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Tune in to Lifetime Channel for a twisted Tainted Love Movie Marathon weekend! It will be a weekend full of movies that were pulled straight from the headlines.
Lifetime has dug through its film library to create an epic weekend of true crime films. The stories are filled with lust, revenge, and obsession. I don't know about you, but I especially love watching movies that are based on a true story.
Rundown of the Tainted Love Movie Marathon:
A Cry for Help: The Tracey Thurman Story: Based on a true story, we follow Tracey Thurman as she gets a restraining order against her husband. Her husband continues to harass her, and the police are there when her husband slashes her throat. This story brought about national attention to domestic abuse, and created new legislation and changes to police responses to domestic violence calls.
Black Widower: The wife of a well known automobile executive dies during a night of rough sex. Investigators discover that the executive had three previous wives who also died under similar circumstanes. Based on a true story.
A Woman Scorned: The Betty Broderick Story: Meredith Baxter plays the role of Betty Broderick in this true story of a woman who is driven to murder after her lawyer husband leaves her for his younger assistant. Feelings of anger drive Betty to murder the couple in their bed. Based on a true story.
Blue-Eyed Butcher: This movie follows the true story of Sara Wright who violently kills her husband after years of alleged abuse. The media called her "The Blue-Eyed Butcher" because the marriage seemed to begin as a fairy tale between a beautiful young wife and a doting husband. The couple had two children together. The movie won the 2011 People's Choice Award!
Also included in the Tainted Love Movie Marathon: Karla, Murder in Greenwich, Murder in the Hamptons, Murder on Pleasant Drive, The Familiar Stranger, Shadow of Fear, and more!
Video Preview for Lifetime Tainted Love Movie Marathon:
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A Mediterranean Odyssey comprises a richly designed Limited Edition 2 disc set commemorating Loreena McKennitt''s 2009 Mediterranean Tour. Designed to attract not only the legions of devoted Loreena listeners, but to expose and inspire the uninitiated to an exotic, haunting and emotional musical experience they will never forget. A glittering addition to Loreena McKennitt''s catalogue - A Mediterranean Odyssey combines NEW live performances of audience favourites from her 2009 Mediterranean Tour with a collection of previously released studio recordings. Inspired by the tones, textures and rich cultural heritage of the Mediterranean, this latest release features virtuosic performances on authentic instruments including oud, lyra, bouzouki, harp and hurdy-gurdy alongside electric guitar, cello and percussion. Experience the continuing journey of the Celts across the Mediterranean and Aegean seas with this evocative 2-disc set. Disc 1 "The Olive and the Cedar" A Mediterranean-inspired collection of 11 studio recordings personally selected by Loreena McKennitt from her back catalogue. Disc 2 "From Istanbul to Athens" Is 56 minutes of concert highlights from the 2009 Mediterranean Tour including five songs not featured in previous Loreena McKennitt "in concert" releases. Includes a 24 page, lavishly illustrated booklet featuring on-location photographs captured during the tour.


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I don't mind a princess heroine. It's a great change of pace from the working girl. I like that they have the same type of problems as anyone would have.
Hi Kaelee, I feel the same way, it's always nice to put on a rich girl's clothes for a while, but she just doesn't engage you if her problems aren't relatable.
I love a princess heroine! I think it takes the responsibility many women feel and makes it much bigger, the stakes much higher–even if she's a bit of a naughty princess!
Can't wait to read this!
Lucy Ellis on "Princess" Heroines & "Pride After Her Fall"
by Lucy Ellis, author of Pride After Her Fall (Harlequin Presents, February 2013)
My heroine Lorelei from Pride After Her Fall came to me as a visual of a naked girl lying face down on an art deco bed, swathed in silken sheets, like a scene out of a 1930s Hollywood film. She was blonde of course — Harlow-esque. And when she emerges from the bedroom to sashay down some steps into the courtyard, where my hero Nash is seething over a banged up vintage car, she"s wearing a 30″s style evening gown, champagne silk, and no underwear. From that point on I was utterly entranced by her.
Happily for a Presents novel so was Nash, a big, bold, straight-talking Australian ex-racing car legend who goes toe-to-toe with this little irresponsible Monegasque princess. Nash is staging a comeback and he doesn"t need a trouble-magnet like Lorelei getting in the mix. Lorelei has a freight-load of her own problems and a rather more vulnerable heart than her seductive, man-eater appearance suggests. Peeling away Lorelei"s secrets and uncovering the generous woman underneath brings the real Nash Blue out into the open. It"s a story about two people who appear to have it all, but actually have nothing until they find one another.
He continued to watch her, a quiet smile conveying so much more than words. In that moment Lorelei knew she was in trouble.
Oh, she knew how to deflect a man, make it clear despite sitting across from him, sharing a meal with him, she was not on the menu.
But right now, she felt like every dish he might like…
Finally Nash spoke.
"We"ve got a lot in common." He settled back, angled in his chair, all shoulders and lean, muscular grace.
He seemed to be saying, take a good long look, it could all be yours.
But for how long, she wondered.
"How do you gauge that?" she asked aloud.
"I like to compete. You"re a serious trophy."
"Pardon me?"
He gave her a lazy once over she should have found insulting after the "trophy" description, instead she felt it like a direct hit to her sleeping libido.
"You"re smart and seriously sexy and I haven"t been bored since I sat down with you. Like I said, you"re a serious trophy."
Lorelei inhaled sharply.
She knew it, this was how some men saw an attractive woman, she had just never met a man who had the nerve to say it to her in so many words.
"Nash, a trophy is an inanimate object you sit on a shelf."
"A trophy can be anything you want to win," he countered, sitting forward and Lorelei had to remind herself not to edge back. He fairly emanated thumping male entitlement. "I don"t get in the race, Lorelei, unless I"m fairly confident of the outcome."
And yes, motor racing metaphors in this story
abound! What do you think about Princess heroines, the kind of girl who initially seems to have it all — or gets it taken
from her — does she engage your sympathy or leave you cold?


