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[Video] Pioneer CDJ-2000nexus + Serato Scratch Live
Two weeks ago, Serato announced their new iPad companion App called Serato Remote. With the release of the App also came some updates to the Serato DJ and Serato Scratch Live software suites. Buried within the new Serato Scratch Live updates came the Pioneer CDJ-2000nexus HID-Mode compatibility which allows DJ's to use the two together in perfect harmony.
Pioneer CDJ-2000nexus & SSL
In other words, if you have SSL and a set of Pioneer CDJ-2000nexus players, then all you have to do is update both the device firmware and the DJ software (links in the press release below). The Pioneer CDJ-2000nexus will then link with the Serato Software to display all of the properties in the software on the on-board LCD screen to provide the user with waveforms, cue points, track information and more. The CDJ-2000nexus will also pass the Serato Control Vinyl signal directly to SSL without using the control CD's.
Now that the CDJ-2000nexus works perfectly with both Traktor Pro and SSL in HID mode, it provides everyone with yet another reason to want a set for themselves. Check out the full press release below for more information and be sure to watch our full HD-Video review...
Pioneer CDJ-2000nexus Review
PIONEER PROFESSIONAL MULTI-PLAYER CDJ-2000nexus SUPPORTS COMPATIBILITY OF SERATO SCRATCH LIVE
CDJ-2000nexus players with current firmware Version 1.13 will work in-sync
with the Scratch Live software Version 2.5.0 for intuitive DJ performance
using music files stored on a computer, without the need for a control
In Online Mode, Scratch Live software functions automatically link to
corresponding buttons and keys of the CDJ-2000nexus player when a computer
operating the software is connected via the player's USB port. For
convenience and ease of use, functions such as tempo adjustment, play/cue
and loop can be made without having to use a computer keyboard or mouse.
With the built-in color display of the Pioneer® CDJ-2000nexus, detailed
track information of the Scratch Live software is indicated including text,
album artwork, waveform, cue/loop points and other information, resulting
in quicker visual communication and enhanced DJ performance. In addition,
checking playback status and selecting tracks can all be done directly on
the CDJ player, minimizing the need to browse through a computer screen.
Firmware update version 1.13 for the CDJ-2000nexus to support the new
Scratch Live Version 2.5.0 software is available at Pioneer DJ's support
site, http://pioneerdj.com/support/.
Scratch Live 2.5.0 is a free of charge software download available on
Cd TurntablesDj ControllersDj SoftwarePioneerSeratoVideos


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Tim Tebow is considered one of the best college quarterbacks who has come along in quite a while.
While playing for the University of Florida, Tebow was awarded the Heisman trophy as a sophomore — a feat never accomplished by such a young player. Tebow also has the honor of being the first home-schooled student to win that coveted honor. He is now a member of the Denver Broncos football team, having been selected in a highly watched first round draft pick in 2010.
But what else does a 23-year-old man in the beginning of his adult years, admittedly a very successful beginning, have to share about his life? In Tebow's case, quite a lot it seems, and in his memoir, "Tim Tebow: Through My Eyes," he gives readers a glimpse into his incredible life so far.
Born to missionary parents who were based in the Philippines, Tebow nearly didn't make it to his own birthday party. Tebow's mother, Pam, had severe problems with her pregnancy and had been advised by her local doctor that her best course of action would be to have an abortion. She and her husband, Richard, decided that was not in their plans and flew with their family to Manila to consult with another doctor, who successfully treated her medical condition and delivered her fifth child, Tim. This event had a huge impact on the Tebow family, and is reflected in the deep Christian beliefs that are shared throughout Tebow's story.
Returning to the United States while still a toddler, Tebow and his brothers were highly active in local football, in spite of the fact that they were home-schooled by their mom. Tebow describes the push his family made to secure the boys' ability to play with local school teams, to the point of even changing Florida educational policy that has resulted in other home-schooled children being able to take part in sports programs more easily.
Tebow describes how he rose up through his high-school years to become a sought after player, despite many roadblocks from coaches telling him he wasn't cut out to be a football star. Tebow and his family relied strongly on their faith to get them through the trying times, and this memoir documents his perseverance and dedication to reaching his goals.
Tebow shares throughout the book how the influence of his parents and his family's strong church connection have powerfully influenced his life. It is interesting to read his testimony and see that he does truly walk his talk, as demonstrated through his own commitment to missionary work.
Though he is still very young, it will be interesting to follow Tim Tebow's career as he matures into possibly one of the top football players of our time.
Tim Tebow credits faith, family for success in memoir
Tim Tebow is considered one of the best college quarterbacks who has come along in quite a while.
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subset: commoncrawl


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Toshiba recommends Windows.
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800-705-2397 email@example.com
When I first got my Libretto I could resize the keyboard and move it around, but it was hard to get it back to "default". Then it started working very well and I loved being able to work on two screens and have a tiny little keyboard that was usable, but not in the way. If I made it too small for my fingers, it was easy to use a mouse with it - precision clicking without having to push the mouse around a big area. While resizing and moving the keyboard, a red border appeared around it. Also clicking at the top would cause the overlay with a grid of options to appear just like the one for other windows. Now the keyboard is no longer resizable, and I can only move it from one screen to the other by clicking the icon at the top right. I have installed a couple of updates, but I do not recall that they said anything about changes to the keyboard. Has there been a software change, or have I changed a setting without realizing it? I miss having that control over the keyboards.
My keyboard is freaking on me also. I can not resize this - I have to do a restore - what a pain !
Copyright © Toshiba America Information Systems, Inc. All rights reserved.


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Faustmann and the Climate
This paper presents an adjusted Faustmann Rule for optimal harvest of a forest in the presence of a social cost of carbon emissions. A contribution of the paper is to do this within theoretical and numerical frameworks that take account of the dynamics and interactions of the forest's multiple carbon pools within an in…nite time horizon model. With our less restrictive assumptions we …nd that a social cost of carbon has a signi…cantly stronger e¤ect on the optimal harvest age than found in earlier studies. Considered is also how increased use of harvest residues for energy purposes and storage of carbon in building materials and furniture should in‡uence the length of the rotation period. The theoretical results are quanti…ed within a numerical framework.
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|30 pages
|Date of creation:
|26 Sep 2012
|Date of revision:
|Contact details of provider:
| Postal: Department of Economics, University of Oslo, P.O Box 1095 Blindern, N-0317 Oslo, Norway
Phone: 22 85 51 27
Fax: 22 85 50 35
Web page: http://www.oekonomi.uio.no/indexe.html
More information through EDIRC
References listed on IDEAS
Please report citation or reference errors to , or , if you are the registered author of the cited work, log in to your RePEc Author Service profile, click on "citations" and make appropriate adjustments.:
- Asante, Patrick & Armstrong, Glen W. & Adamowicz, Wiktor L., 2011. "Carbon sequestration and the optimal forest harvest decision: A dynamic programming approach considering biomass and dead organic matter," Journal of Forest Economics, Elsevier, vol. 17(1), pages 3-17, January.
- G. Cornelis van Kooten & Clark S. Binkley & Gregg Delcourt, 1995. "Effect of Carbon Taxes and Subsidies on Optimal Forest Rotation Age and Supply of Carbon Services," American Journal of Agricultural Economics, Agricultural and Applied Economics Association, vol. 77(2), pages 365-374.
- Searchinger, Timothy & Heimlich, Ralph & Houghton, R. A. & Dong, Fengxia & Elobeid, Amani & Fabiosa, Jacinto F. & Tokgoz, Simla & Hayes, Dermot J. & Yu, Hun-Hsiang, 2008. "Use of U.S. Croplands for Biofuels Increases Greenhouse Gases Through Emissions from Land-Use Change," Staff General Research Papers 12881, Iowa State University, Department of Economics.
- Farzin, Y H & Tahvonen, O, 1996. "Global Carbon Cycle and the Optimal Time Path of a Carbon Tax," Oxford Economic Papers, Oxford University Press, vol. 48(4), pages 515-36, October.
- Bjart Holtsmark & Michael Hoel & Katinka Holtsmark, 2012.
"Optimal harvest age considering multiple carbon pools - a comment,"
Discussion Papers
704, Statistics Norway, Research Department.
- Holtsmark, Bjart & Hoel, Michael & Holtsmark, Katinka, 2013. "Optimal harvest age considering multiple carbon pools – A comment," Journal of Forest Economics, Elsevier, vol. 19(1), pages 87-95.
