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You know their hits by heart: "She's Gone," "Sara Smile," "Rich Girl," "Kiss On My List," "Maneater," "One On One," and many, many more. You also may know that they're considered the most successful pop pair in music history, outselling and charting higher than any other two-member recording act including the Carpenters and Everly Brothers. What you may not know is that, just a few weeks ago, the music of Daryl Hall and John Oates was anthologized across a four-disc box set titled Do What You Want, Be What You Are, and that collection outperformed expectations by hitting Billboard's main album chart at #89 and r&b album chart at #17, it becoming the third highest charting box of 2009 behind two Beatles collections. To date, it has sold over 10,000 copies, which is a big deal in the world of box sets since they often only sell a few thousand over the course of their existence.
Beyond the box, Daryl and John also have enjoyed a surge in popularity due to the use of their hit "You Make My Dreams" as the musical backdrop for Joseph Gordon-Levitt's dance routine in (500) Days Of Summer. Add to that their being animated as angel/devil Animal House-style on the Family Guy spin-off Cleveland, the success of the internet series Live From Daryl's House, and--you may be hearing it here first--their upcoming Playboy photo shoot with Mick Rock. Plus it was just announced that Daryl Hall and John Oates were nominated for a Grammy for Best Pop Duo Or Group With Vocals for their contributions to Jimmy Wayne's country version of "Sara Smile" making 2009 not only a big comeback year for The Fab Four, but also for pop music's Dynamic Duo.
Mike Ragogna: How did you determine what tracks would appear on Do What You Want, Be Who You Are?
Daryl Hall: When I heard that it was going to be made, I said this was going to be what we think are the important tracks we did--the songs that were pivotal, the songs that mattered, the ones that showed our growth as musicians as well as the hits and all that. But all those other songs, the bulk of the selection, are things that we thought were significant to explain us in a way that we've never really been explained before.
John Oates: It had been simmering on the label side for quite a few years, but there didn't seem to be any energy behind it. Once those guys (Jeremy Holiday, Rob Santos) got involved and they started doing the archival work, Daryl and I got excited and we got more hands-on with it when working with them to create a project that was done as a collaboration. That's what makes this box set special. It really is our take on our music and our lives, and that's what's important. You know, there are a million greatest hits packages floating around out there on us, but that's not what this is about. These are the songs that we think show our progression as artists and as songwriters and producers through the past thirty-five plus years.
MR: In the boom years of the box set, it seems that a Daryl Hall & John Oates collection would have been a no-brainer. Why did it take so long?
DH: Everything has its time. There's a certain thing going on with people's consciousness, you never know why things happen. Why are people interested in our music and are being influenced by it? You know, you can't explain that. I think that's the reason that it's time for a box set, and it's time to have a retrospective and a perspective of what it is that we've done over the years and why we're here.
MR: You have a reputation for being studio wizards and the bulk of the box collects from those recordings. But you also are a terrific live act, and it's nice that the box shows that side too.
DH: We've always been known by our fans and outside the States to be a great live band. When we went to England, we were really, really respected as a live band in the U.K., and all over Europe all through the eighties and to the present day.
MR: What went into choosing live versions of popular titles over studio versions?
DH: There are certain songs that I think increase their impact by being shown in their live version, like the song "Do What You Want..." There's something about the way we do that song onstage that takes it to an even higher place than the record.
MR: In that song in particular, one might miss the stacked "You can change, you can change..." answer-backs, but the lyrics pop a lot better without all the production.
DH: Yeah, you hit it on the head, that's exactly it.
MR: You guys unearthed live material from your show at London's New Victoria Theater in 1975, and they're some of the best tracks on the package. Why were they never released as a live album?
JO: You have to remember, we didn't have any hits at that time. "She's Gone" was a cult hit, and "Sara Smile" had just come out. The crazy part is that I had those on an old-fashioned videotape, and I was the only one who had a copy of it. I pulled it out, sent it to New York to a special lab to have it transferred to DVD because I didn't want to lose it. When I got it back and started watching it, I literally freaked out! I didn't realize what we had done, it was just one of those moments when the band was on fire--the energy, the youthful exuberance, the passion. We were kind of an underground cult band at the time, and to have that moment preserved... The whole concert is incredible, but the seven songs that made the box are just spectacular. I am so proud of the quality of that band, and it's funny, I never thought of that band as being one of our better ones. But hearing it now, it was just a revelation, and I think the die-hard Hall & Oates fans are going to be happy to hear that.
DH: When Sony said, "We want to do a box set with you guys," we said, "Well, if we're gonna do it, we have things in our archives that you don't even know about." Actually, I didn't know that John had this show that he had been saving over the years of the New Vic in London which was our first tour of England. When he played it for me, I said, "Man, I can't believe how good this band was," because, truthfully, we were influenced by a lot by people around us who said, "...they don't really work in the studio, you should loose them, go with the L.A. session guys," which is what we did in the late seventies sort of against our will. But now I wonder why we ever did that. Other than the band we have today, I think that band was the best one we've ever had.
MR: After all these years, what do you think of the guitar solos, especially those on "Lady Rain" and "Bennie G. And The Rose Tattoo"?
DH: Todd Sharp, an amazing guitar player.
MR: Even without your band, you guys sounded pretty amazing that night, like on "When The Morning Comes." That song sounds so much more inspired with just the two of you and an acoustic guitar.
DH: That's another thing I got a perspective on after listening to all of this in a giant gulp, just how in tune John and I were in those days. You know, we were living in the same apartment, living in the same world. We'd always been brothers, but we were really livin' the life together, and I think it really showed in our musical communication in those early and mid-years. We never lost that, but it's amazing to hear it from these young guys.
JO: It's crazy, that's probably the only recording that exists of just Daryl and I playing together with no one else. In those days, there was no pitch correction or Pro Tools. What you hear is what happened. You had to be good, you had to be able to perform, to sing with pitch, to play in order to get the song over. And that's what the audience expected. You know, the audience's expectations were quite high because people really cared about music.
MR: Speaking of sound quality, your LP Abandoned Luncheonette was auditioned on audiophile stereo systems in major retail outlets to sell equipment. Before you had hits, many people were becoming fans of that album because it sounded so good.
JO: Think about who made that record--Arif Mardin producing and Gene Paul, Les Paul's son, engineering. Hello? The son of the guy who invented multi-track recording engineered the record, and there were players like Bernard Purdie, and the like who were on it. Sure, it's an audiophile wet dream. Records had to be well-recorded then, people cared. There was no such thing as MP3s and squashed compression for listening on these little tiny ear buds. People who cared about music wanted to hear it in its full frequency glory. And I'm still like that today. On my solo album 1000 Miles Of Life, I sought out the best engineer I could in Nashville, Bill Vorndick, and we recorded it with the highest quality mics we could find. I knew it was going to be reduced to MP3 quality for downloads and stuff, but it didn't matter. Music still matters to me, and sound matters to me so...
MR: It seems like we lost so much when we dumbed-down sound for convenience, like when boom boxes became popular.
JO: Yeah, you're right, it probably did start with boom boxes and cassette tape, and it went downhill from there. There's a whole culture, a whole music audience out there who doesn't even know what high fidelity sounds like, and they don't really care. It's very unfortunate, but that is how it is.
DH: I think there are people who really always have and always will care about the quality of music in general, about the sound of the music, things like that. I think it's a relatively small group of people who have that kind of musical ability. And then there are the masses that are less attached to music. They're attached to it for different reasons--because of fashion, because of what their friends like--and the music is more incidental to those people. They don't care so much. I always work for the people who really give a s**t. To me, that's my audience, and if anybody else wants to join in, that's all well and good. I always try and set my standards high.
MR: It seems unfortunate that as we become more of an ADD culture, so many of us can't slow down enough to appreciate things like audiophile sound or even learning how to play an instrument without sequencing and pitch-correcting.
JO: Well, unfortunately, the world is going to just speed up, so you have to keep pace with it. But at the same time, you have to satisfy your musical integrity and what it is that means something to you. Hopefully, as things go, there's a place for all of that, and there's a place for the audiophile, for people who want to hear something that goes above and beyond the virtual music world. And then, there's that world that will continue to grow and supply music for people who want it that way, who want the fast food (version) of pop.
MR: And considering how it's used more as a supplement to other entertainment formats than ever before, it seems that making records is more about placement in Rock Band or on Gossip Girl than about creating art.
JO: I have a thirteen-year-old son, and music in his world competes with PS3, video games, and the computer in general--the internet, YouTube, whatever. It's just all part of this giant barrage of entertainment choices. But there are people out there who believe music is special, and there is a lot of passion in young musicians who I found care as much if not more than anyone ever did. They're out there, but you have to seek them out, and that's why I'm returning to this folk and kind of traditional American approach that I've returned to as, basically, a refuge. For me, it's a place where music in its most authentic form lives.
MR: Though you've made some great r&b records and your first album on Atlantic had a folk sound, you've built your legacy on the four-minute pop song. How does it feel to be considered one of the greatest "pop" duos of all time.
JO: We appreciate the genre. It's funny, in the seventies, if you had success on Top 40 or AM radio at the time, you were considered less than hip, especially by rock journalists and the media. My reaction to that was, "Well, if it's so easy, how come everybody doesn't do it?" Over the years, that whole perception has been turned on its head, and it no longer exists. Now, contemporary artists, young artists, appreciate the fact of how difficult it is to have one hit let alone twenty or thirty of them. They sing our praises and they tout us to their fans as our being influential to them, and realize how difficult it is to have a long-term career in a very tough business.
MR: Most of those H&O pop songs were written by Daryl Hall and John Oates, but you occasionally collaborated with Sara and Janna Allen. How did they fit into the mix?
DH: Well, Sara was my girlfriend from the very beginning, from '72 until about nine years ago, so she was in my world, she was my partner. We were all a family. It was her, her sister Janna, and we all sort of lived together over the years. In the seventies, we were all living in the same places and certainly in the same neighborhood. So we were all a close family, and that proximity, among other things, made them an important part of the writing process as well. Sara was a great songwriter-lyricist, her sister Janna was a musician, a singer-songwriter and a lyricist also. So the four of us created a lot, especially in the late seventies and into the eighties. A lot of the really important songs were written as much by them as by us.
MR: Christopher Bond is credited as your producer for a few of your early RCA albums following your tenure with Arif Mardin and Todd Rundgren. How did he inherit that position?
DH: Chris was a fellow Philadelphian that was in various bands that we got together with in the very early days. When John and I were writing songs and working strictly as a duo, we added Chris, he was our early T-Bone. Then we sort of brought him into the situation when we started working with Arif. He was the guitar player, and he did a lot of the lead guitar, like the solo on "She's Gone." He had aspirations to be a producer, and we were given more and more leeway in production. So when we finally did the silver album, he had moved to California, and we said, "Okay, why don't we do it with him." It was sort of our first self-production, to tell you the truth, adding Chris to it.
MR: As you listen to the box, it's obvious that when you produced yourselves on Voices, a more clearly defined Daryl Hall & John Oates sound emerged.
DH: I started with my friends--Gamble & Huff, Tommy Bell--these were people who were just a couple of years older than me. I learned things from them, but it was more like we all learned together. But Arif was the first person I ever encountered that I treated as a mentor. He was everything, and I learned so much from him, and I took everything I learned from him into situations in the future when John and I started producing ourselves. Some things came from Todd, but I think that was more like friends interacting than a mentor situation. I learned little things along the way, I got my share of influences. And I think that all these things allowed us to be ourselves by about 1980, to create music that was very unique and personal to us without outside people influencing too much.
JO: The whole thing builds from the time we met until that time in the eighties when we took over production and made the records we wanted to make with our band. It was a ten-year process to get to that place. You hear us in New York in the early days with Arif Mardin, then you hear us with Todd Rundgren, in L.A. with the session guys in the mid-seventies, and we were gradually moving toward that moment when we really, really took the reigns. That's when it all changed. Artistic freedom and getting it right is what everyone hopes for in their lives, and you can see that progression in this box set.
MR: And there was no turning back once you hit your stride with Voices.
DH: Yeah, there really was no turning back, and we tried working with some other people. We were thrown together with some others over the years, but it never really worked.
MR: Daryl, what are your favorite tracks on this package?
DH: I love that song "It's Uncanny." I think it's such an unusual song, it's an r&b song with the weirdest word--"uncanny." I mean nobody writes a song with that title. I like one of John's songs called "Alone Too Long," that's one I completely forgot about that kind of shows our interacting with the California thing interestingly. What else...man, there are so many songs. I got so many surprises after hearing this that I sort of obtained this objectivity that I never had. Even with the most recent things, I listened to John's song "All The Way From Philadelphia" and I wonder why we never put that on the album.
MR: John, what are your favorite tracks on this package?
JO: One of my favorites is the track "Don't Go Out." It was an outtake from the Private Eyes album that didn't make it because it didn't sound like the rest of the record. But it's one of the most interesting things I've ever done. I put a ton of production work into that song. To me, it's all about the paranoia of New York City in the eighties when walking down the street was dangerous. I tried to capture that sonically. I think it's unique, and people will hear it and go "What is that?" I love the seven songs from London, I think that's my favorite part of the entire box. I love what Daryl and I did at Live From Daryl's House, "I Want Someone." I think it's a gem, it's something Daryl and I related to as little kids. We both saw The Mad Lad at the Uptown Theater in Philadelphia, and we always loved that song. It's something that we dabbled with over the years, and we never played it in its entirety. We would play it at sound checks...sixteen bars, laugh and stop.
MR: So this was the first time you ever got through a whole performance of it?
JO: The interesting part of this live track is that when we decided to do it, we never rehearsed it, never discussed it. We just sat in the room and said, "Okay, what key...alright, let's do it." In fact, we didn't even discuss who was going to take the solo, so when it came to it, T-Bone and I both played a solo simultaneously that sounded like one person. It was really unbelievable. I freaked when I heard it. When we were done, I looked at Daryl and was like, "What just happened?"
MR: You've all been together for so long, do you think it was intuition?
JO: Oh yeah, it's telepathic.
MR: How did Live From Daryl's House get its start?
DH: It started because it had the ability to start, not unlike The Huffington Post. You know, we live in a different world, we live in the world of the internet where people are getting their information and, increasingly, their entertainment from sources other than the traditional ones. So, I just acted on that, and from there, I went, "Okay, now what do I do?" It was sort of the idea, "Let's play on the front porch and see what happens," and then it developed into, "Let's have some guests, and let's hang out, and let's add some food to it..." It had a natural kind of growth.
MR: On your show, you've featured classic acts such as Smokey Robinson, Todd Rundgren, and Nick Lowe, but you've also focused on current artists like Matt Nathanson, Chromeo, KT Tunstall, Travis McCoy of Gym Class Heroes, Plain White T's, Fall Out Boy's Patrick Stump...
DH: Yeah, there's a certain kind of artistry that's common in the whole thing. It's people who've influenced me like Smokey, and people I've influenced like Gym Class Heroes, people like that. It kind of goes both ways, but I'm kind of concentrating on my interaction with newer artists. I think the bulk of the shows represent that, and that's sort of what it's all about--although I do like to throw in, as you said, the occasional Nick Lowe or Smokey just to break it up and to have some fun.
MR: So it's almost like it's your turn to mentor, and these younger acts genuinely are having fun in the process.
DH: The other thing about the show is that it shows people in their native habitat as opposed to most performance situations being an artist doing his or her "act" and the audience just sort of watching. But it's an act, there's a fourth wall. On this show, there's no act, everybody is completely themselves--you have to be due to the nature of what's going on. I know from a lot of managers, record companies, and artists themselves that they're very happy to come on the show because it shows their fans what they're really all about. Especially when you're a new artist and people don't really know who you are, it allows people to show a different side of themselves.
MR: Jimmy Wayne is having a hit with you guys on his country version of "Sara Smile" that just got a Grammy nod. What's your reaction?
DH: You know, "Sara Smile" is a funny song. It started in the r&b world, it became a hit on black radio, it switched to pop radio, and now, after all these years, it's a country record and it's virtually unchanged. It shows how hybrid American music really is.
MR: John, just like Arianna Huffington, you and Daryl have moved into Seth MacFarlane's universe. So what do you think about Cleveland?
JO: Cleveland is the "Soul Man" with a heart of gold. Anyone who has a bear for a neighbor, like we do in Colorado, is OK with me. Mike Henry is a genius and the writing is smart, irreverent and cool...just like Cleveland.
MR: Daryl, what did you think about Rachael Ray's petition to get Hall & Oates inducted into the Rock & Roll Hall of Fame?
DH: I was very flattered that she cared that much about it. I know the reality of all this stuff, I've been in this business for a long time and come up the hard way. The Philadelphia/New York world of the music business is a tough place to be. I know the politics of it and I know the people that are involved in the decision making about things like Grammys, and things like Rock & Roll Halls of Fame, and all that stuff. So, I don't bang my head against the wall about it. They have their own sets of likes and dislikes. I've always been fortified by musicians and people.
MR: After working together for many years, some acts naturally disband. But Hall & Oates is a brand that just keeps going strong. What's the secret?
JO: Well, what you're hearing when you hear Hall & Oates is a brotherhood. It's not two guys who are friends or have a professional relationship. It goes way back, we've known each other since right out of high school, we grew up together, and we experienced everything in our adult lives together. The traveling, the business, the ups and the downs...it really goes beyond just a normal working relationship.
MR: So what's the future for Daryl Hall & John Oates?
JO: Our history is our future. I think we have so much to offer historically that, right now, that is what we will be doing. I also think it's individual stuff. I think Daryl's concentrating on his internet show, and I'm going to do a solo album, my solo songwriter's series, and a Jerry Douglas tour. That's really enough. I'm so busy that I think I'm going to shut it down over the holidays and get a chance to regroup because I don't think I've worked this hard in God knows how long. I'll figure out what I want to do with my new solo album, come up with some cool songs, get together with some great people and play them together. That's pretty much what I think is gonna happen.
DH: John has his solo work that he does, I have my solo record that I'm starting after the first of the year, and it's going to take some time in the studio. I have LFDH, and I'm sure whatever John and I do next year will be box set related because we have all these "new" songs that people are exposed to now that we can play and that'll be fun.
Do What You Want, Be What You Are: The Music Of Daryl Hall & John Oates
Disc One
1. Girl I Love You - The Temptones
2. I Need Your Love - The Masters
3. Say These Words Of Love - The Temptones
4. Perkiomen
5. I'm Sorry
6. Fall In Philadelphia
7. Waterwheel
8. Lilly (Are You Happy)
9. Had I Known You Better Then
10. Las Vegas Turnaround
11. She's Gone
12. You're Much Too Soon
13. Is It A Star
14. It's Uncanny
15. Love You Like A Brother
16. Lady Rain - Live
17. Bennie G. And The Rose Tattoo - Live
18. Better Watch Your Back - Live
19. Abandoned Luncheonette - Live
20. When The Morning Comes - Live
Disc Two
1. Camelia
2. Sara Smile
3. Alone Too Long
4. Gino (The Manager) - 2009 remix
5. Ennui On The Mountain
6. Out Of Me, Out Of You
7. Back Together Again
8. Rich Girl
9. Crazy Eyes
10. Have I Been Away Too Long
11. August Day
12. It's A Laugh
13. I Don't Wanna Lose You - 7" remix
14. Wait For Me
15. Time's Up (Alone Tonight)
16. The Woman Comes And Goes
17. How Does It Feel To Be Back
18. You've Lost That Lovin' Feeling
19. Kiss On My List
20. Everytime You Go Away - Live
Disc Three
1. You Make My Dreams
2. Private Eyes
3. Head Above Water
4. Did It In A Minute
5. Your Imagination
6. I Can't Go For that (No Can Do)
7. Don't Go Out - previously unreleased
8. Maneater
9. Family Man
10. One On One
11. Go Solo
12. Say It Isn't So
13. Adult Education
14. Out Of Touch
15. Method Of Modern Love
16. Some Things Are Better Left Unsaid
17. Possession Obsession - Live
18. A Nite At The Apollo Live! The Way You Do The Things You Do/My Girl - Live
Disc Four
1. Everything Your Heart Desires - video mix
2. Missed Opportunity
3. Keep On Pushin' Love
4. Storm Warning - previously unreleased
5. Change Of Season
6. Starting All Over Again - Live
7. So Close - Live
8. Do It For Love
9. Forever For You
10. Heartbreak Time
11. All The Way From Philadelphia - previously unreleased
12. Have You Ever Been In Love - previously unreleased demo
13. Me & Mrs. Jones - Live
14. I Want Someone - Live from Daryl's House/previously unreleased
15. Do What you Want, Be What You Are - Live/previously unreleased
16. Dreamer - redux
THE spot for your favorite fan theories and the best movie recs. Learn more


