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Let us know when your receive great advice so we can thank our lawyers and point others with similar questions in the right direction.Got it!
Painting to collage, painting to mosaic, photo to mosaic.
"Copyright" regards the "expression of an idea." Someone expressing an idea is the author of a work - e.g., a painting, a book, a photograph, a mosaic - and has the right to keep others from copying that work. In other words, only the author has the right to copy the work; i.e., the copy...right.
While you and I can both stand in front of Mt. Rushmore and paint, draw, or photograph the U.S. Presidents, neither of us would be infringing each other's copyright because we are expressing in our individual way the "idea" of Mt. Rushmore.
It gets a little hairier if I copy your expression of an idea. This bleeds into an area of copyright law known as a "derivative work." That is, if I'm standing behind you painting your charcoal expression of Mt. Rushmore, in a sense, I'm deriving my work from yours.
A copyright attorney would have to understand what the underlying subject (idea) is and whether you are creating your work directly from a well known subject (like Mt. Rushmore) or whether an author had created something unique from which you are deriving your work.
You can find some basic copyright information here: www.copyright.com
Per the AVVO terms of use, this does not constitute legal advice nor establish an attorney-client relationship. Consult an attorney for legal advice.Ask a similar question
Pardon the typo in my previous answer - the site is www.copyright.gov.
Per the AVVO terms of use, this does not constitute legal advice, nor establish an attorney-client relationship.Ask a similar question
Yes, there is an issue: Such copying likely constitutes copyright infringement (unless the original work was in the public domain). For a real-world example similar to what you have asked, please see the discussion of Shpeard Fairey's Obama HOPE poster copied from an AP photographer's photo at the first link below.
For an overview of copyright generally, please see the post at the second link below.
Disclaimer: This post does not constitute legal advice and does not establish an attorney-client relationship.Ask a similar question
You should be aware that this very question has been answered many a time by many a court in many a different way. However, that being said, as a general principle, you cannot avoid infringing a copyright simply by changing medium. This is very well illustrated in a famous case Rogers v. Koons. There, celebrity artist Jeff Koons took a photo of puppies authored and copyrighted by someone else and made a sculupture depicting the scence within the photo. He was held to have infringed the original copyright by creating an unauthorized derivative work (the right to create a derivative work is one of the exlusive rights of the original copyright holder). So you should be wary of how and what you intend to reproduce in another medium.
I hope this helps.
Disclaimer: This answer is for informational purposes only and does not constitute general or specific legal advice, nor create an attorney client relationship.Ask a similar question
Yes. You might have a fair use argument depending on how you are using the original. See http://fairuse.stanford.edu for an overview of copyright and fair use.Ask a similar question
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" Genre: Indie Rock & Punk - New Wave & Post-punk / Artist: The Teardrop Explodes / Audio CD released 2000-11-13 at Mercury Records Ltd (London) "
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The 80's did throw up a few gems and in my opinion one of them was this album: Kilimanjaro by The Teardrop Explodes.
The band was formed by Julian Cope, who started out in the short-lived Crucial Three along with Pete Wylie, who went on to form Wah! and Ian McCulloch ( Echo & the Bunnymen). Cope also went on to achieve solo success over the ensuing years after the band broke up, which incidentally came as no surprise, given their much talked about fighting. Tensions always seemed to be running high and there was a lot of coming and going by the band members during The Teardrop Explodes short life, but out of it all came this album, which is considered 'timeless' by many fans.
Tracks :-
1. Ha Ha I'm Drowning
2. Sleeping Gas
3. Treason
4. Second Head
5. Reward
6. Poppies in the Field
7. Went Crazy
8. Brave Boys Keep Their Promises
9. Bouncing Babies
10. Books
11. Thief of Baghdad
12. When I Dream
The band first came to my attention when they released their single: 'Reward' in 1981. It was their biggest hit and a big brash number with a catchy hook courtesy of the horn section.
I can still vividly picture frontman Julian Cope looking as mad as a hatter dancing around in front of the cameras on Top Of The Pops, as the song made its way up the charts into the top 10. He was also considered to be something of a heart throb and I recall reading in Smash Hits magazine that he could be a contender to take the title of the most beautiful man in the world from its holder, Japan's David Sylvian.
'Reward' was and still remains, an infectious track. From the opening line where Cope announces "Bless my cotton socks I'm in the news" it just reaches out and commands your attention. I was always one for amusing and tongue-in-cheek lyrics. Later years saw me loving The Smiths with Morrissey's great lyrics, but I believe this track was where that style of lyric all began for me.
I was equally impressed by 'Ha Ha I'm Drowning' which offered something different to what was around at the time and it held a new appeal for me.
Another single was 'Treason' which is probably my favourite track and one that brings back a lot of memories for me of 1981. It is just as heady and anthemic as 'Reward' and on the strength of these two singles, I rushed out to buy my copy of Kilimanjaro.
As Cope asked the question: "Is it real, or is it treason?" I thought this band were going to be massive and would be around for a long time to come.
Julian Cope projected himself very well and the band conveyed an image of fun swept along with energetic guitars and Cope's unique vocal delivery. Indeed you would never guess the wrangling and fighting that went on behind the scenes.
Even the less aggressive tracks: the slightly psychedelic 'Poppies', the brilliant Arabian flavoured 'Thief Of Baghdad' which is another of my favourites, and also 'When I Dream' are something special. The latter being quite a romantic love song with its simple lyrics: " I've been thinking about you, I hope that you've been thinking about me" . Whilst it loses some of its simplicity by going on for longer than I feel necessary at the end, the three tracks overall confirmed my decision that I was right to rush out and buy this album.
It's back to the hook laden gems with 'Sleeping Gas', 'Boucing Babies' and 'Went Crazy'. 'Books' on the other hand doesn't seem to quite fit in here. Maybe this is because it is actually a cover of Cope's and his former Crucial Three bandmate Ian McCulloch's 'Read It In Books' as it has a slightly different feel and lacks what the other songs seem to convey.
The only other thing that I can fault with Kilimanjaro is its production which I must admit sounded fine to me many years ago, but listening to it now, I feel it isn't as good as I thought it was. Whilst its remastered form offers improvement, I do feel that the horns seem over produced in places and weedy in others. Having said that, it doesn't really detract from my enjoyment of listening to it, as I am reminded of the happy days of first becoming a teenager.
A follow up album to Kilimajaro did indeed follow, but the end was fast approaching as Cope took over the song writing and tensions increased. By the time the third album was in the planning stages, the band broke up.
Described as the greatest dysfunctional family in pop. A read through Julian Cope's autobiography reveals just how mad and bad it all was. As the music press put it into perspective by explaining how the Gallagher brothers might dislike each other, but unlike The Teardrop Explodes, they never chased each other around the hills of Wales with loaded shotguns!
Taking into account their LSD-fuelled psychosis and mutual loathing for one another it is quite amazing that they managed to seem so 'together' on stage and also produce fun performances miming on Top of The Pops. It is perhaps even more amazing that they came up with an album as good as this.
Kilimanjaro does indeed deserve its 'timeless' acclaim.
This album for me is one of my favorites and i can listen to every track and it can get me in a jolly old mood.I first got to hear of The Teardrop Explodes from a Matsui video tape that I still have and this tape basically was a programme that had all the best and worst performances from the 1980`s and this signified the end of the 1980`s and the beginning of the 1990`s and this programme was shown on BBC2 and the performance that The Teardrop Explodes did was in 1981 on Top Of The Pops and they performed the song Reward and just seeing the enthusiasm of Julian Cope the lead singer of TTE made me want to watch the performance again and again and then to find out more about the band and purchase and album.
The band are from Liverpool and they had quite stiff competition from the town from bands such as Echo and The Bunnymen and Wah but still went about their own special way in producing music that would leave a mark.They formed in 1978 and their genre is described as Post-punk/Alternative Rock which is a style of music that i very much prefer and gives them that edge on certain other bands that were around at the same time.
The album Kilimanjaro was the first to be released by The Teardrop Explodes in October 1980 and at first the original artwork on the the sleeve cover was the shadowy picture of the band you see but was later changed to a picture of Mount Kilimanjaro for what the album was named after.
There is twelve songs on the album and they are a mixture of really upbeat songs to quite serious songs in a way and shows a diversity in music writing and performance that really for me that seems to be lacking in quite a bit of similar genre music as a lot of bands and artists do not seem to have the imagination or motivation to write a piece of music that will make people sit up and take notice and inspire later generations but this album most certainly did that for me and that is why i still do at certain times purchase albums in the present from the same genre as The Teardrop Explodes to see if any of the current bands or artists can give me the same feeling.