- Bjart Holtsmark, 2012. "Harvesting in boreal forests and the biofuel carbon debt," Climatic Change, Springer, vol. 112(2), pages 415-428, May.
- Asante, Patrick & Armstrong, Glen W., 2012. "Optimal forest harvest age considering carbon sequestration in multiple carbon pools: A comparative statics analysis," Journal of Forest Economics, Elsevier, vol. 18(2), pages 145-156.
- Samuelson, Paul A, 1976. "Economics of Forestry in an Evolving Society," Economic Inquiry, Western Economic Association International, vol. 14(4), pages 466-92, December.
- Tahvonen, Olli, 1995. "Net national emissions, CO2 taxation and the role of forestry," Resource and Energy Economics, Elsevier, vol. 17(4), pages 307-315, December.
- Adam J. Daigneault & Mario J. Miranda & Brent Sohngen, 2010. "Optimal Forest Management with Carbon Sequestration Credits and Endogenous Fire Risk," Land Economics, University of Wisconsin Press, vol. 86(1), pages 155-172.
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Busy guitarist Quinn Scharber lets long-shelved solo album shine
Quinn Scharber, guitarist for Hugh Bob and the Hustle and the Championship, is playing a release show for his solo album Friday, nearly two years after he released it.
Actually, work on Scharber's second solo album goes back even further, to fall 2008. »Read Full Article
New Milwaukee Rep season boasts Liberace, 'Color Purple'
During its 2014-'15 season, the Milwaukee Repertory Theater will stage two world premiere productions — and bring back one of this town's most popular entertainers for an encore.
Next March, the Rep, 108 E. Wells St., will premiere "Five Presidents," a commissioned drama from Rick Cleveland set on the day of Richard M. Nixon's funeral, which brought Gerald Ford, Jimmy Carter, Ronald Reagan, George H.W. Bush and Bill Clinton together. Cleveland has been a writer on such acclaimed TV series as "House of Cards," "The West Wing" and "Six Feet Under." »Read Full Article(1)
Food and drink events in Madison for tonight and later: MadTown Shakedown and SloPig
Two events in Madison will revolve around food and drink with a competitive edge: the MadTown Shakedown cocktail competition tonight, and SloPig on March 16.
The cocktail competition, which starts at 7 p.m. at the Wise bar inside HotelRed, 1501 Monroe St., will pit five Madison bartenders against each other to create a cocktail from ingredients divulged when the contest begins. Participating bartenders are Grant Hurless, Kevin Lu, JR Morcanu, Jessi Stebbins and Jeff Spear. »Read Full Blog Post(3)
Late 'Ghostbuster' Harold Ramis explains the meta of 'Groundhog Day'
I spoke to the late "Ghostbuster" and "SCTV' cast member Harold Ramis before his appearance here as a guest of the old Milwaukee International Film Festival in 2006.
Although the honor was a modest one, "you can never get enough accolades," he joked. »Read Full Blog Post
Annual Firkin Beer Festival announces July date
It's not too early to think about summer. And summer beer.
Milwaukee's Firkin Beer Festival announced July 19 as the date for the annual brew festival. More than 100 craft beers will be available to sample from Milwaukee breweries and guest breweries from around the country from 4 to 8 p.m. at Cathedral Square Park. »Read Full Article
Fall Out Boy, Paramore to headline Summerfest July 5
Pop-punk bands Fall Out Boy and Paramore are co-headlining the Marcus Amphitheater on July 5, the seventh major show announced for Summerfest 2014, fest officials confirmed Monday.
The Milwaukee stop for the bands' Monumentour was the top prediction to headline Summerfest in a speculative Journal Sentinel story last month. Routing had the bands in the Midwest around the July Fourth weekend. »Read Full Article(3)
Countdown to spring: 25 days
Welcome to the last Monday in February. There's something to be said for that.
Instead of suffering through cabin fever, readers in Wauwatosa joined the All-City Read. Tonight, they will video chat with "Rocket Boys" author Homer Hickam at 7 p.m. at the Wauwatosa West High School Auditorium. »Read Full Blog Post


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Maybe we'll never have a downtown that compares to Dallas and Fort Worth, but we still have reason to preserve and revitalize our downtown. Some of the beautiful old buildings are so special, they are featured in books on architecture.
A few years ago, an old high school friend came back to Amarillo to visit his ailing mother. I mentioned to him the beautiful buildings downtown. Though raised in Amarillo, he had no idea what I was talking about. He had lived in New York, San Francisco, Chicago and Zurich, but when I drove him around downtown Amarillo, he was amazed. He still mentions that "trip" every time I talk to him.
Don't give up on our downtown. Go look at those old buildings with fresh eyes. You'll be amazed at their beauty and detail. Just seeing the old Paramount sign back on that gorgeous art deco building where it belongs is worth the trip.
To everyone behind revitalizing our downtown area, keep up the good work! Don't listen to the naysayers. They clearly have been stuck in their little neighborhoods too long.
Vonnie White
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Description: Designed by French Bull for Windham Fabrics, this cotton print fabric is perfect for quilting, apparel and home decor accents. Colors include orange and white. The chevron stripe runs parallel to the selvedge as pictured.
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Description: Designed for A.E. Nathan, this cotton print is perfect for quilting and craft projects as well as apparel and home décor accents. The stripe is horizontal to the selvedge as pictured. Colors include yellow, white, blue and royal.
Description: Designed by RBD Designers for Riley Blake, this cotton print features lustrous metallic foil printed onto cotton fabric. This fabric is perfect for quilting, apparel and home decor accents. Colors include metallic lime and white.
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Columbia Bugaboot® XTM
Bring on the extreme cold— these tall and rugged performers can take it. The Bugaboot XTM is a weather-busting winter boot, engineered with advanced technical materials for severe cold weather protection. Utilizing Omni-Heat® thermal reflective technology, they help retain your own body heat to keep you 20% warmer. Built with an extra high waterproof leather and ballistic mesh upper, this sturdy hiker keeps your feet dry in torrential downpours, while 600g of insulation and gaiter hooks provide great performance during mountain trekking or snowshoeing. The new ultralight Techlite® shell significantly reduces the overall weight of the boot to reduce fatigue and increase comfort. Internally, a molded midsole provides ultimate protection and support for extended wear, and the non-marking dual-density Omni-Grip® rubber outsole is weather sensitive so the rubber becomes harder or softer depending on conditions. FEATURES: Waterproof leather and ballistic mesh upper Articulated collar for added movement Omni-Heat reflective technology for added warmth and heat regulation Compression molded Techlite midsole for lightweight cushioning and comfort Omni-Grip outsole with dual compound lug pattern for advanced gripping Weather sensitive outsole for greater traction in extreme weather conditions
Columbia Bugaboot® XTM
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Valentine's Day date ideas
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Resident Evil Revelations (PS3) Cheats
Resident Evil Revelations cheats, Trophys, Unlockables, Tips, and Codes for PS3.
TrophiesBack to top
Complete the outlined tasks, and earn the Trophies.
|How to unlock
|A Packaged Deal (Bronze)
|(CAMPAIGN) Defeat a Scarmiglione as a whole without killing both parts of its body separately.
|Angry Fist (Bronze)
|(CAMPAIGN) Land 10 fully charged physical attacks.
|B.O.W. Hunter (Bronze)
|(CAMPAIGN) Defeat 150 enemies.
|Bamboozle the Oozes (Bronze)
|(CAMPAIGN) Defeat 10 Oozes with headshots.
|Bonus Ace (Bronze)
|(RAID MODE) Acquire 50 bonuses.
|Bonus Enthusiast (Bronze)
|(RAID MODE) Acquire 10 bonuses.
|By the Crosshairs (Bronze)
|(CAMPAIGN) Defeat Rachael before she gets to the cafeteria.
|Die Another Day (Bronze)
|(CAMPAIGN) Evade a Scagdead's instant-death attack.
|Dodge Master (Bronze)
|(CAMPAIGN) Dodge 20 times.
|Dynamic Duo (Bronze)
|(RAID MODE) Land a fully charged physical attack on an enemy at the same time as your partner.
|First Circle Overseer (Bronze)
|(RAID MODE) Clear all stages in Raid mode on Chasm with an S rank.
|First Circle Traveler (Bronze)
|(RAID MODE) Clear all stages in Raid mode on Chasm.
|First Victim (Bronze)
|(CAMPAIGN) Scan 1 hidden hand print.
|Get Us Out of Here! (Bronze)
|(CAMPAIGN) Clear Episodes 4 - 6.