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Although Plaid existed as early as 1992, duo Ed Handley and Andy Turner spent a portion of their formative years with Ken Downie as part of the experimental post-techno outfit Black Dog. The group recorded a batch of albums and EPs throughout the early and mid-'90s that were critically acclaimed for their highly influential take on the techno genre.
In 1995, Handley and Turner departed to form their own project - Plaid, upon which they were promptly snapped up by Warp Records. Four albums followed, displaying a penchant for highly melodic and experimental electronic music at the cusp of modern technology. After a long lay-off, by their standards, Plaid has now returned with a brand new CD/DVD project - Greedy Baby, in tandem with visual artist, Bob Jaroc.
The wait has been worthwhile, as the end result is one of Plaid's most accessible and bizarrely dark albums to date; each song complemented by a selection of diverse videos that will hopefully herald a new era for electronic artists entering the audio-visual arena. Barcode speaks to Plaid's Ed Handley, and Bob Jaroc, about, amongst other things, how the 4-year project finally came together...
From where does your love of electronic music derive? Who were you listening to as a youth? Well we did the usual thing for people of our generation, which was you were either into heavy metal or you got into hip-hop and b-boying I suppose. And we [Andy Turner] both got into breaking and the associated music really, which at first was getting tapes of parties that had happened in New York, which would be people like Jazzy J and Chuck Chillout, all the usual DJs. Eventually people started releasing a bit more of it, so we used to go down to Groove Records and pick up the early hip hop releases, which were sort of early electro a lot of them.
Did you have any influences pre-mid-eighties, when the whole electronic scene exploded? They sort of entered as an influence from hip-hop really. The first time I heard Kraftwerk was when theyd been sampled or ripped off by everybody else. Obviously wed been exposed to eighties electronic pop music, people like Depeche Mode and Heaven 17 and all that, but it was pretty uncool for us back then, we wanted something that was a bit more ghetto I suppose. But Im sure it had its influence, Im sure even Howard Jones had its influence (laughs).
Can you tell us a little about how you met your writing partner Andy Turner? Yeah, we went to school together and he was in the year above and we were both into breaking and both had rival crews. And then we formed the same crew and just got into music together really; he eventually started DJing and was the first person I knew that was buying Chicago and acid and Detroit because thats when it started coming out.
Then of course you recorded some influential post-techno albums with Ken Downie as Black Dog, I remember Bytes in particular. So why did you and Andy decide to strike out as Plaid after such initial acclaim? I think Bytes was one of the first that did this European take on Detroit techno I suppose, but it was getting difficult to work with Ken for a whole load of reasons he didnt wanna play live and things like that. You know how things are when you spend so much time with someone, sometimes it just gets really difficult, so because Id been to school with Andy it just seemed natural that Id stick with him and we decided to do our own thing.
What roles do Andy and yourself take on as members of Plaid, how do you interlock? Well, being computerised music you tend to work alone quite a lot of the time, unless you sort of jam together, which is possible but not really for the kind of music we make. So what we tend to do is work separately and fuse together at certain points, and a lot of the time someone takes the lead on a particular track or a particular piece of music.
Do you both have your own studios? We have one studio that has two little sections in it, and we tend to work there, so were basically together and in constant communication but not necessarily working on the same thing.
Do you use a mixture of software and hardware in the studio or are you entirely computer-based now? We sort of have phases really, I mean up until fairly recently weve been quite computer based because we just got really excited by the idea of doing everything inside the computer. But recently weve been digging out some other bits of hardware, just some synths and things, because its just a little bit more fun after a while to have different things work in different ways rather than everything being controlled from one workstation. Its nice getting anomalies and errors that happen when going through cables.
Do you work on a MAC using Pro Tools or Logic? We mainly use Logic and we use a little bit of Max/MSP and a few other programs, but the main structure of the songwriting happens inside Logic.
And you mentioned some hardware you might use, are there any particular favourites that you use? Yeah, were fairly fond of FM sounds because of the bell-type and acoustic qualities, so we use an FS1R, which is a Yamaha module that came out a few years ago; a sort of super FM synth. We use the Nord Modular G2 Rack quite a lot, for more analogue sounds, and an MKS80 an old Roland Super Jupiter synth.
And samplers? Weve sort of jettisoned the hardware ones, although we do have a thing called a VP9000, which is like a strange VariPhrase Roland sampler that has a very distinct sound. So we still use that for some things, but generally well just use the EXS inside Logic.
Whats your take on this whole analogue vs digital debate, presuming youre aware of it? I think in terms of sound generation its quite hard to tell the difference now, but ideally everybody would probably love a studio full of analogue gear, but its beyond most peoples budgets and most people means, and also space as well. And, I think digital can do things that analogue never could, obviously. I think the ideal is to use the best of both if you can afford it and youve got the space to use analogue for what its good for and to use digital
You are about to release a new audio-visual album with Bob Jaroc, Greedy Baby. Strange title? Where did that come from? Well its partly a reflection on how long it took to do the album and how much effort and money it took to actually make it in the end. The whole thing itself is a bit of a greedy baby. And also, just talking about us basically, and the kind of world we live in a bit at the moment. Im sure it seems from one perspective that were all quite self centered and just like big children running around grabbing everything we can really. Its fairly vague; it just seems like a slightly amusing and slightly sinister title at the same time (laughs).
I know that in the past youve used visuals in your live performances but why did you decide to take this audio-visual approach with a new album? Well it really comes from doing the live stuff with Bob Jaroc for a few years now, and we just thought it would be nice if it was recorded. Its so transient when you play live as people get to see it - its in the flash of an eye and then its over. I think a lot of the things we were doing with Bob we were really happy with and hed put a lot of time and effort into making quite a few pieces for us, so I think it was just the idea that these things look good and work well, and also we wanted to try some things in 5.1, because it just seems a natural way to go with electronic music.
Had you written parts of the album first before deciding to take a more visual approach? No, the main pieces on the album were all conceived as being audio-visual pieces and we literally just sat around and said they should be about this and that, which we dont normally do normally we just sit down and write and see what happens, but we had to have some conceptual start point so that Bob could work as well and we didnt go off in totally different directions.
Had you been influenced by any other artists that have done similar projects? I havent really seen that much stuff, Id seen a thing by Tipper and a thing by Orbital, and there was a DVD on Skam, which was a compilation of other peoples work. I think Super Furry Animals have done one, but theres not all that much around theres lots of concert recordings but not so many pieces specifically written for 5.1 and video.
How did you come across Bob Jaroc? He was doing some work with a friend of ours called Leila who had a record out on Rephlex, and he was doing live video for Sonar one year, and we saw his stuff and thought it was different it wasnt loads of CG or the typical thing you would expect from a DJ as such.
On a purely musical level, how would you say Greedy Baby is different from other Plaid albums, and how did the visual aspect influence how you approached the recording of the tracks? I think its different in that it seems influenced by the video and weve had to hold back in some respects and allow some space for the video to be there. I think we can only take in so much as an audio-visual experience before it gets overwhelming and theres too much going on. Its different, not neceassrily in style, to our other stuff because I think our style evolves very slowly probably (laughs). Yeah, its different in that weve had to work very closely with Bob and think about syncs and narratives, and Im sure its the same for Bob Im sure if he was just making a video piece he would approach it quite differently, but because we were chucking music at him and he was chucking video at us it was inevitable it would have an effect.Strangely enough the album seems more melodic and accessible then the usual Plaid album, which was unexpected considering the nature of the project? Its weird because you get completely different perspectives from different people. Some people say its the most experimental thing we've done, I mean its always hard to generalise but I think there are bits on it that probably are more experimental than weve ever been but there are also other bits that are very, almost poppy. There isnt really an overall theme to the whole album as such; its more just a collection of things that we came up with over a four-year period.
I noticed that some of the bonus tracks on the DVD were really good, but why were these not included to the audio album? Because a lot of them exist on other releases - everything on the extras has been out in some form, but these are all now remixed in 5.1 and also have a video with them.
The opening track, War Dialer, intially reminded me of Kraftwerks The Telephone Call, but a lot darker obviously whats the concept behind this track? Its to do with privacy and its a recording that somehow Bob got a hold of its a thing called a war dialer, which is basically a little black box that hackers used to use to try and find a modem. So it would randomly dial telephone numbers, but it wasnt interested in voice on the line, if it recognised a voice it would stop the call. So its looking for some sort of modem or some way into someones computer. How its interesting from that point of view is because its like cold calling, which we get at the studio quite a lot, where it will be a robot kind of calling up and saying youve won a holiday in Florida, but its the random nature of it as well. The fact is there is nothing personal about it, its completely impersonal, youre just chosen from a list of active numbers and it acts as a good introduction to the surround.
The real standout video is the beautifully illustrated cartoon Mexican superhero, Super Barrio? Did you have your own political message behind this? The message is pretty overt really; its pretty straight up (laughs). On a smaller level, the Mexicans are being fucked by the Americans basically, because Mexico is next door to America the effects of American foreign policy are very obvious there, yknow things like globalisation and trade tariffs, so Mexico is an interesting place to see whats ultimately going to happen in the rest of the world. Also, because it makes a good story. Super Barrio is a real person that Bob got in touch with, hes a sort of activist who set up a series of marches and defended tennants and workers rights to fight for better working conditions and pay, yeah its very obviously political.
Theres also the track, Crumax Rins, which pretty much documents CNNs entire coverage of Americas illegal entry into Iraq in about 5 minutes, I was wondering if you have any trouble getting permission to use the footage? Well no, beautifully, because of capitalism, you can buy it (laughs). If youve got the right amount of money theyll give it to you basically; I cant remember how much it costs but its not particularly cheap. They didnt seem to care too much, although I dont think it reflects that badly on CNN, although in some ways it does because it sort of makes it apparent that the whole things a bit like a sporting event. The thrill of invasion and the whole way it was presented was like yes, lets go, and lets get into a bit of military hardware and statistics. Its pretty sick now; I think people are pretty disgusted by the whole thing, but its only now that youre seeing the dead bodies. At the time we were seeing huge explosions and the idea of dead people wasnt really there. It doesnt necessarily contain a political message, but I think it implies one.
And many of the other videos incorporate dancing patterns or other visualizations to the music; did the music ever prompt or trigger the imagery in a sort of interactive sense? Yeah, very much so. Some tracks are just straight up syncs basically to the music, where events happen, lights change and colours change according to the audio. But also, vice versa; there was certain pieces that Bob had started work on where hed give us bits and we would write music to what we were seeing, more as if it was a soundtrack, so it worked both ways. One of the reasons it took so long is because youve got this endless ping ponging, and at some point someone has to say, hold on this is finished this is point where it doesnt change anymore, but getting to that point took a long time, not because we laboured over everything for hours and hours, but just because wed work on something and then basically have to leave it while Bob worked on it.
When you normally write music, do you have problems letting go of an album? In a way weve got better and in a way weve got worse. It used to be fairly quick for us to write tracks, but thats taking longer because I think we tend to try and refine them a bit more than were used to. You could sort of go on writing a track forever, and it would constantly change and the start point would be nothing like the end point, but for a whole load of reasons you do have to finish at some point, which is normally when the record label is saying, ok, that really is time now (laughs).
Are there any Plaid albums where you could say that you were comprehensively happy with it in the end? With Black Dog, I think Spanners we were really happy with. Bytes as well, but Bytes sort of happened all of a sudden, whereas with Spanners we had a bit of time to think about things. I think every album weve done we've been happy with at the time, but on reflection you can always hear things that you would change just because were changing, our taste is changing, yknow, sometimes you listen back to something and its embarrassing, either because its too naive or because its too pompous and grand, but theres no way round that.
Would I be right in saying that its a fairly expensive business making an audio-visual release, and is that why so few electronic artists tend to represent their ideas in this way? Its obviously a lot cheaper than it used to be, because you can literally just get two guys with laptops and then just do that. But its expensive filming and its expensive doing things like animation, you have to have a team of animators because for one person to do it would take too long.
Will future projects incorporate audio-visuals or is Greedy Baby likely to be a one-off? Im not sure if everything will, I think its still valid to release stereo albums as well. I think because weve done it and its worked out ok well definitely do it again; we know a few of the pitfalls and weve got a lot more ideas for ways to develop it.
You have recently been doing some live shows, were these to especially to promote Greedy Baby? Sort of yeah. People tend to want you to play live when youve got something out, but we havent really been doing much in the way of 5.1. We did one at The Sage in Newcastle a couple of years ago, but generally were playing in clubs where theyre not really 5.1-configured, and it wouldnt make sense because people are just dancing and moving around all the time.
I read that you did a few 5.1 shows in seated auditoriums? We did the first showings of this DVD in its early stages at the Queen Elizabeth Hall, which is on the South Bank - and is perfect because its seated and they can set up a good surround system. We did one at the IMAX as well, which is even more perfect because its like a big soundproof box with huge screens, which was amazing. But its quite difficult to get promoters to risk the expense of doing it.
Are you able to allow yourself much freedom to actually alter the audio or visual aspect of the live show in real time? To a degree, but the kind of music we make doesnt lend itself too well to too much improvisation. Theres time when you just wish youre making some crazy, improvised jazz fusion music or electronic avant-garde music because then you can improvise the whole time and its much more fun, but a lot of it, musically, is really mixing, and to a degree even with the video its mixing different elements and not creating and generating new elements there and then.
When I watched Kraftwerk live a couple of years ago, all four of them were standing there behind machines, twiddling knobs, but I couldnt figure out what they were doing really? A lot of the time its showmanship, this idea that youve got to be seen to be doing something. But ultimately, a lot of electronic music stuff is presentation, I mean most people will be using Ableton Live now and arent actually generating the tracks on the fly, theyve got all the elements there and they could probably press go occasionally and it would be fine, but in order to be involved in the performance you sort of have to set yourself things to do (laughs).