I will now give you my opinion on each of the twelve tracks and give a bit of information about what the song is like and what the songwriter/s are trying to do or say.
Track 1 - Ha Ha I`m Drowning
This song from the title sounds a bit like someone may commit suicide or is going a bit crazy but basically the song is about drowning in someone else`s love and is a bit of a funny adaptation to your normal love song but is basically saying that
the love you are giving me is overwhelming and and that Julian Cope is saying that love is like water and that he is in a sea or a bathful of love and it is very overpowering but it is better than no love at all and it is a good start to the album. Rating 8/10.
Track 2 - Sleeping Gas
Now we all know what sleeping gas does to you it basically sends you on a journey to the land of dreams and can certainly help you sleep if you are having trouble.This song is basically about a person who seems very confused and is just wandering around and it seems that nobody will contact them and they seem a bit lost really which for the person can be a bit scary and if it was you and it was dark and the weather was bad you could have some real problems and i do wonder if JC had a few issues but maybe it just came out in his writing.I do like this song but not one of my favorites if i am being perfectly honest.Rating 7/10.
Track 3 - Treason
Now this could have something to do with The Gunpowder Plot and a tribute to the bad man that was Guy Fawkes but the song
talks about getting annoyed with someone and wanting have a fight with them and asking if the situation is real or if is just fake.It seems to me that all it is from the words is that it is a story and that some people need to distinguish between fact and fiction and then they will know the morals of the song and the story that is being told.For me this is a great song and one of my favorites on the album a real winner.Rating 9/10.
Track 4 - Second Head
This could be seen from the title as bit unreal as not many people have a second head but it can be found in rare cases but i have only seen this in cartoons or movies.This song basically says that a second head seems useful but is it really the head that you first had which sounds a bit crazy but maybe the second head just just a part of the persons personality and only really comes ou t every now and again.Another decent song but not one of the best on the album.Rating 7/10.
Track 5 - Reward
This song every time i hear it just makes me smile and is the reason i first got interested in The Teardrop Explodes.It seems to me it is basically saying that JC should learn to accept the rewards he is given throughout his life as he has earnt them.He also says that all of a sudden that in the end we are all wrapped up the same and a lot of people need to accept the rewards they are given.The trumpets the enthusiasm everything about this song gives me a very positive vibe and is the major standout track for me on the album.Top marks.Rating 10/10 - Wish i could give it more there should be a 12 rating mark.
Track 6 - Poppies
This song seems to have links to Rememberance Day as the title suggests and with mentioning parachutes in the words it is stating that Julian Cope is maybe a soldier or a person who is in a field of poppies and has a lot of emotions and wants to wait around to pay his respects to the people that fought for their country an gave their lives up so bravely and valiantly so they could make sure future generations could have a decent future.The words are very emotion filled and for me what makes it such a great song and one that i listen to carefully and is again another favorite of mine.Rating 9/10.
Track 7 - Went Crazy
Thing song for me sums up Julian Cope`s personality.It is a song about certain things in your life that make you and your friends cry out in despair and that i have had enough and that you just could go crazy and just up and leave the life that you have got
and start a new life.But then it talks about indecision and thinking about what he could be about to give up.Another good song for me that bides well with me sometimes when i am having a bad day.Rating 8/10.
Track 8 - Brave Boys Keep Their Promises
This song is basically being a brave person and making your way onto bigger and better things however hard it may be and all the things that the world throws at you that you carry on regardless and eventually you will be rewarded and the promise of a good life can be achieved.A short but good song that is one of the better songs on the album for me.Rating 8/10.
Track 9 - Bouncing Babies
This is a song basically about JC as a child and that he had a tendency to fall down quite a bit and it got harder every time to get back up.But he listens to what people say and eventually says he has gone from being a Bouncing Baby to a Bouncing Bomb now that he has got older and needs someone to come and diffuse him before he does something stupid like killing someone.This is a strange song for me on the album and some of the lyrics are a bit bizarre so just an ok song for me this being honest the lyrics put me off a bit but i think that was just Julian Cope showing that in his song writing that he could be controversial at times and it shows quite a lot in this song.Rating 6/10.
Track 10 - Books
This could easily be used as an educational song for people to read books more and could be used by libraries or schools.Seriously though it seems as though JC reads quite a lot of books but when he is not being a bookworm he is a bit of a daydreamer but is always looking for his next book to read.A pretty decent song for me and shows that music was not his only interest or so the words make you believe that he was an avid reader or literature.Rating 8/10.
Track 11 - Thief Of Bagdad
A song that tells a tale that a person has been robbed but cannot believe that the person that has done this is someone that they thought they could trust but it seems not to be and that leaves the person feeling upset and hurt and wondering if they can trust anyone in their life again after this incident.For me this is a great song but just shows how you think you know someone so well and they misuse that trust you have shown and take advantage of you.Rating 9/10.
Track 12 - When I Dream
What this song is about really is the things that Julian Cope does when he is in sleep mode and he starts to dream about the person he likes and goes in a bit of a fantasy about it and that he has such feelings and emotions when he dreams that it is almost like he is awake and that he screams for joy about the person he is talking about and for me that he seems that he loves and has a lot of affection for.This for me is a fitting end to a quality album and just listening to it every time makes me smile again and again.Rating 9/10.
This was the first of three albums to be released by The Teardrop
Explodes and brought them the most album sales.Julian Cope went on to have minor chart success as a solo artist and his biggest hit was World Shut Your Mouth and was an ok song but not up to the standard of music he had created with The Teardrop Explodes.
The album got to #24 in the UK Album Chart and the most successful single from the album was my favorite Reward which reached the dizzy heights of #6 in the UK Single Chart.The band split up in 1983 but this album showed the talent they really had.
If you have never heard of The Teardrop Explodes or Julian Cope and you like the Punk/Rock Genre then i think you should buy this album as i assure you it will not leave you disappointed and if you already have the album then you have great taste.
I hope this was as interesting reading this review as it was writing it for me as it is one of my all time favorite albums and i sometimes play it if i am a bit stressed out or i have had a bad day.
Further information :-
Released Date - October 1980
Recorded - ???
Genre - Post-punk
Length - 39:45
Label - Fontana
Producer - Bill Drummond & David Balfe, as The Chameleons except track 3 Clive Langer, Alan Winstanley, tracks 10 & 12 Mike Howlett - This further information was taken from http://www.wikipedia.org/
You can buy the album from www.amazon.co.uk at a bargain £4.99 as i shockingly still have the receipt(as if i was going to take it back) and i purchased it from HMV on 1st September 1998 and paid the pricely sum of £9.99 but still feel i got a bargain back then as i have received much pleasure from this great album.
Thanks for allowing me to do this review and au revoir as Julian Cope used to say as he liked to speak French quite a lot he was fluent you would say.
Rob :)
Disc #1 Tracklisting
1 Ha Ha I'm Drowning
2 Sleeping Gas
3 Treason
4 Second Head
5 Poppies In The Field
6 Went Crazy
7 Brave Boys Keep Their Promises
8 Bouncing Babies
9 Books
10 The Thief Of Baghdad
11 When I Dream
12 Reward
13 Kilimanjaro
14 Strange House In The Snow
15 Use Me
16 Traison
17 Sleeping Gas (Live)


text:
Chapter Two (Part I)Mature
-chapter two-
It's not long before I find that I can't fucking breathe.
God, all of these people. These crying, screaming people slowly going insane all at once. It's all too much. I can't take it. I feel like my head's about to burst.
Another piercing scream sounds across the room and I can feel it tearing right into my gut. I howl in pain and collapse; Hermes dashes from the piano, a silver blur, and catches me before I hit the ground.
"Please, everyone, please, settle down!" Zeus begs.
No one listens.
"Alright, that's it," I hear Poseidon say. He marches across the crowd and stands beside Zeus, mouth hard. "SILENCE!" he bellows.
His fierce command is loud enough to shake the mansion for a few seconds. The lovely chandelier falls from the ceiling and shatters into a million pieces on the floor. Every being is taken aback, and momentarily the pain stops.
"Are you okay?"
I suddenly realize I am being cradled in Hermes' arms, and from the expression on his face, he's terrified out of his mind. I can feel it.