|Gutsy (Bronze)
|(RAID MODE) Clear a stage at 5 levels lower than the recommended level.
|Last Victim (Bronze)
|(CAMPAIGN) Scan 30 hidden hand prints.
|Legendary Find (Bronze)
|(RAID MODE) Obtain a super rare weapon.
|Legends Are Made, Not Born (Bronze)
|(RAID MODE) Obtain all super rare weapons.
|Living on the Edge (Bronze)
|(CAMPAIGN) Stop an enemy bullet with your knife.
|Meteoric Rise (Bronze)
|(RAID MODE) Reach player level 40.
|Midland Overseer (Bronze)
|(RAID MODE) Clear all stages in Raid mode on Trench with an S rank.
|Midland Traveler (Bronze)
|(RAID MODE) Clear all stages in Raid mode on Trench.
|Moving on Up (Bronze)
|(RAID MODE) Reach player level 10.
|On Your Way (Bronze)
|(RAID MODE) Reach player level 5.
|One for Each Minnesota Lake (Bronze)
|(RAID MODE) Defeat 10,000 enemies.
|Raising the Bar (Bronze)
|(RAID MODE) Reach player level 30.
|Reaching Higher (Bronze)
|(RAID MODE) Reach player level 20.
|Research Complete (Bronze)
|(CAMPAIGN) Scan all enemy types.
|Researcher (Bronze)
|(CAMPAIGN) Scan an enemy for the first time.
|Rockets are for Losers (Bronze)
|(CAMPAIGN) Defeat a Malacoda without using a rocket launcher.
|Seventh Circle Traveler (Bronze)
|(RAID MODE) Clear all stages in Raid mode on Abyss.
|Shop 'til Ya Drop (Bronze)
|(RAID MODE) Spend 1,000,000 BP in the store.
|That'll Leave a Mark (Bronze)
|(RAID MODE) Inflict 100,000 points of damage to an enemy in one hit.
|The Dark Forest (Bronze)
|(CAMPAIGN) Clear Casual difficulty or higher.
|The Pool Is Open (Bronze)
|(CAMPAIGN) Swim in the Solarium.
|The Queen Zenobia (Bronze)
|(CAMPAIGN) Clear Episodes 7 - 9.
|The Storm is Gone (Bronze)
|(CAMPAIGN) Clear Episodes 10 - 12.
|The Unbroken Thread (Bronze)
|(RAID MODE) Acquire No Damage Bonus for the first time.
|Three is the Magic Number (Bronze)
|(RAID MODE) Acquire Trinity Bonus for the first time.
|Traces of Tragedy (Bronze)
|(CAMPAIGN) Scan 15 hidden hand prints.
|Triple Play (Bronze)
|(CAMPAIGN) Defeat 3 enemies with one shock grenade.
|We'll Find You, Jill (Bronze)
|(CAMPAIGN) Clear Episodes 1 - 3.
|Bonus Legend (Silver)
|(RAID MODE) Acquire 100 bonuses.
|Seventh Circle Overseer (Silver)
|(RAID MODE) Clear all stages in Raid mode on Abyss with an S rank.
|Surviving Deep Darkness (Silver)
|(CAMPAIGN) Clear the game in Normal difficulty or above without dying once.
|The Shores of Purgatory (Silver)
|(CAMPAIGN) Clear Normal difficulty or higher.
|Top of My Game (Silver)
|(RAID MODE) Reach player level 50.
|Beyond the Veil (Gold)
|(RAID MODE) Clear the bonus stage, The Ghost Ship.
|Bonus Demi-god (Gold)
|(RAID MODE) Acquire 150 bonuses.
|The Vestibule of Hell (Gold)
|(CAMPAIGN) Clear Infernal difficulty.
|Eye on the Trophy (Platinum)
|Obtain all trophies.
UnlockablesBack to top
Certain characters can be unlocked in Raid Mode by performing specific tasks.
|How to unlock
|Locate Stage 21's real exit.
|Find all the rare weapons.
|Complete all stages on Abyss Difficulty.
|Complete all stages on Chasm Difficulty.
The colour of ones name can be changed by completing the following tasks.
|How to unlock
|Blue Name
|Obtain an S Rank on all Stages while playing on Trench Difficulty in Raid Mode.
|Green Name
|Obtain an S Rank on all Stages while playing on Chasm Difficulty in Raid Mode.
|Pink Name
|Obtain an S Rank on all Stages while playing on Abyss Difficulty in Raid Mode.
By completing specific tasks in Raid Mode, extra difficulties for the levels can be unlocked.
|How to unlock
|Abyss Difficulty
|Pass all Raid Mode levels on Trench Difficulty.
|Trench Difficulty
|Pass all Raid Mode levels on Chasm Difficulty.
Extra levels for Raid Mode can be unlocked by progressing further in Campaign Mode.
|How to unlock
|Raid Mode Stages 1-7.
|Complete Episodes 1-3 in Campaign Mode.
|Raid Mode Stages 8-12.
|Complete Episodes 4-6 in Campaign Mode.
|Raid Mode Stages 13-17.
|Complete Episodes 7-9 in Campaign Mode.
|Raid Mode Stages 18-20.
|Complete Episodes 10-12 in Campaign Mode.
|Raid Mode Bonus Stage 21.
|Complete Campaign Mode.
Certain character outfits can be unlocked in Raid Mode by performing specific tasks
|How to unlock
|Chris (BSAA)
|Reach player level 30.
|Chris (Sailor)
|Inflict 100,000 points of damage to an enemy.
|Clive R. O'Brian (BSAA)
|Reach player level 20.
|HUNK (Umbrella)
|Clear all stages on Abyss difficulty with S-rank.
|Jack Norman (Veltro)
|Clear all stages on Abyss difficulty with any rank.
|Jessica Sherawat (Snow)
|Clear all stages on Chasm difficulty with any rank.
|Jessica Sherawat (Wetsuit)
|Clear all stages on Trench difficulty with any rank.
|Jessica Sherawat (FBC)
|Reach player level 40.
|Jill Valentine (BSAA)
|Collect at least one super rare weapon.
|Jill Valentine (Pirate)
|Clear the Ghost Ship bonus stage with any ranking.
|Keith Lumley (Snow)
|Complete Episodes 4-6 in Campaign mode.
|Keith Lumley (HQ)
|Clear all stages on Chasm difficulty with S-rank.
|Keith Lumley (Ninja)
|Reach player level 50.
|Morgan Lansdale (FBC)
|Complete all stages on Trech difficulty with S-rank.
|Parker Luciani (BSAA)
|Earn 10 bonuses.
|Parker Luciani (FBC)
|Defeat 10,000 enemies.
|Quint Cetcham (Snow)
|Reach player level 5.
|Quint Cetcham (HQ)
|Collect all super rare weapons.
|Rachael (Wetsuit)
|Get a Trinity Bonus on any stage in one sitting.
|Raymond Vester (FBC)
|Reach player level 10 in Raid mode.
|How to unlock
|Infinite Rocket launcher
|Beat the game on hell mode to unlock the rocket launcher with unlimited ammunition
|Beat the game on normal to unlock the hydra shotgun
|Handgun PC356.
|Kill 150 enemies.
|Custom Part Bind 1.
|Dodge 20 times.
|Custom Part: Auto Loader.
|Defeat Casual Difficulty without using Herbs or the Infinite Rocket Launcher.
|Custom Part: Charge Shot 3.
|Beat Casual Difficulty.
|Custom Part: Edge Runner 2.
|Scan every enemy.
|Custom Part: Long Magazine 2.
|Successfully use 10 physical attacks that are fully charged.
By completing certain tasks, certain things can be unlocked in Campaign Mode.
|How to unlock
|Hell Mode.
|Complete Campaign Mode on normal or hard difficulty.
|New Game+
|Complete the Campaign Mode. All weapons, ammo and upgrades will be carried over.
TipsBack to top
It is best to start on Casual mode, as you can start a new game on Normal mode with all of your weaponry.