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Drew Stafford
Taylor Hall would fetch the Oilers biggest trade returnAs Peter Chiarelli promises changes, the core player he can get the most for is Taylor Hall
Short Shifts: Tyler Myers stands tall again for Buffalo SabresTyler Myers's game in Buffalo has picked up considerably this year because Josh Gorges is mentoring him, but as one pro scout said, "how can a guy playing those minutes ...
This 'n' thatTed Nolan will likely be getting a three-year contract from the Buffalo Sabres when they return from their Western Conference road swing, which earns a two-thumbs up from Drew Stafford.
Short ShiftsHow good has Gustav Nyquist been in Detroit? He has scored 21 goals in 45 games, including five game-winners, and 31 of his 38 points are even-strength.
Edmonton Oilers
Jordan Eberle out day to day with a sore right kneeAs it turns out, Edmonton Oilers' winger Jordan Eberle did not go for an MRI on his injured right knee Wednesday but he won't play against the Buffalo Sabres Thursday ...
Cult of Hockey
Edmonton Oilers in the hunt for Buffalo Sabres forward Drew Stafford?Would a Hemsky for Stafford trade make sense? That's my bet.This just in from Jim Matheson, Hockey Hall of Fame hockey reporter of the Edmonton Journal, on Twitter: "Very quiet ...
Cult of Hockey
NHL outliers: Is Jordan Eberle one of the NHL's rare super snipers?Some players do more with less. Is Eberle one of them or blessed with great luck this year? Call them the NHL's super snipers.
Is strapping winger Drew Stafford the right fit for the Edmonton Oilers?Down-on-his luck winger is a tough, 20-goal scoring winger with a $4 million per year deal. Last season, Drew Stafford of the Buffalo Sabres, scored 31 goals in 62 games.

