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The "Mommy War" goes into full combat mode every year or so. Ms Magazine ran this article in April. Anne Marie Slaughter's article in Atlantic magazine is only the latest missile launched in the war between, and against, mothers. I have several other pieces and angles I plan to tie into my take on this, but I will start with the following: a paper I wrote on the subject in December of 2008.
Mommy Wars: Give Up the BattleThere is a war being fought in our country. A war among mothers, with each side firmly believing that their way is the "right" way. Stay-at-home mothers and working mothers are facing off in what Nina Darnton dubbed the "The Mommy Wars." In her Newsweek article written almost twenty years ago, Darnton gave a name to this feud among mothers. These women have motherhood in common, but their views on their roles as mothers strongly divide them.
This division of mothers is represented in recent literature. A book search on Google for the "Mommy Wars" turns up 1,094 hits. Two of my favorites are Mommy Wars: Stay-at-Home and Career Moms Face Off on Their Choices, Their Lives, Their Families edited by Leslie Morgan Steiner and The Wall between Women written by Beth Brykman. In Mommy Wars, Steiner "commissioned twenty-six outspoken mothers to write about their lives, their families, and the choices that have worked for them. The result is a frank, surprising, and utterly refreshing look at American motherhood" (Steiner, front flap). While Steiner's book is essays of mothers defending their choices, Brykman's Wall addresses the conflicts without any bias. She makes the point that "women today struggle to make difficult choices involving their children and their careers—why do they simultaneously criticize, undermine, and point fingers at one another?" (Brykman, back cover) Rather than choosing a side, this book addresses the issue that contemporary motherhood is challenging. In this book she offers solutions, specifically modification of marriage to instill coparenting.
These books each address the conflict between stay-at-home and employed mothers. A Google search for books about stay-at-home moms results in 2,440 hits. "Bye-Bye Boardroom" by Rachel Hamman and "The Stay-at-Home Survival Guide" by Melissa Stanton are sources of information for stay-at-home mothers to maximize their roles. "The Comeback" by Emma Gilbey Keller and "Back on the Career Track" by Carol Fishman Cohen and Vivian Steir Rabin are just two of the 1,276 Google hits for working moms. Each of these books defends the decision it stands for in a non accusatory way. These books are used by mothers as sources of information and as support for their choice of motherhood role.
Stay-at-home mothers believe they are the best caregivers for their children and are willing to sacrifice their careers in order to fully immerse themselves into the role of being a mother. Working mothers choose to shake off traditional gender roles in order to define themselves outside of motherhood. These "wars" have produced a large amount of literature in the last decade with each side aggressively defending their position. With such extreme ends of the motherhood spectrum being expressed, one has to wonder if there is possibility of compromise. In other words: "Can this war be won"?
Some mothers choose to stay home simply because they want to. Others "become Stay-at-Home moms because circumstances require it—such as when quality childcare options aren't available, or too much of the household's income goes toward the cost of daycare, or both parents' jobs are so demanding that neither is home much for the kids" (Stanton 3). Stay-at-home mothers enjoy the opportunity of being totally in charge of their children. The aspect of "quality time" is usually mentioned as the most fulfilling aspect of being a stay-at-home mother. On the contrary, being solely identified as a mother can be depressing to a woman who feels she has other qualities to define her. Working mothers view stay-at-home mothers as women who have "said 'uncle' to patriarchy, spent too much time fondling Tupperware, and because she didn't work was a poor role model for her kids, especially her daughters" (Douglas 203). The loss of identity and income are two cons stay-at-home mothers face. A stay-at-home mother is also financially dependent on someone to sustain her lifestyle. These sacrifices stay-at-home mothers willingly make.
Working mothers, also, may work simply because they want to. "Employed women savor having an identity beyond a mother, being independent by receiving compensation for their labors, and interacting with adults on a highly intellectual level" (Brykman 43). These mothers have worked hard to get where they are in their careers. After achieving so much, they find it difficult to step entirely out of the career they have built. Stay-at-home mothers view the careerist mother as someone who "neglect[s] her kids, [is] too stressed out when she [is] with them, and deserve[s] whatever guilt she fe[els]" (Douglas 203 ). The most frequent complaint of working mothers is balance between their work and their family. This stress may complicate a working mother's life, but it is not enough for her to sacrifice her choice to work.
Both types of mothers have opinions about their own choices and the other side's choices regarding motherhood and in many cases their ideas do not coincide. However, one thing that they all agree on: guilt. Almost every mother has feelings of guilt regarding her choice of mothering. Stay-at-home mothers wonder if they are being good role models for their children, especially girls, while working mothers feel guilty for putting their children in daycare instead of being the primary care provider. Each mother internally doubts themselves. Should I spend more time with my children? Is quality time really better than unlimited access to me? How do I tell my daughter she can choose anything for a career when I have taken the traditional route? How do I show my sons that women are capable of more than domestic duties? Each type of mother wants the best for her children, yet when writing up their personal "pros and cons" list, sees and equal amount in each column.
Betty Friedan raised stay-at-home women's conciousness with and caused women to seek employment outside the home with The Feminine Mystique. Friedan addressed the lack of fulfilment in women's lives and jumpstarted the women's movement currently labeled second wave feminism. Almost forty-five years later, Leslie Bennetts revisits the topic with fresh insight in The Feminine Mistake. Some of Bennetts' arguments for why it is untrue that mothers should stay home with their children are: difficulty returning to the workforce, divorce, death of a spouse, and financial insecurity. While Friedan raised conciousness to "the problem with no name," Bennetts takes the next step with showing how to make enlightenment work as motivation.
Just as many of the critiques of "The Feminine Mystique" by Betty Friedan were in regards to her focus on white, middle to upper class women, so to can the same critiques be applied to "the mommy wars." Some mothers do not have the luxury of choice to stay home or not. Many mothers have to work (i.e. single mothers, low-income households, etc). Some of these women may say that they wish to stay home with their children, which may be the true reason, but may actually be the desire for the financial security that comes with the ability to have a choice.
I agree with Bennetts because…and I believe that mothers who work outside of the home will bring attention to the needs of corporate provided daycare and flextime. They will also close the pay gap . So many brilliant women have dropped out of the workforce in order to become stay-at-home mothers only to find it difficult to rejoin the ranks of the working class after taking so much time off. The loss of bonuses, raises, and continued learning while they were not employed works against women. This loss of financial footing in the corporate world may lead some women to simply continue to stay-at-home, ensuring the patriarchal cycle of men being paid more because they do not leave jobs to become stay-at-home fathers.
I believe that in order to attain equality among the sexes that parenting roles and responsibilities have to be equally divided. The traditional roles of father as breadwinner and mother at home have to be eradicated. The biggest obstacle to achieving this new system of parenting will be the fathers. They have not had to make sacrifices while climbing the career ladder and they happily handed over child rearing duties to their wife, whether she wanted them or not. If the job of parenting was equally divided, then the playing field would be level for each parent to pursue their career without one making a sacrifice for the other.
If more egalitarian parenting roles became the norm, women wouldn't be so divided over which type of mothering is the "right" kind. Instead of arguing with other mothers over which way is the "right" way, mothers should band together to fix the problems they share. United we can make more companies recognize the need for "flex time" so both parents can be there for their children and achieve career success. The role of "mother" and "father" should be no different than "parent." Each can contribute both inside and outside the home equally. Women can achieve much more banded together rather than divided against one another. As long as the battle lines remain drawn the focus will be on who is right rather than solving the problems that are plaguing all mothers.