Resident Evil Revelations Forum Posts
- Need help: Trinity Bonus on Ghost Ship level [1]
- Looking for Raid Mode (or anything you can do online) 'Partners' [1]
- The Gameplay [3]
- Introduction thread. [6]
- Hell Mode? [1]
- Scariest Survivor Horror Series? [3]
- Resident Evil: Revelations demo dated for May 14, get ready for the worst cruise vacation ever [8]
- Capcom confirms Resident Evil: Revelations demo for West, just doesn't have any dates yet [7]
- Resident Evil: Revelations trailer showcases Rachel gameplay, including her surprisingly annoying voice [8]
- Transition from 3DS to Consoles [1]
- Resident Evil: Revelations makes Rachel playable in Raid Mode, plenty of boob-shots for her AND zombies [16]
- Capcom announces 3DS title Resident Evil: Revelations coming to 360, PS3, PC and Wii U this May [6]


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Thanksgiving Day is a time to offer thanks and gather with your family and friends for your traditional Holiday meal. Our Thanksgiving decor can help celebrate this special day and put a smile on the faces of all your loved ones.
Our Giant 6' Air Inflatable Turkey has been a favorite with our customers!
Illuminate your windows with our selection of Lighted Silhouettes that will welcome your guests to your home this Holiday Season.
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Bulgarian History Museum Showcases Treasures Free of Charge
The National History Museum, NIM, in the Bulgarian capital Sofia, is offering free admission on December 22, 23 and 30.
All priceless and most popular exhibits of the museum have returned from abroad and from other parts of the country, and visitors will be able to see the splendid collection in its entirety.
NIM is showcasing, beginning Sunday the Thracian gold treasure in its exhibition "Legends Come to Life".
Until recently, the Thracian gold was being exhibited at the State History Museum in Moscow.
Along with the unique Panagyurishte treasure, visitors can see other exquisite treasures such as those of Rogozen, Borovo, Letnitsa, Sinemoretz, Zlatinitsa-Malomirovo, as well as the three silver gilt salt pans, which are very rare works from the Roman era
On other days, admission is BGN 10 for adults, BGN 1 for children, students and university students, and BGN 3 for families with children.
Visitors, from locations that have archeology or museum items on display at NIM, enjoy 50% discount.
There are also combined admissions: BNG 12 for NIM and the Boyana Church, and BGN 14 for NIM, the Boyana Church, and the Zemen Monastery.
- » Der Standard: Antiquities Traders Have Little to Fear of Bulgarian Authorities
- » Unique Byzantine Coin Discovered in Bulgaria's Balchik
- » Bulgarian PM Unveils Archaeological Site with Museum Near Sredets
- » Excavation of Bulgaria's Largest Thracian Mound to Begin in May
- » UNESCO, Italy Join Forces to Protect Cultural Heritage from Extremists
- » Egypt's 'Indiana Jones' to Reveal Details of Tutankhamun's Death in Sofia Lecture


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The key to this game was the play of Vanderbilt quarterback Mackenzi Adams. He was facing a Wake Forest defense that came into this contest giving up over 230 yards per game. Adams had, by far, the worst game of his career. He was 9 of 20 passing for just 64 yards and 1 interception. He also fumbled twice. Adams was only able to gain 12 yards on 5 carries rushing. Adams had a very nice season as the Commodores' quarterback. It is unfortunate that his worst performance had to come in the last game of the season. He will remember this game, and it will make him a better player in the long run.
Richard Kovalchek had a nice game in relief of Adams in the second half. He finished 23-38 for 2 touchdowns and 1 interception. Kovalcheck did not have the career he had hoped for as a Commodore, but it is good to see him go out on a high note.
The Vanderbilt rushing game, facing one of the tougher run defenses in the country, was not able to get anything going on Saturday. They totaled just 16 yards on 28 carries. The Commodores are never going to win a game with numbers like that. Cassen Jackson-Garrison ended his Vanderbilt career with 17 yards on 12 carries. Jeff Jennings had just 12 yards on 9 carries. The Vanderbilt offense just was not able to get anything going on the ground.
Special teams play came back to haunt the Commodores again on Saturday. Trailing just 14-3 at halftime, the Commodores allowed Wake Forest return man, Kevin Marion, to return the opening kickoff of the second half 81 yards. Two plays later De'Angelo Bryant caught an 8-yard touchdown pass from Riley Skinner. Skinner ended the day 21-31 with 2 touchdowns and 1 interception. Wake Forest grabbed the momentum right at the beginning of the second half and never let it go.
Vanderbilt went into this game hoping to control the ball and keep the Wake Forest offense off the field, but they were not able to stop the Wake Forest rushing attack. Josh Adams rushed for 111 yards and 2 touchdowns on 24 carries. The Demon Deacons held the edge in time of possession 32:26 to 27:34.
It is unfortunate that Vanderbilt fans are left to face another winter thinking about what could have been if this game or that game was different. There are many positives that can be taken away from this season, but they are hard to see right now because of the high hopes the fans had of reaching a bowl this season.


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Archives, oral history and oral tradition
Contents - Previous - Next
William W. Moss and Peter Mazikana
The post-Second World War period has brought about a significant expansion in the functions and responsibilities of archival institutions and the archivists who manage them. Against a background of stagnant or diminish) resources, archivists have been called upon to accommodate increasingly large volumes of records, to adapt traditional archival practices and principles to new sources of information and record media, and to cope wit rapid technological advances in communications and recordkeeping devices.
The customary archival role of the custodian or keeper of local, state, an central government records has had to be modified and transformed in many ways. This transformation has not been easy, as may be shown by the continuing controversy over the degree of involvement by archivists in the management of current and semi-current records. Archivists in different countries have responded in different ways to the challenges that have arisen. It is not surprising, therefore, that oral tradition and oral history have not received the universal welcome they deserve as legitimate archival endeavours.
There is nothing new in the recording, use and preservation of oral tradition and oral history. Indeed, individuals and institutions have collected, used, and preserved oral sources and have made those materials available to researchers for years. To a large extent, however, this has been done by university departments, specialised research institutions, or archival units set up specifically to deal with oral sources or sound recordings. For archival institutions at the local, state, and national levels, the novelty lies in the extent to which they are being asked to accept the role of custodians and administrators of this material and the extent to which they are even being asked to assume the entirely unfamiliar and often uncomfortable role of participation in the creation of these records. Whatever the pros and cons of such involvement, there is little doubt that oral tradition and oral history have had and will continue to have increasingly significant impact on archival work, and archivists must be prepared to accommodate and master this material. To do so, however, they must have as full and precise an understanding of oral history and oral tradition as they have of other more familiar archival sources.
Oral tradition and oral history share a common oral nature. While it is deceptively easy to propose distinctions between them, it is more difficult to sustain the differences in practice. There is often much similarity in the ways they are collected, processed, stored, and made available to researchers and in the equipment required to record and preserve these materials. In common practice, both those who concentrate on oral history and those who work with oral tradition belong to a common class of oral historians and share many of the same interests, concerns, and objectives, methods and procedures.
Oral traditions are those recollections of the past, orally transmitted and recounted, that arise naturally within and from the dynamics of a culture. They are shared widely throughout the culture by word of mouth even though they may be entrusted to particular people for safekeeping, transmittal, recitation, and narration. They are organic expressions of the identity, purpose, functions, customs, and generational continuity of the culture in which they occur. They happen spontaneously as phenomena of cultural expression. They would exist, and indeed they have existed in the absence of written notes or other more sophisticated recording devices. They are not direct experiences of the narrators, and they must be transmitted by word of mouth to qualify as oral tradition.
Oral history, on the other hand, is usually identified as an activity, a detached and academic process of inquiry into the memories of people who have experienced the recent past directly. This inquiry and the responses it generates are recorded to supplement written records that have been found wanting in some measure for historical analysis. It is a studied, abstract, and analytical practice of historians and other social scientists, and it relies heavily on a recording device, whether manual, mechanical, or electronic. Oral history owes much to the traditions of Western European historiography. It was developed partly to remedy deficiencies in written records, but it has been viewed by many traditional historians as an undisciplined, rebellious, and perhaps even irresponsible child of documentary history. Rebellious or not, oral history necessarily presumes an existing context of written records, from which prior research identifies major lacunae that may' be filled through the recording of testimony by participants and witnesses to the events in question. The product of oral history is subject to textual criticism and content analysis by the same standards that are applied by historians to written documents.
Although oral traditions may be collected as an academic exercise and subsumed under the general umbrella of oral history, in their very nature they have an inherent additional social value in contributing to the social cohesion, dynamic evolution, and durability of the culture they represent. Oral traditions are therefore changed in the very act of recording from dynamic and developing or evolving self-consciousness into fixed and static "snapshots" of the culture at one point in its development. They become abstracted from the process that creates and nurtures them, and in this they necessarily become outdated very rapidly.