subset: commoncrawl


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TalkTalk today showed Britons are embracing internet-connected TV in their droves as the telecoms provider is signing up 12,000 customers a week, a rate that looks more than a match for rival BT.
Chief executive Dido Harding said growth was accelerating as TalkTalk persuaded 150,000 TV customers to take a YouView set-top box during the first three months of the year.
In contrast, BT, which has just announced free Premier League TV football for broadband subscribers, added 40,000 TV customers in the period.
TalkTalk only entered TV last autumn and now has 230,000 such customers, compared with BT's 810,000 after seven years.
Harding gave shareholders further cheer as TalkTalk enjoyed its first quarterly revenue growth for three years and she hiked the dividend 15 per cent.
The shares surged more than 8 per cent as the City reckons last week's plunge in the wake of the BT "free football" announcement was overdone.
Harding said many of her customers came from Britain's eight million homes that take Freeview and Freesat, both free TV services, and they weren't that interested in pay-TV sport.
"We've very comfortable that value-seeking customers want a little bit of TV, not a lot of TV," she said. "On average our customer is paying £26. BT's is paying £40 and Sky's is £50. That makes a really big difference in tough economic times." Pre-tax profits fell 4 per cent to £120 million, partly because Harding's TV foray, which includes giving away free YouView boxes, has cost £62 million.
Connected TV has finally gone mainstream as viewers watch, record and catch up on shows via an internet-enabled set-top box.
Sky said 569,000 customers upgraded to a connected box in the past three months. Virgin Media added 172,000 to its similar TiVo box.
BT said, in response to TalkTalk's numbers, that it was also seeing "good uptake" from its YouView boxes and won "more than double the TV customers Sky and Virgin Media did" in the last quarter.Reuse content


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The Decline of American Cities: Lewis Mumford's 'The City in History'
"Like a stopped clock," the author Lewis Mumford asserts in this 1961 appearance at a Books and Authors Luncheon, he has been exactly right twice.
The first time was when he wrote The Culture of Cities in 1938. This book "pointed out the imminent disaster of cities" in face of the rising tide of Fascism. Mumford recounts with pride how his book was smuggled into Occupied Europe and used by many underground networks to educate the young town planners in how they would reconfigure their urban environment after defeating the Nazis. This time, Mumford claims, we in the United States face a similar threat, not from Fascism, but from "the motorcar."
The city, he warns, "has been disintegrating before our eyes." He uses, as a warning, Greensboro, N.C., which is called the Parking Lot City. What this increased emphasis on cars has done is diminish the value of the city as "a place where people meet face-to-face." European cities are also becoming Americanized, to the extent that one can no longer enjoy a drink outside a Parisian café without being overcome by noise and fumes. Confronting this gloomy future, Mumford hopes his current book, The City in History (1961), will offer some hints for deterrence. He also points out two recent glimmers of hope: the movement thwarting Robert Moses' plan to have a four-lane highway go through Washington Square and the residents of New Jersey rising up against a proposed "jetport" in the Meadowlands.
Born in 1885, Mumford was that rare and peculiarly American phenomenon, the self-educated scholar. Though he studied at the City College of New York and the New School For Social Research, ill health prevented him from taking a degree. It did not impede, however, his far-ranging intellect. His early works were of literary criticism, rediscoveries of the Transcendentalists and Herman Melville. But what he is chiefly remembered for today is his fascination with the city, its architecture, and the study of the urban phenomenon in general. As Mumford indicates in this talk, the subject was clearly one whose time had come. The Humanities and Social Sciences website h-net.org notes:
The Culture of Cities…publication in 1938 marked a turning point in his extraordinary six-decade writing career, thrusting him into the international spotlight and onto the cover of Time. So sweeping and insightful was Mumford's analysis that thereafter he was acknowledged as an authority on urbanism in its multitudinous aspects: historical, formal, social, economic, and political.
Mumford de-emphasized technology as man's defining achievement, arguing that language and communication were the essential elements of civilization and that the city, where all kinds of relationships could be established, was in fact the great invention of society. For this reason he eschewed the word "technology" and preferred the word "technics," which encompasses both the human and social aspects of invention and tool-building progress. Although a prolific writer (he was for many years architecture critic for The New Yorker magazine) Mumford also gained a considerable following from his personal appearances. His biographer Donald L. Miller noted: "As a lecturer, he exuded strength and power, and an almost Olympian certainty."
Mumford's opinions often epitomized the direction of progressive thought at the time, arguing vehemently for the United States' entrance into World War II and just as forcefully, 30 years later, for the country's exit from Vietnam. His early work extolled the potential the new urban lifestyle held, while his gradually souring on the city over time reflects the disillusionment of a generation. (Ironically, he left New York City rather early, settling in a small house in the town of Amenia in Dutchess County. This too could be seen as presaging the "white flight" that so devastated cities after World War II.) But, as the New York Times architecture critic Paul Goldberger notes:
Mumford was among the first critics to remind us that bigger is not always better; in his later years, he came to exaggerate that view so much that he seemed almost to be saying that big must be bad. Yet even at his most angry, Mumford's criticism was always informed by a desire to see architecture in a social context. His eye was never seduced by the beauty of form; he consistently sought to view architecture in terms of social purpose, and made his judgments accordingly. Today, as we come to the end of a decade of visual overkill and social indifference, his standards seem in one sense out of step, in another, desperately needed.
Indeed, the problems Mumford posed in The City in History (which won the National Book Award) are still those bedeviling urban planners and city-dwellers today. In their holistic approach to technology and its place in the social fabric, his arguments have taken on an even greater urgency in the computer age. Eugene Halton, writing for the University of Notre Dame website, recounts how:
…he shows in lucid detail how the modern ethos released a Pandora's box of mechanical marvels which eventually threatened to absorb all human purposes into the Myth of the Machine, the title he used for his two-volume late work. Mumford strongly believed that so long as men and women desire face-to-face contact, cities will endure in one form or another. Accordingly, the Culture of Cities will remain a relevant text for the present-day and future reader who will necessarily place a higher value on such contact as cyberspace renders it less frequent. Cities can become "eutopias", good places, but only if men and women will them to be so. Never was a goal so simple or so elusive.
Mumford died in 1990 at the age of 94.
Audio courtesy of the NYC Municipal Archives WNYC Collection.