Which brings me to a large missing piece of a puzzle in this "war": the father. Why are women told that they can't "have it all" but men are never told this? Because it is culturally acceptable for a man to "opt out" of fatherhood, either physically or just emotionally. What seems to be really fueling the fire for this war is the role of the father. Stay-at-home mothers are generally financially supported by their children's father. This financial dependence puts the power in the hands of a man. On the other hand, the working mom complaining of not being able to juggle two full time jobs gives power to the man by not making him assume any responsibility in regards to the children. Just as not every woman needs to be a mother, not every mother needs to be the primary caregiver. If a man and woman both work all day, why is the woman responsible for the "second shift" work when they return home? The fact is that many men still believe in the traditional gender roles that make it harder for working women to achieve equality both inside and outside the home.
The most notable exception to these arguments would be single mothers. By not fitting into the patriarchal ideal of a household run by a mother and father, these women are the most affected by low pay and adequate child care. While the argument is currently being heard from voices with privledge, those without are being excluded from the forum. Just as critics blasted Betty Friedan for not including women outside of middle-class, White, America, the mommy wars are focusing on the same narrow spectrum of people almost fifty years later.
Works CitedBennets, Leslie. The Feminine Mistake. Voice/Hyperion. New York: 2007.
Brykman, Beth. The Wall Between Women. Prometheus. Amherst: 2006
Darnton, Nina. Newsweek June 4,1990.
Douglas, Susan. The Mommy Myth: The Idealization of Motherhood and How it Has Undermined All Women. Simon and Shuster: 2005.
Friedan, Betty. The Feminine Mystique. Norton. New York: 1983.
Steiner, Leslie Morgan. The Mommy Wars. Random House. New York: 2006.


text:
This is a pure Python OTR implementation; it does not bind to libotr.
WWW: https://github.com/afflux/pure-python-otr/
make generate-plist
To install the port: cd /usr/ports/security/py-potr/ && make install cleanTo add the package: pkg install py27-potr
cd /usr/ports/security/py-potr/ && make install clean
pkg install py27-potr
PKGNAME: py27-potr
SHA256 (python-potr-1.0.1.zip) = a8a23fc1aac1e9c97b02fe462097f54f2d247f7979f0aa8ce4d66f88f6927bac
SIZE (python-potr-1.0.1.zip) = 30200
NOTE: FreshPorts displays only information on required and default dependencies. Optional dependencies are not covered.
No options to configure
python zip
Number of commits found: 5
Remove ${PORTSDIR}/ from dependencies, categories r, s, t, and u.
With hat: portmgr
Sponsored by: Absolight
security/py-potr: update to 1.0.1
- Convert ports of science/ and security to new USES=python
Approved by: portmgr (implicit)
- do not use easy_install, convert to auto-generated packing list
- move DIST_SUBDIR upper, where appropriate
- add trailing slash to WWW url, where appropriate
- bump PORTREVISION
Servers and bandwidth provided byNew York Internet, SuperNews, and RootBSD
No vulnerabilities have been reported in the past 14 days
* - modified, not new
All vulnerabilities

subset: commoncrawl


text: Covering the Bush presidency Politics Mar 29, 2006 Eichten and Gonyea MPR Photo/Bob Collins What is it like to be a journalist covering the Bush White House? Gallery Eichten and Gonyea MPR Photo/Bob Collins Stay Informed Subscribe to our politics newsletter. Email Address Zip Code See our Privacy Policy. Must be age 13.


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Looking for a complete listing of what's new in Adobe InDesign CC 2017? Here is a summary of the new features in InDesign across several versions that are sure to make your design projects easier, faster, and more integrated with the rest of Creative Cloud.
InDesign CC 2017
Footnotes that span columns
Details here.
OpenType enhancements
Details here.
In-context menu for text frame selection
Details here.
In-Context support for Ordinals and Ligatures
Details here.
Stylistic sets
Details here.
Hyperlinks panel performance
Details here.
Stroke arrowhead scaling
Details here.
Control Panel customization
Details here.
Panel tab height preference
Details here.
In-app search of Adobe Stock assets
InDesign CC 2015
Cleaner and bigger UI
Details here.
Network file stability
Details here.
GPU Performance (Mac only)
Details here.
Sort Swatches panel
Details here.
PDF language accessibility
Details here.
CC Library Read-only
Details here.
Adobe Stock integration
Details here.
Start & Recent Files workspace
Details here.
Publish Online
Details here.
Style Override Highlighter
Details here.
Save As dialog default location
Touch workspace for Windows
Details here.
CC Libraries enhancements
Details here.
Paragraph Shading
Details here.
Images in Table Cells
Details here.
Print PDF Export viewing options
Details here.
InDesign CC 2014
CC Libraries
Details here.
Welcome Screen
Details here.
Version Conversion
Details here.
Create New Table
Details here.
Ungroup Remembers Layers
Details here.
Print Current Page
Details here.
Adobe Color Themes panel & tool
Details here.
EPUB enhancements
Details here.
Typekit enhancements
Details here.
Seamless Updates
Details here.
Table improvements
Details here.
Color Groups
Details here.
Find Previous
Detaills here.
Behance integration
Details here.
Improved Packaging
Details here.
QR code data merge
Details here.
Footnote enhancements
Details here.
HiDPI for Windows
Details here.
Scalable effects
Details here.
Tool Hints panel
Details here.
Background Tasks panel
Details here.
InDesign CC
Details here.
InDesign CS6
Details here.
InDesign CS5
Multiple page sizes
You can define different page sizes for pages within a single document. This feature is especially useful when you want to manage related designs in one file. For example, you can include business card, postcard, letterhead, and envelope pages in the same document. To create multiple page sizes, use the Page tool to select a page, and then change the settings in the Control panel.
New Layers panel
The new InDesign Layers panel is now more similar to the Illustrator Layers panel. Each layer has a disclosure triangle that can be expanded to reveal the objects and their stacking order on that given layer for the active spread. By default, new page items are given generic names such as <rectangle> and <path>. You can give any page item a custom name by click-pause-clicking the item name in the Layers panel. You can change the stacking order of objects by dragging items in the list. The Layers panel also lets you show or hide and lock or unlock individual page items.
Custom page sizes
Instead of editing a text file to create custom page sizes, you can use the Custom Page Size dialog box to make custom page sizes available when you create documents.
Simplified transformations
InDesign includes several new selection and transformation features that simplify manipulating objects.
Content grabber: The content grabber appears as a circle when you hover over an image using the Selection tool. Use the content grabber to select and move the content of a frame with the Selection tool still selected. This behavior effectively replaces that of the Position tool, which is removed from InDesign CS5. If you rotate the content with the frame, a horizontal line appears in the center of the content grabber. This line mirrors the rotation angle of the content. The content grabber draws over each frame that is part of a group. Use the Selection tool to reposition content within a frame that is part of the group. If you don't want the content grabber to appear when you hover over an image, choose View > Extras > Hide Content Grabber.
Double-click Frame edge highlighting: InDesign now temporarily draws the frame edges as you use the Selection tool to hover over items on a page. This method makes it easier to find the item you want before you select it. The color of the frame edge drawn matches the color of the layer the object is on. Groups are drawn with a dashed line. This feedback is especially helpful when working in Preview Mode or with Hide Frame Edges selected.
Path and point highlighting: When you hover over a page item with the Direct Selection tool, InDesign displays the path and display the path points. This feedback makes it easier to view the path point you want to manipulate. You no longer have to select the object with the Direct Selection tool and then select the path point. You can simply drag the point you want.
Rotate: As in Illustrator, you don't have to switch to the Rotate tool to rotate a selected page item. With the Selection tool, you can simply position the pointer just outside a corner handle, and drag to rotate the item. When you stop dragging, the Selection tool remains the active tool.
Transform multiple selected items: You no longer have to group multiple items before you can resize, scale, or rotate them with the Selection tool. Simply select the items you want to transform, and you see a transformation bounding box around the selected items. Dragging a handle resizes the selected elements; holding down Shift resizes them proportionally. Holding down Ctrl (Windows) or Command (Mac OS) scales them. Holding down Ctrl+Shift (Windows) or Command+Shift (Mac OS) scales them proportionally. Including Alt (Windows) or Option (Mac OS) performs the transformations from the center of the selected objects.