Its quite interesting, because for many highly technological electronic artists, particularly within the IDM genre, it must be difficult to effectively bring an improvised concept to a live audience. Say if youre doing a straight up hard techno set, its in some ways easier to generate that, because form wise you havent got these choruses and big changes happening, you can basically keep it fairly consistent and youve got a framework to work in where you can really improvise. When youve got a song or track structures it is a lot harder because things have got to happen at a certain point and you ask yourself, is it worth me doing it manually? Why should I manually trigger this thing when actually the computer manages it perfectly well?
You can always throw in some samples? Yeah, I mean sometimes we take some drum pads and play along a little bit, I mean weve got big plans and big ideas for doing it. The dream would be to sort of play with some weird little robot orchestra where theyre all sort of doing things and it would be very visual and very exciting and it would be precision, which is what we want from electronic music - but it would still be physical, yknow? Youd have robots playing it but we dont have a quarter of a million pounds to spend on robots. But I think you can do amazing things with very little money, I mean if you watch Jamie Lidell play hes very sort of live and free, so it is evolving.
Can I ask you what sort of music youre listening to in your spare time? Erm, lots of things really, Im quite inspired by a lot of the dub step and stuff from South London, because its a new sound and thats sort of what you want electronic music. Its nice because its very spacious and Ive always been a little bit into dub and how it relates to hip-hop and drumnbass as well. Vexed and Digital Mystics are the two that cross over into the electronica world. I quite like bands such as Animal Collective as well, theyre using a lot of electronics but also a lot of acoustics and voice - but it doesnt sound naff, it sounds quite gelled together. But I wouldnt say Im an avid collector and I dont tend to listen to as much electronic music as my friends because Im making music. Sometimes, I just rather listen to Bob Dylan or something (laughs).
Ive noticed that what one would normally consider indie bands are slowly digressing into electronic music and producing more complex rhythms? Yeah, and thats what Ive always hoped for in a way, rather than just saying this is a drum machine and this is a synth, theyre actually using electronics for what its good for, which is the complexity of doing something that people cant play - something that cant be done by a performer.
Are there any other projects youre working on with Andy at the moment? What can we expect from Plaid next? Well, were working on a film soundtrack for a Japanese animation, which is going to come out in Japan next Christmas. And thats something weve never done before and we feel very lucky to have got that. Its Manga, but not really ultra-violent or typical Manga; its quite influenced by European, French animation. So there will probably be a soundtrack album coming out.
How did you get into visual work initially and then with Ed and Andy from Plaid? I come from a fine art background, so I did video installations and things like that in galleries. I went to university and did a fine arts course and before that I always into making pictures more so than making words, because I couldnt spell for shit - and there wasnt any rules at art college. I met Ed and Andy around 2001, and previous to that at Sonar I did one of my very first visual shows at a gig - and I'd known Ed for quite a while before that, and then both Ed and Andy looked at my style and went yeah, thats the sort of idiot we want travelling with us. Doing stuff like I do with Ed and Andy live is just a lot more satisfying, because doing something in a gallery is like hiding a fish behind a radiator and then kind of not knowing whether people are smelling it or not. But doing stuff live is like getting that fish and throwing it at them; you can see when it hits their head - they just go fucking stupid fish!
Were you already a big fan of electronic music before agreeing to take part in the project? Yeah, for sure, I was always a Black Dog fan. I remember being in university and listening to Black Dog and playing Castle Wolfenstein with a couple of mates, monkeying around until 4 in the morning and trawling through those corridors looking for those alsations.
What was that about? That was the very very first Wolfenstein game, like Doom, the creators of Quake? It was one of the very first first person shooters that spawned all the others.
Oh right, I wasnt into video games so much - after my Commodore 64 exploits. (Hysterical laughing) Respect. I had a Commodore 64 as well. I wasnt part of the Atari ST brigade, because it was always a little bit cooler they all had those graphics demos of that pharoahs head going off into the distance.
Do you remember the Vic 20 as well? Revenge Of The Mutant Camels, or something like that? Nah, nah, nah, I started off on the Spectrum 48k, that was my very first computer playing Ant Attack.
Great game. I fucking loved it, Ant Attack I actually played quite recently again on an emulator and I thought, actually it was alright!
I was actually scared playing that game. (Laughs) I shouldnt mention it; it will bring back nightmares to you.
So, tell me, what sort of equipment do you need to make these types of DVD video projects? Well, to get it together its the normal stuff that I guess everyone has. Computer wise its a G5 with two Genelec monitors, a Sony TV with Apples Final Cut and Photoshop. But the other stuff I use is a lot of Super 8 and a lot of analogue equipment in the making of it, so I do a lot of work thats away from the computer because if you spend too much time in front of a computer you turn kind of blue and your brain grows really big and you grow a hand out of your brain. So I have a massive collection of Super 8 cameras and Im able to transfer the film in the studio instead of a really expensive production house. On the DVD, I did a lot of work with shifting lenses and re-filming that, and filming some Super 8, projecting that through a lens, and then projecting that onto a wall, refracting that into a mirror real sort of Wilf Lunn kind of stuff, hes the crazy inventor with a long moustache.
For those who havent a clue, can you tell us something about how Greedy Baby, benefits from the 5.1 Surround experience? For Ed and Andy especially its a whole new palette of sounds to be able to mix in. That wider spectrum means that you can have sound that exists not just in front of you, but envelops you all the way round. The project being specifically written in 5.1 is quite important because normall when you get a blockbuster movie and you listen to it in surround sound in the cinema, they usually just put a fucking dog barking in the background, and the 5.1 mix is actually done after the stereo mix. With us, it was the other way round, the 5.1 mix was the first mix that got done, the audio was written in 5.1 and then the stereo mixes were derived from that. So it gives Ed and Andy a wider sonic stage, for want of a less pretentious word if you tried to cram all the things that were in the 5.1 mix into the stereo mix it would sound like a very cluttered, meshy mix, but in the 5.1 theres a lot more space to stick things.
Thats immediately obvious on the opening track, War Dialer? Yeah, we use in the live show and on the DVD, as well as being a piece in its own right the reason why its at the front is because its almost like a schematic diagram for watching the rest of the DVD. Its like going look at the picture, listen to the sound, the sound comes from over there and that piece of image is moving.
I love the creepy atmospheric music that complements the voices, makes you feel a bit paranoid. Well the whole thing was derived from a war dialer, which is like a hacking utility. Its a machine looking for another machine, and the people that are caught up in that whole process, and thats pretty dark in itself. The whole tone of the DVD is not that optimistic, there are moments of blaaaaahhh! Its a lot darker than previous Plaid releases.
Was it a complex procedure exchanging audio and visual data between yourself and Ed and Andy, what problems did you run into? Well I live in Brighton and they live in London, so wed spend two week periods usually around the shows that we did throughout the process just living together and working. And when we were away wed just communicate through an FTP site, Ed or Andy would change a mix and then stick it onto the FTP site, and then that morning Id download it and replace the version that I did have on the video and say Fuck! I spent three days syncing to that snare, and that fucking snares moved!! So, in terms of that, that was the major problem but it would always be a positive thing, because you working on it to make it better.
It sounds very complex. Some of the pieces would come over as separate tracks, so one piece would be split up into 18 different tracks with all the components of the piece then it would be much easier to get those important sync points, because its much easier to sync to a hi-hat if its on its own rather than being buried in a 5.1 mix somewhere. The Launch Of Big Face was especially done like that, because the sound actually generated the video, so that was done using that method.
Were there any visuals that stick out as being particularly difficult to complete? Well no, it was just the filming. The filming of I Citizen The Loathsome was difficult simply because I had to go out at 4 or 5 in the morning on Sundays and Mondays when noones around. It was just me with a massive old 1940s tripod with a motor on it and a DV camera and that was it, just me and the night, and all the freaks are around at night. There were various couples fucking, junkies shooting up, I was followed once it was in Brighton and London and also we did quite a few shoots out in housing estates in the middle of nowhere. Andy would drop me off and pick me up after a couple of hours of wandering around a weird housing estate on my own. It was quite tough, but thats an element of my work that I really like - challenging myself physically. Something like Super Positions was psychologically difficult, because its like a flashing strobe in front of your head so watching eight minutes of it is punishing enough, but actually working of it I kind of turned into a shell of a human being.
Out of all the pieces on Greedy Baby, which is your favourite? My favourite at the moment is Assault On Precinct Zero, because its like looking at some family photos or something. It reminds me of being on the road in the America, where we had a lovely time. Its the cheesy electronic music band on tour - but it reminds me of many good memories and incidents of horror and fun.
Youve been on the road with Plaid showcasing the project for around 4 years? Yeah, pretty much I mean theres new work thats appeared for the live show, because making things for the DVD and making things for the live show is a very different energy - because obviously in a live show people wanna dance with their eyes closed or wanna look at that girl or boys bum, or wanna get a beer so the DVD is a very different kettle of fish, because someones gonna sit down and watch it on a bus with their video iPod to get away from the freaky teenager with a knife thats carving his name into the bus seat.
Or happy slappers? Well thankfully I havent met any happy slappers who wanna slap me cos Im quite a large man and usually Im looking pretty grumpy cos Im tired from doing some show that finishes at 6 in the morning.
You can stick that ski mask on that youve been wearing? (Laughs) Totally. I mean I did carry that around for shows but Im always too embarrassed to wear it, which shows something about my personality Im actually too embarrassed to wear something that hides my identity. It was it even scarier filming that last shot for I Citizen The Loathsome, where I actually appear in it. I could just imagine a police van coming past at that time, and theres this guy with a combat jacket and a red ski mask, theyre just gonna get the tasers out, and Ill be going, Im a bloody poncy artist, Im a hippy artist, sorry!!, and theyre like fuck you sonny, get the baton out", Smack!
Did you have many computer glitches or crashes on the road? Yeah, the 5.1 shows are pretty involved in terms of what we have to take with us, the live show we take a little bit less equipment because you have to remain nimble when youre doing live shows. The big thing that gets me is bloody bass, I usually judge the sub bass on how many bits of foam I have to stack up under my hard drives, it just wobbles the hard drive and because theyre spitting out data and video data is higher band than audio date it totally fucks it up and it just starts dropping frames, stalling or crashing. And also the battle to actually get decent video projectors at screens or shows, even though weve been doing this type of AV show since 2001, still getting a decent projector and screens and convincing the lighting engineer that we want no light whatsoever on the stage, cos time and time again I have a thirty second window to run up to the lighting desk and go touch the lights again yeah, and Im cutting your hands off! So lighting engineers who think they know best, Id say theyre a technical glitch. Its all about the audio and the video, its not important what we look like or what were doing.
Are there a lot more live 5.1 Surround Shows planned to support the release? Not that many. Were sort of winding down for the summer. Technology has moved forward a little bit in terms of video presentation of live shows, so Ive just got a couple of new things from Korg that Im really interested in practising, because it means that I can actually mix on stage a lot more like Ed and Andy mix.
How do you see the audio and visual technologies complementing eachother and developing in the future? The video stuff is kind of catching up with the audio. Im always jealous that Ed and Andy can have a 24-channel desk if they want it, with different bits of audio and were starting to be able to approach making video in that way without sacrificing image quality. Before, when I worked with VJ applications I noticed a massive decline in the quality of video, and because I work with film, the grain structure and the colour structure totally disappears when you feed it through some sort of VJ application and looks as dull as dishwater. But very recently there have been some products that Ive been really interested in getting my hands on, to enable me to work in a much more improvised rather than linear way. I think well see more video and audio artists perform as collectives. Promoters are going to have to start putting their hands in the pockets and getting decent screens and video projectors, otherwise theyll have me shouting at them again.
I guess the problem is that youre working to a very high technical standard only to be let down at the very end because audience venues are behind the times? Yeah, weve got a massive technical rider for our shows in terms of this is what we want to play in, but noone ever fucking reads it until the day before, and then you turn up at the show and you have a video projector that your mum has at home and an old bed sheet for a screen. And someone says Oh! this was fine for Plastikman or Hexstatic. But because its in the contract we can just turn round and say, look, get us a better video projector and screen, or we dont do the show. And then, at the end of the show, once theyve got the decent projector they understand, but you almost have to do show people what at an AV show is all about.
So youre leading the way really? Leading the way in shouting at promoters, and I think everyone that works in video needs to get a lot more aggro with people. In history, the video people are always the last in line to get thought about and I think thats shit because everyones working towards the same goal to put a decent show on. I think video people need to form some sort of like union, and work out a little more instead of spending all that time at home in front of their computers; they need to get bigger muscles with tattoos.
Is there anyone youd specifically like to work with within the electronic genre? I dont know if youve every heard of a guy called Okra he used to be on Toytronic, its a brand of melodic electronic music I really like. Ed and Andy and myself want to take the live show one step further, we used to have a robot arm that was on stage so we wanna get back into the robotic side of it again. I also want to make a totally self-financed film about a guy who sells soundtracks in Brighton. Theres a really sweet guy whos been selling soundtracks to films for 50 years or something, and I want to make a little 10-minute short about him.
Whats the entire experience been like for you, because the making of the Greedy Baby DVD has been quite a lengthy 4-year journey? Well, it was self financed. Its been a completely solitary experience. I think its been a lesson in stubborness, and we had to be quite delusional because everyone at Warp said, were not sure we want to release something like this, were not sure theres a market for it.
You werent given an advance? No, more moneys been put in via us selling synths and old Super 8 projectors and picking something up at a car boot sale and selling it on eBay. So there are probably quite a few people that ended up buying film projectors that actually financed this project. I mean Warp are wickedly behind it now, I take my hat off to them. It would have been done quicker if we had assistance, but I dont think it would have been done any better.
Plaid & Bob Jaroc interview, Barcode 2006 ©
No part of this interview may be reproduced under any circumstances without the written or verbal permission of the editor.


