educational to watch a bunch of supposedly conservative senior citizens making arguments right out of Das Kapital.
Motor homes, to me, are perfect. Bad neighbors? Pull in your cord and hoses and move! Most have their own generators. They are the perfect earthquake kit.
<$250,000 for an undergraduate degree
No way in Hades is an undergraduate degree worth that kind of money. How many want to bet that the step daughter wants to be an English or Women's Studies major - something she could do at State U for a lot less money. Even if she were in the hard sciences where there might be some real value to the degree, I'd have to tell her no deal. They've got labs at State U, too.
I'm a professor, I'm an education snob, and I believe in the value of 'signaling' in terms of choosing the right college, but costs don't necessarily indicate value or expertise. There are many excellent state schools with excellent programs. Step dad and daughter need to sit down and figure out what her interests are (which will probably change the minute she lands on campus) and make a choice based on the program, not the school's advertising pitch.
Re: the college issue: Sounds like the kid is playing off one set of parents against the other. Great life lesson she's learning there: how to get money by selling off her affections. </sarc>
Many universities have five year programs for engineers and the hard sciences.
If students are disciplined and very hardworking, they can sometimes complete a degree sooner, of course. AP credits are a help.
He is thinking about the Golden Age of the USA. In that time the country is so attractive to foreigners that millions of them want to immigrate, thus increasing the population size and leading to scarcity of housing in cities and places where usable land is limited by geography.
It does look, though, that the USA has already jumped that particular shark. Few people will be attracted by confiscatory taxes, mandatory health insurance with no guarantee of treatment, social strife, high crime levels, wasteful government, cavity-searching TSA, and a civil war looming on the horizon. In such conditions the influx of immigrants who can buy a house will drop. (Illegals from Mexico, by and large, don't buy houses even if they have the money; they live ten per room, and they save the money for sending abroad.) Emigration is also likely, especially migration within the country (from CA to anywhere, for example) - this also frees up the living space. Even those homeowners who don't migrate may lose their jobs, be unable to pay absurd property taxes and be forced to sell the house. Home ownership is directly linked to the wealth of the society, and that is falling for quite some time already.
Exactly correct. When I got my Electrical Engineering degree, that's the plan I was on. I worked my butt off in the summers, on a co-op program with an engineering firm.
My daughter's college, Davidson, has a similar dual-degree program, but it's not a standard undergraduate course as it requires extra study and you wind up with two degrees.
One was enough for her (and us) - B.S. in Biology.
He was a straight science graduate though, Chem. and not Chem.E. "I'm not a plumber," hesez, sezze.
The co-op feature is great for future employment, but it does add time to the degree. Friend of my daughter's is on a similar program in biology, and the practicum is very time consuming.
Isn't the 6-8 years to get a medical degree 250K at cheaper schools?
I had a friend out west, who married a younger wife. They were both very strong in their religion, and had a very traditional family, with two small children. They both had finished their undergrads; he went on to law school and got his JD. She decided she wanted to go to Sarah Lawrence to get her Master's degree in Poetry. Some time after she returned from that boondoggle, she divorced her husband.
Not saying that SL caused the divorce, but she was a changed person when she returned...I don't mean that as a compliment.
First of all, a female would have been offered significant financial incentives to matriculate in engineering.
Second of all, MIT is $39K p.a., Stanford $41K, Carnegie Mellon $36K, Ga. Tech $24K, and UCal Berzerkly a real bargain at $15 for out of staters. Where would she be going to pay this sort of freight for an engineering degree?
They have a tremendous chip on their shoulders just because they are former women's colleges and have abandoned their traditional role to attempt to ape a more conventional school. A bad bargain that pleases no-one.
I saw this when I took an extern course at Bryn Mawr. They were very huffy about their status, more so when they discovered I was in residence at a "conventional" Ivy.
There's some good insights on this thread. I've recently looked at some 55+ manufactured home communities. Some places I've looked at include both manufatured homes along with mobile homes. Other communities were strictly manufactured homes (this is my prefernce), on concrete base, with attached garages on some models. They seem very nice. Prices range between $125K to $175K. Community fees seem to avarge abot $ 450/month.Does anybody here reside in this type of community? If so, what are the pros and cons?
My husband and I married before I went to law school, and we're still happily married -- but many marriages among my classmates did not survive that experience.
My experience with mobile homes is the problem isn't the home itself, which can be had very cheaply, but the other tenants in the mobile home park.
then don't park it in a mobile home park. My niece and nephew bought a trailer and put it on a piece of land that they bought for $5000 and they're very happy with it. It's a great starter home for them and the land will always have value.
Disclaimer: Opinions posted on Free Republic are those of the individual posters and do not necessarily represent the opinion of Free Republic or its management. All materials posted herein are protected by copyright law and the exemption for fair use of copyrighted works.