Oral traditions are to a large extent identified with societies lacking a written tradition, but they also exist in highly literate societies, even those with impressive archives of written records. Their most important archival function, however, has been in documenting those societies without written records, throwing light on the historical, social, economic, and cultural development of such societies. In many cases it has been the only way in which the past of a society could be reconstructed and recorded in written form for archival preservation.
Oral history became necessary, at least in part, because many historians came to believe that written records were excessively limited to the documentation of a ruling government or elite class, or to a dominant national function such as religion or law. Thus, much social history went unrecorded or was recorded incidental to other purposes which diminished the usefulness of the record for social history. Whole classes of people were poorly represented in great national annals, and the perspective reflected in those annals tended to be highly legalistic, formal, and bureaucratic. Modern historians are seeking to remedy this deficiency in a variety of ways, among them the collection of oral history and oral tradition. Modern institutions, whether commercial, governmental, religious, or social, have come to discover a need for documenting and sharing information beyond the strict confines of records of official transactions. Furthermore, oral history, even at its most studied and academic levels, has begun to discover the importance and use of mythology to rationalism even the most highly sophisticated and deterministic activities of a modern technological society. As in the case of oral traditions, the relationship of a traditional perspective to the social dynamic may be as significant as the evidential value of the contents of oral history for documentation of historical phenomena.
Archives require durable records removed from the direct effect of continuing social development. Archivists must understand that in acquiring oral sources they are participating in a process of transformation from socially dynamic and evolving sources to static and durable records of segments of that process. For the archivist, the distinctions between oral tradition and oral history are important primarily in understanding the provenance of each, and perhaps in developing appraisal criteria for deciding the durability of the value of each for evidential, administrative, or general information needs. The forms in which the archivist encounters them are often remarkably similar, and the distinctions between them are often unimportant in archival management of the physical property of the records once created and deposited in the archives. Handwritten or typed notes and transcripts, magnetic audiotapes, sound motion picture films, and videotapes all may contain oral source records, but the most common for both oral tradition and oral history is magnetic audiotape, often but not necessarily accompanied by a written transcript or schedule of contents of the tape. Each form may record one, two, or several participants, although multiple participants beyond the inquirer-respondent dialogue form in oral history are less common. The inquirer or collector role in recordings of oral tradition is commonly much more reserved, obscure, and self-effacing than in the oral history interview, where the interviewer must act as a catalyst to prompt and challenge the memory of the narrator. It is crucially important, however, for both oral history and for oral tradition, that the archivist understand that what is given to the archives is a record of an interview or the record of a recounting of an oral tradition; it is not a record of or from the past about which the subject speaks, although it may be an attempt to define or recreate that past. It is a record of an event (an interview, a story-telling, the recitation of an epic poem, etc.) that took place in the recent past, not a surviving relic of that more distant past of which the narrator speaks, even if the information supplied is the only surviving evidence of that past known to exist.
In concern for the integrity of the practice of oral history, and mindful of its responsibilities in that regard, the Oral History Association of the United States of America, after much thought and deliberation, developed two sets of guidelines that may prove helpful to others working in oral history. These guidelines are offered in this study as examples of criteria that can be developed to encourage collectors and administrators to improve the quality and reliability of the oral sources and their administration, and thereby make them more valuable to the writing of history. They are not offered as absolutes designed to fit every situation, and each archivist must make appropriate adjustments to his own situation.
The first set of guidelines very broadly establishes areas of concern and values for those broad areas. The second set of guidelines is more detailed and precise and was designed for comprehensive and thorough analysis, appraisal, and evaluation of oral history programmes, projects, and products.
11.1 Goals and Guidelines of the Oral History Association
The Oral History Association recognises oral history as a method of gathering and preserving historical information in spoken form and encourages those who produce and use oral history to recognise certain principles, rights, and obligations for the creation of source material that is authentic, useful, and reliable.
Guidelines for the Interviewee
The interviewee should be informed of the purposes and procedures of oral history in general and of the particular project to which contribution is being made. In recognition of the importance of oral history to an understanding of the past and in recognition of the costs and effort involved, the interviewee should strive to impart candid information of lasting value. The interviewee should be aware of the mutual rights involved in oral history, such as editing and seal privileges, literary rights, prior use, fiduciary relationships, royalties, and determination of the disposition of all forms of the record and extent of dissemination and use. Preferences of the person interviewed and any prior agreements should govern the conduct of the oral history process, and these preferences and agreements should be carefully documented for the record.
Guidelines for the interviewer
Interviewers should guard against possible social injury to or exploitation of interviewees and should conduct interviews with respect for human dignity. Each interviewee should be selected on the basis of demonstrable potential for imparting information of lasting value. The interviewer should strive to prompt informative dialogue through challenging and perceptive inquiry, should be grounded in the background and experiences of the person being interviewed, and, if possible, should review the sources related to the interviewee before conducting the interview. Interviewers should extend the inquiry beyond their immediate needs to make each interview as complete as possible for the benefit of others, and should, whenever possible, place the material in a depository where it will be available for general research. The interviewer should inform the interviewee of the planned conduct of the oral history process and develop mutual expectations of rights connected thereto, including editing, mutual seal privileges, literary rights, prior use, fiduciary relationships, royalties, rights to determine the disposition of all forms of the record, and the extent of dissemination and use. Interviews should be conducted in a spirit of objectivity, candor, and integrity, and in keeping with common understandings, purposes, and stipulations mutually arrived at by all parties. The interviewer shall not violate and will protect the seal on any information considered confidential by the interviewee, whether imparted on tape as part of the interview or conveyed separately from the interview.
Guidelines for Sponsoring Institutions
Subject to conditions prescribed by interviewees, it is an obligation of sponsoring institutions (or individual collectors) to prepare and preserve easily useable records; to keep careful records of all creation and processing of each interview; to identify, index, and catalogue all interviews; and, when open to research, to make their existence known. Interviewers should be selected on the basis of professional competence and interviewing skill. Interviewers should be carefully matched to interviewees. Institutions should keep both interviewees and interviewers aware of the importance of the above guidelines for the successful production and use of oral history sources.
11.2 Oral History Evaluation Guidelines
The Oral History Association, in furtherance of its goals and guidelines and in support of its evaluation service, has developed guidelines for the use of those called upon to evaluate existing or proposed programmes and projects. The outline may also be used by individuals to test their own procedures and by funding agencies to appraise proposals.
Recognising that the ultimate measure of oral history lies in its reliability as a source for historical understanding, the Association submits that conscientious consideration of every step in its creation is a professional obligation, and that careful attention to the factors raised in the following outline substantially increases the probability of enduring value.
Therefore, the Association has developed the following guidelines to be used in the evaluation of programmes and projects producing oral history sources and to provide standards for new and established programmes. The text is intended to suggest lines of inquiry by evaluators, who should, however, recognise the need for flexibility in applying them to specific projects. The guidelines will be subject to continuing review by the Oral History Association.
Programme/Project Guidelines Purposes and Objectives
Are the purposes clearly set forth? How realistic are they? What factors demonstrate a significant need for this project? What is the research design? How clear and realistic is it? Are the terms, conditions and objectives of funding clearly made known to allow the user of the interviews to judge the potential effect of such funding on the scholarly integrity of the project? Is the allocation of funds adequate to allow the project goals to be accomplished? How do institutional relationships affect the purposes and objectives?
Selection of Interviewers and Interviewees
In what way are the interviewers and interviewees appropriate (or inappropriate) to the purposes and objectives? What are the significant omissions, and why were the omitted?
Records and Provenance
What are the policies and provisions for maintaining a record
of provenance of interviews?
Are they adequate?
What can be done to improve them?
How are records, policies and procedures made known to interviewers, interviewees, staff, and users?
How does the system of records enhance the usefulness of the interviews and safeguard the rights of those involved?
Availability of Materials
How accurate and specific is the publicising of the
How is information about interviews directed to likely users?
How have the interviews been used?
Finding Aids
What is the overall design for finding aids?
Are the finding aids adequate and appropriate?
How available are the finding aids to users?
Management, Qualifications, and Training
How effective is the management of the programme/project?
What provisions are there for supervision and staff review?
What are the qualifications for staff positions?
What are the provisions for systematic and effective training?
What improvements could be made in the management of the programme/project?
Ethical/Legal Guidelines
What policies and procedures assure that each interviewee is made fully aware of:
- his/her rights and interests?
- the purposes of the programme/project?
- the various stages of the interviewing and transcribing process and his/her responsibilities in that process?
- the eventual deposit of the interview(s) in a suitable repository?
- the possible uses to which the material may be put?
