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Top photo: Kleberg Commons, UTSA Biotechnology, Sciences and
Engineering Building
Second photo (from left): Ricardo Romo asks Tom Frost and Helen
K. Groves to unveil the commemorative plaque.
Third photo: Plaque detail
Bottom photo (from left): Frost, Caroline Forgason (daughter
of Groves), Emory Hamilton (daughter of Groves), Groves, Romo,
Claire Alexander (wife of John Alexander) and John Alexander (son
of Groves and UTSA Development Board member)
UTSA receives $822K gift from Kleberg foundation
(March 12, 2008)--President Ricardo Romo dedicated UTSA's Kleberg Commons at a March 11 ceremony on the 1604 Campus and also used the occasion to announce an $822,000 gift from The Robert J. Kleberg, Jr. and Helen C. Kleberg Foundation, the organization that honors the two Texans. (Read a related UTSA Today story.)
Today's headlines
- La Prensa Foundation is newest member of UTSA Lone Star Society
- UTSA alumna Jordan Kaufmann wins $50K for new stent-graft start-up
- UTSA begins new way-finding sign installation this summer at Main Campus
- USA Today: UTSA long jumper Tyler Williamson rescues three-year-old boy
Article tools
"For some time, we have wanted to create a lasting tribute to the Klebergs' legacy of philanthropy," said Romo. "So, several months ago, we asked the Board of Regents of the University of Texas System to approve the naming of one of our more popular student gathering places outside the new Biotechnology, Sciences and Engineering Building as the Kleberg Commons. It seemed only fitting to use the dedication ceremony as the time also to announce the latest gift to UTSA from the Klebergs' foundation."
The $822,000 gift will support the purchase of three state-of-the-art electron microscopes including scanning, tunneling and atomic-force microscopes. While housed in the College of Sciences, the new laboratory equipment will be available for multidisciplinary research ranging from physics and engineering to archaeology, art conservation and preservation.
"These microscopes, which represent some of the most important tools in modern science, will form the nucleus of a groundbreaking research unit that will be unique not only here in San Antonio but also in the entire state of Texas," Romo told the audience at the Kleberg Commons dedication.
Other speakers at the ceremony included John Frederick, UTSA's new provost and vice president for academic affairs, and Helen K. Groves, president of The Robert J. Kleberg, Jr. and Helen C. Kleberg Foundation -- and the only child of the Klebergs.
Groves was joined by Tom C. Frost, San Antonio businessman and chair of the UTSA Development Board, in unveiling a commemorative plaque honoring the memory of her parents and celebrating the generosity of the foundation and its commitment to UTSA.
George Perry, dean of the UTSA College of Sciences, said that the gift of the microscopes would contribute to UTSA's goal to become a premier public research university.
"I am so grateful to the Kleberg family for this generous gift and for their interest in scientific research," he said. "This is an exciting time for the college as we strive to advance scientific literacy, conduct cutting-edge research and provide leadership in the education of underrepresented and disadvantaged groups."
Serving more than 5,000 students enrolled in nine undergraduate degree programs and 15 graduate programs, the UTSA College of Sciences is composed of six departments: biology, chemistry, computer science, geological sciences, mathematics, and physics and astronomy.


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I'll be asking for it when I am in the LQS'.
Generally I don't look at the notions a lot, other than for what I know I want/need. Sadly, I find that when I ask what's this? how does it work? etc. ......... then I get back whatever the packaging says and a comment of, I've never used it.
Oh, OK ..... and in my mind I am saying, Why should I believe you? If you're trying to sell it wouldn't it be a great idea to give these things a try? Oh well!!!
Sometimes I feel I have learned far more from being here on the QB than dealing with my LQS' IRL. And honestly, because the USA often has things sooner than we to the North, I often have heard of products and asked for them, long before the LQS' have. Another reason why I often don't ask any longer, as their reactions have oft given a somewhat unwelcome feeling.
So that's my rant for today .... I'll step down off the soap box now!

subset: commoncrawl


text:
When you engage in activism from the comfort and safety of your home. Your efforts don't do anything but you think that you're some sort of saint for "believing in the cause".
Look at these kids with their armchair politics. All they do is post little messages on Facebook about bullying. They don't actually do anything about it.
by The Silent Tyger August 07, 2011