Live Screen Drawing: In InDesign CS5, you see the content draw as you drag it. In previous InDesign versions, you pause before dragging to see the content draw. You can change the Live Screen Drawing setting in Interface preferences to use the previous behavior.
Favor the selected object: If you select one of several overlapping page items and begin dragging, the selected object remains selected. To select a different item, simply click a portion of that different item that is not overlapping or intersecting the currently selected item.
Live Distribute: When transforming multiple selected objects, InDesign CS5 lets you proportionally resize the space between the selected items instead of resizing the actual items.
Reordering of the Transformation Tools: The Rotate, Scale, and Shear tools appear under the Free Transform tool in the Tools panel. You can rotate, resize, and scale objects without having to switch from the Selection tool.
Gap tool
The Gap tool provides a quick way to adjust the size of a gap between two or more items. The Gap tool is a one-step way to adjust your layout by directly manipulating the whitespace.
Paragraphs that span or split columns
In InDesign CS5, you can make a paragraph span multiple columns without creating separate text frames. You can also split a paragraph into multiple columns within the same text frame.
Keep with previous
The Keep Options dialog box now has a Keep With Previous option that keeps the first line of the current paragraph with the last line of the previous paragraph.
Balanced columns
The Balance Columns setting in the Text Frame Options dialog box lets you automatically balance text across columns in a multiple column text frame.
Vertical justification in non-rectangular frames
In previous versions of InDesign, applying a non-rectangular text frame causes vertical justification settings to be ignored. In InDesign CS5, you can apply both vertical justification and corner effects and other irregular-shaped frames.
Live corner effects
Click the yellow square that appears near the upper right corner of a selected frame to apply corner effects to rectangular frames. In addition, you can now apply a different corner effect and a different corner radius to each corner.
Swatches in Control panel
You can apply swatches to objects directly in the Control panel. Select an object and choose the swatch from the Fill or Stroke menu in the Control panel. You can also drag the current color swatch displayed in the Control panel and apply it to other objects.
Grid place enhancements
When placing multiple files, simply start dragging, and then use the arrow keys to change the number of columns and rows of the placed images. While dragging, hold down Ctrl (Windows) or Command (Mac OS) and press arrow keys to change the gutter space.
Select the Auto-Fit option so that the image is resized automatically whenever you resize the frame.
Drawing multiple frames in a grid
When using frame creation tools such as the Rectangle or Type tool, you can press arrow keys to create equally spaced frames.
Duplicating objects into a grid
You can create a grid of objects while dragging a copy of a selected object.
Live captions from metadata
In InDesign CS5, you can generate captions based on image metadata using a number of methods. You can generate captions while you place images by turning on the Create Static Captions checkbox in the Place dialog box. You can generate captions from placed images. First, use the Caption Setup dialog box to identify which metadata is included in the image. Then choose an option from the Object > Captions menu to generate either a live or static caption. You can add a text variable to a text frame that display the metadata of the image that touches or is grouped with the text frame.
Mini Bridge
Mini Bridge is a subset of Adobe Bridge that is available as a panel within InDesign. Mini Bridge lets you navigate your file system and preview files as visual thumbnails without having to leave InDesign. You can drag-and-drop files from Mini Bridge to InDesign as an alternative way to place files into a document. Doing so loads the dragged images into the place cursor, just like dragging from Bridge. You can also drag selected items into Mini Bridge to create snippets.
Improved Adobe Bridge integration
InDesign CS5 and Adobe Bridge CS5 are more integrated in two ways.
Page Thumbnails: A new File Handling preference option lets you generate page thumbnails for more than the first page of InDesign files. The default number of pages to generate thumbnails for is set to 2, but you can change it to 1, 2, 5, 10, or All. You can now see previews of the pages within an INDD file in the Preview pane of Bridge. Choosing more thumbnail pages may cause your InDesign document to take longer to save.
View Links in an InDesign File while in Bridge: You can view the links inside an InDesign document while in Adobe Bridge, without having to open the document in InDesign. For example, suppose that you don't remember the location of an image, but you remember placing it in an InDesign document. In Adobe Bridge, navigate to the InDesign file, and then display thumbnails of all the placed files contained within the selected InDesign file.
Interactive documents and presentations
FLV and MP3 import: You can import video files in Flash Video format (.FLV and .F4V), H.264-encoded files (such as MP4), and SWF files. You can import audio files in MP3 format. Legacy media file types like QuickTime (.MOV), .AVI, and .WMV are still supported. However, use FLV, F4V, MP4, and MP3 formats to take full advantage of the rich media support offered in the most recent versions of Acrobat, Adobe Reader, and Adobe Flash Player. Use Adobe Media Encoder to convert older media file types to .FLV.
Media panel: The Media panel lets you preview SWF, FLV, F4V, MP4, and MP3 files directly in InDesign. For FLV, F4V, and MP4 files, you can choose any frame in the video as the placeholder poster image. You can choose which video playback controls you want the viewer of your interactive document to have. The Media panel lets you create navigation points, which are time-code markers that you can target with button actions.
Motion presets: The Animation panel lets you assign a motion preset to any page item as a way to quickly create an animation. These motion presets are the same motion presets found in Adobe Flash CS5 Professional. Furthermore, InDesign can import any custom motion preset created in Flash, enabling InDesign and Flash users to collaborate to create animation effects.
Animation panel: Use the Animation panel to create or edit animation effects. You can edit supported animation attributes such as Position, Scale, Rotate, and Opacity. Save any custom animation created in InDesign as a custom motion preset that can be shared with others. Use the Animation panel to specify when an animated object is played, such as when the page is loaded or clicked.
Timing panel: Use the Timing panel to change the order of when animated objects play.
Object States panel: Use the Object States panel to create multiple versions of an object. For example, you can create a single page object with 20 different states, and each state contains a different photo. Anyone who opens the PDF or SWF file can click forward and back buttons to browse the photo gallery.
Preview panel: In InDesign, you can preview interactivity and animation of the current selection, the current spread, or the entire document using the Preview panel. You can also test interactive elements in a web browser.
Pixels as unit of measurement: You can now specify Pixels for your unit of measure in Preferences > Units & Increments. You can override the current unit of measure by adding "px" to your values in edit fields in the Control panel, dialog boxes, and other panels. When using pixels, objects and X/Y coordinates snap to whole pixel values, and the line weights listed in the Stroke panel also change to pixels.
Convert URLs to hyperlinks: Use the Convert URLs To Hyperlinks command to search the current selection, story, or document for URL strings and convert them to hyperlinks. You can also assign a character style to the found URLs.
Improved export to Flash Player
SWF file export can now include animation, video, audio, and remote rollovers. In addition, several new options let you control the final SWF file output.
Improved export to Flash Professional
InDesign CS5 exports to FLA format rather than XFL format for editing the file in Flash Professional. FLA export options support rich media content and offer more ways to handle text.
Improved export to Interactive PDF
InDesign CS5 includes separate commands for exporting print and interactive PDF files. InDesign CS5 exports all rich media content to the Rich Media Annotation Layer when exporting to Interactive PDF, resulting in more reliable playback in Adobe Reader. For best results, video files must be in FLV or F4V format and audio files must be in MP3 format. A few new options are available when exporting to interactive PDF, including initial view options, presentation settings, and page transitions.
Improved XHTML export
Exporting to XHTML is a way to extract your content out of an InDesign document and hand it over to a web developer who can repurpose it using a web application such as Dreamweaver. InDesign CS5 enhancements include the ability to match the attributes of InDesign text formatting, preserve local formatting, and control the order of content. InDesign Tables are now assigned unique IDs, allowing them to be referenced as Spry data sets in Dreamweaver.