text:
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Theres a port... apcups or something like that... scan the ports tree.
Try http://www.apcupsd.com/
> -----Original Message-----
> From: Chris Buechler [mailto:cbuechler at gmail dot com]
> Sent: October 20, 2004 17:43
> To: pcnet
> Cc: m0n0wall at lists dot m0n0 dot ch
> Subject: Re: [m0n0wall] m0n0 and ups on serial
> On Sat, 16 Oct 2004 20:54:18 +0300, pcnet <gmuntean at pcnet dot ro> wrote:
> > can m0n0 be configured to send an administrative alert on ups messages?
> >
> If you can find a FreeBSD package that will do this and build your own
> custom m0n0wall image including it, then yes.
> -Chris
> ---------------------------------------------------------------------
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> For additional commands, e-mail: m0n0wall dash help at lists dot m0n0 dot ch


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Let's say you live in Miami. If Earth's weather were as predictable as Mars' weather, you could expect a hurricane similar in magnitude to hit Miami year after year, within about two weeks of the same date.
On Mars, similar cloud patterns and dust storms repeat at the same time of year give or take a couple of weeks. Typically, they occur at the same location each Mars-year. Scientists see these patterns in daily global images dating back to 1999.
While weather patterns are highly predictable, global dust events -- so far -- are not. As soon as the dust settles, the weather snaps back to its usual pattern.
The weather reports have helped spacecraft travel through the atmosphere of Mars. Examples are Odyssey, Mars Reconnaissance Orbiter, both Mars Exploration Rovers, and Phoenix. Even so, no one yet has listed a job opening for a human weather broadcaster on Mars!
Image Credit: NASA/JPL-Caltech/MSSS