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Tracking who's hot and who's not presents an algorithmic challenge
Brian Hayes
Back in 1999, the operators of the Lycos Internet portal began publishing a weekly list of the 50 most popular queries submitted to their Web search engine. Britney Spears—initially tagged a "teen songstress," later a "pop tart"—was No. 2 on that first weekly tabulation. She has never fallen off the list since then—440 consecutive appearances when I last checked. Other perennials include Pamela Anderson and Paris Hilton. What explains the enduring popularity of these celebrities, so famous for being famous? That's a fascinating question, and the answer would doubtless tell us something deep about modern culture. But it's not the question I'm going to take up here. What I'm trying to understand is how we can know Britney's ranking from week to week. How are all those queries counted and categorized? What algorithm tallies them up to see which terms are the most frequent?
One challenging aspect of this task is simply coping with the volume of data. Lycos reports processing 12 million queries a day, and other search engines, such as Google, handle orders of magnitude more. But that's only part of the problem. After all, if you have the computational infrastructure to answer all those questions about Britney and Pamela and Paris, then it doesn't seem like much of an added burden to update a counter each time some fan submits a request. What makes the counting difficult is that you can't just pay attention to a few popular subjects, because you can't know in advance which ones are going to rank near the top. To be certain of catching every new trend as it unfolds, you have to monitor all the incoming queries—and their variety is unbounded.
In the past few years the tracking of hot topics has itself become a hot topic in computer science. Algorithms for such tasks have a distinctive feature: They operate on a continuous and unending stream of data, rather than waiting for a complete batch of information to be assembled. Like a worker tending a conveyor belt, the algorithm has to process each element of the stream in sequence, as soon as it arrives. Ideally, all computations on one element are finished before the next item comes along.
Much of the new interest in stream algorithms is inspired by the Internet, where streams of many kinds flow copiously. It's not just a matter of search-engine popularity contests. A similar algorithm can help a network manager monitor traffic patterns, revealing which sites are generating most of the volume. The routers and switches that actually direct the traffic also rely on stream algorithms, passing along each packet of data before turning to the next. A little farther afield, services that filter spam from e-mail can use stream algorithms to detect messages sent in thousands or millions of identical copies.
Apart from the Internet, stream algorithms are also being applied to flows of financial data, such as stock-market transactions and credit-card purchases. If some government agency wanted to monitor large numbers of telephone calls, they too might have an interest in stream algorithms. Finally, the designers of software for some large-scale scientific experiments adopt a stream-oriented style of data processing. Detectors at particle-physics laboratories produce so much data that no machine can store it all, even temporarily, and so preliminary filtering is done by programs that analyze signals on the fly.
Search-engine queries and Internet packets are fairly complicated data structures, but the principles of stream algorithms can be illustrated with simple streams of numbers. Suppose a pipeline delivers an endless sequence of nonnegative integers at a steady rate of one number every t time units. We want to build a device—call it a stream gauge—that intercepts the stream and displays answers to certain questions about the numbers.
What computational resources does a stream gauge need to accomplish its task? The resources of particular concern are processing time—which can't exceed t units per stream element—and auxiliary storage space. (It's convenient to assume that numbers of any size can be stored in one unit of space, and that any operation of ordinary arithmetic, such as addition or multiplication, can be performed in one unit of time. Comparing two numbers also takes a single time unit.)
For some questions about number streams, it's quite easy to design an effective stream gauge. If you want to know how many stream elements have been received, all you need is a counter. The counter is a storage location, or register, whose initial value is set to 0. Each time an element of the stream arrives, the counter is incremented: In other words, if the current value of the counter is x , it becomes x +1.
Instead of counting the stream elements, another kind of gauge displays the sum of all the integers received. Again we need a register x initialized to 0; then, on the arrival of each integer n , we add n to the running total in x .
Still another easy-to-build gauge shows the maximum value of all the integers seen so far. Yet again x begins at 0; whenever a stream element n is greater than x , that n becomes the new x .
For each of these devices, the storage requirement is just a single register, and the processing of each stream element is completed in a single unit of time. Computing doesn't get much easier than that. Certain other stream functions require only slightly greater effort. For example, calculating the average (or arithmetic mean) of a stream's integers takes three registers and three operations per integer. One register counts the elements, another records their sum, and the third register holds the value of the average, calculated as the quotient of the sum and the count.
What matters most about the frugal memory consumption of these algorithms is not the exact number of registers needed; what matters is that the storage space remains constant no matter how long the stream. In effect, the algorithms can do calculations of any length on a single sheet of scratch paper. Their time performance follows a similar rule: They use the same number of clock cycles for each element of the stream. The algorithms are said to run in constant space and constant time.
Not every property of a stream can be computed in constant space and time. Consider a device that reports the number of distinct elements in a stream of integers. (For example, although the stream 3, 1, 8, 3, 1, 4, 3 has a total of seven elements, it has only four distinct elements: 3, 1, 8 and 4.)
There's a straightforward method for counting distinct elements: Start a counter at 0 and increment the counter whenever the stream delivers a number you haven't seen before. But how do you know that a given number is making its first appearance? The obvious answer is to keep a list of all the integers you've encountered so far, and compare each incoming value n with the numbers in the stored set. If n is already present in the list, ignore the new copy. If n is not found, append it to the stored set and increment the counter.
The trouble is, this is not a constant-space algorithm. The set of stored values can grow without limit. In the worst case—where every element of the stream is unique—the size of the stored set is equal to the length of the stream. No fixed amount of memory can satisfy this appetite.
The problem of counting distinct elements is closely related to the problem of identifying the most-frequent elements in a stream. Having a solution to one problem gives us a head start on the other. The distinct-elements algorithm needs to keep a list indicating which stream elements have been observed so far. The frequent-elements algorithm needs the same list, but instead of simply noting whether or not an element is present, the program must maintain a counter for each element, giving its frequency. Since the list of elements and their counters can grow without limit, demands for space are again potentially unbounded.
Both of the algorithms could run out of time as well as space, depending on details of implementation. If it's necessary to search through all the stored numbers one by one for every newly received stream element, then the time needed grows in proportion to the size of the stored set. Eventually, the delay must exceed t , the interval between stream elements, at which point the algorithm can no longer keep up with the incoming data. Other data structures, such as trees and indexed arrays, allow for quicker access, although other time constraints may remain.
Stream algorithms that require more than a constant amount of storage space are seldom of practical use in large-scale applications. Unfortunately, for tasks such as counting distinct elements and finding most-frequent elements, there is really no hope of creating a constant-space algorithm that's guaranteed always to give the correct answer. But before we grow too despondent about this bleak outlook, I should point out that there are also a few pleasant surprises in the world of stream algorithms.
Although identifying the most frequent item in a stream is hard in general, there is an ingenious way of doing it in one special case—namely, when the most common item is so popular that it accounts for a majority of the stream entries (more than half the elements). The algorithm that accomplishes this task requires just two registers, and it runs in a constant amount of time per stream element. (Before reading on you might want to try constructing such an algorithm for yourself.)
The majority-finding algorithm uses one of its registers for temporary storage of a single item from the stream; this item is the current candidate for majority element. The second register is a counter initialized to 0. For each element of the stream, we ask the algorithm to perform the following routine. If the counter reads 0, install the current stream element as the new majority candidate (displacing any other element that might already be in the register). Then, if the current element matches the majority candidate, increment the counter; otherwise, decrement the counter. At this point in the cycle, if the part of the stream seen so far has a majority element, that element is in the candidate register, and the counter holds a value greater than 0. What if there is no majority element? Without making a second pass through the data—which isn't possible in a stream environment—the algorithm cannot always give an unambiguous answer in this circumstance. It merely promises to correctly identify the majority element if there is one.
The majority algorithm was invented in 1982 by Michael E. Fischer and Steven L. Salzberg of Yale University. The version I have described here comes from a 2002 article by Erik D. Demaine of MIT and Alejandro López-Ortiz and J. Ian Munro of the University of Waterloo in Canada. Demaine and his colleagues have extended the algorithm to cover a more-general problem: Given a stream of length n, identify a set of size m that includes all the elements occurring with a frequency greater than n /( m +1). (In the case of m =1, this reduces to the majority problem.) The extended algorithm requires m registers for the candidate elements as well as m counters. The basic scheme of operation is analogous to that of the majority algorithm. When a stream element matches one of the candidates, the corresponding counter is incremented; when there is no match to any candidate, all of the counters are decremented; if a counter is at 0, the associated candidate is replaced by a new element from the stream.
Again the results carry only a weak guarantee: If any elements of the stream exceed the threshold frequency, those elements will appear among the candidates, but not all the candidates are necessarily above the threshold. Even with this drawback, the algorithm performs impressive feats, such as scanning a stream of Web search queries for all terms that make up at least 1 percent of the traffic.
For many stream problems of practical interest, computing exact answers is simply not feasible—but it's also not necessary. A good estimate, or an answer that's probably correct, will serve just fine.
One simple approach to approximation is to break a stream into blocks, turning a continuous process into a series of batch operations. Within a block, you are not limited to algorithms that obey the one-pass-only rule. On the other hand, answers derived from a sequence of blocks only approximate answers for the stream as a whole. For example, in a count of distinct elements, an item counted in two successive blocks would be counted only once if the blocks were combined.
A variant of the block idea is the sliding window. A window of length k holds the most recent k elements from the stream, with each new arrival displacing the oldest item in the queue.
A great deal of ingenuity has been applied to the search for better approximate stream algorithms, and there are successes to report. Here I shall briefly mention work in two areas, based on sampling and on hashing.
When the items that interest you are the most frequent ones in a stream, statistics is on your side; any sample drawn from the stream is most likely to include those very items. Indeed, any random sample represents an approximate solution to the most-common-elements problem. But the simplest sampling strategy is not necessarily the most efficient or the most accurate. In 2002 Gurmeet Singh Manku and Rajeev Motwani of Stanford University described two methods they called sticky sampling and lossy counting.
Suppose you want to select a representative sample of 100 items from a stream. If the stream consists of just 100 elements, the task is easy: Take all the elements, or in other words select them with probability 1. When the stream extends to 200 elements, you can make a new random selection with probability 1/2; at 400 elements, the correct probability is 1/4, and so on. Manku and Motwani propose a scheme for continually readjusting the selection probability without having to start over with a new sample. Their sticky-sampling method refines the selection each time the stream doubles in length, maintaining counters that estimate how often each item appears in the full stream. The algorithm solves the most-frequent-elements problem in constant space, but only in a probabilistic sense. If you run the algorithm twice on the same data, the results will likely differ.
Lossy counting is based on a similar idea of continually refining a sample as the stream lengthens, but in this case the algorithm is deterministic, making no use of random choices. Each stream element is checked against a stored list; if the element is already present, a counter is incremented; otherwise a new entry is added. To keep the list from growing uncontrollably, it is periodically purged of infrequent elements. Lossy counting is not guaranteed to run in constant space, but Manku and Motwani report that in practice it performs better than sticky sampling.
Hashing—one of the more aptly named techniques of computer science—is a way of scrambling data so that the result looks random. Oddly enough, this turns out to be a good way of making sense of the data.
A completely random stream might seem hard to analyze, but in fact randomness opens the door to some simple but powerful statistical methods. Imagine a stream composed of numbers chosen at random from some fixed range of integers, say 1 through n . For this stream the number of distinct elements observed follows a highly predictable course; in particular, all n distinct elements should have appeared at least once by the time the stream reaches length n log n.
This kind of analysis won't work for most streams of real data because the elements are not drawn from a convenient fixed range, and they are not random—unless you compose search-engine queries by blindly pecking at the keyboard. This is where hashing comes in. A hash function transforms a data item into a more-or-less random value uniformly distributed over some interval. Think of hashing as the action of a mad postal clerk sorting letters into bins. The clerk's rule says that if two letters have the same address, they go into the same bin, but in all other respects the sorting might as well be random.
By randomly distributing all the elements of a stream into a fixed number of bins, hashing allows for easy statistical analysis of the stream's elements. For example, the number of distinct elements can be estimated from the probability that a given bin remains empty, or from the minimum number of elements found in any bin. A recent paper by Ahmed Metwally and Divyakant Agrawal of Ask.com and Amr El Abbadi of the University of California, Santa Barbara, evaluates a dozen of these algorithms.
Are there better algorithms for stream problems waiting to be discovered? Some of the limits of what's possible were outlined in 1996 by Noga Alon, Yossi Matias and Mario Szegedy, who were all then at AT&T Bell Laboratories. They framed the issue in terms of an infinite series of frequency moments , analogous to the more familiar statistical moments (mean, variance, and so on). The zero-order frequency moment F 0 is the number of distinct elements in the stream; the first-order moment F 1 is the total number of elements; F 2 is a quantity called the repeat rate; still higher moments describe the "skew" of the stream, giving greater emphasis to the most-frequent elements. All of the frequency moments are defined as sums of powers of m i , where m i is the number of times that item i appears in a stream, and the sum is taken over all possible values of i .
It's interesting that calculating F 1 is so easy. We can determine the exact length of a stream with a simple, deterministic algorithm that runs in constant space. Alon, Matias and Szegedy proved that no such algorithm exists for any other frequency moment. We can get an exact value of F 0 (the number of distinct elements) only by supplying much more memory. Even approximating F 0 in constant space is harder: It requires a nondeterministic algorithm, one that makes essential use of randomness. The same is true of F 2 . For the higher moments, F 6 and above, there are no constant-space methods at all.
All this mathematics and algorithmic engineering seems like a lot of work just for following the exploits of a famous "pop tart." But I like to think the effort might be justified. Years from now, someone will type "Britney Spears" into a search engine and will stumble upon this article listed among the results. Perhaps then a curious reader will be led into new lines of inquiry.
You can find this online at http://www.americanscientist.org/issues/num2/the-britney-spears-problem/3
© 2016 Sigma Xi, The Scientific Research Society