text:
Latest News
Every day, IRC humanitarian workers are rescuing lives. Here, they offer a glimpse of their experiences, the challenges they face and the courageous people they meet by sharing videos, photos and stories.
Posted by The IRC on December 6, 2011
IRC Voice Jencarlos Canela talks about an IRC-run "child-friendly space" he visited yesterday in Haiti's capital, Port-au-Prince. The IRC makes sure young earthquake survivors have safe places where they can play, learn and heal. more »
Posted in Emergency Response, Caribbean, Haiti | Tags: children, natural disasters, Haiti, earthquake, Jencarlos Canela, child-friendly Space | 1 Comments
Posted by Jane Yang on December 6, 2011
The Logiels, like many families in remote Turkana, Kenya, have been suffering through the worst drought to hit East Africa in six decades. Read about how the IRC helped save their three-year-old daughter's life. more »
Posted in Horn of Africa Drought, Africa, Kenya | Tags: children, drought, health, malnutrition, natural disasters, Turkana |
Posted by Ned Colt on December 5, 2011
During this past summer, the IRC rehabilitated nine schools in northern Pakistan that were damaged or destroyed in the record flooding of 2010. more »
Posted in Pakistan Floods, Asia, Pakistan | Tags: education, Pakistan floods |
Posted by Kate Adams on December 5, 2011
On International Volunteer Day, a brilliant thought from Albert Einstein and a word of thanks -- plus ways to get involved with the IRC. more »
Posted in Volunteering | Tags: refugees, Albert Einstein, IRC history, volunteer, International Volunteer Day |
Posted by The IRC on December 4, 2011
An IRC Rescue Gift -- a flock of chickens -- leads Pulitzer Prize winning journalist Nicholas D. Kristof's annual round-up of great charities and meaningful holiday gifts. The column appeared in today's New York Times. more »
Tags: Nicholas Kristof, news, agriculture, howtohelp, charitable giving, Rescue Gifts |
Posted by The IRC on December 3, 2011
Women sell fish at their market stall in Monrovia, Liberia: In the aftermath of war, one giant step toward recovery is the rebuilding of local economies — and market-savvy women are often natural entrepreneurs. more »
Posted in Women, Africa, Liberia | Tags: livelihoods, conflict, women, Rescue Gifts, economic recovery |
Posted by The IRC on December 3, 2011
Today is the International Day of Persons with Disabilities. Read a new blog in the Huffington Post by the Women's Refugee Commission's Sarah Costa in honor of this day. more »
Posted in Disabilities |
Posted by Kate Adams on December 2, 2011
More than eight months after a tsunami ravaged northeastern Japan, IRC partner AAR is continuing to assist survivors with disabilities and others who have had difficulty accessing aid. more »
Posted in Emergency Response, Asia, Japan | Tags: tsunami, disabilities, natural disaster, earthquake, humanitarian aid, World Disabilities Day, AAR Japan |
Posted by George Rupp on December 2, 2011
When the water dries up, when the floods come, when the militants pillage, the IRC is hard at work doing what we do best -- saving lives. Right now, we have an extraordinary opportunity. Special friends of the IRC will match your online donation dollar for dollar -- up to $1.54 million -- through December 31. more »
Posted in Horn of Africa Drought, Africa, Somalia | Tags: drought, natural disasters, humanitarian aid, howtohelp, famine, charitable gift |
Posted by The IRC on December 2, 2011
Hear from a teacher who is trying to keep kids learning amid crisis in eastern Congo --- plus, other notable quotes touching on the work of the IRC around the world. more »
Tags: news, conflict, humanitarian aid | 2 Comments


text:
CBS Baltimore News Copy
BALTIMORE (WJZ) – Best-selling author Tom Clancy died Tuesday in a Baltimore hospital.
His publisher has confirmed his death to several media outlets.
Clancy was the author of more than a dozen spy and military-related novels.
He was a Maryland resident and part owner of the Baltimore Orioles.
Clancy was 66.