text:
News By Tag
* Electric Cars
* Hybrid
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* Sustainability
* Event
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Industry News
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Industry News
Driving The Future: E3/GoE3.com Electric Vehicle Expo & Reception
Showcasing New EVs and Celebrating the Upcoming Launch of Nation's First Coast-to-Coast EV Charging Station Route December 6, 2011 at Bentley Projects, 215 E Grant Street, Phoenix, AZ
The Expo will be featuring electric and hybrid vehicles as well as a reception and mixer hosted by Threads of Connection, Local First AZ and the Phoenix Green Chamber of Commerce. EV Street, the nation's first hard-copy automotive magazine dedicated to electric vehicles, is scheduled to hit newsstands in the first quarter of 2012. A premier a sneak-preview issue of the magazine will serve as the official program for the Driving the Future event.
"We are thrilled that so many leaders in the sustainability community here in Phoenix will be participating in this event," said Star Simmons, CEO of Threads of Connection, a local company that connects businesses that are embracing the expanding movement toward conscious capitalism. Simmons disclosed that representatives from the Department of Energy, the AZ Governor's Task Force on Electric Vehicles, Smart Power and the Arizona Corporations Commission will be present to answer questions about public initiatives during the event.
According to Bruce Brimacombe, CEO of E3, the purpose of the Driving the Future event is to raise awareness and generate public excitement about the emergence of new electric vehicles and other technology. The E3 electric vehicle charging network initiatives, supported by the GoE3.com social network, aspires to curb our nation's dependence on fossil fuels by making zero- and low-emission automobiles accessible to everyone. Last month, E3 hosted a similar event in Myrtle Beach, South Carolina that was revered by EV enthusiasts, investors and local media.
"The public turnout and media coverage at our Myrtle Beach event is evidence of the growing interest in zero emissions vehicles," said Brimacombe. He also stressed that the emerging market for EVs and other green technology is creating new opportunity for job growth and reduced dependence upon foreign oil. Since the 2011 roll-out of new plug-in electric and hybrid automobiles, thousands of people have appeared on EV dealers' waiting lists for plug-in electric vehicles in major cities where EV charging stations are already installed. "We are convinced that by expanding the network of charging stations in connector markets nationwide, the demand for, and corresponding supply of more and more electric vehicles will grow exponentially."
"This is an exciting time for our country, and Arizona businesses have a unique opportunity to be on the leading edge of the emerging green economy," said Simmons, whose business strives to connect executives and companies with a desire to become more sustainable and socially responsible. "It is exciting to watch the synergy E3 is creating by engaging communities and enterprises in their campaign to raise awareness about energy independence. Building a nationwide charging station network has the potential to transform the way we drive."
The Driving the Future EV Expo is free and open to the public, EV test drives are by appointment in advance, and the evening reception/mixer is free and open to the public. For more information, visit www.GoE3.com.
When: Tuesday, December 6th, 2011
12:00pm-5:00pm EV Expo and Test Drives
5:30pm-8:00pm Reception and Mixer
Media inquiries and interview requests should be directed to: Ania Kubicki (480) 277-9245 email@example.com
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text:
Final Grand Jury Testimoy for the Day-Joe Perkins
Posted on May 26th, 2010 by Erin Dixon
Closing out grand jury testimonies for today, Joe Perkins spoke with the media about his time with the feds. Here is the video below. Perkins also addressed comments by Congressman Artur Davis about what his appearance before the grand jury means for the Ron Sparks campaign.
Filed under: Legislature


text:
The Serbian defender becomes a free agent at the end of the season and is expected to be Inter's first summer signing.
Thohir told www.inter.it: "Vidic? I can't say anything even if the deal is 90 per cent done.
"It's better to announce it once everything is completed.
"I don't want to declare something that has not taken place."
The 32-year-old Vidic confirmed earlier this month he would be playing abroad once his contract with United expired this summer.
Inter are fifth in Serie A and likely to miss out on playing in next season's Champions League.
The Nerazzurri trail 11 points behind Napoli, who are third and hold the last qualifying spot for Europe's elite club competition.
Inter are keen to strengthen their defensive line as they have the weakest back line of the top six teams in Serie A, with 28 goals given away in 24 games.
It was confirmed on February 7 that Vidic would leave United at the end of the season.
He said at the time, in a statement released by United: "I have decided that I will move on at the end of this season.
"I want to challenge myself again and try to make the best of myself in the coming years.
"I'm not considering staying in England as the only club I ever wanted to play for here is Manchester United and I was lucky enough to be part of this club for so many years.
"I've got a few options to move on and I will choose the right one for me and for my family."
The player has been one of the most popular members of the Red Devils' squad since he arrived from Spartak Moscow for £7million - a transfer bizarrely announced on Christmas Day in 2005.


text:
Turnbulls offer wealth of bare-root stock, knowledge
Garden nurseries provide all kinds of flower, bush and potted fruit tree stock, but finding a good source for bare-root stock with an abundant variety of bushes, grape vines and trees can be difficult.
For decades, 78 years to be exact, Miller Nursery in Canandaigua provided the most extensive selection of bare-root growth in Western and Central New York.
All staff members not only sold and cashed out customers buying stock, but they also provided tips and tricks to either get started with new growths as well as offer suggestions for improving growth of weak/slow growers. Their first-hand advice always went beyond anything offered at reputable but distant mail-order nurseries.
A check with area soil and water agencies came up with several good sources such as Meadowview Tree Farm in Naples, Adams Nursery in Lancaster, All Western Evergreen and Nursery in Springwater, Schichtel's Nursery in Springville, Russell's Tree and Shrub Farm in East Amherst, and Schlabach's Nursery in Medina. Certainly there are many other reputable dealers in the Buffalo area.
But a recent visit to Turnbull Nursery on Versailles Plank Road in North Collins showed a production and product array as close as one might find to Miller Nursery in all of Western New York for bare-root stock.
Since plantings at our digs in Pavilion include berry, vine and fruit trees planted both for human and wildlife consumption, the search is always for stock that will hold up to not only the elements and human mismanagement but also incursions from birds and beasts feeding on the fruits, branches and sometimes stems and trunks.
As it turns out, the Turnbulls have been a family farming facility since about 1875, according to Bob Turnbull, 59, guide on this visit to the 400-acre farm and nursery sales site.
Son Rob, 40, has been a part of the growing and marketing operation since early childhood. Rob's wife, Kim, also has a good handle on everything growing there. Rob explained why we lost much of our grape vines this severe winter past. Seedless grapes are nice to buy at the market, but they do not hold up as well as seeded varieties during long, cold Western New York winters.
Turnbulls have an extensive system for providing stock early during the growing season. Ordered stock fill a showroom long enough for a Buffalo Bills practice and can be kept in a holding cellar wide enough for a Sabres practice session.
Along with bushes and vines, bare-root fruit trees in stock are an impressive size. "We set up with 2-year-old trees here," Bob said as we looked over well-started johnagold, empire, honeycrisp and other apple varieties. Galas were already sold out.
Berries, planted as ground crawlers or staked and wired varieties, can be a blessing or a bugger each growing season. The berry stock, and good advice, at Turnbulls may turn many of our berry crops into a bit better production for us and for the birds, come late spring to late autumn.
Backyard gardeners interested in growing for themselves and/or for wildlife creatures might head home with not only good stock but worthwhile advice after a visit to Turnbull Nursery at 10036 Versailles Plank Road in the North Collins/Brant area.
For details on open hours, seasonal sales and directions to the nursery, call 337-2248 or go to firstname.lastname@example.com.
email: firstname.lastname@example.com