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Photo By Steven Chapman
Insider Podcast: Red Raider Recruiting Scoop
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Stay connected with us to get the latest health and fitness news, innovative workouts, healthy recipes and wellness tips.
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The EatingWell Test Kitchen takes lean ground beef and combines it with whole-grain bulgur, egg noodles and a creamy tomato sauce in a baked casserole topped with Cheddar. With less fat and calories than the original skillet meal, this dish is sure to become a new family favorite.
Nutrition Profile:
Diabetes Appropriate
Healthy Weight
High Calcium
High Fiber
High Potassium
Low Calorie
Low Cholesterol
Serves 6
Prep Time 30 min
Total Time 85 min.
Step 1
Preheat oven to 350°F. Coat a 2-quart baking dish with cooking spray. Put a large pot of water on to boil.
Step 2
Separate white and green parts of scallions; thinly slice and reserve separately.
Step 3
Cook beef in a large skillet over medium-high heat, breaking up clumps with a wooden spoon, until no longer pink, 3 to 5 minutes. Transfer to a plate lined with paper towels.
Step 4
Wipe out the pan, add oil and reduce heat to medium-low. Add bulgur, garlic and the reserved scallion whites. Cook, stirring, until the scallions soften, 5 to 7 minutes. Add tomato sauce, water and the beef; bring to a simmer. Cover and simmer gently until the bulgur is tender and the sauce is thickened, 15 to 20 minutes. Season with 1/8 teaspoon salt and pepper.
Step 5
Meanwhile, cook noodles until just tender, 6 to 8 minutes or according to package directions. Drain and rinse under cold water.
Step 6
Puree cottage cheese in a food processor until smooth. Transfer to a medium bowl; fold in sour cream and the reserved scallion greens. Season with the remaining 1/8 teaspoon salt and pepper.
Step 7
Spread half the noodles in the prepared pan. Top with half the cottage cheese mixture and half the meat sauce. Repeat with the remaining noodles, cottage cheese and sauce. Sprinkle Cheddar over the top.
Step 8
Bake the casserole until bubbly, 30 to 40 minutes. Let stand for 10 minutes before serving.
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I've been keeping a few hives for about 5 years and lost my first one this spring. It came out of our very long winter weak, but still had activity. Over the last week or so, the activity fell greatly, so I opened it today and only found only a couple hundred bees still alive. The queen was one of them. They seemed slow and wandering. The other bees were not paying any attention to the queen. There was probably 50 lbs of honey still in the hive.
What I'm guessing is larva, was all dead and uncapped. The cells had a white grainy looking substance in them. I don't know if this was just a stage of decomposition, but they were still very white. There were very few cells where something had decomposed to the point of turning yellow, and they were all on one side of one frame. I didn't see anything that looked like capped brood.
Any ideas?


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Casa Nino II + III @ Bairro Alto
Maximální počet hostů8
Počet místností3
Velikost100 m²
Floor No.2
- Vhodné pro rodiny s dětmi
- Kuchyně
- Pračka / sušička
- Televize
- Uzamykatelný pokoj
- Balkón/terasa
- Ručníky
- Internet/WiFi
Accommodation summary
|Rua Fernandes Tomás, 1200-180 Lisbon, Portugalsko
|Typ nemovitosti
|Ident. objektu
This offer is made up of two adjoining apartments. This configuration is ideal for two couples with children, for example. Light (2nd & 3rd floors), completely renovated and tastefully decorated, visitors will feel at home. Combining contemporary, rustic, natural materials (wood, handicrafts, inlay), comfort and authenticity, they provide fresh, well-being and privacy.
The apartments include two living rooms with four sofas, two double sofa bed, two TV LCD 42 "& 23", wireless internet connection, musical instruments, board games, puzzles the Chinese. Their doors window with their balconies facing the old Lisbon. The southern exposure allows a magical light from morning to evening and a reassuring warmth. There are also two double room with one double bed, a spacious wardrobe, a mirror full foot and a panoramic view of the historic district (3rd floor); two bathrooms with bath (1m50 & 1m10) and storage and two fully equipped, modern kitchens with views of the National Assembly (2nd floor), with toaster, kettle and small kitchen electrical, hob (gas), oven and microwave, combi Fridge and Freezer, cutlery, crockery , kitchen accessories and two tables for four people.
Located in the historic center of Lisbon, in the heart of Santa Catarina, but popular residential area, quiet but alive, they offer almost immediate access to all tourist activities: banks (ATM, ATM); shops (classic discount, supermarket, luxury, etc. ... and remember); restoration (tasca the Portuguese course, but also Italian, Indian, Thai, Moroccan, Vegetarian, etc ...); bars and pubs (Bairro Alto where over a hundred bar coexist is 5min. ); culture (castle 15 minutes walking, Museum, theater, opera, church & cathedral); promenade (park and gazebo with beautiful Adamastor 2 minutes walking , or São Pedro de Alcantara 10 minutes walking); marina and the 25 de Abril bridge are 20 minutes walking; the beach (the train along the Tagus is 8 minutes walking ; the first beach 20 minutes by train to € 2.50 one way) and transportation whatever your destination is 2 minutes walking (Tram No. 28, bus, taxi), 8 minutes walking (Metro and train CHIADO or CAIS DE SODRE). The airport is 20 minutes by taxi (between 11 and 15 € one way).
Lisbon for you by its eclecticism, its light and its inhabitants. This apartment allows complete immersion in the world of tradition thanks to its location. Functionality , modern and its charm is the ideal solution for your stay, up to 8 people comfortably.
We hope to see you soon!
Domovní řád1. Integrity of walls, equipment, objects, furniture
Thank you to avoid too great liberties, including: be very careful if you eat on the couches, on beds, not dry hands on fabrics or the walls of the house, do not use our towels clear if you use makeup. Thank you to pay attention to objects: dishes, decorative items, etc.. ...
Give special attention to travel and always delicate storage your luggage (scratch floors and walls). Thank you maintain the integrity of the walls or not putting dirty hands or feet (shoe) or blunt object. Do not use any product that may alter the original appearance of any part of the house (ie not color the hair in the bathtub). Do not move furniture. Do not tinker. Respect the responsibilities related to your stay (see below).
If you need help, if you please contact your host.
2. Cleanliness and housekeeping
Cleaning is done by us after your departure. Thank you nevertheless keep the apartment clean out your trash as often as possible. Thank you to wash your dishes, keeping the kitchen worktop and fridge clean. A washing machine is available and a clothes line (internal and external).
Terms and schedules for your garbage are: place your sealed bag in front of the building every day from 19:30. Use black bags in the apartment. Those who wish can recycle. Closing laces of different colors are provided for this purpose:
• The plastic is collected every Monday and Friday (yellow lace)
• The paper is drawn every Wednesday (blue lace)
• The glass is not recycled but our doors containers provided for this purpose are present in the area
3. Attributions material freely use
• Dishwashing liquid
• Toilet paper rolls (# 2 to stay <4 days, 3 #> 4 days)
All other consumables is charged to the guest.
• linen
• 1 towel body and hands / faces per person
• Bedding for 2 people: Fitted Sheet. Sheet + blanket or quilt. 2 cushions
On request
• Hair dryer, iron and ironing board
• bucket, mop, broom cleaning product
The electricals as well as the 'high tech' in the house is available for free use.
Most manuals and instruction manuals of the devices are in the kitchen cupboard to the left of the fridge.
|Maximální délka pobytu
|1 měsíc
|Příjezd po
|Check-in before
|Odjezd před
|Stornovací podmínky
|Středně přísné
We stayed in Nino's appartment last weekend, and we absolutely loved it! The appartments are very good, clean, and the furniture is super! THe appartment is in the best area one can be for a stay in lissabon: Right in the centre of Bairro Alto, with al the bars and restaurants in the area, but also very good locatetd to see all the beautiful things in Lissabon!
The host, Nino, is absolutely friendly, willing to help, answers all the questions you have very quickly etc. An excellent host!! We will certainly come back to Lissabon, it is a wonderful city! And then we will certainly stay in Nino's appartment again!!
Nino: thank you so much for everything!! We had a wonderful time!!
Very nice apartments on a perfect location in Lisbon! We missed a few basic things like a vacuum cleaner and other cleaning utilities. It ws great to spend our time in Lisbon living between the locals.
Quando ho prenotato la casa di Nino (fine aprile) nella descrizione non era specificato che erano due appartamenti adiacenti (uno al secondo piano, ed uno al terzo piano). Eravamo un gruppo di 7 ragazzi, sapendo questa informazione forse non avremmo prenotato la casa.
La comunicazione con Nino è sempre stata veloce e semplice.
Le case presentano sia aspetti positivi che negativi. Il rapporto qualità/prezzo nonostante tutto è buono. Le case sono a 2 minuti a piedi da Bairro Alto (luogo principale di ritrovo dei giovani a Lisbona fino alle 2:30 di notte) e a 10 minuti a piedi da Cais do Sodré (secondo punto di ritrovo notturno dei giovani a Lisbona fino alle 6 di mattina). Le case sono arredate con oggetti nuovi, soprattutto la cucina, e nonostante la palazzina sia fatiscente una volta entrati in casa ci si trova in un ambiente gradevole.
Abbiamo avuto problemi con la pulizia dei bagni, la casa al terzo piano è senza il bidet, e quello presente nella casa al secondo piano, per poter essere utilizzato, lo abbiamo dovuto pulire noi stessi dopo aver acquistato prodotti per la pulizia del bagno. Le vasche da bagno, dopo trenta minuti di pulizia, sono tornate ad avere un aspetto umano. La biancheria non era sufficiente per tutti gli ospiti. Pensavamo di trovare almeno le federe dei cuscini.
Apartamentos limpios (aunque encontramos un tampax que no era nuestro en el cuarto de baño) y muy bien situados. Sin embargo, creo que no son adecuados para quien viaje con niños, las escaleras del portal no tenía luz y éste estaba bastante deteriorado. Ojo, porque efectúan el cargo nada más hacer la reserva.
L'appartement est idéalement situé en plein cœur du Bario Alto, tout proche des rues festives de Lisbonne mais sans les désagréments du bruit. Accueil très sympathique et gestion sans prise de tête. Les deux apparts offrent tout le confort nécessaire pour un prix plus que raisonnable. Un très bon spot !
PS : prévoir un surplus de papier toilette !
Ohodnoďte tomuto hostiteli i další ubytování
We had a nice stay in this apartment in Lisbon. The flat is very cosy and equipped with everything you need. The location is very nice and one can walk to the main attractions of the city. Bars, restaurants and supermarkets are nearby. In general the flat was clean. However, the plugholes in the kitchen and bathroom were blocked a bit.
Although, we didn't meet Nino personally, we had a wonderful host, Nino's friend, David. He was very kind, helpful and informal with all usefull advices. The flat location is in the heart of Lisbon. The neighbourhood is very cool, with bars, shops, good transport abilities and awesome view from the top of the hill at the park. The flat is well equiped, clean and has good home vibes. We would stay again at Casa Nino!
Nino was very kind. We had a great time at his apartment. Linen, kitchen, wi-fi, bathroom, TV…All the services were alright. We do suggest this location to enjoy Lisbon downtown. The street is quiet, though it is near to the Chiado and Bairro Alto. For sure, a good choice.
We had a very nice 1 week stay at the apartment which was clean and cozy and in a nice area in the heart of Lisbon.
You can reach Bairro Alto, the metro and the train station in about 10 Minutes by walking. Nino was a good host, who gave us advice for the city and reacted very promptly to any questions and messages. The only downsides were the missing light for the very narrrow staircase (which will probably be fixed soon). Also, we had to figure out, that for hot water, you have to turn the handles into the "cold" direction :) Personally, I would like to have a bigger bed for 2 people but thats more of a personal preference.
All in all we had a very nice stay and would stay again at this apartment.
- Ověřenou kvalitu ubytování
- Prověření každého hostitele
- Bezpečné platby prostřednictvím SSL šifrování