His closeness does nothing to soothe the overwhelming pain. I wince, trying to wriggle out of his grasp.
"Charlie, let me hold you," he insists. "Don't hurt yourself."
"Remain calm," Zeus orders. "Please, for everyone's sake."
Poseidon meets my eyes.
Can't you do something? he asks urgently. Use your powers to relax them.
As an empath, I am also capable of influencing people's emotions—but not when there are so many feeling the same misery all at once. I groan and attempt to spread a wave of tranquility across the room, but the pain is almost impossible to overcome.
I should've seen this coming.
I can't. I can't. I'm sorry.
Poseidon nods gravely. It's alright, Charlie.


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Dwyane Wade & Gabrielle Union - 'Save the Date Video' ... Gets Hollywood Treatment
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There is something for everyone at the Berkshire Botanical Garden. Below is a list of our scheduled events classes, and exhibits. For details on any individual listing, just click on the event for more information. If you still have questions, feel free to call the garden at 413.298.3926. See you at the Garden!
Invasive plants are becoming an increasing threat to the environment as bittersweet, garlic mustard and multiflora rose sweep rampant throughout the landscape. This discussion centers on what homeowners can do to eliminate or control the spread of these pest plants. Learn how to identify them, their natural history and the mechanical, chemical and biological control techniques currently available. Participate in a candid discussion of herbicide use.
Jack Sprano is a Master Gardener and long-time garden enthusiast. He has cleared a six-acre property full of invasive plants and has developed multiple strategies for controlling them. He is currently a board member of the Berkshire Botanical Garden.
Dress for outdoors; participants will carpool to a short walk.
Learn all about fungi with a focus on those commonly called mushrooms. This enormous and diverse group of plants is found in the wild during the fall months. The most common poisonous and edible mushrooms will be illustrated and described. A variety of fungi will be on display, supplemented with slides of other commonly found mushrooms. Participants will explore a nearby woodland and hunt for mushrooms. This class is not sufficient for learning how to identify wild edible mushrooms.
John Wheeler is current president of the Berkshire Mycological Society. He has taught mycology at Bard College at Simon's Rock and has been an avid mycologist for over 20 years.
Join a study group taught by staff at the Berkshire Botanical Garden to consider plant groups of particular interest to the staff. Look first at the late summer/early fall perennials that go the distance in the autumn garden. The following week will investigate the important role that grasses play in the garden. The final class will focus on woody plants that brighten the late summer garden with beautiful fall foliage. The classes meet on three consecutive Wednesdays, September 11, 18 and 25. Classes can be attended as a series or individually. See September 11 listing for description of whole series.
Grasses in the Garden – September 18
The stature, movement and rustling of grasses make these tough plants unique in the perennial border. Join Elisabeth Cary and discover reasons for using grasses and how to place and select the right plant for any garden. Explore the beautiful grasses—some known and others relatively unknown—for every habitat from a dry sunny location to wet shady spots. This program is designed for gardeners new to grasses.
Elisabeth Cary is the Director of Education at the Berkshire Botanical Garden and has been gardening for over 25 years. She specializes in perennial, vegetable and mixed-border gardens.
This event is almost full. To make a reservation, please call the Garden at 413.298.3926.
Join the staff of the Berkshire Botanical Garden for a late summer visit to Battery Park City, located at the tip of Manhattan. We will tour this extensive landscape—perhaps one of the most concentrated parklands in America—with the colorful David Dew Bruner, who will focus on design. We will visit areas of the park including Michael Van Valkenberg's Teardrop Park, Oehme van Sweden's Rockefeller Park, two gardens designed by Lynden Miller and landscapes by Olin Partnership and other exceptional designers. In addition to these amazing gardens, there is abundant public art to view, including the Irish Hunger Memorial designed by Brian Tolle, the magnificent "Ice Wall" by Ann Hamilton and Michael Mercii and sculptures by Jim Dine, Louise Bougeois and many more.
From Battery City Park we will travel north to the cutting-edge gardens of the High Line, New York City's newest park, built on an elevated 1930s freight rail structure on Manhattan's West Side. Tour the newly completed section of the High Line with native-plant specialist Drew Monthie and learn about the imaginative plant combinations of this naturalistic planting. These extensive gardens echo the wild, self-seeded landscape that grew up on the structure after the trains stopped running.
Enjoy a stimulating day in the city with some gardening friends. A morning snack and late-afternoon refreshments will be provided, compliments of the staff of Berkshire Botanical Garden.
PLEASE NOTE: This class was originally scheduled for September 21, but was postponed due to illness. Please excuse any inconvenience.
Learn how to extend the season's harvest to enjoy your own garden greens throughout the late fall and early spring months. Consider growing under cover in an unheated greenhouse, cold frame or high/low poly tunnels, and learn techniques needed to achieve a true four-season harvest. Investigate a variety of structures and learn the pros and cons of each. Crop selection, soil preparation, timing, planting, cultivation and harvesting will be covered, with a focus on early and late season production.
Peter Salinetti owns Woven Roots Farm, a small family farm and CSA that grows vegetables and culinary herbs using traditional farming practices. For over ten years they have grown local produce for Berkshire County families. Their vegetables are grown using environmentally sustainable gardening practices, and they produce amazing top-quality, delicious produce. Both Peter and his wife Jen are committed to raising awareness about the importance of the local food supply, along with teaching technical information on how to do so. They have lectured on growing food for both NOFA and other regional organizations.
Join a study group taught by staff at the Berkshire Botanical Garden to consider plant groups of particular interest to the staff. Look first at the late summer/early fall perennials that go the distance in the autumn garden. The following week will investigate the important role that grasses play in the garden. The final class will focus on woody plants that brighten the late summer garden with beautiful fall foliage. The classes meet on three consecutive Wednesdays, September 11, 18 and 25. Classes can be attended as a series or individually. See September 11 listing for description of whole series.
Woody Plants of Merit with Great Fall Foliage – September 25
Consider shrubs and small trees that add structure, color and texture to the fall gardening season. Elisabeth Cary will take students on a comprehensive tour of woodies worth their weight in gold for their fabulous fall colors. Each selection will be discussed for garden-worthiness, growth habit, aesthetic consideration, siting, planting, cultivation and maintenance. Tips on how to integrate these beauties into the mixed border, woodland setting and as a focal point will be covered.
Elisabeth Cary is the Director of Education at the Berkshire Botanical Garden and has been gardening for over 25 years. She specializes in perennial, vegetable and mixed-border gardens.
To register for this event, please call the Garden at 413.298.3926
Participants can choose to carpool or drive separately to New Paltz, NY. Those joining the carpool should meet in the parking lot at Berkshire Botanical Garden at 9 am (approximate travel time from BBG to first site estimated 1 hour:45 minutes) Participants should bring a bagged lunch.
This is a field trip to the garden of well known author and vegetable and fruit gardener Lee Reich, followed by a garden tour and picnic lunch at Mohonk Mountain House. A writer once proclaimed Lee's garden to be very much a "man's garden" and perhaps it is. The emphasis is on fruits and vegetables, but the whole works is woven into plantings of flowers and ornamental shrubs supported by rustic fencing and gates. He grows a year 'round supply of pretty much every kind of vegetable except rhubarb and Jerusalem artichokes. Fruits include many varieties of dwarf apples, pears and grapes, as well as uncommon fruits such as pawpaws, persimmons, gooseberries (20 or so varieties), juneberries and medlars. September in his "farmden" brings to ripening a number of fruits, common and uncommon. Pawpaw, hardy kiwifruits, grapes and American persimmons should be available for tasting. From here, travel to historic Mohonk Mountain House and picnic on the grounds. Head Gardener Andrew Koehn will then lead a tour of the grounds and gardens of this famous historic resort.
Lee Reich is an avid "farmdener" (more than a garden, less than a farm) who turned from plant and soil research with the USDA and Cornell University to writing, lecturing and consulting. His books include A Northeast Gardener's Year, The Pruning Book, Weedless Gardening, Uncommon Fruits for Every Garden, Landscaping with Fruit and Grow Fruit Naturally. He writes regularly for the Associated Press, Fine Gardening and Horticulture. His garden has been featured in The New York Times and Martha Stewart Living, has won awards from National Gardening and Organic Gardening and has been included in "Open Days" tours of the Garden Conservancy.
Andrew Koehn is head gardener for Mohonk Mountain House. He manages the extensive gardens and grounds for this estate. His garden blog Gardening at Mohonk is full of horticultural information and lively garden chat.