text:
Shapeways: Bring your creativity to life in 3D http://www.shapeways.com/forum/index.php Shapeways: Bring your creativity to life in 3D A few quick questions for Shapeways ... http://www.shapeways.com/forum/index.php?t=rview&goto=45396&th=8564#msg_45396 <![CDATA[Hello

 I'm interesting in doing some silver casting and consider using Google Sketchup (not Pro) to make the casting forms - which I would like Shapeways to 3D print for me in a suitable material.

 Any of you know if Shapeways can work with Google sketchup files (not the Pro version) for 3D printing? And also if they have materials that can be used for silver casting (a melting temperature of about 1000 degrees celsius)?

 Thanks for reading and maybe replying

 Jesper

 P.S.: If this is not possible using Shapeways, I'd appreciate suggestions for an alternative - yet similar - service.]]> Evalon 2012-03-13T07:28:52-00:00 Re: A few quick questions for Shapeways ... http://www.shapeways.com/forum/index.php?t=rview&goto=45404&th=8564#msg_45404 <![CDATA[Hi Jasper , your question is rather vague , do you intend to cast the silver yourself ? in which case are you looking to get a mould or more correctly a die printed ? incidentally you will need a temperature 100°C above the melting point of 960°C for pouring.
 Dan.]]> abby 2012-03-13T12:36:29-00:00 Re: A few quick questions for Shapeways ... http://www.shapeways.com/forum/index.php?t=rview&goto=45408&th=8564#msg_45408 <![CDATA[Hi Jesper,

 To answer your first question, you can use the free version of Sketchup for 3D printing.

 ]]> denali3ddesign 2012-03-13T12:52:56-00:00 Re: A few quick questions for Shapeways ... http://www.shapeways.com/forum/index.php?t=rview&goto=45413&th=8564#msg_45413 <![CDATA[

denali3ddesign wrote on Tue, 13 March 2012 12:52

Hi Jesper,

 To answer your first question, you can use the free version of Sketchup for 3D printing.

 Well, you can't upload Sketchup files. You need DAE or STL from Sketchup I believe. ]]> Youknowwho4eva 2012-03-13T14:58:57-00:00 Re: A few quick questions for Shapeways ... http://www.shapeways.com/forum/index.php?t=rview&goto=45428&th=8564#msg_45428 <![CDATA[Unless you are working in Full Color Sandstone, the DAE's exported by sketchup will work fine. (File/Export/3d Model)

 However in sketchup 8 I've run into two hiccups. The first is the orientation of my models are always one axis off. IE: The front of my model in sketchup is the top of my model when uploaded to shapeways. This is not really a problem just something to be aware of. The second is if you upload a model with unexploded components, it returns an "unknown_size" error. So make sure you explode any components before you export your model.]]> Carpemortis 2012-03-13T17:45:37-00:00 Re: A few quick questions for Shapeways ... http://www.shapeways.com/forum/index.php?t=rview&goto=45500&th=8564#msg_45500 <![CDATA[Hi all,

 & thanks for replying

 Hmmm... I wonder if one of you may also know if there's one of Shapeways' materials that may be used for multiple silver or copper castings? I would like moulds to be made into which I can pour the silver or copper and then take apart the mould whereby releasing the shape now cast. And then reuse the mould more times.

 Hope one of you knows!