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Knicks suck.
On another note, why in the world did we not pickup Kendall Marshall when he was waived by the Wizards? I mean, the guy was a great looking prospect, as a pass 1st PG coming out last yr, and would of been a great chance, for a team with cap issues, to try and find a cheap PG to backup Felton and possibly be our guy going forward.


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what state?
I will be traveling to Columbus and transporting a handgun with me. Can anyone point me in the right direction for the laws (preferably in plain English) concerning its transportation from the airport to my parent's home, to the shooting range, and laws regarding carrying on private property?
I thought that Columbus was dead. Some time around 1506, wasn't it?
Nope, he is working at a Burger King in Ohio......There are numerous lists of handgun laws, especially concealed carry, just google those terms.....JJ
The QUICKEST way to find out, is pull it out....but don't tell them that I told you.......
Try here: Handgunlaw.us I usually use it when visiting a new state for a quick overview.
Be warned, Ohio is a royal pain in the ass on their CCW laws, and businesses that post are legally binding, so mind your Ps and Qs unless you want to end up with a felony weapons charge. I try to avoid going north of the river when I'm carrying.
For example, I'm actually headed up there today for a family church event. Under Ohio law, "places of worship" are prohibited unless otherwise allowed by the church in question. And I can't recall the last time I saw a church with "please carry weapons here" sign...
Last edited by kg333; 05-26-2012 at 11:23 AM. Reason: Oops, meant to edit, not post.


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i'd stretch the top cover
It takes an idiot to do cool things. That's why it's cool.-Haruko
I'd go with the 'if the rivet head covers it' approach.
You can shim the top cover at the rear or add a shim to the rear trunnion vertical stop ledge to tighten the top cover fitment. Just another option.
A spot welder and a strip of receiver stub at the rear downturn on the cover.
A recent pic of a sort of similar thing but done for a different reason. It extends to the cover bottom area. Yours need not be this large of course.
Spot welded to the cover.
Last edited by akblue; 03-20-2013 at 03:04 PM.
Already have the Rivets partially seated, bit messy but not finished yet.
Have to prioritize getting a new Vice this Morning from Sears ?.
Two loud "clicks" last night : Bolt down slots cracked apart when Tightened.
It's a "Craftsman"().
Been a "Good" week so far !!
Update: Not comfortable with the Egging or the the way the Rivets needed to be formed to attempt covering the hole.
Suppose it would have been strong enough ?, many seem to "egg".
However , considering the physical properties of the Rivet steel is not going to change, to suit my screw up. It's going to react to squeezing/compression in a predictable way : ie, won't just "hang a right" when it sees the extra space !!.
That's my story anyway. Demilled and starting a "new" build.
Someone very experienced in AK Manufacturing suggested I check the position of the Rear Sight Base, in relation to the trunion. The Gap at the rear dust cover, that started this whole mess is close to the space seen, where the RSB doesn't fully contact the trunion.
Before I start the project thinking I should move the RSB back a few clicks.
How does one MOVE that RSB Pin though ??
Thanks again for all the comments/suggestions.
Oh, almost forgot, Sears essentially told me to shove it on the Vice.
So NO more Sears Purchases from me. "Normal Wear and Tear".
No mention of Catastrophic Metallurgical failure . Screw 'em.
You can move the RSB to the rear but then your forward stacking of components is "off". The gas block and/or gas tube will be improperly stacked.
Pre-fitting parts before final drilling or build is always a good idea to uncover the oops factor.
I think the egged rivets would have been fine.
But since that nor the detailed receiver cover small shim from above suit you....,
You can go oversize rivets. A 3/16 rivet has a larger shank which will open up the trunnion a bit to .1875". Over drillimng the rear trunnion long rivets was common in early build days when metric rivets or 5/32" rivets in longer lengths were scarce or unobtainable.
You would turn down the head on the 3/16 rivet (spin & file n a drill press) to standard or slightly oversized toi get good coverage of any remaining egging.
Thanks akblue, good points.
Thinking, for today at least, I'll just look at and measure, as I must be missing something.
Had it built on a Curtis Flat and not loose on the dust cover. It functioned perfectly. If anything, OAL of the Polish is arguably 1/16" longer than the Flat (when bent).
There are slight differences on FCG locations (based on the "X and "Y" location)
I'll have to go buy a 12" digital Vernier. Need one.
Interesting observation : the dust cover for the troublesome project is in fact, the longest one I have.
Going to check all receiver lengths, as all I can find so far, of any significance is the Polish Rec. Blank is longer than the AK Builder Flats I've bent historically.
Speaking of receiver covers. If you can find a Yugo M76 receiver cover it is longer than a standard AKM cover. It is smooth vs ribbed but can be shortened to a custom fit on any over length rear block to RSB fitment. Just an FYI. But probaby just as easy to spot weld the rear cover spacer though.
I may have an extra M76 cover but not certain. I have used one before for this very issue but was related to a barrel replacement difference in stacking vs a new build.


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Should I thin out immature fruit on my fruit trees?
Sometimes. Apples often drop fruit naturally in late November and early December, but after that it may pay to take out the central or "king" fruit of a cluster. Thinning of Japanese plums should have been done by now, and involves thinning clusters to pairs so no two fruits touch each other when ripe (this decreases the chance of brown rot spreading). Cherries don't need thinning and nor do citrus, most pears and European plums.
Sometimes earwigs emerge from my flowers - can they bite?
Well, they can pinch at any rate - though most simply scuttle away. Fortunately, earwigs don't breed indoors; they merely hide. The evil-looking creatures don't last long in a dry atmosphere, either, so no need to panic if one escapes (despite their name, earwigs rarely crawl into ears). More than 20 species exist in New Zealand, most of them native, but it's the European earwig that's a pest in our gardens - and they really love dahlias.
If you have a gardening question, email Glenys at email@example.com


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Lanier Islands
7000 Lanier Islands Parkway Buford, GA 30518 770-945-8787
Mother's Day will be here soon. Celebrate this very special day by creating memories that will last a lifetime! Bring the family and enjoy a delicious Mother's Day Brunch at Windows Restaurant. Upgrade your Mother's Day experience to our Mother's Day at the Lake package!
Brunch seating times: Every 30 minutes from 10 am - 2 pm
Reservations are encouraged.VIEW MENU