What policies and procedures assure that each interviewer is fully aware of:
- his/her rights and interests?
- his/her ethical and legal responsibilities to the interviewee?
- his/her ethical and legal responsibilities to the programme/project?
How does the programme/project secure a release from the interviewer? What policies and procedures assure that for each interviewee an adequate deed of gift or formal contract transfer rights, title, and interest in both tape(s) and transcript(s) to an administering authority?
In lieu of a deed or gift or contract, what other evidence of intent does the programme/project rely on? Is it legally adequate? How does the programme/project reflect responsible adherence to ethical and legal standards? Specifically:
- How has the staff been impressed with the need for confidentiality of the interview content until the time of release?
- How has the staff been impressed with the need to conduct interviews in a spirit of mutual respect and with consideration for the interests of the interviewees?
- How does the programme/project demonstrate its ability to carry out the provisions of legal agreements and to protect the tape(s) and transcript(s) from unethical use?
- What steps are taken to assure that the staff recognises its responsibilities to gather accurate material, to process it as quickly as possible, and to make it available for use to the widest possible audience?
Tape/Transcript Guidelines
Information About the Participants
Are the names of both interviewer and interviewee clearly indicated on the tape/abstract/transcript and in catalogue materials? Is there adequate biographical information about both interviewer and interviewee? Where can these be found?
Interview Information
Are the tapes, transcripts, time indices, abstracts, and other material presented for use identified as to the programme/project of which they are a part?
Are the date and place of interview indicated on tape, transcript, time index, abstract, and in appropriate catalogue material? Are there interviewer's statements about the preparation for or circumstances of the interview(s)? Where? Are they generally available to researchers? How are the rights of the interviewees protected against the improper use of such commentaries? Are there records of contracts between the programme and the interviewee? How detailed are they? Are they available to researchers? If so, with what safeguards for individual rights and privacy?
Interview Tape Information
Is the complete master tape preserved? Are there one or more
duplicate copies?
If the original or any duplicate has been edited, rearranged, cut, or spliced in any way, is there a record of that action, including by whom and for what purposes the action was taken?
Do the tape label and appropriate catalogue materials show the recording speed, level, and length of the interview?
Has the programme/project used recording equipment and tapes which are appropriate to the purposes of the work and use of the material?
Are the recordings of good quality? How could they be improved?
In the absence of transcripts, are there suitable finding aids to give users access to information on tapes? What form do they take?
Is there a record of who prepares these finding aids?
Are researchers permitted to listen to tapes? Are there any restrictions on the use of tapes?
Interview Transcript Information
Is the transcript an accurate record of the tape?
Is a careful record kept of each step of processing the transcript, including who transcribed, audited, edited, retyped, and proofread the transcript in final copy?
Are the nature and extent of changes in the transcript from the original tape made known to the user?
What finding aids have been prepared for the transcript? Are they suitable and adequate? How could they be improved?
Are there any restrictions on access to or use of the transcripts?
Are they clearly noted?
Are there any photo materials or other supporting documents for the interview? Do they enhance and supplement the text?
Interview Content Guidelines
Does the content of each interview and the cumulative content of the whole collection contribute to accomplishing the objectives of the programme/project?
In what particulars do the interview and/or collection appear
to succeed or fall short?
In what way does the programme/project contribute to historical understanding?
In what particulars does each interview or the whole collection succeed or fall short of such contribution?
To what extent does the material add fresh information, fill gaps in the existing record, and/or provide fresh insights and perspectives?
To what extent is the information reliable and valid? Is it eye-witness or hearsay testimony? How well and in what manner does it meet internal and external tests of corroboration, consistency, and explication of contradictions?
What is the relationship of the interview information to existing documentation and historiography?
How does the texture of the interview impart detail, richness, and flavour to the historical record?
What is the basic nature of the information contributed? Is it facts, perceptions, interpretations, judgments, or attitudes, and how does each contribute to understanding?
Are the scope and volume, and where appropriate the representativeness of the population interviewed. appropriate and sufficient to the purpose? Is there enough testimony to validate the evidence without passing the point of diminishing returns? How appropriate is the quantity to the purpose of the study? Is there a good representative sample of the population represented in the interviews?
How do the form and structure of the interviews contribute to make the content information understandable.
Interview Conduct Guidelines Use of Other Sources
Is the oral history technique the best means of acquiring the information? If not, what other sources exist? Has the interviewer used them, and has he/she sought to preserve them if necessary? Has the interviewer made an effort to consult other relevant oral histories? Is the interview technique of value in supplementing existing sources?
Historical Contribution
Does the interviewer pursue the inquiry with historical integrity? Do other purposes being served by the interview enrich or diminish quality? What does the interview contribute to the larger context of historical knowledge and understanding?
Interviewer Preparation
Is the interviewer well-informed about the subjects under
Are the primary and secondary sources used in preparation for the interview adequate?
Interviewee Selection and Orientation
Does the interviewee seem appropriate to the subjects discussed? Does the interviewee understand and respond to the interview purposes? Has the interviewee prepared for the interview and assisted in the process?
Interviewer-Interviewee Relations
Do interviewer and interviewee motivate each other toward interview objectives?
Is there a balance of empathy and analytical judgment in the interview?
Adaptive Skills
In what ways does the interview show that the interviewer has used skills appropriate to:
- the interviewee's condition (health, memory, mental alertness, ability to communicate, time schedule, etc.)?
- the interview conditions (disruptions and interruptions, equipment problems, extraneous participants, etc.)?
What evidence is there that the interviewer has:
- thoroughly explored pertinent lines of thought
- followed up significant clues?
- made an effort to identify sources of information?
- employed critical challenge where needed?
Do the biases of the interviewer interfere with or influence the responses of the interviewee? What information is available that may inform users of any prior or separate relationship of the interviewer to the interviewee?
Contents - Previous - Next


text:
Howard Blames Lack of Effort For Rockets Lost
HOUSTON ? From the moment the Rockets hit the free agent jackpot with Dwight Howard last summer and put him in the lineup with James Harden, there were always going to be questions about how they would put it all together and how long it might take.
Those questions were not supposed to be about how hard they would try.
?[Expletive] effort out there on defense and on offense,? said Howard. ?The ball stuck ? We didn?t move it and we can?t win that way.?
Bumps in the road over the course of the long regular season are to be expected, but the Rockets have now run head-long into a boulder of indifference as a 97-88 home loss to the Suns Wednesday night came on the heels of a virtual no-show trip to Utah on Monday.
?It had nothing to do with us missing shots,? Howard said. ?They just played harder than us?It had nothing to do with the offensive game. They just played hard.
?We know what we [have to] do. It?s gotta be important for guys to come out and play the same way every night.?
Source: Fran Blinebury, NBA.com


text:
HBO renews 'Veep' for season 3
HBO has renewed "Veep" for a third season. The political comedy, starring Julia Louis-Dreyfus and created by Armando Iannucci, is three episodes into its second season, airing Sundays at 10 after "Game of Thrones."
I never got a chance to do an advance review of "Veep" season 2, though Fienberg and I discussed it at length on the podcast. I had liked but not loved the first season, and even though Iannucci made several obvious and welcome tweaks for season 2 — making Selina more relevant to the presidential administration, bringing in ace guest stars like Gary Cole and Kevin Dunn — I actually found myself laughing less frequently at the new episodes than the old ones. (And Cole has, so far, been a total bust, which didn't seem possible when I heard he'd be appearing this year.) But I'm glad it's continuing, if only because I enjoy hearing these fine actors wrap their tongues around Iannucci's clever, creatively profane dialogue.
I know some other critics feel this season's been stronger than the first, so I'm curious what all of you who are watching think. Is "Veep" better, worse, or the same as it was last year?
veep, Julia Louis-Dreyfus, Armando Iannucci
Steve (guest)I thought the first season was great and I think this 2nd season has been even better so far. I do agree that Gary cole has not been used like he should be, but hoping they will utilize him properly for the rest of the season.May 1, 2013 at 3:40PM ESTReply to Comment
s (guest)So far I think season 2 is better but mainly because the first episodes of season 1 dragged with the whole clean jobs/oil lobby backdoor politics crap. And obviously we were unfamiliar with the characters. But now we know how they tick and everything.May 1, 2013 at 3:52PM ESTReply to Comment
velocityknownThis renewal is fucking primordial!May 1, 2013 at 4:05PM ESTReply to Comment
kronicfatigue (guest)I think this season is both stronger and less funny. Not sure if it's just because I know the well fleshed out characters better or what. Just their presence is amusing, if not laugh out loud funny.