 Best regards from a Denmark that now shows clear signs of spring

 Jesper]]> Evalon 2012-03-14T17:17:57-00:00


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"Fort Bragg" Top 5 Page for this destination Fort Bragg by Tom_Fields
Fort Bragg Travel Guide: 87 reviews and 206 photos
Fort Bragg is a colorful town on California's scenic north coast. It was for many years a booming timber town, on the edge of the redwood forest. Now, it's a fishing and tourist town. While visiting, take a trip down the coast to Mendocino. Along the way is some of the state's finest coastal scenery.
- Pros:Excellent location for seeing the north coast
- In a nutshell:An excellent getaway
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text:
Roubini Says Eurozone 'Wreck' May Force Greece Out in Year
Nouriel Roubini, the New York University economist who predicted the financial crisis, said Greece will probably leave Europe's single currency within 12 months and could soon be followed by Portugal.
"The euro zone is a slow-motion train wreck," Roubini said in a panel discussion in Davos, Switzerland today. "Not only Greece, other countries as well are insolvent."
Roubini said he sees a severe recession in Europe and a 50 percent probability "that over the next three to five years the euro zone will break up."
"Not all the members are able to stay," he said. "Greece and maybe Portugal may exit the euro zone --Greece within the next 12 months. Portugal may take a while longer."
Bondholders agreed with European officials three months ago to implement a 50 percent cut in the face value of more than 200 billion euros ($263 billion) of debt by voluntarily swapping bonds for new securities.
A worsening economy since then has made it more difficult to achieve a goal of cutting Greece's debt to 120 percent of gross domestic product by 2020. An accord with bondholders is tied to a second bailout from Greece's European partners and the International Monetary Fund for the country, which faces a 14.5 billion-euro bond payment March 20.
Greece and its private creditors said they made "important" progress during talks in Athens on a debt-swap accord needed to lower the country's debt and pave the way for a second package of international aid.


text:
No fix for 3.41, need to edit the eboot not the param, if the param is edited the eboot still 3.55, even a 3 year old can edit a param.
Multiman edit the param if you launch with it
No fix for 3.41, need to edit the eboot not the param, if the param is edited the eboot still 3.55, even a 3 year old can edit a param.
Multiman edit the param if you launch with it
http://www.megaupload.com/?d=HFXC6WHJi'm ryu002003 you need copy and replace param file, download here:
1) copy param file from folder PKGDIRPARAM.SFO file to /PS3_GAME/PKGDIR/PARAM.SFO replace old file
2) copy param file from PS3GAMEPARAM.SFO to /PS3_GAME/PARAM.SFO
3) you need one disc game bluray in driver loading game Biohazard Revival Selection with multiman or another manager
4) install game with icon Biohazard Revival Selection
5) loading any game 3.55 you got and then start game with icon Code Veronica or Resident evil 4
this is no fix for FW 3.41 only 3.55
So was this game 3.60?... and If it was how did you get it to work?
Both games are signed with 3.50 keys
Couldn't we have used Dean's EbootMOD to make it work on 3.41?
UPDATE: I tried using dean's EbootMOD but it didn't work.
violentcris big thanks for your 3.41 fixes mate.. love your work.
i will try the deans ebootfix/mod and see what happens. gotta get the game 1st though.. LOL
HeyManHRU is good to see you again man, i see you have been promoted , you deserve it.
elser1 scene are really moving those last days, don't get surprised!
The version for 3.55 is Run_Biohazard_Revival_Selection_JPN_from_JPMORGAN_ on_CFW355_iNTERNAL_PS3-ASDOX if you want to search for an download or just for Informations about the Internet.
I understand this part, but what about "3.55 BHS.rar" (it also include EBOOT.BIN)? No need?
yes, no need file 3.55 BHS.rar
PS3 Backup Game Managers
• GameSonic PS3 Manager Updates
• Hybrid Manager PS3 Updates
• IrisMAN PS3 Manager Updates
• Iris Manager PS3 Manager Updates
• MultiMAN PS3 Manager Updates
PS3 CFW (Custom Firmware)
• DARKNET PS3 CFW Updates
• Ferrox PS3 CFW Updates
• Habib PS3 CFW Updates
• Prometheus PS3 CFW Updates
• PS3ITA PS3 CFW Updates
• Rebug PS3 CFW Updates
• Rogero PS3 CFW Updates
• Sky PS3 CFW Updates
• Starz PS3 CFW Updates
PS3 Homebrew Apps
• Movian PS3 Media Center
• PS3 CCAPI (ControlConsoleAPI)
• PS3 NOR & NAND Patcher Updates
• PS3Xport / PeXploit Updates
• No PSN / NoPSN Patch Updates
• PSNDL / PSNDL v2 Updates
• PSNPatch / PSN Patch Updates
• PSNStuff+ / PSNStuffX Updates
• PSN / SEN Enabler & Disabler Updates
• TrueAncestor PS3 Tools Updates
• WebMAN Mod Plugin Updates
• Yutolio's PSN Database Updates
PS3 MFW (Modified Firmware)
• PS3 CFW Creator / PS3MFW UI
• PS3MFW Builder / Our MFW Updates