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Robert Altman 1925–2006
American filmmaker.
The following entry presents an overview of Altman's career through 1996. For further information on his life and works, see CLC, Volume 16.
Robert Altman enjoyed both critical acclaim and commercial success with his film M∗A∗S∗H in 1970, but he is known more for his cult following than for his box office smashes. His signature techniques, including multiple voices, meandering plots, and obscure themes, have garnered him critical acclaim for his innovation, but have prevented him from gaining overwhelming popular success.
Biographical Information
Altman was born February 20, 1925, in Kansas City, Missouri, to German immigrant parents. He attended several schools in the Kansas City area, including Wentworth Military Academy, before entering the Air Force to become a co-pilot of B-24 bombers. In the 1940s and 1950s Altman wrote several B-movie screenplays in Los Angeles and then returned to Kansas City to direct documentaries. In the late 1950s Altman tried his luck in Hollywood once again, this time in television. For the rest of the 1950s and much of the 1960s, Altman wrote, produced, or directed episodes of popular shows such as Bonanza, Alfred Hitchcock Presents, and U. S. Marshall. His first feature film was Countdown (1968), but he was not allowed final editing decisions on the film. Although many consider Countdown a fine science fiction film, Altman disavows the movie and has insisted on complete artistic control of his subsequent projects. Altman was chosen to direct his breakthrough feature, M∗A∗S∗H (1970) after several (according to some reports, as many as fifteen) directors turned the project down. After M∗A∗S∗H, Altman made a series of offbeat films that received mixed critical reception and were by no means commercial successes. Altman's Nashville (1975) brought the auteur back into Hollywood's good graces for a time, garnering Altman the New York Film Critics Circle awards for best film and best director, as well as multiple Academy Award nominations. Altman experienced a third resurgence in 1992 with The Player, another commerical and critical success for which Altman was again nominated for multiple Academy Awards.
Major Works
M∗A∗S∗H is an anti-war film centered on a group of zany army doctors who, though compassionate and skilled surgeons, survive the war through alcohol and humor. Set during the Korean War but released during the Vietnam War, the black comedy contains many of the elements typical of Altman's other films, including improvised lines and scenes, overlapping dialogue and sound effects, light and irreverent humor, no standard plot, and a moving camera which records from a distance. McCabe and Mrs. Miller (1971) is a western and love story that subverts many of the conventions of each. In The Long Goodbye (1973), based on the Raymond Chandler novel, Altman tackles the detective genre and one of its mythical heroes, the detective Philip Marlowe. Marlowe is out of place in his 1970s surroundings, enabling Altman to make a social commentary on the times. Nashville (1975) analyzes the nature of power and opportunism. The story revolves around a cast of 24 characters, mostly singers, aspiring stars, and politicians in the capital of country music. Buffalo Bill and the Indians, or Sitting Bull's History Lesson (1976) criticizes commercialism, opportunism, and the making of a celebrity. The title itself sets up a dialectic between two versions of history, and the film makes it difficult to discern historical fiction and historical reality. Vincent and Theo (1990) is Altman's only biographical film. Altman takes the unusual approach of making Vincent Van Gogh's art peripheral to the main plot. Instead, the film traces Van Gogh's relationship with his brother Theo and the pain he suffered in his life. The Player (1992) is a satiric look at the Hollywood studio system and the role writers play in the system. Short Cuts (1993) is another sweeping film with multiple plot lines and a large cast of characters. The film is based on slice-of-life stories by Raymond Carver. Ready to Wear (1994) follows another multitude of characters, this time through the fashion world. The film analyzes many topics, including the nature of womanhood, relationships in American society, and the human condition.
Critical Reception
Much disagreement surrounds the critical discussions of many of Altman's films. M∗A∗S∗H was Altman's breakout film, becoming both a critical and popular success. Many of the techniques which made M∗A∗S∗H popular, however, left critics and audiences uneasy in his subsequent films. Many reviewers criticize Altman's use of sound and overlapping dialogue; others assert that the technique lends a sense of reality to his films. Altman's The Long Goodbye created a storm of criticism, but several reviewers attribute this to Altman's alteration of the end of the Raymond Chandler novel, which made Marlowe devotees uncomfortable. Nashville was another critical and popular success for Altman, but his style still drew complaints. Some critics felt that despite Altman's finesse in juggling multiple story lines, Nashville's separate plots lacked substance individually. Most reviewers agree that plot is not the central element in Altman's work. Jonathan Baumbach asserted that "Altman generates tension in his film not through plot, which seems to exist as an afterthought …, but through movement and image." Despite individual criticisms of some of his techniques, many reviewers appreciate Altman's unique and innovative style. While he has failed to achieve consistent box office success, many critics and fans describe him as one of the best directors of his generation. Todd Boyd asserts that, "Altman remains one of the few independent voices in a sea of repetitive Hollywood mediocrity."
Principal Works
The Delinquents [writer and director] (screenplay) 1955
The James Dean Story [writer and director] (documentary) 1957
Nightmare in Chicago [director] (film) 1967
Countdown [director] (documentary) 1968
That Cold Day in the Park [director] (film) 1969
M∗A∗S∗H [director; adapted from the novel by Richard Hooker] (screenplay) 1970
Brewster McCloud [writer and director] (screenplay) 1970
McCabe and Mrs. Miller [with Brian McKay; writer and director] (screenplay) 1971
Images [writer and director] (screenplay) 1972
The Long Goodbye [director; adapted from the novel by Raymond Chandler] (screenplay)...
(The entire section is 260 words.)
Jonathan Baumbach (review date 1974)
SOURCE: "Show-Offs," in Partisan Review, Vol. XLI, No. 2, 1974, pp. 273-74.
[In the following mixed review, Baumbach complains that, "what's finally wrong with The Long Goodbye is that for all its artistic pretensions, all of them, the film is not quite serious, not serious enough to carry the freight of its pretensions."]
Seeing movies, writing about them is a more subjective business than the authoritative voice of most reviews admits. One runs into a good deal of self-deception and cant among reviewers who try to make the fleeting reality on the screen seem unequivocal. There is so much fantasy invested in moviegoing that movie reviews tend to tell us...
(The entire section is 618 words.)
Michael Dempsey (essay date September-October 1974)
SOURCE: "Altman: The Empty Staircase and the Chinese Princess," in Film Comment, Vol. 10, No. 5, September-October, 1974, pp. 10-17.
[In the following essay, Dempsey discusses pivotal scenes in Altman's Thieves Like Us and McCabe and Mrs. Miller which cause the films to fall short of greatness.]
Two moments in Robert Altman's movies may hold the key to their true nature. In one, the conclusion of Thieves Like Us, travellers in a railroad station climb a staircase to a train. The film goes into slow motion, and Father Coughlin gives a populist speech on the sound track. Finally, the people disappear, leaving only the stairs. In the other, an episode...
(The entire section is 7319 words.)
Todd McCarthy (review date 1975)
SOURCE: "The Delinquents (Robert Altman) (1974)," in Kings of the Bs: Working Within the Hollywood System, edited by Todd McCarthy and Charles Flynn, E. P. Dutton and Co., Inc., 1975, pp. 215-19.
[In the following review, McCarthy states that, "Decidedly a minor work by a major artist," The Delinquents proves that Altman can tell a straightforward story without stylistic mannerisms.]
A reasonable number of people must be aware that Robert Altman directed films before M∗A∗S∗H, but most would probably be hard pressed to come up with many titles. Some may have seen That Cold Day in the Park and a few watchful airplane passengers and...
(The entire section is 1883 words.)
William S. Pechter (essay date September 1975)
SOURCE: "Trashville," in Commentary, Vol. 60, No. 3, September, 1975, pp. 72-5.
[In the following essay, which was reprinted in Movie Plus One, Horizon Press, 1982, Pechter traces Altman's portrayal of America in Nashville.]
Why make a film about—and full of—country music, if you don't like it? I ask this not as any devotee of country music myself, well over nine-tenths of what I've heard of it striking me as a pile of lachrymose slop. But any film crammed with some 25 country-music original numbers ought, statistically, to hit on one that's better than pathetic. Even a nonentity like W. W. and the Dixie Dancekings (whose principal characters are...
(The entire section is 2895 words.)
Aaron Sultanik (essay date December 1975)
SOURCE: "A Merging of Mythologies," in Midstream, Vol. XXI, No. 10, December. 1975, pp. 56-9.
[In the following excerpt, Sultanik compares the view of America presented by Altman in Nashville to that presented by E. L. Doctorow in Ragtime.]
It comes as no surprise, amidst the festivities kicking off the celebration of our bicentennial, that our cultural gurus have focused on two works of art as the definitive summing-up of the way we were and what we are about today.
Though most important books and movies are appreciated only by highbrows and aesthetes who perceive motifs that forever remain obscure to the big public, E. L. Doctorow's...
(The entire section is 1796 words.)
William S. Pechter (essay date October 1976)
SOURCE: "Altman,Chabrol, and Ray," in Commentary, Vol. 62, No. 4, October, 1976, pp. 75-8.
[In the following excerpt, which was reprinted as "Buffalo Bob and an Indian," in Movie Plus One, Horizon Press, 1982, Pechter discusses the ways in which Airman's Buffalo Bill and the Indians, or Sitting Bull's History Lesson is similar to his McCabe and Mrs. Miller, and he enumerates the ways in which the former film falls short of the latter.]
There's a sense in which, had Robert Altman's new film been better, I probably would have liked it less. Nashville was "better": it dumped a truckload of city-slicker's scorn for "down-home" America at our...
(The entire section is 1866 words.)
Roger Greenspun (essay date July-August 1977)
SOURCE: "Floating," in Film Comment, Vol. 13, No. 4, July-August, 1977, pp. 55-7.
[In the following essay, Greenspun asserts that, "3 Women ranks with the best Altman, though it has the pretensions of some of the worst—Brewster McCloud, Images—and it divides, as just about everyone has noticed, between a wonderful first half and a highly problematic second."]
Quite by accident, the day I last saw 3 Women I also screened John Ford's 7 Women and the recent Looking Up. For the neatness of this introduction, and for lots of other reasons, I could have wished my third film had been, say, Four Daughters, or at least Two Gals...