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This event is in the past.
Social, Behavioral and Educational Research: Identification and Prevention of Research Non-Compliance
February 11, 2013 | 1:30 p.m. - 3:30 p.m.
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Location: Student Center Building, Main Campus Conference Room 299
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Safety First for Savvy Seniors
Paperback, 192 Pages
Price: $12.98
Prints in 3-5 business days
"I've fallen and I can't get up." We've seen that commercial time and time again, but for seniors it's no joke. The Home Safety Council reports that deaths from home injuries and car accidents triple for adults between the ages of sixty-five and eighty-four, and are eight times as much for those eighty-five and older. Seniors: Stay safe at home and elsewhere by following the hundreds of safety ideas contained in this book. Proven ways to prevent accidents and remain healthy.
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Product Details
- 9781934614440
- Copyright
- Ron Smith (Standard Copyright License)
- Publisher
- Calderwood Books
- Published
- October 18, 2010
- Language
- English
- Pages
- 192
- Binding
- Perfect-bound Paperback
- Interior Ink
- Black & white
- Weight
- 0.76 lbs.
- Dimensions (inches)
- 6 wide x 9 tall
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text:
Agency Response Letter GRAS Notice No. GRN 000474
Return to inventory listing: GRAS Notice Inventory
See also Generally Recognized as Safe (GRAS) and about the GRAS Notice Inventory
October 30, 2013
Madu G. Soni, Ph.D.
Soni and Associates, Inc.
749 46th Square
Vero Beach, FL 32968
Re: GRAS Notice No. GRN 000474
Dear Dr. Soni:
The Food and Drug Administration (FDA) is responding to the notice, dated May 20, 2013, that you submitted in accordance with the agency's proposed regulation, proposed 21 CFR 170.36 (62 FR 18938; April 17, 1997; Substances Generally Recognized as Safe (GRAS); the GRAS proposal). FDA received the notice on June 4, 2013, filed it on June 17, 2013, and designated it as GRAS Notice No. GRN 000474.
The subject of the notice is piperine derived from the fruits of Piper nigrum L (black pepper) or P. longum L (long pepper). The notice informs FDA of the view of Sabinsa Corporation that piperine derived from the fruits of Piper nigrum L or P. longum L is GRAS, through scientific procedures, for use as a flavoring agent in a variety of food categories at use levels up to 15 parts per million.
In an electronic mail message dated September 19, 2013, you asked that FDA cease to evaluate the notice. You noted in your message that the notifier no longer intends to use P. longum as a source material for piperine and that extracts of P. nigrum are already considered to be GRAS. Given your request, we ceased to evaluate the GRAS notice, effective September 19, 2013, the date that we received your electronic mail message.
In accordance with proposed 21 CFR 170.36(f), a copy of the text of this letter responding to GRN 000474, as well as a copy of the information in this notice that conforms to the information in the GRAS exemption claim (proposed 21 CFR 170.36(c)(1)), is available for public review and copying via the FDA home page at http://www.fda.gov/grasnoticeinventory.
Antonia Mattia, Ph.D.
Division of Biotechnology and GRAS Notice Review
Office of Food Additive Safety
Center for Food Safety and Applied Nutrition


text:
From Cardinal Seán's blog
'On Sunday (3/11) I joined the Catholic student community at MIT for mass. It is a wonderful campus ministry and the FOCUS ministers are doing such wonderful work there assisting the campus chaplain, Father Richard Clancy.' Pilot photo/CardinalSeansBlog.org
Last Thursday (3/8), we had the meeting with the Presbyteral Council. It is always edifying to hear the input of the priests of our archdiocese, and we had very good conversations on a number of issues. Also during our gathering we had a presentation by Father Bryan Hehir, our Cabinet Secretary for Social Services, regarding developments with the Department of Health and Human Services contraception mandate and also from our Cabinet Secretary for Faith Formation, Janet Benestad, on the issue of physician assisted suicide. We wanted our priests to be informed about these two very important and pressing issues so that they could, in turn, inform their people.
Visit to Redemptorist Mater Seminary
That evening (3/9), I visited Redemptorist Mater Archdiocesan Missionary Seminary in Brookline. I was very happy to be able to join them for Vespers and dinner and to spend some time with the seminarians. After dinner, we spent the evening together watching a Russian film called "The Island." It tells the story of a man named Anatoly, who was a soldier during World War II who later becomes a Russian Orthodox monk and spends his life seeking God's forgiveness for his actions during the war. It is a very enjoyable and inspiring film, and very appropriate for Lent.
Church dedication in Tyngsborough


text:
Mr. CONYERS. I would like to let everyone know that the gentleman from North Carolina, who's worked on this and has pledged to continue to work on it, has my support for the new ideas. Well, they're not new. They're old ideas that just didn't get into this bill. And we're going to work on it together.
I congratulate, of course, the chairman-elect of the Judiciary Committee, Mr. Goodlatte, for his long work and service on that committee and look forward to joining with him to continue the kind of bipartisanship that frequently is worked out in our committee.
I believe this amended version of H.R. 6671 is a distinct improvement over its predecessor and urge that we continue the kind of vigilance that the gentleman from North Carolina, Mel Watt, has demonstrated in his zeal to protecting consumer privacy. Technology is constantly evolving. Each new development presents new opportunities and challenges to improve our lives. This bill is a good step toward addressing this technological development, and we must continue to monitor it to ensure consumer privacy continues to be protected.
The language added by the Senate, the other body, improved the bill for consumers, and so I, too, urge my colleagues to support its passage today.
Source: http://thomas.loc.gov


text:
But it takes a special kind of ease and openness for all this begetting to take place.
Which raises the chilling question: Are the arsons in Coatesville begetting more arsons?
They changed American music forever, begetting more kings: Benny Goodman, the "King of Swing" and Nat "King" Cole.
For true it is that the one bright male germ which went to your begetting was drawn from the blood of the father.
Their wives are foolish, and wicked are their children; accursed is their begetting.
He might thus do far more good to his tribe than by begetting offspring with a tendency to inherit his own high character.
There's nothing that our dear civilization punishes as it does begetting children.
His father is said to have died a centenarian, after begetting a family of some twenty children.
It is only in the begetting of men that breeding from the worst stocks may be said to be the rule.
Marriage and the begetting and care of children, is the very ground substance in the life of the community.


text: This simultaneously ancient and futuristic form is the creation of British designer Andrew Viccari. It reminds me of something you might find at Paolo Soleri's Arcosanti. Made from a unique form of hand-pulped paper maché, the petpod provides a cozy dome for kitty to curl-up in. Artistic, functional, and environmentally-friendly–a perfect combination.


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Thanksgiving dinner is about sharing a bountiful meal with the people you love. Savor time with friends and family instead of juggling a dozen different dishes by planning ahead, and by choosing dishes you can work on well in advance. For those of you who thrive on planning the big day ahead, we've put together a full menu of delicious recipes that allow you to prep early on, adding special finishing touches at the last minute. Thanksgiving day will be a breeze — and your guests will be wowed.
|Candied Mixed Nuts with Rosemary
Slightly sweet and slightly spicy, these nuts are easy to prepare and make a satisfying snack when guests gather for dinner. You can toast the nuts up to 3 days in advance; let cool, place in an airtight container and store at room temperature. Then you can simply reheat them and toss with rosemary before serving.
|Pumpkin Soup with Brown Butter and Crème Fraîche
This warming autumn soup is finished with a drizzle of brown butter, which adds a nutty richness. Make it a day or two ahead, cool, cover and refrigerate. Make the brown butter and finish with crème fraîche just before serving.
|Kale Salad with Pine Nuts, Currants and Parmesan
Here, kale is treated similarly to cabbage in a slaw—it's marinated to create a tender and flavorful salad. Allowing the greens to sit in the dressing improves their taste and texture, and you don't have to wait until the last minute to toss everything together.
|Michael Voltaggio's Sous Vide Turkey
Here's a Thanksgiving turkey that no one at your table will forget. The bird is first cooked in pieces using the sous vide method, then quickly browned just before serving. The turkey can be cooked in the sous vide circulator for up to four days in advance; refrigerate in the vacuum-sealable bags. (If you don't have a sous vide machine, you can still work ahead by brining your turkey a couple of days in advance. And remember resting time: a roasted turkey needs 30 minutes before carving to seal in the juices, so you have more downtime than you think.)
|Focaccia Stuffing with Chestnuts, Bacon and Apples
Many stuffings, including this one made with our savory mix, are easy to make ahead. You can cook the vegetables in advance and combine with the bread and stock just before baking to streamline prep.
|Potato and Celery Root Gratin with Gruyère
Celery root has a pronounced nutty, earthy taste and pairs wonderfully with potatoes in this rich, creamy gratin. Assemble it a day ahead, cover and refrigerate, then bake before serving.
|Collard Greens with Lardons and Smoked Onion Jam
Here, a smoky onion jam adds just enough sweetness and acidity to balance the flavor of bitter collard greens. You can blanch the collard greens a day in advance and refrigerate, then finish the dish a few minutes before you're ready to eat.
|Pecan Pie
All pies can easily be prepped ahead, as the dough can be refrigerated for a day or two before baking (or frozen for much longer than that). But this one is served at room temperature, so it can be made and baked entirely a day in advance, then cooled on a wire rack overnight.
See more make-ahead Thanksgiving recipes here.