text:
let me preface this with a warning that I am building a frankenbike from the co-op, but I assure you that i know what i am doing with a wrench. (most of the time.)
I have an old Bianchi Boardwalk hybrid with 135mm rear spacing and I would like to put this nice rear wheel on it. it's an old Shimano 105 hub laced to a Sun ME14A rim that was previously spaced at 130mm, then I replaced the axle and spaced it at 126mm for an old Motobecane. That bike never came to fruition, so the wheel is going on the Bianchi instead.
so the question is: would it be ok to replace the axle with an axle from a 135mm spaced mtb hub, or should I re-lace the rim to a mtb hub. i have the spokes I need and I am a pretty competent wheel builder.


text:
freedom of expression
Reflecting on the Human Rights Council as a space to halt mass surveillance
Last Friday the 24th session of the UN Human Rights Council came to a close in Geneva.
Is cyberspace a safe space for women and girls?
Today is #orangeday, a monthly campaign to raise global awareness on issues relevant to preventing and ending violence against women and girls.
Women's rights and threats to online freedom: reflections from the Freedom Online Conference 17 to 18 June 2013
From 17 to 18 June 2013 I took part in the conference on online freedom known as Freedom Online. This conference, carrying the same name of the coalition behind it, highlighted the continent in which it was hosted.
Freedom of expression under threat in Macedonia
APC and Metamorphosis Foundation made a joint-submission to the United Nations Universal Periodic Review in light of recent legislative threats to freedom of opinion and expression, freedom of press, privacy and security, and hate speech.
Understanding impact: An Internet Rights Are Human Rights training curriculum from APC
Increasingly the internet is being viewed in the context of a global public good – that access to information can be a liberator and equaliser.
While it is a space for people around the world to exercise their fundamental human rights and freedoms,
'Human rights and the internet' multimedia training kit released
APC presents a Multimedia training kit on human rights and the internet, a set of modules concerned with the relationship between human rights, information and communications technologies (ICTs) and the internet. These modules can be used freely to help those who work on human rights and ICTs to understand how the internet is affecting the protection of rights.
Joint Submission on Internet-related Human Rights Issues in Nigeria
Red light to cybercrime law in the Philippines
On February 5, 2013 the Philippines Supreme Court extended until further notice the temporary restraining order issued on the implementation of the controversial Republic Act 10175 or the Cybercrime Prevention Act of 2012. This sets a milestone for organisations and individuals advocating for internet rights.
Monitoring freedom of expression: The APC-La Rue Framework
In his 2011 annual report, the United Nations Special Rapporteur on on the promotion and protection of the right to freedom of opinion and expression, Frank La Rue, focused on the internet.
In doing so, he developed a broad framework for assessing freedom of expression on the internet. Using this framework, General Comment 34 on Article 19 of the ICCPR, and recommendations made by UN special mandate holders, APC's Internet Rights Are Human Rights project has developed a draft checklist for civil society groups to monitor legislation, raise awareness, defend internet rights, and influence policy.
Google dominance and the power of framing
Last week the US Federal Trade Commission announced the results of its 19 month investigation into Google, concluding that the company had not violated antitrust laws in the algorithms used to arrange its web search results.