(The entire section is 2139 words.)
W. S. Di Piero (essay date Summer 1978)
SOURCE: "Wish and Power: Recent Altman," in Chicago Review, Vol. 30, No. 1, Summer, 1978, pp. 34-51.
[In the following essay, Di Piero discusses Altman's Nashville, Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and 3 Women, and asserts that, "His career may prove eventually to be the most cogent, and tenacious, of any America director."]
Public controversy contaminates perceptions, and sudden notoriety often smudges the profile of a newly famous thing. In the past several years Robert Altman, a latecomer in American filmmaking, has become the most conspicuous victim of public misperception. Although his films have inspired lively...
(The entire section is 7797 words.)
Gene M. Bernstein (essay date Summer 1979)
SOURCE: "Robert Altman's Buffalo Bill and the Indians, or Sitting Bull's History Lesson: A Self-Portrait in Celluloid," in Journal of Popular Culture, Vol. 13, No. 1, Summer, 1979, pp. 17-25.
[In the following essay, Bernstein analyzes how Altman's Buffalo Bill and the Indians, or Sitting Bull's History Lesson examines the film medium itself including the genre of the western and the making of a superstar.]
In the last decade there has been a proliferation of films which are reflexive; that is which examine the medium in terms of film making itself or the impact of film on society. Some do it directly, like Francois Truffaut's Day for Night, while...
(The entire section is 4373 words.)
Robert Altman with Frank Beaver (interview date Winter 1983)
SOURCE: "An Interview with Robert Altman," in Michigan Quarterly Review, Vol. XXII, No. 1, Winter, 1983, pp. 44-55.
[In the following interview, Altman discusses the course of his career and his critical reputation.]
In the Fall of 1982, film director Robert Altman visited the University of Michigan as Howard R. Marsh Professor of Journalism in the Department of Communication. He gave seminars on filmmaking, participated in workshops, and directed a stage production of Igor Stravinsky's opera The Rake's Progress for the School of Music. Frank Beaver, Professor of Communication at the University of Michigan, interviewed Altman for MQR.
(The entire section is 4023 words.)
Robert Merrill (essay date Summer 1990)
SOURCE: "Altman's McCabe and Mrs. Miller as a Classic Western," in New Orleans Review, Vol. 17, No. 2, Summer, 1990, pp. 79-86.
[In the following essay, Merrill analyzes Altman's McCabe and Mrs. Miller as a classic western, instead of its typical depiction as an anti-western.]
My title must seem an oddity, for Robert Altman's McCabe and Mrs. Miller is almost always taken to be an "anti-western," that is, a film largely devoted to severe satire, even parody, of the classical westerns. Viewed in this fashion, McCabe and Mrs. Miller will almost inevitably seem a minor, somewhat quirky example of what other filmmakers were doing in the late...
(The entire section is 5293 words.)
Richard K. Ferncase (essay date Fall 1991)
SOURCE: "Robert Altman's The Long Goodbye: Marlowe in the Me Decade," in Journal of Popular Culture, Vol. 25, No. 2, Fall, 1991, pp. 87-90.
[In the following essay, Ferncase discusses Altman's retelling of the story of Philip Marlowe in his The Long Goodbye.]
In the popular culture, few artifacts are guarded with the kind of reverence that is commonly reserved for old movies. Defenders of Hollywood's silver screen legacy are frequently vociferous over perceived indignities to which the films are submitted. A figure no less than Martin Scorsese has raged over the fugitive dyes in Eastmancolor prints (which reduced hundreds of 1950s films to faded ghosts of their...
(The entire section is 1223 words.)
John C. Tibbetts (essay date 1992)
SOURCE: "Robert Altman: After 35 Years, Still the 'Action Painter' of American Cinema," in Literature/Film Quarterly, Vol. 20, No. 1, 1992, pp. 36-42.
[In the following essay, Tibbetts discusses Altman's relationship to Kansas City, the course of his career, and his films through Vincent and Theo.]
"They used to lock me up for getting into trouble in this town," quipped filmmaker Robert Altman as he accepted the Key to Kansas City from Mayor Richard Berkeley. "They used to throw away the key. Now, they're giving me one!"
Altman lived in his native Kansas City, MO, for his first nineteen years. As a boy he raised quite a ruckus, as he puts it;...
(The entire section is 4564 words.)
Robert Altman and Tess Gallagher with Robert Stewart (interview date July 1993)
SOURCE: "Reimagining Raymond Carver on Film: A Talk with Robert Altman and Tess Gallagher," in The New York Times Book Review, September 12, 1993, pp. 3, 41-2.
[In the following interview, which took place in July, 1993, Altman and Gallagher discuss the adaptation of Raymond Carver's short stories in Altman's film Short Cuts.]
Raymond Carver, who died all too early—at 50—of lung cancer in 1988, left a remarkable legacy of 11 volumes of short stories and poems, among them Where I'm Calling From, Cathedral, What We Talk About When We Talk About Love, Will You Please Be Quiet, Please? and Where Water Comes Together With Other Water. It is a body of work...
(The entire section is 3952 words.)
Richard P. Sugg (essay date 1994)
SOURCE: "The Role of the Writer in The Player: Novel and Film," in Literature/Film Quarterly, Vol. 22, No. 1, 1994, pp. 11-5.
[In the following essay, Sugg traces the role of the writer in Altman's The Player as compared to his role in the novel of the same name.]
Though the novel The Player was written first, the film precedes the novel in most of the audience's consciousness, for few who see the film will have read the novel. So let's consider how the writer is presented in the film, and how our understanding of these changes from novel to film helps us see more clearly Robert Altman's ultimate purposes and their achievement in the film. Three...
(The entire section is 3083 words.)
Jonathan Romney (essay date March 1994)
SOURCE: "In the Time of Earthquakes," in Sight and Sound, Vol. 4, No. 3, March, 1994, pp. 8-11.
[In the following essay, Romney discusses the daredevil nature of Altman's career, including his approach to Short Cuts.]
The last word spoken in Robert Altman's film Short Cuts is "lemonade". We hear it as the camera tracks out over a briefly shaken Los Angeles, as two partying couples toast to survival in the face of a minor apocalypse. As so often happens with Altman, who is famous for his habit of scrambling soundtracks to the limit of comprehensibility, the word is audible but not entirely noticeable, certainly not impressing itself on you as central to the...
(The entire section is 3293 words.)
Michael Wood (review date 10 March 1994)
SOURCE: "Why the Birthday Party Didn't Happen," in London Review of Books, Vol. 16, No. 5, March 10, 1994, p. 19.
[In the following review, Wood shows how the stories Altman presents in Short Cuts differ from the Raymond Carver stories on which the film is based.]
Robert Altman's Short Cuts is a long, loose-looking movie, but the looseness is an effect, carefully worked for. Plenty of themes recur throughout—insecurity, chance, rage, damage, the long, bruising war between men and women—and although there are fourteen or fifteen stories here (based on, extrapolated from ten stories by Raymond Carver—the handouts and the introduction solemnly say nine...
(The entire section is 2523 words.)
Tom Shone (review date 11 March 1994)
SOURCE: "A Fishy Lot, Mankind," in The Times Literary Supplement, No. 4745, March 11, 1994, p. 21.
[In the following review, Shone discusses the relationship between Raymond Carver's short stories and Altman's adaptation of them in his film Short Cuts, and asserts that "the union of writer and director is occasionally rocky, may in some cases have needed a little more guidance, but it has a weathered solidity."]
There is a moment in the first half-hour of Short Cuts, Robert Altman's adaptation of Raymond Carver's short stories, when a man on a fishing trip with his buddies, having set up camp by a river, flips down the hinged shades of his glasses with a...
(The entire section is 1103 words.)
Kathleen Murphy (essay date March-April 1994)
SOURCE: "A Lion's Gate: The Cinema According to Robert Altman," in Film Comment, Vol. 30, No. 2, March-April, 1994, pp. 20-1, 24, 26, 28.
[In the following essay, Murphy discusses some prevailing images from Altman's films.]
In Provence, Vincent Van Gogh centers his easel in a field of glorious sunflowers. Robert Altman's camera darts about frantically, catching closeups of golden novas and overviews of entire restless constellations. Neither the director nor the painter can settle on framespace; like some sorcerer's apprentice, nature has generated a vertiginous profusion of forms, each potentially unique flower a momentary stop in a grid of pulsing yellow light....
(The entire section is 2495 words.)
Robert Hilferty (review date Summer 1995)
SOURCE: A review of Ready to Wear (Prêt-à-Porter), in Film Quarterly, Vol. 48, No. 4, Summer, 1995, pp. 35-8.
[In the following review, Hilferty states that, "Less about fab fabric than the tenuous fabric of society, Ready to Wear is an elaborate striptease of the human condition."]
First, the facts.
Robert Altman's new film is not a "behind-the-scenes" look at the fashion world. Nor is it a particularly fashionable treatment of that world. Nor is it a conventional narrative complete with audience-identification protagonist and tidy plot. Nor is it much like Nashville, despite its many characters and multiple vignettes....
(The entire section is 2346 words.)
Todd Boyd (review date December 1996)
SOURCE: A review of Kansas City, in Sight and Sound, Vol. 6, No. 12, December, 1996, pp. 49-50.
[In the following excerpt, Boyd calls Altman's Kansas City "aimless film-making."]
"Kansas City here I come!" These are the words of Big Joe Turner's classic rhythm and blues song 'Going to Kansas City', and it's also the mission of film-making elder statesman Robert Altman in this homage to his hometown. Set in a colourful 30s world, in which the city is an oasis for the political party bosses, gangsters and jazz musicians who ran the show, Kansas City is trademark Altman, a series of interconnected episodes all linked to one central theme: the uses and...
(The entire section is 1063 words.)
Richard Combs (review date March-April 1997)
SOURCE: "Kansas City, Kansas City, Kansas City, Kansas City," in Film Comment, Vol. 33, No. 2, March-April, 1997, pp. 68, 70-1.
[In the following review, Combs discusses the lack of personal references in Altman's films, noting the exception of Kansas City, which is set in Altman's home town.]
In his biography of Robert Altman, Jumping Off the Cliff. Patrick McGilligan charts some lost territory in the Altman story—lost in the sense that there are whole areas of the director's life that haven't shown up in his work. Altman was born in Kansas City. Missouri, in 1925, of German immigrant stock. The family name was originally Altmann, the loss of the...
(The entire section is 2533 words.)
Further Reading
Bush, Lyall. Review of Short Cuts: The Screenplay. Studies in Short Fiction 33, No. 1 (Winter 1996): 145-48.
Briefly discusses how the script of Short Cuts by Altman and Frank Barhydt differs from the short stories by Raymond Carver.
Dick, Bernard F. "Film Editing." In his Anatomy of Film, pp. 48-51. St. Martin's Press, 1978.
Discusses the editing in Altman's Nashville.
Edgerton, Gary. "Capra and Altman: Mythmaker and Mythologist." Literature Film Quarterly XI, No. 1 (1983): 28-35.
(The entire section is 112 words.)