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Learn, prosper, have fun, and be part of a successful and growing business at Checkers Drive-In Restaurants, Inc. We're Hiring a Learning Solutions Program Developer in Tampa Fl!
Why work at Checkers & Rally's? Because we do things like nobody else! From our food to our over the top attitude, we're unlike any other burger joint on the planet. We're – more... big, bold and loaded with flavor and fun. We work hard, train smart and empower our employee's to be the best. When you get down to it, we're a pretty awesome place to work! – less
8 salaries reported
$8.50 per hour


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Family, friends keep vigil at dying Banton's bedside
BERNIE BANTON'S sister has arrived from the US to be at the bedside of the dying asbestos campaigner, who may spend his last days at his Sydney home.
A friend of Mr Banton, the CFMEU union official Brian Parker, said Mr Banton's sister, Grace, arrived from Texas yesterday, and joining her other brother from Sydney, Bruce, and Mr Banton's wife and two sons at Concord Hospital.
Mr Parker said Mr Banton could be moved on Monday to spend his last days at home.
He said family members were taking turns in maintaining a 24-hour bedside vigil, as Mr Banton lapses in and out of consciousness from asbestos-related stomach cancer.
Another visitor yesterday to Mr Banton, 61, was Ron Delezio, whose daughter, Sophie, survived being seriously injured twice when she was hit be vehicles.
Mr Delezio said he struck up a friendship with Mr Banton about a year ago, and they had met a number of times since. He said he had visited Mr Banton "to show him that I cared about him and that I respected him as a person for what he has done for other people".
On Thursday Mr Banton was compensated a second time, for mesothelioma, after being given $800,000 for asbestosis in 2000.
Mr Parker said the second payout was not substantial but agreement was reached to settle the case before Mr Banton died.
When news happens: send photos, videos & tip-offs to 0424 SMS SMH (+61 424 767 764), or us.
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Riemann zeta function
One of the most profound and mysterious objects in modern mathematics; from it has sprung the Riemann hypothesis and all that this conjecture seems to imply. The Riemann zeta function is closely tied to the distribution of prime numbers. It is an extension of the Euler zeta function, first studied by Leonhard Euler, which is the sum
Euler found that this function is linked to the occurrence of prime numbers by the following fundamental relationship:
The Riemann zeta function extends the definition of Euler's zeta function to all complex numbers.
Related category NUMBER THEORY
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text: It's not often that I have occasion to praise the ABA, so I take special pleasure in reporting that the ABA committee on judicial evaluations has apparently changed its name from the "Standing Committee on Federal Judiciary" (as used, for example, here) to the "Standing Committee on the Federal Judiciary" (emphasis added). I never understood why the committee's name had omitted the definite article. Unfortunately, I am not privy to the task-force report and internal debate that led to this change. Let's hope that better grammar signals better performance in the future. For now, at least, the change only slightly offsets, say, the committee chair's acts of perjury.


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Hey there, time traveller!
This article was published 31/10/2012 (1723 days ago), so information in it may no longer be current.
As a child's vocabulary and understanding grows, he learns many new words and is often eager to repeat them.
In the midst of all this new language, children can't help but overhear some bad words as well. It may come from older siblings, daycare or school, TV, or listening to parents and other adults. These words are likely to be tested, the same as any other new word.
The easiest way for parents to control the use of bad words is to control their own response.
Sometimes the first impulse of adults is to snicker when they hear a child, especially one very young, repeat an inappropriate word or phrase. They may think this is harmless, as the child does not know what she is saying.
But in doing so, they have shown the child that this word has a special meaning, and she will want to repeat it often for the same positive response. However, she may find that when she says the word again, the reaction is not so positive, and this can be very confusing.
Parents may feel embarrassed or angry when their child uses a swear word, especially if other adults are present. They may respond with timeouts, taking away privileges or even threats of washing the child's mouth out with soap.
Once again, however, this gives the bad word a lot of power. The child may know better than to say it again in front of his parent, but chances are he will share this new power with his friends.
It is important to remember that, while the child may have an understanding that the word is forbidden, she doesn't grasp the meaning of the word or why it is not appropriate.
When you do hear a bad word come out of your child's mouth, react as calmly as you can. Simply saying, "We don't use that word in our family," may be enough. There is no need for a punishment, and no value is given to the word itself. Of course, you need to follow through with that rule and make sure you do not use the word in your home.
If your child has already tested the word and gotten a reaction, try giving him an alternate word to use. Something silly like, "Oh, fish sticks!" or "Holy crabapple!" will likely get a positive response and he has the satisfaction of making an impact with words.
As a child's language skills develop, she will find many ways to express her feelings and thoughts. By reacting calmly to words you don't want her to use, you are helping her learn to communicate in an appropriate and effective way.
Shawna Munro works at the Elspeth Reid Family Resource Centre, a facility of Child and Family Services of Western Manitoba that offers
parenting information and support.
» 255 Ninth St., Brandon
» 726-6280


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Our web pages use Scorch to display tab files. Scorch is the one of the best products on the market for displaying sheet music on the Internet. It offers superior control and flexibility for both viewing and playback. With Scorch, you view the music and have a toolbar that lets you play it any way you like. You can:
Scorch is available as a plug-in for web browsers and as an app for iPad users.
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Tag archive for education
Rethinking the Purpose of Architectural Education
Article by Ben Taylor* Architectural education is in crisis! It fails to prepare architects for a profession (also in crisis) that is subsumed by and serves to reinforce neoliberalism! That was the position expected ofRead More »
Debating the present and challenging the future of architectural education
Article by Reece Singleton* In an ever changing world there a few things that stand still and resist change, except possibly the way in which we educate young architects in the United Kingdom. British architecturalRead More »
The RIBA Office-Based Examination: Modern Architectural Pupillage
Article by Kirk McCormack* You will no doubt be aware of the heated debate surrounding architectural education at the moment. It is suggested that the reforms proposed may be a catalyst for the most significantRead More »
Young Minds
Article by THEMBA MTWAZI* The human mind has been called the faculty of consciousness and thought, a biological memory bank that gathers information through five senses. It matures with age, with enthusiasm, or with merelyRead More »
Late Tuesday: London's Greatest Building Knock-out Challenge
Which building won the public vote for the title of 'London's Greatest'? Rosie Doud tells us how the voting went… Preparations for the day Last month, RIBA hosted a workshop called London's Greatest Building Knock-Out Challenge. ThisRead More »
Architecture Education OTHERWHERE
Article by Albena Atanassova The value and relevance of architectural education is becoming increasingly scrutinized in light of pressing socio-economic conditions which demand OTHER ways of engagement and transformation in the way we think about,Read More »
2014 Royal Gold Medal Student Crit: Silver Medal
On 25 February 2014, Joseph Rykwert, this year's Royal Gold Medallist, was joined by Stephen Hodder (RIBA President), David Gloster (RIBA Director of Education), and Alexandra Stara (Kingston University and Chair of the RIBARead More »
2014 Royal Gold Medal Student Crit: Dissertation Medal
On 25 February 2014, Joseph Rykwert, this year's Royal Gold Medallist, was joined by Stephen Hodder (RIBA President), David Gloster (RIBA Director of Education), and Alexandra Stara (Kingston University and Chair of the RIBARead More »
Introducing your RIBA Council Student rep
My name is Albena Atanassova and I have held one of the two student seats on RIBA Council since September 2013 after having been elected by RIBA student members to represent the student voiceRead More »
We made it! Half-term at the RIBA
Find out from Elizabeth Grant about the exciting events that took place at the RIBA over February half term… The RIBA headquarters was buzzing last week as children, young people and families took part inRead More »


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Mario Rana's Rio
Zach Fowle
Last week we met Mario Rana, part owner and bar manager at Cuoco Pazzo. Today he shares with us the recipe for the Rio, a drink he named after himself.
"It's what everyone called me in high school," Rana says. "They couldn't say my name right, so I just told them to drop the MA and call me Rio. I don't even like that name; I just couldn't think of anything."
Rio (the drink) is a variation of a Negroni which incorporates a citrusy IPA, utilizing the pairing qualities of good craft beer.
"Beer's fun to work with because there are so many different flavor profiles and flavors that work with other foods and liquors, Rana says. "What's good about this drink is that all the ingredients collaborate together. You have the pine of the gin going along with the hops in the IPA, the bitterness of the Campari also goes along with the beer, and then the grapefruit mirrors the beer's citrusy flavors. I could drink it all day."
The ingredients:
1 oz. Hendrick's Gin
1 oz. Campari
3-4 oz. IPA (such as Firestone Walker Union Jack)
Splash Ruby Red grapefruit juice
How to make it:
Mix all ingredients in an ice-filled shaker and shake well. Strain into an ice-filled rocks glass. Garnish with candied grapefruit peel, if desired.
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"Endurance" refers to your ability to exert yourself or remain active over time. It also refers to your ability to withstand fatigue, stress or pain. Endurance training helps improve cardiovascular, respiratory and muscular endurance during any aerobic or anaerobic exercise. While most people exclusively associate swimming, running and biking with endurance training, there's more to it than just three sports.
Muscular endurance refers to your muscles' ability to contract repeatedly over an extended period of time and resist fatigue. For example, keeping your legs moving for the duration of a long run takes muscular endurance. Running also tests your cardiovascular endurance. Cardiovascular endurance refers to your heart, blood vessels and lungs' ability to pump oxygen steadily for long periods of movement or work. The ability to keep your breath steady throughout a long run without needing to stop demonstrates one type of cardiovascular endurance.
Why is Endurance Training Important
The importance of endurance training goes beyond running a marathon or completing a triathlon. Endurance not only enhances your performance while working out, but also contributes to your overall health, providing you with energy, improved heart function and increased metabolism. Many team sports including soccer, lacrosse, ultimate frisbee and basketball require endurance as do activities like hiking, snowshoeing, skiing, climbing and snowboarding.
Why You Should Use TRX for Endurance Training
TRX functional strength training and mobility work will help you develop a durable, strong body. This will help you get the most out of your endurance training while also improving your muscular endurance. TRX can also provide a supplemental metabolic workout in place of a swim, bike or run, all the while helping to mitigate your risk of injury and enhance recovery.