I always have to watch an episode twice, the second time just watching Tony hale's facial expressions in the backgroundMay 1, 2013 at 4:10PM ESTReply to Comment
c (guest)Veep is twice as good as Girls and gets less than half the love. Critics and viewers alike. Such a shame.May 1, 2013 at 4:26PM ESTReply to Comment
LeeI agree 100%. "Veep" features splendid veteran comic actors at the peak of their powers. I find myself laughing robustly at this fine political satire, and especially enjoy the puns ("Garyoke," indeed!).
Don't know how many people have noticed the subtle reference to "The Prisoner" in the opening credits, where Selina is referred to as "The New Number 2" in one of the floating newspaper clippings.May 1, 2013 at 4:59PM EST
tomatoesGirls is genius and wholly original. Veep is completely devoid of originality or spark.May 1, 2013 at 7:56PM EST
ChortleI agree. Girls is enjoyable - just unfunny, in a Nurse Jackie kind of way. Veep is funny-funny (the kind where I laugh and feel amused.)May 1, 2013 at 9:32PM EST
JohnAgreed. Other than Curb Your Enthusiasm (which is probably the best current comedy on any network--if it were up to me, it would have several Emmys for Outstanding Comedy Series) whenever it airs a season), Veep is the best comedy on HBO. I'm not sure if this season has been stronger than the first or not. Both have been very good, and I'm glad to have it back.May 1, 2013 at 10:50PM EST
LoudTalkDumbLoveRule #1 you have to accept at the door is that Sepinwall will never write anything negative about Dunham or Louis CK. No use in even criticizing Girls in this arena.
That said, Veep is a very funny show and is funnier this season than last. Not spectacular but very good.
Too bad Alan is too in awe of Zosia Mamet's "nuanced" work in Girls to give a show like this a chance.May 2, 2013 at 12:19AM EST
tomatoesI thought Armando Iannucci blew a big opportunity to do for American politics what he did for British politics. I think The Thick of It is really about something significant the way Yes Minister was in its time and reflects a change in problems plaguing politics. To me, Girls is thick with meaning - especially in its magnificent second season. Veep is just about shallow people - something that can be easily ignored. But politics is hard to get right and maybe Iannucci just doesn't have enough of a stake in American politics to make something important. I just doubt that people will think Veep said very much when all is said and done. Probably, it's not dark enough. Perhaps if it touched on religion it would be seen as more controversial and brave. It also seems fairly predictable at this point. Dunham is fearless, especially in the way she tells stories. She always keeps me guessing. Just my 2 cents. But everyone has their own take and taste. I appreciate Alan's championing of Girls.May 2, 2013 at 1:01AM EST
JohnTomatoes, I'm not looking for a comedy to say anything "important" (in general, I don't go to an entertainment medium like television for serious discussions about important social and political issues--I actually read about those things and don't rely on TV writers to tell me what to think). This notion that a show's "importance" should be the primary criteria by which we judge it has always struck me as ridiculous. If a show is boring, I don't really care what it's saying, even if I agree with it. And if it's entertaining, I can overlook messaging that I disagree with. For a comedy, I'm just looking for it to make me laugh. And Veep does that consistently.May 2, 2013 at 4:09PM EST
ghotiGirls is so amazing people feel compelled to bitch about it in the Veep comments section for no discernable reason.May 4, 2013 at 10:57AM EST
tomatoesWell, perhaps we're just not talking about the same thing. I don't know who said importance "should be the primary criteria." I've never heard that before. Seems like a straw man. I guess I'm saying the show would be funnier and hold my attention more if it were about something interesting, like politics. Hey, I think "I Love Lucy" was one of the best sitcoms ever made. If something is funny, it's funny.May 6, 2013 at 7:49AM EST
tossitQuite a robust announcement.
Seriously though, I've been loving this season..so far like it better than the first.May 1, 2013 at 4:33PM ESTReply to Comment
Bryan (guest)Really enjoying this season thusfar. Defending Israel in front of a rotating pig on a spit was to die for. When two people love each other, and it's the man's birthday... Glad to see Kevin Dunn back on HBO... he portrayed the best character on Luck.May 1, 2013 at 4:56PM ESTReply to Comment
P (guest)I really enjoy Veep. But I'm not sure how much of the humor value comes from the shock value of the creative swearing coming out of the mouths of the characters. It gets an extra rise out of you because the show has a fairly traditional sitcom look, feel, and structure, so the language stands out even more ...May 1, 2013 at 5:07PM ESTReply to Comment
tossitThat's what Ianucci does best though. Have you seen "The Thick of It"? The main character, Malcolm Tucker, was wonderfully profane.
I get what you're saying though, but maybe it's just that most American shows are more censored while this one just goes off the rails.
One of my favorite and most memorable lines from that show is "Yeah, 'cause normally you're about as secure as a hymen in a South London comprehensive" , so I welcome the profanity.
Wow this ended up being longer than I planned..my bad hahaMay 1, 2013 at 6:35PM EST
tomatoesThe Thick of It was a show that's really about something and really gets to the heart of the problem with British politics. It was insightful. Veep is the opposite. I think it's basically a wet noodle. It avoids rather than confronts. This show was a big disappointment for me.May 1, 2013 at 7:59PM EST
RV (guest)Meh.May 1, 2013 at 5:08PM ESTReply to Comment
madmemeThis season's definitely been better - enjoying it more than the Nurse Jackie-type shows.May 1, 2013 at 5:44PM ESTReply to Comment
Noah Body (guest)Count me as one more person who really likes season 2 — funny and good stories. While I enjoyed the idea of a powerless vice-president, in practice it is more fun having Selina interacting with policy and power. Happy to see more Sue, too.
If I have a complaint, it is that many of the characters are written too similarly. It would be nice to vary the mix of venal, profane, competent, ego, etc., a bit more.May 2, 2013 at 3:18AM ESTReply to Comment
Samuel (guest)This is a show that I really want to like, but I just find it thoroughly mediocre, with no real change this season. The writing just doesn't do it for me.
I'm as much a fan of this kind of "creatively profane" dialogue as the next guy, so in theory I should love this show. But not when that's a show's one and only source for laughter. There's just nothing else there - and even the dialogue only gets precious few chuckles from me.
It's a shame too, with such a good premise, cast, etc. that I think the writing is the only weak element that lets it down. It could be so much funnier than it is. I imagine their entire process to be, "Let's see how many times we can have the Vice President say the F word, that's funny!"May 2, 2013 at 4:15AM ESTReply to Comment
mike scott (guest)I think it's been pretty good this season, the dialogue and situations are always funny. To me it's one of the better shows I am currently watching and I enjoy it a lot.
But I would agree that it's been a disappointing turn for the always great Gary Cole. Just feels like they have the ace in the hole and they never use it.May 2, 2013 at 8:50AM ESTReply to Comment
Kevin (guest)After hearing you and Dan on the podcast talk about how you didn't find these early S2 episodes funny, I was worried, especially since I didn't think the first episode was that laugh-out-loud. But the next two have been great, and I think this season is at least as strong as last year (and I agree with other commenters that it should be getting more love than Girls).May 2, 2013 at 9:47AM ESTReply to Comment
Chester (guest)Season 2 of Veep has been very good thus far. I really like it.May 2, 2013 at 10:25AM ESTReply to Comment
Chris (guest)Veep suffers from completely unsympathetic characters. As much as the characters in The Thick of It were awful people, they still felt extremely human. Take for example the Veep characters joking about the people they expect to meet at the pig roast vs. Hugh's complaining about how much he hates the public at the factory visit with the piss woman. Hugh seems genuinely perplexed about himself and them, wondering Why are they so fat? Veep characters feel like well programmed joke robots in comparison. When they finally tried it last week with JLD and the leg, ugh! It felt awful to have that suddenly sprung on us without any previous sense that she cares about anything beyond her political career.
I spend too much time wondering why the same creator, writers, and talent of cast can turn out something so average (and continue to watch for the same reasons). I've decided it's an unwillingness to trust the audience with possibly liking the characters. And I'm finding that even harder to deal with this season than last.May 2, 2013 at 10:35AM ESTReply to Comment
Dr. DunkensteinThe problem with Veep is that Ianucci has never really been able to do for American politics what he did for British politics because of their disparate realities.