text:
In one of my books, there is information on a strain of bees called the Mraz. Named for Charles Mraz of Vermont. No dates given. It says the mraz strain overwintered well, was resistant to EFB and AFB, and stored abundant honey. Says that they were bred for use in northern New England and those areas that were similar to southern England.
Was this strain renamed, did it die out, or was it a bust? What happened or whats the story?
Thank you.


text:
I was just at a local grocery store where they sell "ORGANIC" Honey. It is produced by Y.S.Organic Bee Farms. How do you keep your bees from foraging on non-organic plants?? I'm really dewildered here.
I was just at a local grocery store where they sell "ORGANIC" Honey. It is produced by Y.S.Organic Bee Farms. How do you keep your bees from foraging on non-organic plants?? I'm really dewildered here.
It is not so much what the bees feed on as it is the managment of the hives. No chemicals can be used in the treatment of the bees. you are alowed to use certain oils like pepperment or vaporized vinegar. but they must be certified organic as well. Some larger organic farms do supply enough forage to keep the bees on organic ground but that is very difficult to control.
What are you doing in Moscow?
See http://www.beesource.com/pov/organic/index.htm If I remember correctly ther mustn't be any non-organic cultivation within ix miles of the hive, which will rule out almost everyone.
Robert Brenchley

quote:
Originally posted by rainesridgefarm:
you are alowed to use certain oils like pepperment or vaporized vinegar. but they must be certified organic as well.

Greetings -
It should be pointed out here that the Organic guidelines you are stating above, allowing oils, is from the European standards, not the U.S. The European standards DO NOT apply to the U.S. The Organic standards for honey in the U.S. are still being drawn up and there are many that will hold the line allowing NO USE of oils, acids or anything at all. Please be careful giving advise on laws and rules that don't apply here.
The following was posted on the discussion group Biological Beekeeping today. (to join this group for daily discussion please see how on this site posted elsewhere or http://groups.yahoo.com/group/BiologicalBeekeeping )
Hi all
This is to let you know that I checked today with Washington. D.C. and also
the National Honey Board on the status of the upcoming Federal Register on
proposed Organic guidelines for the beekeeping industry.
To date it is still in the planning process and it will be discussed at the
upcoming meeting of the National Honey Board.
Therefore right now the only laws on the books are the ones published by the
European Union for Organic Standards, which as you all know, DO NOT APPLY AS
LAW in the United States, as our Organic laws are still being discussed and
formulated for the Federal Level.
Rest assured, I will let all here know when the Federal Register comes out
for comments.
We ourselves (husband and I) will be holding for zero tolerance now having
and holding 700+ colonies without the usage of essential oils, acids, drugs,
and chemicals for physical evidence it can be done!
Dee A. Lusby
Ph/Fax: 1-520-748-0542
Email: email@example.com
What's the feeling in the states regarding bees foraging on non-organic crops? I agree about zero tolerance for chemicals inside the hive, but how do people feel about the guidelines issued by Florida Organic Growers and Consumers, Inc. (in the BEE-L archive), which stipulate that the hive must not be within three miles of non-organically grown crops? They are not zero-tolerance regarding what goes into the hive, as the guidlines take no account of contamination of comb or the movement of wax within the hive, while I feel that such a strict line regarding foraging would rule large parts of the world out of organic production, and probably increase the price beyond what many could pay. There can't be many places in Britain, for instance, which could be used for commercial production, and be capable of producing organic honey along those guidelines.
Robert Brenchley


text:
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text:
It is fitting Kayla Cullen is making the transition to the midcourt, where Silver Ferns coaching staff believe her future rests, at a time when she is transitioning into adulthood.
The Northern Mystics star, selected as a shooter before being converted into a defender, celebrated her 21st birthday last month. She insists this year we'll see her come of age as a player as well.
Selected in the New Zealand under-21 side at 16, a transtasman league contract at 17 and a Silver Fern by 19, Cullen's X-factor and rare athletic talent have long been recognised. She made an instant impact on the ANZ Championship, impressing in her cameo appearances for the side in 2010 to establish herself in the starting line-up by her second season, at the end of which she was named rookie of the year.
But her casual demeanour and lack of application off the court gave the impression the youngster took it all for granted.
The cramping in her calves that forced her from the court late in matches - including the 2011 grand final - were more an issue of preparation.
Cullen was not conscientious about recovery protocols and nutrition, second nature to senior players.
"I have mucked around a bit, to be honest," Cullen said. "At the time, I didn't think I was; I believed I was trying as hard as I could but, looking back, I wasn't doing all the things I should have been doing. I'll be a dick if I don't nail it this year - I'm not a newbie any more, so a lot more is expected of me and I have to set an example."
Former Mystics coach Debbie Fuller, who is taking time out this season to focus on family, admits Cullen was a challenge to manage. She believes her off-court struggles were a by-product of her rapid rise.
"I wouldn't say she was frustrating to coach, it was just about us being aware of the phase she was going through and giving her that extra support," said Fuller.
"For every young kid coming into the environment, there is a lot of learning to do. They're flooded with a whole lot of stuff - nutrition, recovery, training standards, how to manage media, franchise expectations - all while they are going through the transition from schoolgirl to adulthood. It's a lot to grapple with."
A born-and-bred Aucklander, Cullen grew up in a tiny three-bedroom townhouse in Meadowbank with five siblings.
"I'm pretty sure we had one of the neighbour's kids move in at some stage too," she recalled.
She has seven brothers and sisters - her father has two children from a previous relationship - which meant she never had to worry about numbers for impromptu basketball and touch games.
"There were always so many people around, sometimes it was a nightmare, but mostly I loved it."
Being the second youngest in a family of eight, the influence of the older kids meant there was potential for Cullen to go off the rails. She said her family have always been supportive and coaches in athletics and netball have steered her in the right direction.
"I sometimes felt a bit angry that I couldn't do all the stuff my friends were doing, because I had to be sensible. It's not that I wanted to go out and get trashed every night but sometimes I did feel like I was missing out."
Cullen no longer feels as if she is making a sacrifice. Over the past year, she has come to appreciate the privileges and opportunities that come with being a Silver Fern. She has just started as an ambassador for the World Vision 40-hour Famine, and will soon be popping up more on the telly as a roving reporter for a new show on Maori TV.
Juggling such a busy schedule requires planning and time management, something she hasn't been known for in the past.
"I've matured a lot. I've learnt a lot from being in the Ferns environment. We're taught a lot about self-responsibility and being focused and organised."
She will never be your typical straight-laced netballer, she remains refreshingly honest, with a cavalier streak. But Fuller said there has been a noticeable change in Cullen's attitude coming into what will be her most challenging season.
Her fitness has improved and she has a fresh resolve as she seeks to make her move to the midcourt a successful one.
"She's put in the time and effort and taken her training to another level, and that's really exciting when you consider the skillset she's got," Fuller said.
Cullen hasn't been fazed by the events of the pre-season, which saw the Mystics lose two of last season's starting seven - Anna Harrison and Charlotte Kight.
"You've just gotta roll with the punches," she said.
It's part of growing up.
Mystics vs Vixens, Trusts Arena, 7.40pm tomorrow.


text:
Matt Bonner's day-after-Thanksgiving sandwich saga
|11.22.12 at 12:57 pm ET
In case you you haven't read his "Sandwich Hunter: The Quest for the Hoagie Grail" blog on NBA.com, the Spurs' Matt Bonner is the league's sandwich connoisseur. (Although, I have to disagree with the New Hampshire native's selection of D'Angelo's as New England's sandwich haven. Total rookie movie from an NBA veteran.)
Considering the day-after-Thanksgiving hoagie is the greatest in history, we couldn't let him escape Boston without first getting Bonner's recipe for that sandwich Squanto and Myles Standish probably invented in the 1620s.
"Typically, you've got the turkey out of the fridge with some stuffing and gravy and cranberry sauce," said the pride of Concord, N.H., "and you've got yourself an amazing leftover sandwich."
Unfortunately, San Antonio's 112-100 win over the Celtics on Thanksgiving eve was the start of a long road trip, so after relaxing with family after the game, he joins the Spurs in Indiana for a Friday night game against the Pacers. And that means Tim Duncan, Tony Parker and Manu Ginobili are the only heroes the Red Rocket will be seeing.
"I'm out of luck," said Bonner, "because it's the first game of a six-game East Coast 10-day road trip. So, we're having a team Thanksgiving dinner, which means no leftovers, so no sandwiches."
Hey, professional basketball players can't have it all, so be thankful when you're devouring that leftover turkey, stuffing, gravy and cranberry sauce (and my brother's secret day-after-Thanksgiving sandwich addition: mashed potatoes) — all on toasted bread, of course. Happy Thanksgiving everyone.
Latest from Bleacher Report
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text:
Bellwether precincts and counties to watch in VA Update: Bellwether goes O, R improving in NoVa
posted at 7:43 pm on November 6, 2012 by Mary Katharine Ham
Tim Carney writes up a prescient precinct in Northern Virginia:
Alongside your suburban soccer moms, you've got your hunters with pickup trucks and immigrant families. All in all, the neighborhood is fairly diverse. The elementary school population is half white, and plenty of black, immigrant, Arab, Asian, and hispanic voters showed up at the elementary school polling place.
And, for the past decade at least, as goes Fairfax Villa so goes Virginia. The precinct has picked the winner in all of the biggest statewide races, and has voted within a percentage point and a half in the three biggest.
In 2004, John Kerry won Fairfax County, but lost Virginia 54-46. To be precise, Bush got 53.7% in Virginia. He got 52.5% in Fairfax Villa.
In 2008, Virginia voted 52.6% for Obama, and Fairfax Villa voted 53.0% for Obama.
A year later, in the governor election, the precinct and the state swung back to Republicans, big time. Virginia voted 58.6% for Bob McDonnell, and Fairfax Villa voted 60.1% for McDonnell.
Jim Geraghty's hot counties to watch. Like Seacrest's Top 40 only nerdier:
Prince William County (MAJOR BELLWETHER)
2004: Bush 53–47 2008: Obama 58-42
Obama 93,386 to McCain 67,589
Population: 402,002 Largest community: Dale City
Henrico County
Obama 56-44
Obama 86,262 to McCain 67,340
Loudoun County
Obama 54-46
Obama 74,607 to McCain 63,328
Winchester (independent city, not part of any county, small but useful)
Obama 52-47
Obama 5,268 to McCain 4,725
Update: Fun with drill-down infographics of Virginia!
Update: Conflicting tweets to mess with your emotions:
Villa is the magic precinct — within 1.5% of Va's statewide vote in all the major elections since 2012. Just went 54% Obama.
— Timothy P Carney (@TPCarney) November 7, 2012
Romney steadily improving in NoVa. This was closer than it should've been, but think he'll win.
— Ben Domenech (@bdomenech) November 7, 2012