Do you want the sights and smells of flowers in winter, but rising fuel costs seem to put a greenhouse out of reach? The solution—the subject of this class—is to go solar! You will learn the basic elements of a solar greenhouse, how to optimize greenhouse performance, how to operate month by month in response to the weather and how to choose plants that are growable and rewarding.
James Jones is a lifelong gardener and a member of many horticultural societies, with a particular interest in the North American Rock Garden Society, where he has been national president and chapter chair, as well as director of the Seed Exchange. He has recently published a book on his experiences using solar energy, Fall and Winter Bloom in the Solar Greenhouse. He often judges at the Boston Flower Show.
Dress for outdoors.
Assess the year's gardening successes and failures, review the gardening events of the spring and summer and begin planning for next season. Consider winter interest in the garden and understand when to prune perennials. Learn how to prepare gardens for the coming winter season, including soil amendment, mulching, home a variety of seeds, cuttings and perennials for next season's garden. cutting back, and fall division of perennials. Seed saving for the coming spring, division of plants that require fall planting, and bulb-planting techniques will be covered. Take
Elisabeth Cary is the Director of Education at the Berkshire Botanical Garden and has been gardening for over 25 years. She specializes in perennial, vegetable and mixed border gardens. She will share some favorite perennials from her own garden.
This lecture on growing garlic by "garden guru" Ron Kujawski—held just in time to plant your garlic—will inspire, inform and give you the information needed to grow the best garlic in town. Each student will go home with a selection of cloves of Ron's favorite picks for Berkshire County and the surrounding area. Ron will cover selecting varieties, growing conditions, planting and cultivation of this great crop, as well as curing and storage. Consideration will be given to other allium groups, including shallots, leeks and onions.
Ron Kujawski is the former Landscape and Nursery Specialist for UMass Cooperative Extension. He is a garden writer, educator and researcher in IPM, plant nutrition and soil science. He teaches for the horticultural industry throughout New England.


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Lange, Charles H.
Salt Lake City : University of Utah Press, ©1996
|Named Person:
|Adolph Francis Alphonse Bandelier; Adolph Francis Alphonse Bandelier; Adolphe Francis Alphonse (1840-1914) Bandelier; Adolph Francis Alphonse Bandelier
|Material Type:
|Biography, Government publication, State or province government publication, Internet resource
|Document Type:
|Book, Internet Resource
|All Authors / Contributors:
Charles H Lange; Carroll L Riley
|OCLC Number:
|xiii, 263 pages, [22] pages of plates : illustrations, maps ; 24 cm
|The family Bandelier --
Early days in Illinois --
Years of decision --
The AIA connection --
The great adventure begins --
Mexican interlude --
Back to the southwest --
A hazardous journey --
Into the Sierra Madre --
A crisis in Highland --
Return to Santa Fe --
Histoire and Hemenway --
An end and a beginning --
Two fateful years --
Peru and Bolivia --
The urbanites --
Journey's end --
Fanny alone.
|Charles H. Lange and Carroll L. Riley.
Adolph Bandelier (1840-1914) has long been recognized as one of the most significant figures in the early history of anthropology and archaeology, not only in the American Southwest but also in Mexico and South America. With almost no formal education, Bandelier succeeded in painting a rich picture of prehistoric American Indian life - a truly unique accomplishment for his day. Because of his extensive work on the Frijoles Canyon Anasazi complex, Bandelier National Monument, between Santa Fe and Los Alamos, carries his name. Bandelier presents a picture of a man who was an explorer in every sense of the word. From his early years as the child of Swiss immigrants in Illinois through his travels around the Southwest, Mexico, then Peru and Bolivia, Bandelier followed his interests wherever they led, counting as his influences Lewis Henry Morgan and the German naturalist Baron Alexander von Humboldt. This accessible biography places Bandelier at the juncture of two eras: the old, in which antiquarians could call themselves archaeologists, and the new, in which archaeology began to establish itself as a science.
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Related Subjects:(20)
- Bandelier, Adolph Francis Alphonse, -- 1840-1914.
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- Archaeologists.
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text:
With that premise and especially that ridiculous title, one would
expect this to be some over-the-top satirical comedy, but in fact, it
turns out to be a very serious war film. You can just replace the
animals in this with humans, and you'll get yourself a typical
Hollywood product.
I guess the reason the creators chose to feature animals instead of humans was to make the film less violent and controversial so that viewers can suspend their political views and just see the film for what it is. And it works splendidly. With the fluffy rabbits in place of real soldiers, the film becomes much more memorable and interesting than it would normally have.
I also appreciate that they try to give the main characters some connections and progress within the short runtime, though those are no more than cliché Hollywood stuff.
The animation is good for an independent product. The character models are great with very smooth movement, and the explosion effects are OK. The only real problem I see is that sometimes the characters don't blend well with the backgrounds.
In conclusion, this short is one surprisingly fun and solid film that action lovers should really see for themselves.
Cat Shit One
Action / Animation / War
Cat Shit One
Action / Animation / War
Botasky and Packy are private contractors, working in the Middle East, with support from a distant helicopter-mobile base. Their jobs are as "sniper" and "spotter", the spotter is the team lead (as is accurate military protocol). Their assignment is to extract two captives, an ally, and a local. The characters are 1. Rabbits (contractors), and 2. Camels (locals). Rabbits seem to have been chosen due to the Japanese word for Rabbit is Usagi, which can be interpreted to be U.S.A. GI. The Team must interpret the situation, and decide whether to extract the victims themselves or wait for further support. Things seem to be moving rapidly in a negative direction, so the Team elects to split up, and do the extraction themselves. They split up, with Packy going into a village to locate and pull the victims out, and Botasky providing over-watch and sniping support. The fighting is rapid, and smooth, with Packy showing a great deal of speed and agility. The sniping is rapid and smooth. Packy's ...
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Movie Reviews
Much better than expected
With that premise and especially that ridiculous title, one would
expect this to be some over-the-top satirical comedy, but in fact, it
turns out to be a very serious war film. You can just replace the
animals in this with humans, and you'll get yourself a typical
Hollywood product.
Surprisingly good
Against what someone could expect, this animated CGI short, despite having a cast of adorable characters playing the main roles, it is not a kid's films, but it is neither a black comedy, being instead (For most part, at least) a serious action war film.
While at first the cute appearance of the two main characters seem to be a distracting factor, the story of this short, despite being too simple it is interesting enough to make this worth-watching, being well told and surprisingly effective. Also, the good quality of the animation (With expressive and appealing designs) makes this a particularly enjoyable watch.
Fortunately, here the juxtaposition of cutesy with serious or violent situations isn't something gratuitous or forced, serving merely as an stylistic choice, working very well in that aspect.
Very unique animated short
Ask me how much I loved the concept of a (relatively) serious animated war story about a bunny snipers team in the middle east that includes head shots to camel terrorists. Just that description alone should entice you to see it.
The serious approach the producers took to a story line about hardened war vets (at least Packy the spotter and leader) compared to the not-so-serious premise of 2 bunnies as the main characters. They certainly play with this juxtaposition; the team is scoping out the village to weigh their options and you see regular fluffy tails twitching, they walk through the dangerous village with those floppy feet, and a cute bunny barking orders like Sgt Rock (for the younger reader, an old comic book WWII GI).
The only criticism is that Botasky's (the sniper) dialogue are a bit weak, he should have been as hardened and confident as Packy) but you can certainly forgive that slight issue as it added to the juxtaposition.
I only wish this was longer, maybe even a regular, on-going series.


text:
Camille: Identity
"...Luna? You've grown since I last saw you."
I blinked, trying to push down a rising feeling of shock and a wave of dismay. Luna? So Gilles really didn't recognize me. His own sister.
"Gilly, it's me, Camille." I tried to look at him but it was too dark to make much out. I had only been able to tell who he was by the sound of his voice.
"Camille? Please don't try playing any games with me, Lou, the fact that I'm seeing ghosts is enough to freak me out."
"Ghosts? What-"
He cut me off.
"-You're dead. Wiseacre made sure the sedatives were weak enough that I could watch. I couldn't forget that day no matter how much I wanted to."
This was making no sense.
"I don't know who Luna is," I started, "But I'm definitely alive and....not her."