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For the second-straight year, GoASU.com is counting down Appalachian State University athletics' 30 most memorable games, matches and meets from the 2010-11 academic year. This year's countdown began on Wednesday, July 6 and will continue until Thursday, August 4, the day before the ASU football hits the practice field for the first time to unofficially open the 2011-12 campaigns.
Be sure to check GoASU.com each day to relive all of the Mountaineers' most lasting memories of an exciting and successful 2010-11.
Oct. 9, 2010
BOONE, N.C. — DeAndre Presley accounted for 374 yards of total offense and three touchdowns to lead top-ranked Appalachian State University to a 34-31 victory over No. 19 Elon in front of a school-record crowd of 31,531 on Saturday at Kidd Brewer Stadium.
Presley completed 14-of-19 passes for 204 yards and a touchdown and ran 23 times for a career-high 170 yards and two more scores to lead Appalachian (5-0, 3-0 SoCon) to its 23rd-consecutive Southern Conference victory and its 15th-straight triumph over Elon (2-4, 1-2 SoCon).
Presley was impressive from his first play of the game — a 39-yard pass to CoCo Hillary — to his last, an eight-yard first-down run that sealed the victory with under two minutes to play. At the end of that run, Presley sustained a head injury and walked off the field with assistance from ASU athletic training personnel. He will be evaluated further on Sunday and his status for next Saturday's home tilt with The Citadel is unknown at this time.
Presley's 39-yard connection with Hillary on the first play from scrimmage set the tone for an eight-play, 75-yard touchdown drive that gave Appalachian an early 7-0 lead but, aided by a roughing the punter penalty on its initial series, Elon scored the game's next 10 points to take a 10-7 advantage.
The Phoenix's only lead of the game would be short-lived, as the Mountaineers needed only four plays to erase the deficit, with a 39-yard touchdown run by Cedric Baker capping the one-minute, 37-second drive that gave the Apps a 13-10 lead they would never relinquish.
Elon drew back within three points on three different occasions but each time, ASU responded. Following the first two times that the Phoenix cut the deficit to three, the Mountaineers answered with touchdowns to stretch the lead back to 10 and after Elon scored with 3:50 to go to make it 34-31, the Apps got four big first downs to run out the clock.
Besides Presley, Appalachian's biggest plays of the day were made by Hillary. The senior finished with three receptions for 76 yards — both season highs — and all three receptions were huge ones. In addition to the 39-yard gain on the first play of the day, he hauled in a 13-yard touchdown pass from Presley on a third-and-goal play to give ASU a 34-24 lead early in the fourth quarter and made a 24-yard catch on the final drive to give the Mountaineers one of the four first downs it needed to seal the victory.
Appalachian's defense also contributed with big plays in the win. The Mountaineers sacked Elon quarterback Scott Riddle three times and finished with seven tackles for loss. More importantly, the ASU defense came up the biggest when it mattered most, twice turning away the Phoenix away on fourth down, the second of which came on the ASU six yard line early in the third quarter.
Buck Buchanan Award candidates D.J. Smith and Jabari Fletcher led the Black and Gold defensively, with Smith registering a game-high 14 tackles, including one for loss, and a pass break-up and Fletcher notching two sacks and three tackles for loss among his four stops.
Largely because of Riddle's 394 yards on 31-of-43 passing, Elon held a 503-478 edge in total yardage but Appalachian held a 7.6-7.2 advantage in yards per play. Behind Presley's 170 rushing yards, the Mountaineers out-gained the Phoenix 274-109 on the ground.
Penalties were ASU's achilles heel throughout the afternoon, as it was flagged 12 times for 116 yards, including nine times for 96 yards in the first half alone.
NOTES: Appalachian has not lost to Elon since 1964 ... its 15-straight wins over the Phoenix include all eight since Elon joined the SoCon in 2003 ... Elon, which finished second behind ASU in the SoCon a year ago and were picked to place second again this year, faces an uphill climb in its quest for a second-straight NCAA Division I championship appearance, as it is essentially three games behind Appalachian in the SoCon standings (thanks to ASU holding the tiebreaker with the Phoenix) and cannot reach the benchmark of seven Division I wins used for at-large consideration in the 20-team postseason field ... the Mountaineers' last loss in a conference game came on Oct. 20, 2007 vs. Georgia Southern – 1,083 days ago ... Saturday's crowd surpassed the previous ASU record of 30,931, set versus Wofford on Oct. 31, 2008 ... three of Appalachian's eight largest crowds all-time have come in its first three home games this year ... the Mountaineers won for the 51st time in their last 54 home games and notched their 29th-consecutive home win over an in-state opponent ... the last time ASU fell to an in-state foe at home was a 34-7 loss to Western Carolina on Oct. 6, 1984 at then-Conrad Stadium ... in his seventh career start, Presley surpassed the 300-yard mark in total offense for the fourth time, which ties him with Bake Baker (1994-97) for fifth in school history ... Presley scored on 53- and 44-yard touchdown runs, which both surpassed his previous career long of 34 yards ... the 100-yard rushing effort was Presley's second of the season and fourth of his career ... Hillary's touchdown catch was his first since last Oct. 31 at Furman ... the following week, Hillary suffered a season-ending knee injury during practice ... ASU won its 10th-straight game on SportSouth and moved to 20-3 all-time when playing on the network ... Elon's Aaron Mellette, who caught three of Riddle's four touchdown passes from 7, 6 and 43 yards out, became the first player with three receiving touchdowns against ASU since Hawaii's Jeremiah Cockerman in 2003.
GoASU.com's Most Memorable Games of 2010-11
30. Football 42, Western Illinois 14 — Dec. 4, 2010
29. Women's Cross Country Places Second at SoCon Championship — Oct. 30, 2010
28. Softball 2, Samford 1 — April 23, 2011
27. Men's Basketball 85, College of Charleston 70 — Feb. 24, 2011
26. Women's Basketball 83, Davidson 73 — Feb. 2, 2011
25. Baseball 7, Miami (Fla.) 5 — Feb. 25, 2011
24. Football 34, Elon 31 — Oct. 9, 2010


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this kid is becoming quite the primadonna
more <3 for nicks all day
just from what i see... one man's opinion, thats all
sure, but why squabble over a few million when you're in every other commercial, making that much if not more?
he's in many... tom coughlin even commented on how busy he was with endorsements over last offseason. and it has to do with a football contract in the sense that he's looking for more money when he already has more money than he could spend (if we're referring to the humble patterson kid).


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Summer is here, and so is wedding season! Which means lots of inspiration for brides-to-be like me!
Once the venue is booked and your dream wedding dress found, the next big checklist item to cross off is to decide on your color palette. To help you do just that, I came up with three unique palettes that scream summer, and I can't wait to hear which one you love most!
Soft Summer Purples
Emerald Green, Marigold and White
Dreamy Peach, Blush and Cream
What summery color combination is your favorite? Soft purples, on-trend emerald green, or romantic pastel peaches and blush? Share your pick in the comments section below!


text:
Approaching your due date? Look for these signs of labor.
Fearing autism, many parents aren't vaccinating their kids. Can doctors reverse this dangerous trend?
Learn which over-the-counter medicines are safe for you and your baby
Eye expert John Hagan, MD, FACS, FAAO discusses factors to consider and discuss with your eye care team before embarking on cataract surgery.
What to expect in your growing baby
Make it simple to strengthen and sculpt!