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Excellent value. Price included pick up and drop off. Superb communications. Joe was incredibly helpful and carried out the work incredibly quickly. Can't recommend him highly enough. Will certainly go back for any future work.
Did a good job!
He was bang on time and price ok too was fast and did a great job will us again in the future
Great service and helped to accommodate an appointment time that fitted in with me. Took time to explain what was wrong and offered advice on some other issues I had with the car. Final price against quote changed due to requiring disks as well as pads, I was aware this could be the case and Joe had brought these along just in case.
Great service from many autos in Reading, went in for a cam belt change, asked if I wanted water pump at same time and given all costs up front. The person I spoke to was very professional and polite, it's more then likely that many cars will get repeat business from me, would recommend.
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i've had a bad feeling about my car to brake down so i was looking for a quote for a turbo replacement. unfortunately the worst happened and had broken down so i was towed to the garage and they were open to pick up the job immediately. the garage professionally carried out the work (they sourced the replacement parts very quickly) and helped in the warranty procedure, they ere ready with the updates when I called them. The garage also checked my engine and warned me about another issues to come, so i would visit them again.
First time with Bernard & co, the place looked as all garages should (clean, tidy and neat), and the guys knew what they were doing. I'm really glad I found Sonning Hill Motors and, as of now, it's going to be my garage of choice. Many thanks guys, see you on Saturday!
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Profesional service recommended
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Worse garage out their, came to pick up car , charged me 350 for service and oil in diff, but did not solve or recognise the original issue, since not getting a refund I have paid for more diagnostics , gear mountings and been recognised as the problem, so if SA put my car on ramp to do work , then why was this not picked up ??? My advice steer clear of this garage at all cost complete rip off merchants
Great service and fantastic to get so much communication before and during the job. Highly recommended.
Great communication and quick service from start to finish - had MOT done - new cambelt, new water pump and new coolant bottle as my old one had cracked the day before. Very highly recommended and will be definitely use the garage for my servicing and MOT needs. Thanks team :-)
it was quick and good
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- January 2008
Jennifer Frazer
Jennifer Frazer, who joined COMET as a science writer/editor
in October, has won a prestigious science journalism award
from the American Association for the Advancement of Science.
The award is for a news story that Jennifer wrote for the
Wyoming Tribune-Eagle, her previous employer, about mysterious
elk deaths in Wyoming. She'll travel to the AAAS annual
meeting in Boston in February to receive the award.
The AAAS Science Journalism Awards honor excellence in science
reporting in print, radio, television, and online categories.
Independent panels of science journalists choose the winners.
Jennifer's story, "Getting to the Bottom of Mysterious
Elk Deaths," published in two parts in the fall of
2006, detailed a rash of puzzling elk deaths in Wyoming in
2004 that left scientists and game wardens puzzled. It described
the steps by which researchers determined that a poisonous
lichen was the likely cause.
The story idea gripped Jennifer from the outset. "It
had the allure of a detective story and an unlikely culprit:
a small green lichen that most people wouldn't notice
even if they walked right over it," she says.
The award panel described the story as an example of superb
local science writing.
Outstanding Accomplishment Awards
pioneer Will Kellogg, 1917–2007
Profile: Emily Laidlaw
writer wins AAAS science journalism award
forecast goes global
director for UCAR Child Care Center
Just One Look
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text:
By Alan Gomez, USA TODAY
James and Kathleen Pfeiffer were devoted to their parish and pastor, attending Mass every Sunday and helping pay for new bells at their church in southwestern Virginia.
So when their priest was charged in January with stealing $600,000 from the church, the couple was devastated.
"I would feel better about all this if he wasn't a priest and was just some con man who conned us," Kathleen Pfeiffer said. "He was loved by us. He knew everybody would do anything for him."
The past year saw several cases where clerics were accused of stealing from their faithful. Some churchgoers say the thefts result from putting too much trust in one person and say more oversight is needed to stop it.
Many religious denominations, especially the Roman Catholic Church, say thefts are rare and they are wary of imposing corporate-style regulations on clerics who need the freedom to address the needs of their flock as they and their teachings see fit.
The U.S. Conference of Catholic Bishops will be taking up the issue of whether to adopt more stringent finance guidelines at a meeting this month.
"I don't think we're in any state of epidemic," says Bishop Donald Trautman of the Diocese of Erie, Pa. "But these cases have certainly raised a heightened awareness. We're treating an illness that's been there since original sin."
Among the recent cases:
•Two priests from the Palm Beach, Fla., diocese — John Skehan and Francis Guinan — were charged in September with stealing an estimated $8.6 million from the church.
•Darien, Conn., priest Michael Jude Fay used church money on limousines, stays at top hotels, jewelry, Italian clothing and a Florida condominium, according to an audit by the Bridgeport Diocese.
• The Presbyterian Church USA fired its second-ranking finance officer, Judy Golliher, in June after she admitted to embezzling more than $100,000.
•In 1999, the president of the National Baptist Convention USA, Henry Lyons, was convicted of embezzling $4 million from companies seeking to do business with his followers.
Warning to churches
Leon Panetta, the former chief of staff for President Bill Clinton, says he and others have been warning for years that churches leave themselves too open to embezzlement.
Panetta served on the U.S. Conference of Catholic Bishops Committee on Child Sexual Abuse in 2004 and has continued pushing for the church to increase outside oversight of the finances of individual parishes.
"They've tended to operate like a mom and pop grocery store," Panetta said.
"That's understandable early on," he said. "You pass the collection plate around and that was it. But in these days, they've got to be able to move into the 21st century and begin to apply some management practices that can help ensure that they protect the trust of their parishioners."
A survey by Villanova University of the financial officers that each diocese must employ to oversee its operations found that many dioceses have had trouble with theft.
Villanova contacted the financial officers in 78 of the country's 196 Catholic dioceses and found that 85% of the dioceses reported cases of embezzlement within the previous five years. The survey, released in December, said that 11% of the reported cases involved sums of more than $500,000.
Church officials say the study is misleading.
The U.S. Conference of Catholic Bishops points out that the 19,000 parishes that are under those 196 dioceses receive $6 billion a year in donations. The amount of money stolen over the years is minuscule compared to the total amount given, it says.
The financial officers in the Villanova survey said the majority of thefts were uncovered by parish priests, not committed by them.
Still, Bishop Dennis Schnurr, treasurer of the conference, said a lack of financial expertise in Catholic parishes is troubling.
Guidelines for handling church finances that were laid out by the Vatican in 1983 call for each diocese to establish a finance council and appoint a financial officer to advise the bishop on financial matters. Individual parishes must have a finance council that serves as an advisory board to the pastor, although council members are not required to have a financial background.
Schnurr wants priests and bishops to be required to appoint council members who are well-versed in finance.
"Church law does not specify how membership is to be determined," said Schnurr of the Diocese of Duluth, Minn.
"A priest in the seminary, he's there to learn theology and to be able to preach the word of God and provide pastoral and spiritual leadership. Without a question, the lay people are better equipped for administration and finances than the average priest."
'You have to trust people'
Some within the church feel that parishes, especially smaller, rural ones, cannot and should not adopt methods more suited to Fortune 500 companies than priests who rely on the teachings of Jesus Christ to determine how best to make use of the charity of parishioners.
In the Virginia case, officials with the Diocese of Richmond believe the Rev. Rodney Rodis was taking checks mailed to the small rectory and depositing them into a personal account.
While the diocese is considering adding more counters to ensure the accuracy of daily collections, diocese spokesman Steve Neill said there may be nothing they can do to further secure mailed donations.
"You have to trust people," Neill said. "You have things in place to cut down on the possibility of embezzlement, but beyond that you have to trust in the goodwill of people."
Some theologians say that not eliminating parish theft could endanger the viability of a church's mission.
"It demoralizes the faithful," said Larry Cunningham, a theology professor at University of Notre Dame.
Cunningham recently gave several lectures in the Palm Beach Diocese, where he said the churches were packed with worshipers despite the multi-million dollar fraud that took place there. He wondered how long churchgoers would continue trusting their priests if more cases of theft occurred.
"It would still be relatively easy for you to do that," he said, referring to embezzlements. "It's amazing to me that the churches are still filled."
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