Gilles took a step toward me, into the light and I stumbled back in shock. His face was gaunt, listless, and scars were abundantly criss-crossing over his skin, and his eyes were surveying my face with the method of a scavenger. The eyes that he shared with me, that used to be endlessly laughing and full of mirth.
This wasn't the same brother I'd grieved for the past few years.
"What...happened to you? What are you doing here?"
"When you died Wiseacre decided to make me one of his guinea pigs. The experiment worked, but when he tried to sell me I gave the buyers so much trouble that they demanded a refund. Instead of wasting his precious money by offing me the Admiral made me a permanent fixture in the night circus. Oh, but he figured mom and dad were useless from the start so he shot them in their sleep."
I breathed in and out slowly, running a hand over my face. The stories I had weaved for myself, to believe that they were alive and well, had been crushed to smithereens.
"But...why were you all even here, in this circus, in the first place? I only came to work here after you went missing, and I haven't seen any of you for as long as I've been here."
Gilles looked at me curiously.
"When exactly did you start to work here?"
"The September of 2010, I think."
"A few months after you...Luna died. I'm afraid, Camille, that you aren't who you think you are."
Stop listening to him. Boltake commanded, I will explain momentarily.
"Stay out of this," I shot back, "This involves me, not you. Turn your back for a second."
Gilles smirked.
"You talking to Gabe? Makes sense he'd be involved in this."
I insist, Miss St. Croix.
"What do you know about him? Tell me."
My voice was verging on hostile, but I was feeling more and more lost by the second.
"He quit the circus to try and make a living better than being a carnie, before what happened to Luna. Don't know if he came back, since I've been living in this lavish car for a while."
"What does that have anything to do with me?" I practically yelled, my hands balling up into fists.
"The only reason Gabriel left was Luna. She'd been poking around Wiseacre's illegal side business in the hopes of getting enough dirt to get him behind bars, but Gabe knew she was signing a death wish. He wanted to earn enough to give her a new identity, a new life."
I sighed impatiently, waiting for Gilles to continue.
"Camille, you aren't my sister. You're an exact copy, with altered, planted memories and a different name. A...clone."
"What?!" I hissed, verging on hysteria. This was ridiculous. "Boltake, is this some kind of joke?"
I'm afraid not. I'm sorry, Miss St. Croix.
My head was spinning. I fell to my knees and buried my head in my hands, breathing heavily.
No, no, no. This...couldn't be real. Couldn't be.
My memories...my life...my family...weren't mine?
Images suddenly surfaced in my swirling mind, of labcoats and doctors and monitors.
My...Luna's parents and Gilles, my memories of them burned me. They felt false, as if they had been recited, spoonfed and I had merely accepted them as my own.
I felt false.
Gilles gestured towards the open vent on the roof.
"You need to get out of here."
My hands were shaking. I couldn't breathe.
"I...I can't."
"Wiseacre will check in on his 'freaks'. You're not safe here, Camille."
I looked up, my vision lurching.
"I can't leave you here, Gilles. Even if...you're not really my brother."
He gave me a small smile and shook his head.
"Don't worry about me. I wouldn't get far if I left, anyways."
I noticed with a start that the train was slowing down, about to stop in Denver. Shit.
My legs managed to hold me as I stood, and looked up toward the square of sky above my head.
"Give me a boost?" I asked Gilles, quickly being obliged.
As I emerged on top of the train the wind had decreased significantly, and I was able to return to the car that I had escaped from earlier. Thankfully Orzo was nowhere in sight.
When I disembarked the train, a hat pulled over my head and a scarf wrapped around my face, I couldn't help but feel unreal.
My not-dead non-brother had just told me I was a clone. And that my crazy employer had something to do with my original.


text:
This content has been marked as final. Show 2 replies
1. Re: ORA-23324: error ORA-12541: TNS:no listener, while creating deferror entrystevencallan Nov 15, 2011 2:12 AM (in response to User275737)Make sure the listener is up and listening for xxxx.world.
2. Re: ORA-23324: error ORA-12541: TNS:no listener, while creating deferror entryUser275737 Nov 17, 2011 6:56 PM (in response to stevencallan)The Listener in SNAPSHOT server and the MASTER server - started
I can do the same from different country of the other server with the same tnsname works.
But only this perticular site have issues since Oct 27, 2011 onwards. The last successful replication from that snapshot site to master is on Oct 27, 2011.
I can connect to the SNAPSHOT Site and from there i can connect to the master using any profile to the master.
But only when i replicate from the snapshot site using the script then i am getting this 12541 no listener error
Please help.
Thank you,


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New Travel Channel president Shannon O'Neill is quickly putting his stamp on the Scripps network's executive team. O'Neill, who was elevated to the top job earlier this month, has named Ross Babbit head of programming with a title of SVP of programming and development. He already was a high-ranking programming executive at the channel in his previous capacity of SVP programming. Andy Singer, who had overseen Travel Channel's programming as SVP programming and production and most recently as general manager for the past two years, is stepping down.
Ross Babbit Named Travel Channel Programming Head, GM Andy Singer Exits
2 Comments
Andy's a great guy… very talented. Hope he lands somewhere great soon!
Stepped down? Ha! Sounds more like pushed down that step. Dead ratings, no hit series, and new management can do that. Not so sure bumping up the guy that developed zero hit series is the answer though.


text:
This pharmacy-style floor lamp comes in an appealing brushed steel finish.More Details >
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Full spectrum bulbs are the only way to go...they help save your eyes when incandescent and others harm them. This lamp included the "OTT" bulb, that's why I bought it.
The light fixture arrived with parts badly assembled by the person who had returned it. I used a wrench to unscrew the joint and then properly screwed it back together. It is somewhat flimsy, but stands well if left untouched. The bulb is too bright, but is useful for room illumination by turning the fixture toward the ceiling.
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When i was younger i used to go fishing all the time with my dad and that was a big part of my childhood. As time went on we all grew apart and soon my dad just stopped taking me fishing because he was busy with work or i was busy getting high
The water is where I belong
My name even knows that
& so does my father .
Early morning fishing
No such thing as quitting
At the beach we were living
The water should be my addiction
Daddys little girl
I caught fish and wanted to travel the world
I miss the old him
I miss the old me
Life has battered us
Shaken us up
I would do anything to get back the love
He became spiteful
& I became distant


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text:
Chapter twoMature
A cloud of dust lifted to the sky followed by large chunks of rubble, gunshots could be heard from miles away as Alex ran up the side of the monsters arm firing shot after shot at its flesh, the explosive rounds detonating on contact with the monsters flesh, Alex continued to run along the arm of the beast for some time before he reached the shoulder, stabbing the blade of the gun into its flesh and twisting the handle ninety degrees to the left, once he heard the click he pulled the trigger firing a corrosive bullet into the monsters flesh.
The monster let out a growl and swatted its shoulder to which Alex jumped back leaving his gun, having no time to spare ripping it from the monsters flesh, Alex landed on the ground feet first leaving a crater where he landed, with a dash Alex moved to the monsters feet jumping in the air before he reached it, moving his right elbow in front of him, slamming himself down at such a speed he rippled the air behind him, upon contact he ripped through the monsters foot and some portion of the dirt below, The monster slid its foot behind dropping to its knee in order to force its fist down to Alex.
Alex, unable to move freely whilst in the ground simply crossed his arms in front of him and took the punch head on, again and again and again the monster continuously slammed one fist after another into Alex until dust filled the area, with a pleased look the monster closed its eyes and slowly started to shrink down to normal size, its body cracking back into place as it shrank turning the Orc to its former self, blood dripping from its eyes, ears, and mouth. The Orc placed a finger on its ear and after a few seconds of nodding its head spoke "Yes, the shifter is dead, squashed like a bug." After a few more nods the Orc lowered its arm and started to walk back to the crumbled house, brushing past bits of rubble to find the staircase underneath.
"Not. Dead." Alex said over the Orcs shoulder before flicking his wrist into its temple blowing a straight hole through its head with a smirk over his face and a blood lusted look in his eye.
The Orc slowly dropped to the ground with a pale look in its eyes and a fixed shocked expression "This prophet of yours should have researched, could have saved your life" Alex whipped the blood from his hand before flicking the other one into the rubble obliterating the smaller pieces and slightly moving the bigger ones revealing the start of the staircase.
"Alex, is that you?" Jaq's distant voice queried from the darkness
"Yeah, come on out" Alex sat down on a larger piece of rubble and searched his pockets.