Improved JPEG export
The Export JPEG dialog box includes several new options, including the ability to specify the color space, use document bleed settings, and simulate overprinting.
The foregoing was edited from the Adobe InDesign CS5 helpfile system.


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Today's discerning photographers are looking for a camera with a high zoom range, yet compact and pocketable, with no compromises on picture quality. The FinePix F300EXR delivers on all those counts, and is destined to be the star performer in this year's intense competition for the best 'superzoom' compact.
Following in the footsteps of award-winning 'F' series models, the F200EXR, F70EXR and F80EXR, Fujifilm is pleased to announce a new top-end 15x zoom model, the F300EXR.
The F300EXR's features at a glance:
- 12 megapixel, ½in Super CCD EXR second generation sensor
- Full EXR modes, with EXR auto
- 15x Fujinon lens, 24mm - 360 mm equivalent
- New Hybrid Auto-Focus System (Contrast AF and Phase Detection AF)
- New accurate zoom control with low noise
- Full HD Photo and 720p HD Video
- 3.0", high contrast (1:1200), 460k dot LCD with Wide View Filter
- CCD Shift Image Stabilisation System using new Gyro Sensor
- Super Intelligent Flash
- Compact size, only 103.5 (w), 59.2 (h) and 32.55 (w)mm
- Ergonomic grip, with slanted mode dial
- Photobook Assist via Star Rating System
- P/A/S/M Exposure Control
- Face Detection, Face Recognition, Pro Focus Mode
- Motion Panorama 360°ree;
Hybrid Auto Focus System
One of the disadvantages of longer zoom compacts is relatively slow auto focusing. Typical compacts rely on Contrast Detection, which works by fixing the focus by searching for contrast differentials. Some expensive cameras, including many DSLRs, use two focusing systems in tandem to improve the time taken to auto focus. Phase Detection AF works by dividing the incoming light into pairs of images and calculating the phase difference to find if the object is in front focus or back focus position. Contrast AF is generally better in low-lit scenes, while Phase Detection AF is extremely responsive in good light. Having both systems on one camera is perfect.
The FinePix F300EXR uses both Contrast AF and Phase Detection AF to offer auto focus speeds as good as, or sometimes better than expensive DSLRs. To achieve the incredible AF speed of 0.158 seconds, Fujifilm engineers placed pairs of phase detection sensors on the EXR sensor, which work exactly like external sensors on DSLRs. The FinePix F300EXR automatically selects the optimum focus system, by measuring the amount of light or contrast in the scene. The benefit for the photographer is immediate and obvious: an almost instantaneous capture of the subject in the viewfinder, with no missed shots or subjects half out-of-frame.
Super CCD EXR - The Quality Edge
Introduced last year with the FinePix F200EXR, this radical new approach to sensor technology has been met with rave reviews and numerous awards from international industry organisations such as EISA and TIPA. The FinePix F300EXR sports the latest 12 megapixel version of the EXR sensor, offering even higher resolution than its predecessor whilst still offering class-leading dynamic range and low noise/high sensitivity options.
Modelled on the human eye, the EXR sensor's unique design means that the user can switch the behaviour of the sensor according to the scene to the photographed. When the light is strong and even, the camera can be switched to HR (High Resolution) mode to ensure every small detail is recorded. When light is strong but contrasty, the sensor can switch to DR (Wide Dynamic Range) mode to get the optimal balance between highlight and shadows. Lastly, in low light the sensor will switch to SN (High Sensitivity and Low Noise) mode, to ensure clean noise-free pictures even in the darkest conditions.
EXR Automatic or Manual operation - You decide
For the ultimate in 'point and shoot' simplicity with perfectly optimised results whatever, whenever and wherever you're shooting, EXR Auto mode takes the guesswork out of setting the camera by doing everything for you. With six pre-set scene modes covering the most popular subjects; Landscape, Portrait, Macro, Night, Night Portrait, and Backlit Portrait, EXR Auto automatically detects the scene and not only optimises the focus, exposure and white balance but chooses the optimum EXR mode, too.
If you prefer the hands-on approach, all three sensor modes can be selected manually for true creative freedom and total control.
EXR was developed by Fujifilm to maximise quality in camera designs where larger sensors simply cannot be used, making it perfect for a long zoom compact, delivering extraordinary results even in the most challenging conditions.
Fujinon 15x Optical Zoom Lens
Super Wide to Super Telephoto (24-360mm)
Teams of Fujifilm sensor and lens engineers worked closely together to develop a lens/sensor combination which works perfectly together. The toughest assignment was to produce the high quality 15x lens, which offers an incredible 24mm - 360mm focal length, while still optimising quality via the new EXR sensor. From sweeping landscapes, interiors and large group shots to distant sports or wildlife action, the FinePix F300EXR opens up a world of photographic possibilities that you can carry with you wherever you go.
The secret of the Slim design
Such high zoom ratios have hitherto only been possible in larger 'bridge' cameras, but Fujinon engineers have developed a clever 'double sliding' lens mechanism, which means that 2 lens elements neatly fold away from the path of the retracting lens, giving a remarkably neat, compact look, and a camera depth of 32.6 mm, which is similar to a number of lesser zoom models on the market.
Professional Optics
Long zoom compacts depend heavily on the quality of the optics, so no expense has been spared to provide the FinePix F300EXR with the sharpest, clearest Fujinon 15x zoom lens. With a Super Electronic Beam Coating (EBC), that keeps ghosting and flare to a minimum, you are ensured optimal picture quality.
The Fujinon brand name guarantees optical quality across the entire zoom range that you'll see from the first picture you take. Fujinon lenses are acclaimed by photographers, broadcasters (Fujinon are the world's leading manufacturer of television camera lenses) and industrial users across the globe.
Advanced technology in a slim shell
Gyro Sensor to improve Image Stabilisation on both movies and stills
To achieve the sharpest possible pictures, even at the longest telephoto range, Fujifilm engineers have developed a new gyro sensor to radically improve the performance of the CCD-shift image stabilisation. Previously, the stabilisation worked very effectively to control high frequency narrow-range vibration, but less well with slower, broader-sweep movement. The new sensor in the FinePix F300EXR works very well with both, controlling all forms of handshake movement to produce sharp, crisp, images at the touch of a button. Increasing the ISO to freeze the action is no longer as necessary, meaning beautifully sharp low-light pictures can be achieved at ISO 400, rather than 800 or 1600 ISO.
Perfect Handling
Despite its pocket-friendly size, the FinePix F300EXR sits nicely in the hand for easy controlled shooting. The sculpted grip fits the fingers perfectly, while the slanted mode dial gives easy access to all the important camera controls. The finish to the black, all-metal chassis, is solid and finely crafted, and offers protection from minor knocks or abrasions. At only 103.5mm wide, 59.2mm high and 32.5mm deep, the camera is remarkably compact for a 15x zoom lens.
3.0in High Contast, High Resolution LCD screen
Of considerable benefit in bright sunlight, the 3.0in high contrast (1:1200 ratio), wide-view LCD screen allows you to tilt the camera at various angles and still see the picture on the screen. Additionally, with a new enhanced 460K dot resolution NEW!, this LCD screen will really bring out the detail and colour in your photos and allow you to see every last blade of grass.
Motion Panorama for the Perfect All-Round Shot
Recently popularised on cameras employing a 'Backside Illuminated' CMOS sensor, 'sweep' or 'motion panorama' shots have really become popular with photographers wanting to create beautiful panoramic landscape shots. New to the second generation EXR sensor is a and extends the sweep range from 270°ree; to 360°ree; (shots can also be taken vertically). Combining this with high quality printing on Fuji Frontiers or inkjets, astounding scenes can be taken, showing fine detail, low noise and high resolution.