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Crowd cheers wildly for Obama at Paramount
A vote for former Gov. Mitt Romney, he said, is a promise to renew the battles of the past four years.
"We can't return to the policies that got us here in the first place," Obama said.
The crowd, seated on the main floor around tables, stood for much of the speech and cheered wildly, especially when the president highlighted his views on gay rights and abortion rights.
Obama conceded that his work was not done, saying, "Are we satisfied? Of course not."
Comments | More in General news, Politics | Topics: Barack Obama, Obama May 10, Paramount


text: On The Media Published by On The Media An ISP Promises to Stand Up to the Government Download this audio Want to embed this player? Use the code below. More info. <iframe frameborder="0" scrolling="no" height="130" width="100%" src="https://www.wnyc.org/widgets/ondemand_player/otm/#file=/audio/json/206595/&share=1"></iframe> Share on Facebook Share on Twitter Email a Friend Summary Transcript Summary Nick Merrill is building an internet service provider called Calyx. Calyx will be designed to encrypt user's data in such a way that it'll be inaccessible to anyone but that user. Which means that if the government asks for your browser history or emails, Calyx will be technologically unable to hand them over. Bob talks to Merrill about his plan. Transcript BOB GARFIELD: If CISPA does pass, your service provider might well end up providing your information to the government. Nick Merrill has a possible solution. He was the first person ever to successfully challenge a National Security Letter. That's a secret government demand for information, and if you get one you're not allowed to tell anyone. Merrill fought that gag order and won. Now, his organization, Calyx, is building a different kind of Internet service provider. He's enlisted privacy hawks and ex-National Security Agency executives as advisers and designed a system to make it nearly impossible for the government to extract customer information from him, even if he's compelled to. NICK MERRILL: The concept here is to use encryption, which scrambles the data, and then to leave the only set of keys that can unlock the data in the hands of the user. I mean, I would like to point out that the system that we're building doesn't preclude the government from getting people's data if they really need it. But probably the best procedure for them to do that in this kind of a situation would be to go directly to that user and get their private key in order to unlock the data. BOB GARFIELD: Won't the encryption make it impossible for law enforcement to conduct an investigation without informing the subject that he's under scrutiny? NICK MERRILL: No. I can even give you a real-world example of where it was done, Nicky Scarfo. He was an alleged Mafia don, and he used encryption technology on his email. The authorities apparently got the right to tap his Internet but they weren't able to read his emails. They broke into his house when he was away and they put a device called a key logger on his computer, which fits typically between the computer and the keyboard. The police thus obtained his password and then were able to unlock his emails. And he was none the wiser, until one day they kicked down his door and had all the evidence they needed to convict him. So I see no reason why it couldn't be done again. BOB GARFIELD: Why don't existing ISPs encrypt their data? Is it only because they make money mining the data for behavioral and contextual information about the user? NICK MERRILL: There's probably quite a number of reasons why. And, first of all, the status quo is that everything is open. So you would have to have some kind of a reason to change that. I just happened to come up with this idea that this needs to be reexamined, in part, due to, you know, my experiences with the National Security Letter's provision of the Patriot Act. But it wasn't just about that. It, it also touches on some greater issues that the country has in terms of cyber security. I'm making an argument with this new service that I'm trying to set up that cyber security and privacy in a lot of ways are the same issue but with different framing. And to the extent that we can get a lot of people to use strong encryption on their data and on their communications, we can do something to address both of those issues at the same time. BOB GARFIELD: It seems to me that there is at least one federal law requiring ISPs and other telecom providers to have a back door accessible to government who, with a search warrant or a subpoena, can get access to the very kinds of content we're describing. If an encrypted ISP essentially welds that back door shut, would Calyx be in violation of federal law from day one? NICK MERRILL: I'm assuming that you're speaking of the CALEA Law passed in 1994. It originally just applied to telephones, and when the telephone service went from analog to digital the authorities decided they needed a back door built in so that they could easily capture the communications. And over time it was expanded to cover also broadband Internet and Voice Over IP. So we're going to have to have a back door, so that communications can be captured. The catch though is that whatever communications that we'll be able to hand over will be encrypted. To the best of my knowledge, I think we found our niche, where we comply with everything but we stick to the principle that the user owns their data. BOB GARFIELD: Nick, thank you once again for joining us. NICK MERRILL: Thank you very much for having me on your show. BOB GARFIELD: Nick Merrill is the founder of Calyx Internet Access and The Calyx Institute.


text: Hi Guys, Just picked up a 1980 C20 and I have to replace a blown fuse. I just had a quick look under the dash and in the engine compartment and can't locate them (unless they were staring me in the face!). This is my first C20 so please excuse my ignorance. Thanks in advance Adrian


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Gogo's distinguished client list includes a range of celebrities and high profile figures notable in music, dance, fashion, sports, news and government.
In addition to designing the wedding rings of John F. Kennedy, Jr. and Carolyn Besette, Gogo created a customized necklace for Jacqueline Kennedy Onassis.
Other political figures who are drawn to Gogo's powerful designs are Bill and Hillary Clinton and their daughter Chelsea, and George W. Bush, his wife Laura and daughter Jenna Bush Hager. Leaders of France, Japan, Italy, the UK, Russia and other countries attending the 30th G8 Summit held in Sea Island, Georgia in 2004 Gogo originals; Vladimir Putin and his wife Lyudmila became immediate fans.
Dancer, choreographer and actor Mikhail Baryshnikov is a longtime friend and Gogo Jewelry lover. Well known clients in the music industry include Carly Simon and her son Ben Taylor; recording artist, composer and producer John Forte singer-songwriters Natasha Beddingfield, Kate Taylor, John Brannen, Jonathan Edwards and Jimmy Buffett, as well as his sister, chef, restaurateur and author Lucy "Lulu" Buffett.
Award-winning filmmaker Wes Anderson has purchased pieces from Gogo's collection, as have are actresses Isabella Rossellini, Penelope Ann Miller, Chrisitna Haag and Goldie Hawn, and tennis stars Anna Kournikova and Maria Sharapova.
Madison Avenue designer Nicole Miller frequently wears Gogo jewelry, as do her models on the runway and for media events. Miller and Gogo worked together to create a signature scarf for a world-class exhibit of Gogo's jewelry and art at Atlanta's High Museum.
Other Gogo jewelry clients include novelist Tama Janowitz, news anchor Kyra Phillips, therapist and best-selling author Dr. Laura Berman, NPR's Laura Sydell, fine artists John Alexander and Bruce Webber, and business leader Maryam Banikarim.
Novelist William Styron and his wife Rose were among Gogo's first clients, along with columnist Art Buchwald, journalist Mike Wallace and philanthropist Howard Gilman.


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RIP Whirlwind :(Fury Warriors are gonna feel this one.All in all, most of these changes seem a little more PvP oriented, which makes my PvE warrior a sad panda.I wonder if Blizz will add anything to compensate for the Fury Warrior's newfound lack of single target abilities? An instant Heroic Strike will not fill the void in my heart :( On a more positive note, Inner Rage seems like fun :D
I love that fury will be able to choose between dual wielding 2handers and 1 handers.Great change and in quite good direction too.
Spamming Gushing Wound in PvP FTW! Can you see the headache coming for flag runners in a random WSG match. Heroic Leaping off the towers in Wintergrasp then hitting Bladestorm!This is goin to be great...
oh wow....now my rogues gonna have to fight warriors for weapons? its bad enough they already roll on ap rings and necks...
Wonder if Bladestorm will be hit by the 50% damage reduction since it acts like a Whirlwind. Besides that, this all looks really awesome and can't wait! And Heroic Leap, FTW!
Still no word on reducing warrior dependence on gear/gear scalability.Son. I am disappoint.
Heroic Leap, eh...ARCANITE REAPER, HOOOOOO!
Damn i'm liking the new abilities like Heroic Leap... I can just see the thousand warriors in AV jumping from the towers.Alliance: ZERG EM!Horde Warriors: HEROIC LEAP, BLADESTORM, GUSHING WOUND! ROFLPWNAlliance: WTF?Horde wins...
id like to remind you all the gushing wound will not refresh after the 3rd stack.more or less its a slightly better rend for pvp, same thing could of be accomplished by buffing rend.
I hate being one of those wingy whiners but I got no choice. Speaking from a PVE perspective, I've thoroughly read through the other class changes and pretty much all I see are positive changes or at least sensible ones. I'm not just a warrior player but my main is warrior and I've gone past the point of irritation to bewilderment at the way Blizzard seem to get off on nerfing warriors. We aren't the best damage dealers, or aoe tanks, or single-target tanks, or even pvpers and paladins have all this with also being able to heal and have bubbles. Wth do we have? About the only cool thing here, is something we were promised in 3.0.I am willing to listen to explanations as to why these nerfs are coming and why warriors aren't allowed to be good at even one thing. So please somebody help me out here?
Wow... I'm not a pro at mechanics, but it sounds to me that this won't bode well with tanks. Or... warriors for that matter. /sigh.
What's with the doomsday talk here? All these changes look great to me.
you are getting rage fixed to where unless you blow it all you dont starve and if you overflow your not wasting damage with the lvl81 passive, your getting a new type of "charge" in the jump. a new bleed that can refresh up to twice if the target moves.


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Pchbgs.com is a 2 years old domain.
It was registered by yang jinqing , who can be reached at . The site is owned by zhuchengshi pengchenghuanbaoshebeiyouxiangongsi. Registration details show that it was registered on 04 Jan 2015 through beijing innovative linkage technology ltd. dba dns.com.cn and will expire on 04 Jan 2017.