The Vice-President isn't a stand-in for a relatively minor cabinet minister, it's a real position with real responsibilities. Biden was in the room with the President when he was making the call on OBL and Cheney basically ran the show. Making a show about American politics that avoids partisanship is a fundamentally flawed decision when that's essentially what defines American politics. Whereas the best of what Ianucci did in Englad was cut-to-the-bone satire because it's one of the most specific portrayals of ministerial politics here Ianucci's essentially created this weird alternative universe with people in make believe jobs and in a make believe town that's just a delivery vehicle for creative insults.May 2, 2013 at 11:19AM ESTReply to Comment
ChrisI wouldn't say never. He pulled it off in In the Loop. The American politicians in that were very different from but just as convincing as the British side, and the consequences felt real. None of that is happening in Veep.May 2, 2013 at 1:15PM EST
Dr. DunkensteinI don't agree. I liked In The Loop relatively but I thought where it fell down was dealing with the American side of things. That's where the setting either became mushy/formless(there's a great deal of talk about a "war committee" but it doesn't appear to be a senate subcommittee or anything official or real. It just seems to be a meeting a DDS is holding) or bordering on overly silly parody(A 23 year old holding an important position in the White House).
As someone who worked in ministerial politics his British stuff reads like he's nailing it inch for inch and then his American stuff seems like someone whose knowledge of the inner workings of politics is gleamed entirely from half-watching a few episodes of The Daily Show.May 2, 2013 at 1:25PM EST
PYThe New Yorker profile of Ianucci that Alan links to indicated that the *entire* writing staff of Veep was British, as least in Season 1. I wonder if that's why the satire of American politics hasn't been fully realized here ...
Don't know if the writing team situation changed in Season 2.May 2, 2013 at 3:55PM EST
PYActually ... Alan didn't link to it. Here it is, and here is the germane passage:
"At HBO, Iannucci made sure that he was the showrunner, and one result is that even late drafts of "Veep" scripts were dotted with Britishisms—characters ring each other on the phone and threaten to strip down to their pants. "It gave me pause in the beginning," Louis-Dreyfus said later. "I thought, Come on, you guys. Where are the American comedy writers?" She got into the habit, during readings and rehearsals, of making a teasing, crooked face to alert Iannucci to such errors."May 2, 2013 at 4:01PM EST
Dr. DunkensteinI actually think the more telling bit from that profile was where he said that his basis for the VP's relevance was based on LBJ. The idea of the do nothing, unimportant VP hasn't really existed for 20-30 years depending on how much latitude you want to give Dan Quayle. Cheney, Biden and Gore all had pretty important roles regarding policy. It's hard to seem fresh and inspired if you're taking your cues from the political circumstances of 50 years ago.
In a way, though, I feel for Ianucci on this. The thing that's really come to represent American politics is ugliness and it's very hard to make a comedy about that. The problem here is that he's not really trying, just sort of trying to shoe-horn in the stuff that worked about British politics to a new template.May 3, 2013 at 11:08AM EST
Dax (guest)Season 1 was a like-it-but-don't-love-it for me... I don't know if Season 2 is markedly better, but I think I like it more as familiarity with the characters has grown... I thought 2.3 had some very funny moments.
Veep will probably never be in the top 3 or 4 shows I'm looking forward to on any given Sunday night, but I do enjoy it, and am glad they'll be doing a third season.May 2, 2013 at 4:18PM ESTReply to Comment
Andrew YI watch VEEP, but it isn't really clear why. Really good actors, and lots of funny lines but from a plot perspective I rarely remember what I watched the next morning. It's a lot like junk food. You eat it but it doesn't provide much real value. Hopefully it gets better.May 3, 2013 at 2:29PM ESTReply to Comment
Krista (guest)I love Veep. I think the second season is stronger than the first and I disagree about Cole. I think the show is building to some funny scenes with Cole; his idiosyncrasies will pay off. I also like watching Dan around Cole.May 9, 2013 at 9:58PM ESTReply to Comment
rob vukovic (guest)Matt Walsh is my son-in-law so VEEP being picked up for a third season is huge....for my grandkid's college funds.May 12, 2013 at 3:48PM ESTReply to Comment
Barb (guest)Saw the show tonight for the first time and thought it was awful. Seventh grade, immature kids use bad language as I heard tonight. This is not entertainment to me.August 7, 2013 at 10:22PM ESTReply to Comment


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Posted by Katie C on 2014-08-29
I think this is a great brunch spot--fluffy scrambled eggs, lots of bacon, delicious moist and seasoned potatoes. Definitely a good option in this neighborhood.
Posted by Flatiron Local on 2014-01-15
I ate there on New Years eve with my family. We all ordered the NYE pre- fix menu, which was not cheap. The restaurant was out of number of items from the pre- fix (the most desirable) and this was delivered as a matter of fact. no offer to let us try som
Posted by anonymous on 2013-09-05
I went here with my son. We sat outside The service was very attentive. We had the brussel sprouts which were delicious, a meat antipasto (big serving enough for two) pasta dish and mussels all delicious. My only complaint is the music. What is it with
Posted by Chelsea Foodie on 2013-05-21
Hard to understand: So much money spent in a very cool decor in such a large place, and then create such subpar food! I came here twice, thinking that probably the first choice was bad luck, but all their pasta (tried several of them) is really mediocre.
Posted by Anonymous on 2013-02-07
Great new place! The Pear salad was very fresh, and the garlic and white wine mussels were a great portion and very tasty. But the clam linguini "special" was amazing! Great ambiance and excellent wine selection. I'll be back for sure!


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Doctor insights on:
Why Does My Poop Come Out In Little Balls
Why does my poop come out in little balls?
Goat poop: You are not keeping enough water and bulk in your colon. Make a diary of the foods u eat and please have plenty of water throughout the day. ...Read more
Bowel Movement (Definition)
Expulsion of fecal material, food residue and bactrial residue, ...Read more
Please explain why is my two year old pooping little balls?
Not enough water: Increase free water intake and pear intake. ...Read more
Im pooping little poop balls why?
Constipation: You are likely constipated. Eating foods high in fiber such as fruits, veggies, or cereal. Also pushing plenty of water throughout the day. Consider some coffee or tea in the mornings. Try some apple or prince juice as well! ...Read more
What baby foods cause constipation? My daughter has been pooping little balls throughout the day instead of going once. Plz help. She's 7mo.
Natural plugs: Apple sauce, bananas & rice cereal are the main constipators in most infants. Peaches, pears, plums & barley cereal are usually helpful in loosening them. ...Read more
My daughter poops very little hard balls. What can I give her to make her poop softer?
Fluid, fruits,veg,: Try fluids, fruits, veggies, whole grains, legumes. Not helping or worse-see doc. ...Read more
Just turned 1. Started drinking regular milk. Now constipated. Poop comes as hard balls. First time there was a little blood on the poop.
This may be an: allergy to Cow's milk and it may be too early to convert! Ask your Pediatrician but do not continue regular milk for a while ... Hope this helps! Dr Z ...Read more
went i poop their are alot of little black balls yesterday dr said I had a kidney infection the little black balls just started tonight.what should d?
Black balls: so, black balls, I asse is the " feces or poop". I do not think pooping black balls has any connection whatsoever with urine infection. It sounds like you might be suffering from constipation. Please get your stool tested for any blood in it. Please see a GI specialist ...Read more
Brown poop- constipated little balls. On 2 of the balls one had tiny bit white mucus &another had a little bit of yellow.rest nml.. Is this ok?
Not normal: You need laxatives, stool softeners. May need GI for possible colonoscopy of not helping. ...Read more
What does it mean if my stool is like little balls ?
Constipation: constipation may improve with increased fluid, fiber and exercise. ...Read moreSee 1 more doctor answer
I am semi constipated and if I do go my stool is coming out white and in little balls. What does this mean?
Stool changes: Without more detailed information, it's impossible to make a good guess as to why you have had stool changes. Before embarking on a lot of tests, a trial of increased fiber in your diet, with a fiber supplement such as Metamucil in addition, it would be a good idea. Take it once a day, and increase your fluid intake. If your constipation is not better in 2 to 3 weeks, see your doctor. Good luck. ...Read more
Feces (Definition)
Feces is the product of ...Read more
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The Indiana State School Bus Drivers Association has awarded its 2012 scholarships to Erin Weber of Russiaville and Abbey Schmitt of Haubstadt.
Each year, the association gives two $500 scholarships to graduating high school seniors who are the children or grandchildren of association members. Erin is the daughter of member Michaela Weber, and Abbey is the daughter of member Brian Schmitt.
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