Super Intelligent Flash
The FinePix F300EXR is fitted with a class-leading flash control system that efficiently controls the flash power to produce beautifully balanced flash illumination across the foreground and background, even in macro mode. Gone are the ugly washed out shots where the subject is blasted with light and the background dark and under exposed. With the improved gyro stabilisation system, lower ISO settings can be used, meaning that slower shutter speeds give more balanced night portrait shoots, with smooth gradation and lower noise.
Improved Pro Focus Mode
One of the ways to distinguish DSLR photography from compact camera photography has been the use of a wide aperture to produce a narrow depth of field separating the main subject from a soft background. Introduced on the F200EXR, Pro Focus Mode has proved very popular with photographers. Through complex digital imaging technology, several exposures are combined to create a crisp shot of the subject against a defocused background and foreground. Ideal for portraiture, nature photography or any subject that needs 'lifting' from its background, the FinePix F300EXR Pro Focus Mode provides satisfying professional results at the touch of a button. Good results are now even simpler to achieve as Pro Focus Mode has been been combined with Face Detection and Face Recognition.
Designed for the Photographer
Similar to other high-end FinePix models, the FinePix F300EXR offers five different film 'modes' to allow the photographer full creative expression to explore a variety of pre-set colour and contrast modes designed around Fujifilm's most famous film emulsions. The modes are:
- Velvia/Vivid (for dramatic full saturation colour)
- PROVIA/Standard (for classic 'neutral' photography)
- ASTIA/Soft (for gentle, low contrast portraiture and soft, fine, smooth tonality)
- Sepia (for antique, warms tones)
- Black & White (for dramatic monotones)
Auto Release for photos of babies and children
We've all tried to take a photo of kids who will just not sit still. A clever new mode on the F300EXR will not fire the camera until the subject looks straight at the lens. Using Face Detection technology, the camera can 'recognise' a front-on face and will quickly take the shot before attention is distracted. It takes all the hard work out of taking pictures of children and is remarkably successful at capturing sharp, high quality shots with minimal fuss.
High Definition movies and stills
The FinePix F300EXR features a high resolution HD movie mode (720p) with sound, and the camera's micro HDMI output allows you to easily display ultra clear high definition photographs and movies on high definition televisions.
For more information please visit the Fujifilm website.


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Not checked if there are any catches but sounds good
Not checked if there are any catches but sounds good
Cracking film. If you've not watched it already, grab a beer and settle down
Can anyone who's seen it comment on the suitability (language and ratboy behaviour-wise) for an 8yo?
there's not much nudity but there's a fair few sweary bits. I wouldn't be comfortable showing it to a minoir
Excellent but very ( and unnecessarily) sweary.
I paid £10.
pictonroad - Member
I paid £10.
It's only going to be available to watch for free via the pinkbike stream for 24hours to celebrate peaty's 40th birthday. So anyone who's bought it shouldn't feel too bad about it as it's only a day and a stream (not download), after which you'll have to pay again to own/watch. It's actually a pretty refreshing gesture when it comes to videos/movies etc.
It's a download if your running Firefox
Its easy to download with a simple browser plugin
What an awesome film.
Want it on DVD
Is this the one with Holly Hunter in it?
Watched Pinkbike stream earlier and then paid for it. Awesome film.
**** French ****
Quality Footage!!
Effing amazing, will be buying the DVD when it is out for sure (not paying for anything on itunes)
Excellent footage. Not ashamed to admit that it got a bit dusty in here at times either.
Watching it ATM, really enjoying it.
Some of those tracks from around 2000 were awesome.
Pik n mix how do you download?
So they let you watch the movie for free and that is still not enough so people feel the need to scam a download out of it too
Sure I watched it, but won't be downloading it and will be buying a DVD when it is out.
No plugin required to get this downloaded using chrome!
Probably a really daft question, but what way are the World Cup and World Championship separated?
World Cup over 'X' amount of races.
World Championship a 1 off race.
Cracking viewing, cheers to the OP for posting. Also a bit dusty in the living room tonight.
If you rip it off for nowt please send something to the people involved as a thankyou
Got their address mike? I'll send a thank you letter.
Me and my 11yr old just watched that on chromecast, superb indeed
Emotional up north- shared a tear with Godzilla ont FaceTime!
Well I must say, had a shitter of a day, thought this would end it nicely. Had no **** joy trying to play it through PS3 on the telly, in two minds as to whether there's any point watching it on the phone but decided to try the first ten minutes - and half an hour in, I like. Great film so far.
Happy Birthday Peaty ..... I think he was unlucky that he was in Nico's era otherwise he would have had a good few 'Worlds'. Brilliant documentary and very emotional at times. The JMC part and footage of Sam Hill were definately highlights. Also It has to be said 'Shaun Palmer' Is some boy Is he not.
Watched it last week on iTunes well worth the money on any platform. Early days, NPS and JMC my MTB era. Fiancée loved it too, great entertainment and captured the development of DH into what it is today.
aint technology great ! clicked link on Pinkbike link on Nexus, pressed the Chromecast button, watched it with the boy on the big telly till midnight. He's sleepy off to school this morning
So they let you watch the movie for free and that is still not enough so people feel the need to scam a download out of it too
What difference does it make whether you watch it for free on the day or download it save it to watch for free later?
Loved it. Made me realise how far this sport has come in 20 years and how quick those years have been.
Even got a little watery eyed with nostalgia.
And I wonder how many are listening to Bat For Lashes this morning?
What difference does it make whether you watch it for free on the day or download it save it to watch for free later?
Pinkbike most likely paid a one-off fee based on a certain level of expected viewings*, which would have been limited by people's availability to sit in front of a screen for two hours.
They didn't pay for people to view it later and it's not right to "save" a copy IMO.
* I'm basing this on my experience working in online content, not any insider info.
Thanks to the OP for the PSA. Watched bits of it last night and given that Steve Peat's career follows my years of mtbing (sadly I don't seem to have yet had his success...) it brought back all sorts of memories like reading Cycling Weakly (when it still had a small mtb section) each week to get news on how Peaty and Warner had done at the World Cups.
This topic has been closed to new replies.


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Release Date: |
Album Rating: 3.0 | Sound OffAlthough I can't lie, the Allen Iverson sample is legendary
the promo video for this was funny shit
Action Bronson is an incredibly busy performer for somebody who doesn't consider rap his first love, or maybe even a love at all if his interviews are as honest as, say, his incredibly personal track "9.24.11."
Album Rating: 3.0 | Sound OffI love run-on sentences to death but yeah I'll change that when my comp lets me. Currently having issues with Sputnik in general
Album Rating: 3.0 | Sound OffThat sentence is pretty gnarly though holy shit
pretty sure he's albanian, not armenian...
Album Rating: 2.5review is on point, it's all there he just bores the shit out of me
No surprise dude is wack
Album Rating: 4.0this mixtape's great
how is action bronson whack
Album Rating: 4.0people be disrespecting the great bronsolino
He's not quite Chance the Rapper I mean lol
lol i know right
i mean this dude has flow but he doesnt sound like a retard i guess
Album Rating: 3.0 | Sound OffSay what you will about Chance's squawking and ad libs but he can ride a beat like a motherfucker
Album Rating: 2.5at least chance is entertaining this fucker is uninspired and monotonous
saaab stories was good though
Digging: Dark0 - Xenotype
I still think rare chandeliers is his best work but this is still a fun and smooth listen
Great review. I've never really liked Bronson for the reasons you gave in the review : delivery never changes, flow is too monotonous, and he doesn't have much to say. I'll probably give this a spin when I feel like it, definitely not in the mood for it now
speaking of chance bronsolinos verse on that album was like the worst thing ever
Bands: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z


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Why did two senior business majors dress up like a gorilla and a banana and run rampant across UD's campus on Halloween?