"So how did you deal with this one" Jaq said on his way out before seeing the body, a smile on his face that dropped when he noticed the body and decimated building
"He didn't know about the Phys-Shield" Alex said calmly, a smile on his face as he found the last lollipop on his person, placing it in his mouth within an instant. "He used nothing but physical attacks, the thin barrier almost broke, I assumed he could feel my breathing and or hear it so I stopped my breathing and held my fist under my armpit to slow my heart beat, making him think I was dead, that's all really."
"So I take it you're glad he couldn't use magic? Stupid question, of course you are that would completely ignore the shield." Jaq spoke with an indecent tone and a pleased chuckle.
"I suppose, but I would have dealt with him either way, what's down the stairs?" Alex looked down to the stairs trying to look past the darkness.
"It's an occult meeting area, I guess, bunch of dudes in robes chanting some nonsense over and over, it seems rather cliché if you ask me, they have a lot of guards most of them Orcs but there are some ghouls, most with firearms or swords, I couldn't see any weapons on the cult members though so that must mean -"
Alex let out a sigh, "Magic."
"Exactly, I counted thirty persons, ten of which were guards, twenty were cult members, I presume their leader is deeper inside."
"This prophet character I've heard about." Alex dropped his head back and took a deep breath.
"You're not thinking of going in are you?" Jaq looked at Alex for some time waiting for a response that never came. "Alex even I can see that you're wounded, your elbow is broken and your shield can't take much more damage and yet you want to go in?"
"I am going in, if I leave they'll move location and it's obvious that they're doing some occult sacrifice shit, I can't just let this happen in my Area, I can't afford to make another mistake like that, I want you to go to Claire, bring her down in one hour at full strength, I'll need it, after you do that I want you to go to Brenda and tell her to come to this location with a wolf squad, got it?" Alex looked strict and spoke firmly; there was no arguing with him.
"Brenda? But she's…" Jaq looked to his left and spoke under his breath, "Scary."
"Just do it." Alex stood up and moved the left side of his Jacket away pulling one of two hooks hooking out a curved blade from his side that he pulled from the string juggling it between his arms before holding it in his left, the other arm being too damaged to use much pressure. "You have one hour Jaq, I'm counting on you." With nothing but a sigh, Jaq flew away, his glittery figure slowly disappearing in the distance along with the dropping sun.


text:
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Wednesday: 6:30–6:00
Thursday: 6:30-6:00
Friday: 8:00-4:00


text: One comment I've heard is where's the info on web and load tests? There's a lot of stuff on the web, it's just scattered hither and yon. So I've been collecting links and putting them on this forum post: http://forums.microsoft.com/MSDN/ShowPost.aspx?PostID=1177487&SiteID=1. One thing I want to do is break out links to the blog posts. There's a lot of great posts, but they are not catalogued so finding the one you want can be a pain.


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firstname.lastname@example.com avait besoin d'un nouveau design de logo et a lancé un concours sur 99designs.
Un gagnant a été sélectionné de 119 designs proposés par 32 designers freelance.
Embassy House is a luxury apartment building located near the United Nations, in New York City.
We are looking for a logo that encompasses the colors that match the decor of the building. You can view photos of the building at http://www.embassyhouseapts.com. The color schemes are in the brown/beige family, as seen in the photos.
- Color scheme to match colors of building decor (beige, browns, greens)- Logo in various fonts and styles, the more the better- This is an example of a logos that the client likes: http://ipapts.com/dev/, and beekmanstrealty.com
- No buildings or skylines in the logo- Do not use logo creator software


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Forest Stewardship: Planning for Beauty and Enjoyment
And so I have slowly come to understand—that beauty has a thousand different faces... stark branches against a wintry sky... the rich fragrance of the damp woods... beauty holds a thousand different faces toward the searching heart.
Winston Abbott
All of us who are drawn to forests find delight in the simple beauty they possess. All of us who are drawn to forests find delight in the simple beauty they possess. It is difficult to describe just what it is about them that resonates within us as beauty. It may be seeing a forested hillside aflame with fall color, a majestic oak branching toward the sky, or a sunlit spider web glistening with dew. Such scenes inspire us to pause and reflect on the natural beauty that surrounds us. As a forest landowner, you are in the unique position to directly enhance your property's aesthetic value through active forest management. By incorporating visual concerns into woodland management activities, you can increase your opportunities to enjoy natural beauty and minimize activities that may detract from your land's scenic value. As you work to enhance the scenic qualities of your land, you may grow to more fully appreciate the splendor and completeness of nature's everchanging artistry.
Aesthetics and Forest Ownership
A forest's scenic value can provide many benefits. Simply being outdoors in the open air in a natural setting can be relaxing, meditative, invigorating, or even spiritual. The emotional and physical well-being that forests afford has some scientific basis. Medical studies show that green plants have a calming effect on people—blood pressure, heart rates, and breathing are lowered or reduced.
Spending time in the woods does more than just lower stress. Scenic wooded areas are excellent for hiking, biking, cross-country skiing, and other recreational pursuits. These activities are wonderful exercise and can be a regular part of a healthful lifestyle. An additional benefit of spending time in forests, either alone or with others, is the unlimited opportunity to see diverse and beautiful plants and animals first hand. Seeing the first wildflowers of spring, hearing the musical calls of forest songbirds, crunching through fallen leaves on a brisk autumn day, drinking in the moist fragrance of pine—all these encounters keep us in contact with the natural world and can be both educational and awe-inspiring. Simply walking through a healthy timber stand can renew appreciation for our forest resources as the source of many beautiful and useful wood products.
A responsibly managed and aesthetically pleasing woodlot is something in which you and your family can take pride. Perhaps your woodlot can even serve as a showcase of responsible management for others to learn from and enjoy. All these aspects of aesthetics are important to keep in mind when making management decisions that affect your land.
Planning the Forest Landscape
Integrating forest management for scenic beauty and diversity can be viewed as landscaping on a grand scale. Just as you might consider the size, color, arrangement, and form of plants in your home or business landscape, so should you consider these factors when managing forestland. (The information in this section was adapted from North Carolina Cooperative Extension Service's Woodland Owner Note, Forest Stewardship: Planning for Beauty and Diversity, prepared by Mark Megalos.)
Defining Scale
Forestland can be viewed at two levels or scales at the same time—as a number of small microlandscapes or as one of a few macrolandscapes (Figure 1).
Figure 1. The peaks and valleys of this macrolandscape are composed of various micro-landscapes, from the mixed hardwood stand in the foreground, across the watery basin, to the forested mountain in the background.
Microlandscapes are distinct areas within a forest that are usually visible from a single vantage point. For example, a dense pine stand, a shady oak grove, or the view of a hillside are all considered microlandscapes, which break up the forest's uniformity. Slight variations in light, tree density, and species composition characterize a forest and affect the way we view and appreciate the land.
Macrolandscapes, on the other hand, are primary landforms and their size, texture, contour, shape, and space. Macrolandscapes are fixed by natural formations and the vegetative patterns established by land use. They should be managed carefully because they are usually visible from many vantage points. When reviewing your management options, you should consider topography. Does your land include mountainous terrain or large hills? If so, your management activities will be elevated and on display for all to see. Visual and spatial impacts should be incorporated into the planning process before any active management scheme is implemented.
One way to visualize various management outcomes is to make photocopies of panoramic photographs. With colored pencils, you can mark proposed clearings, access routes, and harvest areas on these copies (Figure 2). This inexpensive method can help you orient and plan openings on hilltops, ridges, and adjacent roadways before making final decisions. This process is a useful tool in balancing timber, wildlife, and recreation objectives with aesthetic concerns. In the next section we review how you can plan and carry out active forest management decisions.
Figure 2. The site of planned activity is marked with a heavy broken line, showing irregular shapes, blending more naturally into the landscape.
Aesthetics and Active Management
While a hands-off management approach is sometimes a viable choice in forest planning, most management schemes involve removing various types or amounts of vegetation. Even unmanaged forests are always changing—trees die and are continuously appearance doesn't last long. Once the sunlight, nutrients, and moisture previously used by the harvested trees are available, tree seedlings, shrubs, wildflowers, and other herbaceous species fill spaces rapidly. These new sources of food and cover in turn attract a variety of insects, birds, and mammals. The leftover woody debris, or slash, protects young growth from too much light, strong winds, and hungry deer, and provides additional cover for wildlife. The cut site is soon transformed into a lush area active with new life. In the next section we properly planned and implemented also have the potential to detract greatly from your land's scenic value. Access routes range from temporary, narrow paths to permanent, paved roads; but, in general, similar design principles apply to them all.