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International Edition
May 30, 2017
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Clint's good, bad and ugly turn at Romney show
By Michael Mathes ,AFP Saturday, September 1, 2012, 12:04 am TWN
TAMPA, Florida -- Hollywood tough guy Clint Eastwood made a bizarre cameo Thursday at the Republican convention, veering into a surreal conversation with an imaginary U.S. President Barack Obama represented by an empty chair.
His off-color and at times rambling performance spawned an immediate debate on the Twittersphere between Republicans, who broadly loved it, and Democrats who said the 82-year-old multiple Oscar winner had clearly lost his marbles.
"I think possibly now it may be time for somebody else to come along and solve the problem," Eastwood said during an address in which he taunted Vice President Joe Biden and talked about the detention center at Guantanamo.
The Oscar-winning director of "Million-Dollar Baby" and star of Spaghetti Westerns like "The Good, the Bad and the Ugly" looked down several times at the empty chair, as if he was listening to Obama criticize Republican presidential nominee Romney, whom Eastwood has endorsed.
"He can't do that to himself. You're absolutely crazy!" the actor/director responded.
"You're getting as bad as Biden. Biden is the intellect in the Democratic Party. It's just kind of a grin with a body behind it."
"And I thought, well closing Gitmo, why close that, we spent so much money on it. But, I thought maybe as an excuse — what do you mean shut up?" he said to laughter from the crowd.
Eastwood spoke about how he had been moved by Obama's message of hope and change in 2008, but then grew disillusioned by failed policies and Obama's inability to reduce the unemployment rate below eight percent.
"I think it may be time for, what do you think, maybe a businessman," said Eastwood, referring to Romney, who became fabulously wealthy as a successful private equity investor.
"When somebody does not do the job, you've gotta let them go," he said of Obama, as he then drew a finger sharply across his throat.
But the Romney campaign insisted there was no harm, no foul.
"Judging an American icon like Clint Eastwood through a typical political lens doesn't work," a spokesperson for the campaign said in a statement.
Clint's 12-minute appearance exploded Twitter and other social media, where the fad suddenly slapped with the hashtag #Eastwooding" — in which people post photos of empty chairs — spread like wildfire.
Obama himself got into the act, tweeting "This seat's taken" to his 19 million followers and attaching a link to a fundraising web page.
"I still like Clint Eastwood," tweeted writer and comedian Frank Conniff (@FrankConniff).
"A crazy Republican talking to a chair is the least harm a crazy Republican has done in ages."
What does he know? Bosnian town defends Virgin sightings despite pope's doubt
China agrees to open market to US beef
Trump would be 'honored' to meet N. Korea's Kim, if conditions right
US aircraft intercepted by Chinese jets
How African-Americans disappeared from the Kentucky Derby
US military espionage trial of Taiwan-born officer set to begin
Swallowable balloons work to curb obesity: study
Taiwan-born Navy officer admits lying, mishandling secrets
Future roadblocks likely for Taiwan as new WHO chief signals he'll kowtow to China
Duterte declares martial rule in besieged south Philippines


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Mystery Piano Found on Ben Nevis SummitConservationist cleaning Ben Nevis were astonished to discover a piano near the summit.
Kenneth Campbell, 64, says he carried the 160 kg piano up in 1971 when it fell and shattered at 1,000 feet. He was to make two more attempts to carry different pianos and eventually succeeded whereupon he sat down and played "Scotland The Brave."
Mystery of piano on mountain top
CBBC newsround (audio) – London,England,UK
A mystery about how a piano got left at the top of Scotland's highest mountain has hit a new high note. Volunteers clearing stones …
See all stories on this topic
Volunteers Find Piano Atop Britain's Highest Mountain
FOX News – USA
LONDON  Volunteers tidying up Britain's highest mountain have found a piano near the summit, a conservation group said Wednesday. …
See all stories on this topic
Piano found on Britain's highest mountain
Guardian Unlimited – UK
Photograph: John Muir Trust/PA. A musical mystery today surrounded Britain's highest mountain after a piano was discovered near its summit. …
See all stories on this topic
Climber carried piano but not tune
Australian – Sydney,Australia
LONDON: It was a discovery that flabbergasted conservationists cleaning Britain's highest mountain last weekend. There, beneath …
Posted in British Isles, Highpoint News (world), Offbeat by roger with comments disabled.


text: Hi, On Tue, Feb 05, 2002 at 10:47:28AM -0500, Wietse Venema wrote: > Wietse Venema: > > maildir delivery requires that certain file system operations are > > atomic and synchronous. > [...] > > Translated into ext3 speak that means: the link and unlink operations > > are written to the log before the respective system call returns. > > Stephen C. Tweedie: > > Synchronous IO is *always* guaranteed to be persistent on disk on > > return, and ext3 also makes firm atomicity guarantees about all > > deletes, renames etc. > > Are the default mount options of ext3fs such that link() and rename() > are synchronous? No, but they will be if you chattr +S the directory, or if you fsync either the dir or any files in that dir. > If not, what hoop jumping do you recommend? Is fsync() on an open > file guaranteed to take care of all a file's directory entries In ext3, yes. fsync syncs the inode and all metadata it depends on, and that will always include directory information (you can't sync the inode without syncing directory references or you'd risk having the inode i_nlinks field incorrect, which violates ext3's consistency guarantees on recovery.) Cheers, Stephen


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In July 2010, two starving, half-wild kittens wandered into our yard. My husband and I started feeding and taming them, and we adopted HueyAnn and Dewey. We called them our children, as we had no human children of our own. For more than three years, they were our friends and companions, and they brought so much joy into our lives.
This was especially true during the rough times we had when the health of both of our fathers, as well as my mother, declined. Sadly, beginning a year ago, we lost three of our parents in less than nine months. I felt that HueyAnn could tell how sad I was as she sat on my lap, and Dewey's antics lightened our spirits.
Yet, in a one-month period that started in early October, seven cats that I know of have disappeared from Kinglet Street in Suisun City, including HueyAnn and Dewey. We believe that this was caused by an unidentified neighbor who did not like cats.
For those who don't like cats, before taking the step of killing them, try to think about how important those cats might be to your neighbor. The loss of our cats has left a void in our hearts that can never be filled. And, yes, our remaining two cats are indoors-only now, as Kinglet Street is not a safe place for a cat that spends time out of doors.
Lisa Favilla
Suisun City


text: In case you were not aware, the British Pound has been falling sharply in value recently, especially against the US Dollar. From around $2.00 a few months ago, it's now hovering around $1.60. This means that our products have fallen in price to US customers by about 20% and by smaller amounts in some other countries. So the worldwide financial crisis could have an up side for some!


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More than 40 percent of 200,000 U.S. women diagnosed with breast cancer every year undergo surgery. Though treatment advances have significantly reduced mortality from breast cancer, a study published in The Journal of Pain reported that persistent postmastectomy pain is rated by survivors as their most troubling symptom. The Journal of Pain is published by the American Pain Society, www.americanpainsociety.org.
Researchers from the University of Pittsburgh evaluated 611 women who had undergone total or partial mastectomy and were treated with chemotherapy, radiation and/or hormone therapy. Their objective was to determine which factors -- demographics, tumor size, pain severity, treatments, stress, and psychological factors -- contribute to postmastectomy pain.
According to the authors, previous research has provided little consensus regarding the most important determinants of pain following mastectomy. Earlier studies had small sample sizes and focused on just one group of variables. For this research, the authors used a much larger sample, which allowed them to study a large number of variables at the same time.
Results showed, in accordance with some previous research, that there was no evidence of linkage between the type of mastectomy performed, tumor size, or the occurrence of treatment side effects and the development of postmastectomy pain. However, psychosocial variables were found to be important predictors. Specifically, anxiety, depression, impaired sleep, somatization and catastrophizing each were independently related to the development of persistent postmastectomy pain.
Story Source:
Materials provided by American Pain Society. Note: Content may be edited for style and length.
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Books of The Times; Three Conversing at Sea Reincarnated With Wings
By CHARLES POORE ();
April 06, 1963,
, Section , Page 13, Column , words
AN iconoclastic friend of mine wants to reverse the whole tide of modern lit'ry criticism by presenting Herman Mel ville's "Moby Dick" as a book about the whaling industry.
April 06, 1963
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Light trails on Oliver Plunkett Street
Light trails from a passing car leave their mark on this long exposure shot of Oliver Plunkett Street in Cork.
Can you see pink lights on the vertical poles standing at the edge of the pavement? On my Linux box they're clear as day but I can't see them at all in Preview on the Macbook.
The lights were designed and made by MAAS here in Cork and the colour changes slowly from blues to purples to pinks to yellow and to any other colour. It's quite a sight to see the colour change when standing at one end of this long straight street!
6 Comments
June 5, 2007
They show up (but are not easy to see) in Safari on my Mac when viewed on Flickr, and also when viewed in Preview.app.
Have you calibrated your MacBook screen using the "Displays" System Preference (you have to click into the "Color" tab)? If not, maybe that's the source of the problem.
June 5, 2007
Dave – I've looked at that before but none of the calibrations except "LCD screen" look ok, for obvious reasons! Maybe the Macbook screen just isn't sensitive enough? (them be fighting words!)
June 5, 2007
Have you tried using the "Calibrate" button in there? I think you have to have a calibration selected first, but then you can tailor it to match your screen (and viewing conditions).
June 5, 2007
Ah, I see that button now. Thanks Dave. I'll give it a go later when I have a little spare time 🙂
June 5, 2007
I see them fine on my external monitor, but there is no pink twinge when I view them on the macbook screen.
October 17, 2008
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Posted by Brian Hopkins on November 25, 2011
Cloud – people can't agree on exactly what it is, but everyone can agree that they want some piece of it. I have not talked to a single client who isn't doing something proactively to pursue cloud in some form or fashion. This cloud-obsession was really evident in our 2011 technology tweet jam as well, which is why this year's business technology and technology trends reports cover cloud extensively. Our research further supports this – for example, 29% of infrastructure and operations executives surveyed stated that building a private cloud was a critical priority for 2011, while 28% plan to use public offerings, and these numbers are rising every year.
So what should EAs think about cloud? My suggestion is that you think about how your current IT strategy supports taking advantage of what cloud is offering (and what it's not). Here are our cloud-related technology trends along with some food for thought:
Posted by Richard Fichera on November 16, 2011
This week AMD finally released their AMD 6200 and 4200 series CPUs. These are the long-awaited server-oriented Interlagos and Valencia CPUs, based on their new "Bulldozer" core, offering up to 16 x86 cores in a single socket. The announcement was targeted at (drum roll, one guess per customer only) … "The Cloud." AMD appears to be positioning its new architectures as the platform of choice for cloud-oriented workloads, focusing on highly threaded throughput oriented benchmarks that take full advantage of its high core count and unique floating point architecture, along with what look like excellent throughput per Watt metrics.
At the same time it is pushing the now seemingly mandatory "cloud" message, AMD is not ignoring the meat-and-potatoes enterprise workloads that have been the mainstay of server CPUs sales –virtualization, database, and HPC, where the combination of many cores, excellent memory bandwidth and large memory configurations should yield excellent results. In its competitive comparisons, AMD targets Intel's 5640 CPU, which it claims represents Intel's most widely used Xeon CPU, and shows very favorable comparisons in regards to performance, price and power consumption. Among the features that AMD cites as contributing to these results are:


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I Defend Handguns -- That's Why I'd Ban Them
Reid Rusonik | Posted 09.22.2012 | Canada
Read More: Gun Control, Toronto Shooting, Canada Gun Control, Scarborough Shooting, To Shooting, Danzing Shooting, Canada News
I defend people charged with illegally possessing handguns. Many of them. There is at least one new such case every month; sometimes, there are two or three. If this crime is like any other, however, the number of people being caught illegally possessing handguns represents only a small fraction of those committing the offence.


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Take your daily dose of Echinacea Supreme from Gaia Herbs® and it may keep your healthy and protected from infections' allergies' mucus problems' inflammatory conditions' and sore throat.
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Serving Size: 40 Drops
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If you are pregnant, nursing, taking any medications or have any medical condition, consult your doctor before use. Your healthcare professional is the best source for guidance before beginning an exercise or nutritional supplement program.


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at the end of the video it says thanks to ???for the use of his arm and his 45 then it says thanks to .....for his rz 10.so in that video its 2 guns.but i dont know if you can shoot 10 though a 45 and have never heard of this but i am no pro.
i have been looking around on other websites, and it seems that you can fire 10mm ammunition through a 45acp (more so the 1911)? i'm thoroughly confused.i read a post of a guy talking about the frame of the 1911 taking the abuse of the 10mm cartridge. then i saw a video on youtube. the guy starts of shooting 45acp, but then switches to 10mm. it appears to be the same exact pistol. are there conversion kits or do they make 10mm models? can you shoot 10mm in a 1911 made for 45acp?
here is the youtube video:
pt111 millennium pro 9m
romanian wasr10 ak47
Colt 1911 Government model 70 series
Colt 1911 combat commander
at the end of the video it says thanks to ???for the use of his arm and his 45 then it says thanks to .....for his rz 10.so in that video its 2 guns.but i dont know if you can shoot 10 though a 45 and have never heard of this but i am no pro.
Do not shoot 10mm in a 45 cal weapon.
10mm is about 40 cal.
oh believe me, i wouldn't shoot anything in a pistol that wasn't on the box it came in, slide, and magazine! i was just curious lol. and thanks rw, i have to admit i didn't watch the whole vid.....
pt111 millennium pro 9m
romanian wasr10 ak47
Colt 1911 Government model 70 series
Colt 1911 combat commander
I think if the frame were heavy enough, a 1911 would be a good platform for a 10mm. The 10mm is roughly equivalent to a 40 cal, but much more magnum-like in recoil and blast. If you look at guns that were meant to fire the 10mm, you'll notice how beefy the frame and slide are.
I think it's a good idea though. Why not a 10mm on a 1911 frame? I've seen conversion kits for a Glock 45acp, to convert it to a 50 AE (or GI, can't remember which). If they can do that, your idea shoujldn't be all that hard.
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When Leonidas was preparing to make his stand, a Persian envoy arrived. The envoy explained to Leonidas the futility of trying to resist the advance of the huge Persian army and demanded that the Spartans lay down their arms. Leonidas told Xerxes "MOLON LABE", or "Come And Get Them."
NRA member and proud Texas LTC holder
There are 1911's chambered in 10mm. The Colt Delta Elite and Springfield Armory come to mind.
In Loving Memory---Anthony 10/12/1998 - 3/26/2010
I've fired a Colt Delta Elite in 10mm and the recoil is fierce... much sharper than .45 ACP.Originally Posted by NYPD
The 10mm is indeed .40 caliber. The .40 S&W came from a downloaded version of the 10mm termed the "FBI load". The FBI was looking at adopting the 10mm, but thought it was a little too strong, so came up with a downloaded version.
Then someone (I forget if it was Glock or S&W) came up with the idea of a round that duplicated the FBI 10mm load, but with a smaller case, allowing the round to be used in a smaller framed handgun. The result was the .40 S&W - which some people - NOT ME - think is superior to the .45 ACP.
And, no, you can't shoot the 10mm through a .45 ACP, the case head dimensions are different, and since both the 10mm and .45 ACP headspace on the case mouth... you can figure it out.
"Failure is always an option" - Adam Savage (Mythbusters)
Nikita K. made the prediction. Barry O. is working to make it come true. - BUTT
"The secret of life is to solve more problems than you create." - BUTT
"One of the penalties for refusing to participate in politics is that you end up governed by your inferiors." - Plato
I've fired one as well and also a Glock 20 (full size). I agree about the felt recoil in the Colt. The Glock's polymer frame flexes and soaks up much more of the shock. Shooting a Glock 20 is actually pleasant compared to a 10mm steel framed 1911.Originally Posted by Big Ugly Tall TexanIt was S&W who worked with the ammunition manufacturers, hence the name .40 S&W----however the Glock 22 was the first pistol available on the market to be chambered for that cartridge. (Ironic, ain't it? )Originally Posted by Big Ugly Tall Texan
In Loving Memory---Anthony 10/12/1998 - 3/26/2010


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Department of Civil Aviation has invited the private sector to participate in a planned redevelopment of Yangon International Airport, which will see the capacity more than doubled to 5.5 million passengers a year.
U Tin Naing Tun, director general of the department, said the Ministry of Transport intends to develop Yangon International Airport as a "business centre" in Yangon Region with private sector participation.
The department announced on October 25 that it would accept submissions from interested local and foreign firms, which can participate either as a joint venture or consortium under the investment law.
Interested firms can submit prequalification documents with a non-refundable fee of US$1000 to the department. The prequalification period runs until December 5 and the department will invite qualified companies to submit a tender for the project in January 2013, U Tin Naing Tun said.
"Yangon airport can handle only 2.7 million passengers a year. Last year we saw about 2.4 million passengers [and] in 2012 we expect that we will have to handle about 2.8 million passengers. If the number of passengers continues to grow as we expect over the next four years, we will urgently need to expand the terminal, aircraft landing area and so on," he said on October 25.
The redevelopment of Yangon airport will take place at the same time as a new international airport is constructed at Bago.
"We conducted a feasibility study over the past two years with a team of foreign experts. According to our study, the number of passengers using the airport is likely to increase 20 percent to 23pc each year so in the next four years the number will increase to 5.5 million," he said.
"Yangon airport will only handle a maximum of 5.5 million passengers a year when the project is finished. The rest of the passengers will go through Hanthawaddy airport."
The Yangon project will take the form of a public-private partnership with private sector financing, he said, and will see an airport master plan developed and both the international and domestic terminal buildings, apron and car parking expanded.


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Despite what's been made of a rift between the Nine Network and
The Willoughby firmament was out in force, including sidekicks
Today's Karl Stefanovic gave a rousing speech in tribute, admitting that "I think I said everything I needed to say about Dicky at his book launch" (referring to his "great bloke, big hair, massive c---" serenade at Wilkins's book launch in 2011). Too true.
The Australian Financial Review


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What is this part of the gutter called?
See the attached picture. What is the tippy top part of the downspout in this picture called? It is the greyish box that funnels the water from the roof into the downspout? I need a new one but I dont know what it is called or how to find one.
A Conductor Head or a Scupper Box, with ornamental detailing.
A sheet metal shop should be able to make one for you, especially if you bring in the old one for a sample template of profile and dimensions.
leader head
How are the conductor heads typically attached to the wall? Mine is barely attached and it looks like it was done so by a rubber adhesive. What is the standard way to attach the box to the house? In my case my house is brick.
drill holes w/masonry bit insert moly sleeves,and then screw into molys and seal molys w/ gutterseal
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We are delighted to have been chosen by BBC Radio 4 to broadcast a very special Charity Appeal this week .
The Radio 4 Appeal is a weekly programme highlighting the work of selected charities and appealing for donations to support its activities
The BBC has broadcast appeals for individual charities since 1923 and this is the first time St Mungo's has been lucky enough to be part of the project.
Lorna Smith, Apprentice Project Worker at St Mungo's, presents our Rebuilding Shattered Lives Appeal to help homeless and vulnerable women.
About a quarter of St Mungo's residents are women and they have identified significant issues for them, where they need help to recover from homelessness.
We want to raise money for:
To learn more about how to support St Mungo's click here.
For more info on our Rebuilding Shattered Lives campaign and how you can support/get involved click here.
To donate to our BBC Radio 4 Appeal click here.