"To make people laugh," said Mike "Monkey Mike" Oradini. "We talked about it last year," said Matt Antenucci, the banana of the operation. "It was just a stupid thing to do senior year; we thought it was funny."
The duo planned their route the night before, taking into consideration the most popular areas of campus. They made four runs throughout the day, between class changes for maximum audience potential. Three friends were stationed on the route to record the video, all of which was done on cell phones. The final product was put together using Adobe Premiere and is posted on YouTube.
"When we initially took off we were pumped, but by the end we were exhausted," said Antenucci about the runs. The reactions of the crowd were worth it, though. People were laughing, clapping, stopping to take pictures and posting tweets about the random act. "We just wanted to make people's day," said Oradini.
Watch for the gorilla and the banana next semester — they've promised to make an appearance on "a very significant day on UD's campus."


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Arnold Palmer was playing for history. Billy Casper was hoping for a nice check.
As the two men stood on the 10th tee at The Olympic Club in the fourth round of the 1966 U.S. Open, Palmer leading Casper by seven shots and trying to break the Open scoring record Ben Hogan set at Riviera in 1948, Casper said to The King, "I'd like to finish second."
To which Palmer answered, "I'll do everything I can to help you."
The conversation spoke volumes about Casper's affable nature and Palmer's supreme confidence. Neither man knew that over the course of the next two hours their careers would be changed forever, veering in wildly different directions.
In what is still considered one of the most shocking reversals in the history of major championships, Casper, the San Diego native, overcame Palmer's enormous margin and forced an 18-hole playoff. On that Monday, Casper fell behind again, engineered a six-shot swing, and ended up beating Palmer, 69 to 72.
"There is picture of us walking off the 18th green and I've got my arm around Arnold's shoulder," Casper recalled over lunch at the Masters in April. "I told him, 'I'm sorry Arnold.' And I meant it. He was flying high, and from that point on his career went downhill and mine went uphill."
Then, as it is now, Casper didn't linger on pity for long.
"You still have feelings, but then again, if I was playing against my grandmother I'd want to beat her," Casper said, breaking into a full belly laugh. "That sums it up about the way it is."
At the age of 80, Casper is reveling in the attention that comes to him each time the U.S. Open returns to The Olympic Club in San Francisco, as it does this week. This year is particularly gratifying because Casper recently published his memoir, "The Big Three and Me" – the title being a wink and nod to playing in the long shadows of the better-marketed trio of Palmer, Jack Nickalus and Gary Player.
In the months leading up to this year's U.S. Open, writers from around the country have been calling, and Casper has been busy traveling to make appearances and do book signings. He jokes that he's busier than he's been in his life.
Casper, along with the other Olympic Open champions – Jack Fleck (1955), Poway's Scott Simpson (1987), and Lee Janzen (1998) -- will be on hand when this year's trophy is handed out.
"Every day is a high," Casper said with true joy in his voice. "It's a high!"
A reporter from the East Coast called Casper early in the spring and wanted to know how he felt about his great win at Olympic being remembered more for Palmer's collapse.
"I said, 'Let me tell you something,' "Casper said. "There were 15 scores shot under 70 that week, and I had four of them. You might say I was playing pretty well.' And I said, 'My name's on the trophy!' "
Johnny Miller has called Casper the "most underrated golfer of all time, hands down," and the reaction to his '66 Open win was indicative of that. It has been lumped with the other Olympic upsets – Fleck beating Ben Hogan, Simpson overcoming Tom Watson, and Janzen besting Payne Stewart. But none of those winners came close to having Casper's career numbers that included 51 victories and three major titles.
In doing research for Casper's book, co-author Jim Parkinson discovered that only one player from 1950 to the present who has completed his PGA Tour career has a better lifetime winning percentage in relation to starts, and that's Jack Nicklaus (12.3 percent to Casper's 9.2). Tiger Woods (25.9 percent going into this season) is the only active player better than Casper.
But that perspective was lost when Palmer seemingly threw away his last, best chance at an Open title. After Olympic – his third Open playoff loss in a five-year span – Palmer, then 37, wouldn't win another major.
What is infrequently remembered is that in the combined 18 holes of the back nines on Sunday and in the playoff, Casper routed Palmer by an astounding 13 shots, beating him 66-79.
On Sunday, after that exchange on the 10th tee, Palmer needed only to score 1 over par on the back nine to break Hogan's record of 276. He got so caught up in that he forgot about Casper.
Casper gained only two strokes through 13 and was still five down with five to play, but then came a pair of two-stroke swings, including Casper making a 30-foot birdie at 15 and Palmer butchering the 620-yard 16th after a snap-hooked drive.
"It wasn't until 16 that I thought I had a chance to win," Casper recalled. "He had such a lead and when I came ripping up on him, he panicked. He literally panicked. He couldn't make a swing."
When Palmer made his third straight bogey on 17, Casper had tied him, making up seven shots in eight holes to force the Monday playoff.
Casper credited his mindset in the comeback to the 16 days he'd spent earlier in '66 visiting U.S. special forces troops in Vietnam. "These guys were in the boonies. They were prepared for everything; whatever happened they knew how to take care of it," Casper said. "When my opportunity presented itself (at Olympic), I was prepared to take over."
With more than 12,000 fans following every shot at Olympic on Monday, Palmer again seized an early lead, but Casper again played superbly on the back, including making birdies of 30 feet at 11 and 40 feet at 13. When Palmer double-bogeyed the long 16th, it was all but over.
In the years afterward, Casper said his relationship with Palmer was somewhat strained, and that the two never spoke of '66 at Olympic until recent years. But the men greet each other warmly today, as they did at the most recent Masters.
Casper said that on one occasion in 1987, as another Open at Olympic approached, the two were passing each other in a locker room at a tournament in Florida. Palmer gruffly said, "Casper, I'm getting sick of these writers calling me about something that happened 21 years ago!"
"You know, Arnold," Casper replied, "if it hadn't happened the way it did, we wouldn't be talking about it. Look at the publicity you're getting."
Casper said Palmer cocked his head, smiled and said, "I hadn't thought about it that way."


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Legion on N. Main
The theory and practice of streetwear
by Sally Mitani
From the April, 2014 issue
"A lot of people in my program wonder why I'm still going to school," says Michael Kao, who's about three semesters away from finishing his degree at EMU in apparel, textiles, and merchandising. The reason they ask is that Kao started his own clothing line (Chief) several years ago, managed the South U clothing store Motivation, and now has his own store, Legion, selling Chief and his other favorite brands of street wear. But thirty-year-old Kao sees this too as a stepping-stone. "I want to become a creative director for a company like Carhartt," he says. "Having experience in the industry is good, but you still need that piece of paper."
Kao loves the functionality of work wear but thinks it's unnecessarily lacking in flair. Legion is intended to fill a little of that gap. He explains the outfit he happens to be wearing, starting with his Rick Owens high-tops: "He's a high-end fashion label. I don't know if you could call him a maison," he says, dropping the French word for fashion house. Moving up, he's wearing regular gray long johns under his "drop crotch" pants, which, like hoodies, have unfairly been associated with urban thugs, he says. "Look at Commes des Garcons," he says, a seriously avant-garde label. "Every season, they'll have drop crotch pants in their lineup." His "extended long tank top" is by Fear of God and the hoodie by HBA.
Then he explains business partner Jay Tiempo's "silhouette"--a baseball jersey over a hoodie and jeans that are beginning to show a wallet fade and "whiskers" (the horizontal crease marks etched across the pelvis). Whiskers are a good thing--it means your jeans have become uniquely your own.
Kao and Tiempo, who met working at Motivation, were inspired by street wear boutiques in L.A. and New York. The prices are high, but they can talk about selvages on Copin jeans ("$149, but will last forever if you take care of them"), the drape of a Void shirt ($68), and silkscreen vs. direct-to-garment printing. Kao's own Chief T-shirts are in the $20-$30 range.