Design Considerations
Since almost all forms of forest access involve removing trees and other vegetation, the best access routes follow the natural contours of the land to reduce erosion and water runoff problems. A poorly designed route, such as one that runs straight up and down a mountain, provides an easy path for water to follow. As water flows freely down the unobstructed path, it gains speed and power and sweeps soil particles from the road surface. This sediment is eventually carried into a stream or river. The accumulation of soil particles in the stream, known as sedimentation, clouds the water and has an adverse effect on aquatic life.
A preferable route is one that follows the contours of the land or zigzags from top to bottom of a slope. Contours or zigzag provide little opportunity for erosion to occur (Figure 3). Water following such a course slows where it is obstructed by vegetation and is eventually absorbed into undisturbed forest soils.
Figure 3. This access road follows the natural horizontal contour of the land and is well vegetated on both sides, thus minimizing water run-off and soil erosion.
Erosion on forest roads or paths may also be reduced by incorporating water diversion features, such as water bars and culverts, into the design. By considering slope, aspect, and length, forest managers can carefully plan and maintain roads and trails to avoid erosion and consequently minimize unsightly problems such as rutting.
Roads and trails that meander also provide a more direct aesthetic benefit: an element of mystery in the forest viewscape. Travelers along a winding road never know what is beyond the next turn. And what outdoor enthusiast doesn't enjoy rounding a bend to surprise a deer or flock of turkeys feeding along the roadside?
When planning access routes, it is helpful to consider the view. Driving or walking on forested roads sometimes becomes monotonous because vegetation is usually more dense along roadways. However, thinning some areas along roads increases visibility into the forest's depths. Instead of traveling the length of an enclosed corridor bordered by dense vegetation, people can experience more of what is contained within the forest. You may also vary roadside viewing by favoring a mix of hardwood and evergreen species. In fall, the orange, gold, and red hues of mixed hardwoods are particularly brilliant next to the deep green of hemlock and spruce.
Another aspect of access to consider is controlling unwanted use of your trails and roads. You can restrict access during wet periods and reduce maintenance problems by placing gates or highly visible cables across access roads. Restricting access will also minimize wildlife disturbance, poaching, and littering.
Wildlife Viewing Considerations
To many landowners, the potential for viewing wildlife is a large part of a forest's scenic appeal. You can plan forest access to maximize wildlife observation by either adapting existing routes or developing a trail specific for easy, quiet access to a variety of sites where you may observe wildlife unobtrusively. The trail should form a loop beginning and ending in the same general, convenient location. Numerous bends and curves add the element of surprise and increase chances of flushing a grouse or catching a deer off guard. To maximize the variety of wildlife you may encounter, you should plan trails passing through diverse cover types and near key interest points such as wetlands or clumps of evergreens. Additional considerations and ideas are discussed in the "Developing a Woodland Trail" section of this publication.
Planning Access with Aesthetic Considerations
- Design roads and trails to follow natural contours.
- Keep slopes below 10 percent to minimize erosion and maintenance.
- Minimize the number and extent of roads and trails and maximize their effectiveness.
- Avoid developing permanent roads in environmentally sensitive areas.
- Manage roadsides to enhance wildlife and visual qualities.
- Plan for regular road and trail maintenance.
- Consider installing gates or cables to control access.
Developing a Woodland Trail
A woodland trail can offer your family decades of enjoyment and provide endless educational and recreational opportunities in the natural setting you know best. Creating a trail on your own property allows you to highlight those aspects of your woodland that capture your interest, whether that is a special view from a hilltop or a management area that has been particularly successful. Before you develop a trail plan, ask yourself the following questions:
- Why do I want to develop a trail?
- How will it be used?
- What are the physical land characteristics that this type of trail activity requires?
- Who will use the trail?
- How will the trail fit into the long-term management plan for the property?
Deciding on a particular trail type and predicting the use it may receive can be a challenge. Trails range from flat, wide swaths of asphalt to little more than deer paths. Most likely, your ideal falls somewhere in between. A trail is best designed for one type of activity—if you plan a trail for biking or horseback riding, for example, the design should differ in its slope, surfacing material, and width from one intended for casual hiking. Some landowners develop a trail system to show various aspects of their woodlands to visitors. If you have an interest in forest ecology, for example, you might develop a trail to educate visitors about how diverse plant and animal life-forms interact and compete in a stream or marsh or along a forest's edge. If you are a very active land manager, you may want to highlight the natural features and managed areas of which you are most proud. Or you may be interested in a trail to increase wildlife viewing.
Setting clear objectives is paramount to achieving an effective and rewarding trail system. Professional consultants are available to help you plan, design, and construct a trail that meets your objectives. A consultant can help with selecting the area, choosing features to highlight, and identifying any constraints that might be present—such as steep slopes, water channels, and distance limitations. If one of your reasons for creating a trail system is to increase access to your land for management purposes, such as firewood cutting or timber management, a professional forester can help you incorporate these objectives in the design and layout stage.
Whatever type of trail you develop, you should always plan for regular and continuing maintenance. Over time, trails may wash out or become overgrown. Sometimes they are damaged through improper use. Incorporating regular trail maintenance into your schedule of management activities ensures that your trail system will continue to reward you in years to come. If you are interested in learning about cost-share opportunities for developing trails, contact your Bureau of Forestry service forester for more information. If you plan on expanding your trail system into access roads for later management activities, you may qualify for design and layout assistance through available cost-share programs. Contact your Bureau of Forestry service forester or local NRCS office to determine if moneys are available.
Harvesting Considerations
Proper skid trail and logging road design and layout are very important to your forest's scenic value. The heavy equipment used in harvesting operations can compact the soil or allow severe erosion to begin unless precautions are taken. Harvesting during dry seasons or when the roads are frozen can reduce the risk of erosion and sedimentation. Logging roads seeded with native species such as bluestem, broom-sedge, switchgrass, Indian grass, or other seed mixes will help stabilize soil, reduce erosion, and provide forage for wildlife. Well-planned and maintained roads are valuable assets. They increase the accessibility of the forest for recreation and other purposes and have potential for increasing future management options and income.
Managing Small Forest Openings
Cutting is often used as a tool to alter existing vegetative cover for various reasons. Creating small forest openings can enhance scenic value by providing you with the opportunity to observe a variety of plant and animal species taking advantage of the new habitat. You can also use such areas to learn more about your land's successional patterns.
One way of enriching your enjoyment of your land's natural beauty is to remove selected trees to create a view (Figure 4). Pennsylvania's rolling ridges and valleys offer very scenic landscape perspectives on which you may capitalize if your woodlot has suitable topography. When you create a scenic vista, incorporate the same guidelines offered for access routes to minimize erosion and sedimentation. A resource professional can help you design and establish your forestland vista to ensure that it is well integrated into your other management objectives.
Figure 4. Removing just a few trees along the trail creates a scenic view of the valley below.
Wildlife Management Considerations
You can create small forest openings and seed them with native grasses to attract wildlife and provide increased opportunity for viewing wildlife. These areas produce forage for deer and seeds for birds and small mammals. In turn, small mammals attract birds of prey, such as hawks and owls. Insect life abounds in the tall grasses and provides food for wild turkey and ruffed grouse, particularly in summer when poults feed almost exclusively on insects. Consider designing and constructing a station or platform in or near the forest opening to enhance your wildlife-viewing enjoyment.
Log Landing Considerations
Log landings, areas cleared to prepare logs for transport, are another important type of forest opening. Because they are the center of activity, log landings are often affected more than other parts of the site. Properly chosen log landing sites help protect water quality. Always rely on a professional forester's judgment to determine the best site for the landing and mark it clearly. The forester will decide where to place the landing based on the surrounding landscape, soil type, slope, distance to main roads, and the presence and types of water in the area. Include special instructions in the contract about how the landing should be used and retired at the end of the operation. Following a harvest, landings are sometimes seeded with grasses or other plants to stabilize soil, reduce erosion, or provide forage for wildlife. Throughout much of the state, adult wild turkey and poults frequent these sites to feed on the many insects that thrive there. Consider using native plants and grasses when seeding in areas.
Carefully planned log landings provide variation in the viewscape by breaking up large expanses of forest. Periodically mowing a landing helps maintain its meadow stage for an indefinite period of time. Mowing should be restricted in the spring, however, to allow ground-nesting wildlife to rear their young without disturbance.