text:
H-E-B dissertation fellowships winners: (back row, from left) Satish
Penmatsa, Surendranath Baliji and Brian Daugherty; and (front row)
Linda Winterbottom, Evelynn Mitchell, Hsiu-Jy (Sandy) Ho and Li
Jia. Michael Campbell was unavailable for the photo.
(Photo by Mark McClendon)
H-E-B gift funds eight UTSA dissertation fellowships
By Adi Pavlovic
Student Writer, College of Liberal and Fine Arts
(March 24, 2006)--H-E-B Grocery Co. has given $50,000 to UTSA for graduate scholarships. Part of the donation was distributed to students as dissertation fellowships.
From a pool of 35 applicants, eight UTSA doctoral students recently received the awards, after being selected by a committee of doctoral program chairs. Two students in the College of Education and Human Development (COEHD) received awards of $2,000 each and six students from a range of study areas received $1,666 each.
Today's headlines
- La Prensa Foundation is newest member of UTSA Lone Star Society
- UTSA alumna Jordan Kaufmann wins $50K for new stent-graft start-up
- UTSA begins new way-finding sign installation this summer at Main Campus
- USA Today: UTSA long jumper Tyler Williamson rescues three-year-old boy
Article tools
"We hope that these funds will assist students to conduct and complete their research projects," said Dorothy Flannagan, associate professor of psychology and dean of the UTSA Graduate School. "We had many applications that described high-quality research projects being conducted by students, and the quality of students' research says much about the excellent training and mentoring they are receiving from the doctoral faculty here at UTSA. We wish we were able to fund more of the projects."
The fellowships were awarded to students working toward doctorate degrees in education, electrical engineering, computer science, business administration, English, environmental sciences and biology.
The scholarship winners are:
- Surendranath Baliji, who is working on a doctorate in cell and molecular biology major, is a graduate research assistant and student. He has published six works and plans to research viral pathogenesis with a concentration in disease resistance. Baliji's dissertation is titled "Role of Spinach Curly Top Virus Pathogenicity Factor in Alteration of Cellular Metabolism in Plants."
- Michael Campbell is completing his doctorate in culture, literacy and language. His dissertation is titled "Becoming Narratives of Transformation in the Lives of Women Immigrants in a Community College ESL Classroom." After graduating in the fall of 2006, he plans to gain a tenure-track position at a four-year institution that has a close relationship with community colleges.
- Brian Daugherty is earning his doctorate in business administration with an emphasis in accounting. Currently a student and instructor at UTSA, next fall he will begin a position as assistant professor at the University of Wisconsin - Milwaukee. His dissertation is titled "An Experimental Analysis of Potential Unintended Consequences of Sarbanes-Oxley on Auditors Professional Judgments and the Expectation Gap."
- Hsiu-Jy Ho will complete a doctorate in electrical engineering with a concentration in computer architecture. Ho has published 7 works, and her dissertation is titled "Autonomous Performance Optimizing Control Methodology for Resource- Sharing Systems." After graduating in the fall 2006, she plans to become an electrical engineer in the high-technology industry and a college professor.
- Li Jia is working on doctorate in culture, literacy and language. She has published 10 works in journals, textbooks, dictionaries and books. Her dissertation, "The Invisible and the Visible: Language Socialization in the Chinese Heritage Language School," focuses on the dynamic nature of the American-born and China-born children in the Chinese heritage language school in the process of language socialization. She plans to teach Chinese as a foreign language at the university level and promote Chinese heritage and culture.
- Evelynn J.R. Mitchell moved to San Antonio from Mentor, Ohio, in 1998. With a doctorate will be in environmental science and engineering, she plans to graduate in spring 2007. Mitchell has held positions as a student representative to the ESE Doctoral Studies Committee, Field Trip Coordinator for the 2009 International Congress of Speleology and a physics tutor for general physics classes. She plans to teach and research at the university level. Her dissertation will develop a method to determine storativity in a confined aquifer based on pressure differences created by seismic waves.
- Satish Penmatsa is an instructor and student in the UTSA Department of Computer Science. He plans to become a tenured professor at a major research university. Penmatsa has published work for the Proceedings of the 20th and 19th IEEE International Parallel and Distributed Processing Symposium, International Journal of Computational Science and Engineering, Concurrency and Computation, and IEEE International Conference on Cluster Computing. His dissertation is titled "Game Theory-Based Job Allocation/Load Balancing in Distributed Systems and Application to Grid Computing."
- Linda Winterbottom is a Ph.D. student in English literature and will graduate in spring 2007. She has published poetry in The Passionfruit Review, La Frontera and The Sagebrush Review. Winterbottom wants to teach literature and creative writing at the college level as well as produce works of fiction and poetry. Her dissertation, "Taking it with Them," will explore how women negotiate identity and displacement through creative gestures, storytelling and each other.


text:
both are very nice quilts
Welcome to the Quilting Board!
both are very nice quilts
Beautiful quilts. Congratulations to your son. My husband and both sons earned their Eagle's. It's not an easy feat, you must be so proud of him.
Happy Quilting Grandma of 15, 3 Greats
Those are amazing!
Very pretty... make that HANDSOME quilts!! They will be special... and congratulations to your son!! Every Eagle Scout I've known (many over many years of teaching) has been a wonderful young man!!
"... let us run with perseverance the race marked out for us."
Very nice. Love them both.
Alcyone group: http://www.quiltingboard.com/members...bums18449.html
Electra group: http://www.quiltingboard.com/members...bums18446.html
I am sure whoever gets these quilts will love it. I love the colors
Beautiful quilts, wonderful job on them.
Another Phyllis
This life is the only one you get - enjoy it before you lose it.


text: Does anyone recommend doing this? Has anyone done this? I've heard amazing things about the company Black Bear Performance. I believe the owner/tuners name Justin and i have heard NOTHING but good things said about him and his tune jobs. i guess there is basically three options: mail in PCM- give them a list of things you wish you change about your truck i.e. tire size, driving style, speed limiter increase, towing, MPG, etc.; Data-Logging PCM Tuning- company loans you hardware and software for you to connect to your vehicle's computer and record sensor data while you drive then you must return that data through email, then they are able to analyze it and tune the PCM based around the trucks data; In-Person/Group Tuning- Tuner tavels to different locations and a group of people sign up to have him personally drive around with the owner of the vehicle while he downloads information during the drive. Then tunes according to the data. What I want to know is this: should i do the data logging? or just the conventional mail in order?? either way i've heard that great things happen from both situation. BUT, it's a lot cheaper (i think 200 cheaper? not sure how the core charge works?) to do the traditional way. i would love to keep my stock PCM, just in case, and i think that adds on another 100 bucks and he supplies me with another PCM. anyone do any of these options? how long did it take? I don't want to go to any other tuner company either unless it's local, but i just haven't found any in my area.. i just LOVE everything i've read about Justin, the company's work. His wife is so helpful on a handful of forums, she provides detailed information about the service they provide for us GM lovers.


text:
Brand Cruz could easily become brand Snooze without Eli and Nicks. He's got to be aware that his "brand" value drops dramatically if he goes somewhere else and fizzles. I take his bravado in demanding big bucks from the Giants as a sign that his agent's phone isn't exactly ringing off the hook with top dollar offers from other teams. It sounds way to much like a bluff to me. The salary cap is real for everyone, not just the Giants.
Since the cap is tighter than a nun's privates , we are in trouble.
Cruz also not ruling out a hold out wants 10mil per.
(i think he earned a big contract playing for below 400k for 2 seasons. )
10 million is way too much. I don't see any team giving him that.
Negotiating 101. The employee puts the offer that he believes is fair and what his value is. The employer then counters and put their offer for what they think the value of the player is. After a few weeks of back and forth both sides come to a middle ground.
Last edited by primetime; 02-02-2013 at 03:00 PM.
In our case it isn't whats fair exactly its what we can afford which is barely anything over the cap and 22 FA's to re-sign or replace.
They aren't 4 mil over the 2013 cap. They are 4 mil over the 2012 cap.
Not going to get $10 million a year and he is not holding out this year. With what he makes if he held out this year he wold owe money.