Legion, 205 N. Main, 369-6378. Mon.-Thurs. noon-7 p.m., Fri. & Sat. noon-8 p.m., Sun. noon-6 p.m. legion-goods.com
[Originally published in April, 2014.]
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Stoudemire won't carry the Knicks far without Carmelo Anthony
If Sunday's demoralizing loss to the Miami Heat contained a number of positive trends, it is equally true that Monday night's thrilling comeback win over the Cleveland Cavaliers, 102-97, held within it a development that could derail the Knicks' season.
Carmelo Anthony, the center of this Knicks team, crumpled to the floor in the second quarter, his team trailing 52-30. He hadn't been playing well, shooting just 1-for-5 as the Cavaliers ran out to a big lead. His injury seemed harmless enough, but he did not return, and after the game told reporters his knee had been bothering him for a while.
Story Continued Below
"You know how some days you wake up and you just really don't feel right? I came out here and I tried to warm up and I still wasn't feeling right," Anthony said following the game. "I thought it was going to loosen up before the game. Then throughout the game some of the things that I was doing, I felt like I was dragging my leg."
Anthony revealed he'd had an M.R.I. on the knee to figure out what the problem was a few days ago, but the test came back clean. His availability for the game against the Detroit Pistons is unknown.
Naturally, a certain skepticism is warranted when it comes to health proclamations from players and from the New York Knicks generally. Jeremy Lin told reporters that his knee was just fine on a night last March he missed a game and was called day-to-day by the team; he never played for the Knicks again. Raymond Felton, earlier this year, assured reporters his hand was fine, and no tests were scheduled; the next day, a test revealed s fracture that kept him out a month.
It's impossible to know whether the 41 minutes per game Anthony played in January simply took its toll, or if Anthony would have gotten hurt anyway. Either way, it is vital that the Knicks get Anthony healthy for the playoffs, because the comeback Monday night simply isn't replicable on a regular basis.
Much was made of Amar'e Stoudemire's 30-minute per game playing time limit, but that wasn't created for fun. Stoudemire is navigating a comeback from knee surgery, and this will help keep him healthy. Accordingly, the fact that he blew past it Monday night, playing 32 minutes and scoring 22 to inspire the Knicks' comeback, doesn't mean he can now resume the heavy workload of his earlier career.
The other significant ingredient in the team's comeback that isn't particularly sustainable is Raymond Felton's ten assists. Felton has been in a massive slump over the previous ten games, shooting less than 42 percent overall, and less than 28 percent from three point range, while averaging a meager 3.5 assists (with a game high of just five). To be fair, Felton was quite good in the five games before that, and also had a November to cherish. But this is the puzzle that is Felton; he seems to go long stretches of time, not measured in minutes but rather weeks, where he forgets to get teammates involved or penetrate, settling for contested jumpers instead.
But the rest of the night consisted of improved defense, inspired late-game heroics from Tyson Chandler, and three-point shooting from Steve Novak and Jason Kidd, the latter appearing to be coming out of a months-long slump. All of this is well within the established talent levels of the team.
Even so, they barely managed to beat a Cleveland team that fell to 20-40.
To beat better teams, they'll need Carmelo Anthony back.
Elsewhere in New York sports:
P.J. Carlesimo has two scoring centers, and plans to start playing them together more.
Brian Cashman's skydiving for charity went horribly wrong.
Terry Collins, at least, wants Johan Santana to put his long-term health first.


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Release Date: 2007 |
good review bud. you really deserved your contributor status
never liked the chiefs at all actually.
Do you ever get bored reviewing so many albums from the same artist? I know I would.
They had energy before? Just because you happily chant "la" and "na" doesn't mean you have energy Davey...
Album Rating: 2.5Thanks James... Or should I call you Jim?
Rasputin; Not really. I could sort of ask the same question of you, but just switch the word "artist" with "genre".
Brent, I think they did have energy on their debut. Mindlessly chanting "la la la" and "na na na" would come off as boring as hell, but I think these guys added their fun & playful aspect sufficiently to make it energetic.
call me jim
I guess I can see the argument there, however, every time I see a live video of them they just look bored, or they look like sad puppies haha
Album Rating: 3.5Love's Not A Competition is a fantastic song. But yeah, some really boring songs on this record.
Album Rating: 2.5I know what you are referring to with regards to their live show Brent. The fun nature of their albums arguably doesn't translate all that well to their gigs... At least to the musicians anyway, as the lead vocalist does well in getting the crowd involved. I doubt it's because they are bored or sad... My guess is because they are concentrating too hard on playing their instruments... Which really shouldn't be the case since they are not exactly Dream Theater!
I thought you'd like that song DavID. It's sort of mid-level quality-wise for mine... A good album track, but in amongst so many other similar cuts, it just blends in to me.
Album Rating: 3.5I dunno, it reminds me of The Smiths.
And anyone who knows me knows how much I love The Smiths.
Album Rating: 2.5Haha nope they sure aren't Dream Theater!
I like Ruby and Love's Not a Competition, but the rest is fairly mediocre to me.
And isn't it ironic that the mean user rating is real close to 2.5 and they have a song titled "Everything Is Average Nowadays"?This Message Edited On 12.10.08
Album Rating: 2.5Well DavID, it shouldn't surprise anyone that parts of this album reminds of The Smiths since producer Stephen Street worked on their albums as well.
Yes, good pick-up Zizzer... Very ironic that 2.5 is the most popular rating for this album, your rating is 2.5, my rating is 2.5 and the average rating isn't far from 2.5. Everything is indeed average nowadays!
Album Rating: 3.5And it didn't get much better.
Album Rating: 2.5Now now, let's not jump ahead of ourselves...
Album Rating: 3.5Let's.
Off With Their Heads was arse.
Album Rating: 2.5Patience is a virtue DavIDsan.
And what is it with you & the word "arse" of late... You are starting to worry me. ;-)
good review davey, album is pretty bad. i've always thought 'ruby' is a terrible song too
also ...davidsan? watching anime recently?This Message Edited On 12.10.08
Album Rating: 3.5Nothin' wrong with a bit of arse.
Album Rating: 2.5Gee Kane, if one doesn't like 'Ruby', then I agree that you practically cannot like the album as a whole. What is it about it that you think is "terrible"...???
And no, Anime is not my thing at all... More like a bit of Mr. Miyagi "wax on, wax off"!
Album Rating: 2.5"Off With Their Heads was arse."
"Nothin' wrong with a bit of arse."
A bit contradictory, wouldn't you say DavID?
Album Rating: 3.5Nothin' wrong with SAYING arse.
Bands: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z


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* European shares pare losses on better-than-expected U.S. sentiment
* Euro hits 2-month low vs dollar, still down after sentiment survey
* Gold firms, set for biggest weekly gain since January
By Herbert Lash
NEW YORK, Nov 9 (Reuters) - U.S. stocks and crude oil prices rebounded on Friday on news that U.S. consumer sentiment rose to the highest level in more than five years in November, offsetting fears a looming "fiscal cliff" and Europe's sputtering economy may send the world into recession.
Nonetheless, world shares are set for their worst weekly performance since June, depressed by Europe's debt troubles and $600 billion in automatic tax hikes and spending cuts to start in January if the U.S. Congress fails to act.
The surprisingly strong survey showing consumers felt more optimistic about employment prospects and the outlook for the economy led U.S. stock prices and crude oil to turn higher in early trading.
"It was better than expected and the market seems to like it. It is a positive note, but the backdrop remains negative with a lot of negative sentiment. Still, we could be oversold enough that this could launch a rally," said Steve Sosnick, equity-risk manager at Timber Hill/Interactive Brokers Group in Greenwich, Connecticut.