Incorporating Aesthetics into the Harvesting Operation
Working closely with a professional throughout both the planning stages and the actual operation will help minimize the negative visual impacts of logging. A forester can include provisions in the logging contract to reduce risk of injury to residual trees. For example, consider leaving comparatively undesirable trees (those with little commercial, wildlife, or aesthetic value) to serve as "bumpers" near turns in the skid trail to protect more valuable trees behind them (Figure 5). After the harvest, removing bumper trees, other trees that have damage, and trees that are "hung" in tree tops can lessen negative aesthetic impacts. Harvesting during winter reduces bark scarring on residual trees and minimizes the number of trees that may need to be removed.
Figure 5. "Bumper" trees along the skid trail protect the more valuable trees behind them from damage during a timber harvesting operation.
Cultural landmarks often offer aesthetic focal points in the forest. Stone walls, old foundations, and charcoal hearths all spark people's interest and speculation and offer the chance to explore your land's history. In some instances, it is best to completely avoid historic features in a timber operation. However, when that is impossible, consider precautions to reduce harvest impacts. For example, if a skid trail crosses a stone wall, carefully disassemble the wall, place the stones nearby, and reconstruct the wall at the end of the operation.
Far from destroying a forest, proper harvesting operations can encourage its continual renewal. But sustaining a forest to meet your objectives over time ultimately depends on developing and implementing a plan to ensure that it occurs. A harvesting and regeneration plan must include considerations for species, timing, competing plants, deer pressure, and many other factors. Silvicultural methods such as intermediate, improvement, and regeneration cuts each help the forest remain healthy and productive in a different way. Discuss your aesthetic preferences with your consulting forester as you would your other management concerns. He or she will help you visualize what a particular harvesting technique will look like immediately after the harvest and also project how the cut site will likely change over time. (For more information see Forest Stewardship 7: Timber Harvesting: An Essential Management Tool.)
When Benefits Conflict: Trade-offs
One common concern about harvesting is that it breaks up, or fragments, the landscape. Consider a situation in which a landowner wishes to cut enough trees to create a vista overlooking a scenic valley. What trade-offs would be necessary? If the opening were in an expansive forested area, it might increase habitat for early successional species and allow the landowners more wildlife viewing opportunities, in addition to providing the scenic vista. But if the surroundings are already mostly open, perhaps the vista wouldn't be necessary at all.
Some people equate large trees with aesthetic value and fear that their loss takes away all of a forest's beauty. But there are trade-offs in every action. Although timber harvests involve removing some large trees, the financial return from their sale may in part compensate for this aesthetic loss. The money earned in many cases is essential for continued land management. Income generated from harvests allows landowners to build roads or improve wildlife habitat. It provides money to pay the taxes. Forest-generated income helps people retain land ownership, reducing the likelihood of forest fragmentation or permanent land use changes. The results are that more land remains forested, providing the aesthetic benefits we all appreciate.
It is also important to remember that not all large trees have to be removed in a timber harvest. Some of the largest, most visually interesting trees often have little timber value. These mature "wolf" trees are often large and gnarled, have low-hanging branches, and contain many cavities. They provide habitat for various cavity-nesting and insect-eating species and produce abundant amounts of the fruit, nuts, or seeds on which many species of wildlife depend. They also make great climbing trees for young children! Considering their wildlife value and aesthetic appeal, these stately and craggy giants are worth much more alive in the forest than at a sawmill.
Depending on your personal objectives, there may be some instances when you choose to sacrifice an aesthetic preference for some ecological benefit. For example, instead of removing slash after harvesting a stand, you may let it remain on the ground to protect new vegetation, recycle nutrients into the new stand, and provide wildlife habitat. Or instead of removing dead trees because they look unattractive, you could leave them standing to provide invaluable habitat to cavity-nesting and insect-eating wildlife species. You may be sufficiently rewarded by seeing a pileated woodpecker alighting on a snag, knowing that you had a hand in retaining that particular part of its habitat.
It's important for landowners and forest users to understand that forests are dynamic and that manipulating vegetation through well-planned cutting can be a valuable resource management tool. Through proper planning, aesthetic concerns can be incorporated into management decisions regarding recreational interests, wildlife habitat management, timber harvesting, or other forestland objectives. Both directly and indirectly, all of us benefit from the aesthetic value of forests. Forest landowners are fortunate in having the ability to directly experience and enhance their land's natural beauty. Through stewardship, we can continue to pass on the legacy of natural beauty that will always be a valued aspect of our heritage and an integral part of our connection to the natural world.
Beauty is before me
And beauty is behind me
Above and below me hovers the beautiful
I am surrounded by it
I am immersed in it
In my youth I am aware of it
And in old age I shall walk quietly
The beautiful trail.
Native American Prayer
Managing Forest Openings with Aesthetic Considerations
- Plan and execute cutting operations carefully to minimize negative impacts.
- Create scalloped edges or irregular indentations in forest openings rather than straight, rectangular edges.
- Consider retaining trees and other vegetation for their varied form, shape, blossom, autumn color, and wildlife value.
- Seed small, cleared areas to attract wildlife; consider erecting a wildlife viewing station.
- Establish irregular, outlying clumps of trees to create a natural forest appearance.
- Favor varied species composition where practical.
Revised by Allyson Muth, research support associate. Originally prepared by Angelina Kendra, research assistant, and Ellen M. O'Donnell, stewardship associate.
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TitleForest Stewardship: Planning for Beauty and Enjoyment
SeriesForest Stewardship 8
This publication is available in alternative media on request.
Contact Information
- Program Assistant, Forest Stewardship Program


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Scott Traverse Womens Gloves - $65.00
Scott Traverse Womens Gloves - Stay classy. If you're not into making neon statements with your ski outfits, then the Scott Traverse was made with you in mind. Although it isn't flashy on the outside, this glove has a moisture-wicking liner on the palm and sherpa lining on the back, a Hipora waterproof insert, and a Stash pocket on the back allows you to store something little on your gloves. Full-wrap PrimaLoft insulation and a drawcord at the wrist allows the snow to stay on the mountain, where it belongs. . Model Year: 2013, Product ID: 236687, Model Number: 220037-0001006, GTIN: 0886687951428, Touch Screen Capable: No, Down Filled: No, Cuff Style: Over the cuff, Pipe Glove: No, Breathable: Yes, Waterproof: Yes, Outer Material: Nylon, Wristguards: No, Use: Ski/Snowboard, Type: Glove, Race: No, Battery Heated: No, Warranty: One Year, Material: Corded Nylon/Jtex, Removable Liner: No - $65.00


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Cher & Kathy Griffin Take on Romney, Ryan & Murdock
- Labels: Cher , Kathy Griffin , Mitt Romney
6 comments :
- Log Cabin RepublicanNovember 3, 2012 at 12:57 PM
Everyone NEEDS to vote Romney! I am so confused how a site that usually is pro-racism and class elitism is actually endorsing Obama. WeHo Confidential is a voice for so many people in West Hollywood. DO NOT VOTE OBAMA. HAVING A BLACK PRESIDENT IS FUCKING DISGUSTING. ALL NIGGERS SHOULD BE LYNCHED AND MURDERED!!!!! FUCK NIGGERS! FUCK NIGGERS!!!! KILL ALL BLACKS!!!!!!!!!!!!!!!!!!!!!!!!!!!! America is being destroyed by us ALLOWING MINORITIES to infiltrate out country. WAKE UP!ReplyDelete
- AnonymousNovember 3, 2012 at 2:28 PM
I love her, but... Cher claiming that *Paul Ryan* "looks like Dracula" is hilarious!ReplyDelete
- AnonymousNovember 3, 2012 at 4:14 PM
no its not - he looks like Eddie Munster... well docummented.ReplyDelete
- AnonymousNovember 4, 2012 at 9:23 AM
Paul Ryan does look like Dracula, but Cher tossing that zinger around is a big fat stone in a glass house. I mean LOOK at her! All that surgery and that weird fake hair.. it's like she's *trying* to look like Dracula! Just a bad choice of words on her part.ReplyDelete
- Angel BonillaNovember 4, 2012 at 3:05 PM
vote obama!ReplyDelete
- AnonymousNovember 5, 2012 at 10:43 AM
@12:57 please.. for everyones safety... lay off of the drugs.ReplyDelete
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