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Cameron Diaz's attempt to cash in on the "Bridesmaids" girlgrossout film success doesn't work in "Bad Teacher." What she is missing is heart.
All the wild guys in "The Hangover" films, the wacky wedding women in "Bridesmaids," and even debauched Billy Bob Thornton's "Bad Santa" have it.
Diaz's black-souled middle school instructor Elizabeth Halsey is rotten to the core. A gold-digger, drug-smoking alcoholic, she doesn't hesitate to fix her students' state tests to score a cash bonus to pay for a boob job to entice a wealthy husband. The boob job is also behind her contribution to her pupils' fund-raising car wash, a soapand sex scene done better in Paul Newman's 1967 "Cool Hand Luke."
At one point, the evil Miss Halsey does show a trace of humanity. She pulls off her black bra and gives it to a boy being bullied for alleged homosexuality, so he can display it as a trophy of his hetero" exploits. There's sensitivity for you. While comedies with questionably funny leads usually have top comic co-stars, "Bad Teacher" only has one. Phyllis Smith is painfully insecure co-teacher Lynn Davies, whose absurdly low self esteem elicits genuine laughs.It should be noted that Justin Timberlake playing against type as a sexually-repressed richboy substitute teacher is not funny, but plenty weird. Don't go to "Bad Teacher." It's no good.


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Lance Richardson surveys the patchwork of farms, gardens and suburbia on the western frontier of Sydney.
I'm fairly certain Phileas Fogg was never forced to get up at 4.30am and that his 80-day journey around the world was never broken by the agitation of an alarm clock (although it was also fictional). Nor do I recall a pre-dawn car chase in which a group of men stop periodically to observe the flight trajectory of a small black balloon. Whatever else Jules Verne subjected his characters to, this was not on the list of indecencies.
Yet here I am, standing in a field before breakfast. By the time we find a suitable place for launch, we've migrated from the urban fringes of Sydney to rolling farmland. The red threads of sunrise have cooled, though dew remains thick on the ground.
Forty minutes ago, I was comfortable in the Camden Valley Inn dreaming of the palatial bathtub. Now I'm watching the balloonist, Martin Moroney, blast hot air into what is called an "envelope" - the balloon element made of nylon - so 16 of us can sit in a wicker basket underneath and float over the beds we inexplicably left behind.
Of course, once we're in the air, this cynicism evaporates just as quickly as frost above the flame. With a sudden whoosh that feels like falling upwards, we break away from the ground of south-west Sydney and a bird's-eye view of staggering beauty is revealed. Sometimes it takes an early-morning jolt to the system to open your eyes.
The Macarthur region is unique for its confluence of city and country. As we ascend on air currents, it's possible to see Sydney's skyline on the horizon and - with a small turn of the head - a patchwork of a carefully tended fields that lead to the boundaries of the Nattai and Blue Mountains national parks. Macarthur sits between these extremes. Most closely identified with Campbelltown, it's often treated as a pit stop on the Hume Highway rather than a destination in its own right. This is a shame, because there's more to see here than petrol stations and suburban sprawl.
The area takes its name from the pioneers of Australia's wool industry, John Macarthur and his wife, Elizabeth. Their first flock of sheep was established in 1795 and even now agriculture and industry remain a driving force in the region. Residents of the inner suburbs enjoy the vogue of farmers' markets where "farm" is a vague and sanitised concept.
Here, farmers' markets mean exactly that: where Belgenny farm opens its gates to the public and market stalls are set among stock horses, olive trees and men churning butter. Kids take tractor rides to the cemetery down the hillside.
As we drift aimlessly over streets and patches of trees, the balloon gives a perspective of Macarthur and greater Sydney that's impossible to gain from anywhere on the ground. The city seems enormous and yet oddly compact. At one point, we float above a retirement village and an elderly woman waves a walking stick at us. "Lucky bugger!" another woman yells from a car just before we float across the Nepean River into a grove of eucalypts, where a kangaroo grooms itself in solitude.
Accompanying the vista is Moroney's commentary. He alternates historical facts about the area with stabs at humour. He moonlights as a celebrant, he says. "We also do scattering of ashes. We're thinking of doing cremations next." Then he lets off a burst of flame into the balloon like the boom-tish of an ironic cymbal.
A balloon flight forces you to stop and take measure of a place (and its people) but you don't always have to wake at 5am to discover something new in your backyard. A good example of how attractions in this part of the city are often overlooked is the Mount Annan Botanic Garden. Driving along the South Western Freeway towards Canberra, it's easy to mistake the fenced-off scrub alongside the road for unremarkable bush. What you're mistaking is the outer perimeter of the largest tended garden in the country. More than 400 hectares of dairy farmland have been transformed since 1988 into an expanse of floral preservation. Wollemi pines, a tree painted blue, sculpture by the Paakantji artist Badger Bates and gardens designed to teach better sustainability practices sit side by side in an enormous driving circuit.
There are daily tours of the garden and climbing into ranger Ron's car for a personal tour is an exercise in strange juxtaposition. Once the personal bodyguard of Kerry Packer, his conversation veers from the ecological value of a dead tree to anecdotes involving dead politicians. This is another thing about the area that's easy to miss: just because a man wears, for example, a ranger's uniform, doesn't mean he hasn't been stuck in a darkened lift with a Labor prime minister.
By lunchtime, my capacity for surprise has been well and truly exercised but there's one more in store. At Harrington Grove Country Club, an unassuming restaurant harbours chef-hat aspirations. Opel Khan's restaurant Bibendum - the Latin equivalent for "time to get sloshed" - serves tuna carpaccio under an upturned martini glass. Such theatricality would more commonly be seen in the inner city but Khan has different ideas. "All the top restaurants in the world," he says, "they're always outside the city centres."
Lance Richardson travelled courtesy of Macarthur Tourism.
Getting there
The Macarthur region is less than an hour's drive south-west of Sydney's central business district.
Staying there
Camden Valley Inn has a variety of accommodation options. Standard rooms with two double beds cost from $140 a night ($160 on Saturdays). The executive room with spa and king-size bed costs from $250 a night ($310 on Saturdays). Phone 4655 8413, see camdenvalleyinn.com.au.
Things to do
Balloon Aloft has weekend dawn flights over Camden Valley. They cost from $299 a person for an any-day ticket (web price). Precise departure times are confirmed the evening before, see balloonaloft.com.
The Australian Botanic Garden, Mount Annan, is open daily. An entry fee of $9 a car applies. There are free motorised tours most days. Phone 4648 2477, see rbgsyd.nsw.gov.au/annan.
Belgenny Farm is open annually for markets on Mother's Day, Father's Day and the second Sunday of November, see belgennyfarm.com.au.
Bibendum Restaurant by Opel Khan is at the Harrington Grove Country Club and is open Tuesday to Saturday for lunch and dinner and Sunday for lunch. For degustation dates see bibendumrestaurant.com.au.
Another worthwhile stop on the return to Sydney is the Mukti Gupteshwar Hindu mandir, the only underground Hindu temple in the world. Open daily, 203 Eagleview Road; see muktigupteshwar.org.
Best by balloon
The Balloon Spectacular is part of Canberra's March Festival. About 40 balloons inflate near Old Parliament House each morning for a sunrise trip over the city and surrounding areas.
Balloon Aloft takes passengers as part of these festival flights; regular flights over Canberra are also available, including a champagne breakfast at the Park Hyatt for an additional charge. From $290 a person, see canberraballoons.com.au.
Dawn Drifters offers Canberra flights, meeting just before dawn at Rydges Capital Hill Hotel. Priced from $250 a person, see dawndrifters.com.au.
Hunter Valley
The Hunter is a popular ballooning destination and Balloon Aloft has daily sunrise flights from Peterson's Champagne House in Pokolbin. From $299 a person (with breakfast), see balloonaloft.com/huntervalley.
As an alternative, Cloud 9 balloon flights in the Hunter leave from the Crowne Plaza near Cessnock. An "adventure flight" costs $299 a person, see cloud9balloons .com.au.
Elsewhere in NSW
Cloud 9 also covers the Hawkesbury Valley near Sydney, leaving from the Sebel in Windsor. A weekday escape costs $269 a person, see cloud9balloons.com.au.
In the north, Byron Bay Ballooning runs a one-hour sunrise flight for $325 a person, see byronbayballooning.com.au.
Canowindra, near Orange, is another centre of ballooning. Aussie Balloontrek has flights lasting between 30 minutes and an hour. For prices phone 6361 2552, see aussieballoon trek.com.au.
Also at Canowindra, Balloon Joy Flights is the official commercial carrier for the Australian National Balloon Championships, on April 9-17. It costs $260 a person, see gjkerr.com.au/balloonjoyflights.