The Dow Jones industrial average was up 24.65 points, or 0.19 percent, at 12,835.97. The Standard & Poor's 500 Index was up 6.73 points, or 0.49 percent, at 1,384.24. The Nasdaq Composite Index was up 20.69 points, or 0.71 percent, at 2,916.27.
U.S. crude futures edged up 21 cents at $85.30 at barrel, while Brent futures were up 28 cents to $107.53 a barrel.
The euro dropped to a two-month low against the U.S. dollar and could extend losses as fears mounted that the euro zone's debt crisis and deteriorating economic conditions could drag on global economic growth.
The euro was down 0.2 percent at $1.2716, and was seen vulnerable to further losses. The dollar index rose 0.2 percent to 80.983.
Better-than-expected Chinese economic data for October, which pointed to a modest rebound in the world's second-largest economy, failed to stem Friday's declines.
The MSCI world equity index was up 0.1 percent at 323.92. It has lost more than 2 percent since Monday and looked set to close on Friday with a decline steeper than any other week since June.
Gold hit a three-week high of $1,738.66 an ounce before pulling back slightly.
Prices of safe-haven U.S. Treasuries extended their gains for the week after the U.S. election o n T uesday raised fears that Washington's politicians may struggle to find a compromise to cut the budget deficit before nearly $600 billion of spending cuts and tax increases kick in early in 2013.
Markets are also watching the U.S. debt ceiling, which must be raised to avoid a government shutdown.
The benchmark U.S. Treasury 10-year note fell 5/32 in price, the yield at 1.6352 percent.
In Europe, falling industrial output in France, Italy and Sweden and a warning from a German ministry that the country's economy - Europe's largest - was expected to slow further in the fourth quarter and the first three months of next year rattled investors.
The FTSE Eurofirst 300 index of top European shares was up 0.04 percent at 1098.18.


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I've always coveted long hair and although I had shoulder length hair my entire life somewhere in the back of my mind, I often believed my hair could grow longer…I just wasn't sure how. In undergrad my hair definitely got fuller and healthier as a result of bi-weekly rollersets at the Dominican salons (no blow outs, rollersets only). Never one to flat iron my hair regularly anyway, this encouraged me to continue with my heat-free regimen after graduation and between that, regular deep conditioning and daily moisturizing with Ultra Black Hair Dew, my hair grew to full arm pit length which is the longest my hair had ever been.
The thing is, I relied on my amazing stylist for most services – relaxers, rollersets, and trims – so once I moved for graduate school my hair began to suffer. First there were the microbraids done in an African braiding shop where they refused to braid all the way to the ends of my hair, which resulted in broken hair. Then there was finding a new stylist who believed in healthy hair like I did. Also, I had stopped purchasing the UBH spray and went back to other products, Carol's Daughter, Profectiv, and Doo Grow for daily moisturizing all of which contained high amounts of mineral oil and didn't really moisturize my hair. Add to that the stress of professional school and the result was broken hair that could only be remedied by a major haircut.
Finally after a few failed attempts to re-grow my lengthy locks, I did an online search and came across Black Hair Media and my healthy hair journey was born! I did have one final catastrophe a month into my HHJ (May 2009) in which a stylist burned my scalp very badly by incomplete neutralizing and improper product use plus she cut my full shoulder length hair into a ridiculously ratchet mullet looking shape leaving me at chin and neck length.
I was upset but not discouraged and I continued on my journey by wearing wigs for about 7 months straight to allow my hair and scalp time to recuperate. I heavily considered transitioning at that time but decided firmly against it during one tragic wash day where I decided to straighten my hair and wear it out. I was pulling and tugging at what seemed like a zillion knots, the blow dryer caused my hair to smoke and I failed to achieve a sleek look after flat ironing. Following all that work, I was left with a throbbing scalp and frizzy hair; then I looked down to see literally piles of my hair on the bathroom floor from the detangling and straightening session. I realized (just as I had the last time I was natural) that I do much less damage to my hair when it is relaxed – I don't use direct heat as often, I don't "fight" with my tangles, and overall I get along with my hair better. I've been happily relaxed ever since although that doesn't stop me from having natural hair envy all the time!
I was able to grow my relaxed hair to just below my shoulder blades to graze bra-strap length, but had a difficult time maintaining that length with healthy ends and was never able to grow beyond it. Each time I reached this length, my hair needed a major trim. Since my final length goal is middle back length hair, I decided to stop relaxing my hair and transition to natural hair.
I transitioned over a period of two years to natural hair, no big chop for me! When I finally completely cut my relaxed ends, my hair stretched fell just below my shoulders.
I typically wear my natural hair in protective and low manipulation styles, usually a twist out. My final length goal is still mid back and I hope to achieve it sometime in 2017. That's my hair story and I'm sticking to it!
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Cornelius Norman
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Surname meaning for "Norman"
English, Irish (Ulster), Scottish, and Dutch: name applied either to a Scandinavian or to someone from Normandy in northern France. The Scandinavian adventurers of the Dark Ages called themselves norðmenn 'men from the North'. Before 1066, Scandinavian settlers in England were already fairly readily absorbed, and Northman and Normann came to be used as bynames and later as personal names, even among the Saxon inhabitants. The term gained a new use from 1066 onwards, when England was settled by invaders from Normandy, who were likewise of Scandinavian origin but by now largely integrated with the native population and speaking a Romance language, retaining only their original Germanic name.


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A church for Tasmania, making disciples of Jesus
An article in one of Britain's leading daily newspapers, the Daily Mail, reported that 'One in seven can't wait for the twenty-seventh'.
Our son Andrew is 'the one' in those seven. Each year Christmas comes to him like a dark cloud. It's not that he hates what it stands for, rather what the commercial world has done to this Holy Season.
One unfortunate feature of the commercialisation for Christmas, is that Advent can be easily pushed into the background. Here in Australia, an added pressure is that it comes at an important and busy time for those working on the land. Plus, December leads us into the major holiday period in this nation.
In recent years I have observed an increasing interest in the production and use of Advent literature, similar to the way we undertake Lenten Studies.
One such book is Joy to the World by Joyce Huggett © 2001 (Eagle Publishing) from which the following extract is taken, with permission:
One of my favourite stories about Christmas preparations, though, stems from the thirteenth century and centres around an initiative taken by St Francis. Near the hermitage in the Italian village of Greccio where Francis lived towards the end of his life was a cave that was very similar to the grotto in Bethlehem where it is believed that Jesus was born. One Christmas Francis found himself longing that he and his fellow villagers would experience what God did for us in giving us his one and only Son. To achieve this aim, he decided to turn 'his' cave into the kind of stable where he believed Jesus was born. He shared his vision with the Lord of Greccio and asked him to have a manger built, to fill it with straw and hay and have it placed in the cave. He also asked his aristocratic friend to send animals to the cave: an ass, some oxen and some sheep. These were to stand either side of the manger. At midnight on Christmas Eve, they would have a celebration of Holy Communion using the manger as the holy table.
Meanwhile, invitations to come to the cave at midnight were sent to each of the peasants in the valley, all the hillmen of the small towns that looked down on Greccio and every brother in each of the hermitages. They came. Some carried flaming torches, others brought candles, many sang hymns and carols. 'The forest resounded with their voices,' recalls Bonaventura, a Companion of St Francis. 'And that memorable night was made glorious by many brilliant lights and psalms of praise.'
Francis radiated deep-down joy. One version of the story claims that, during the service, with the animals standing by, the priest placed the bread and the wine on the straw and all the people sank to their knees in wonder, love and praise. There in the cave, they sensed the presence of Emmanuel - God with us: God lying in the straw in the form of bread and wine.
Another version of the story claims that, when the villagers arrived, they saw by the light of their torches, a baby lying in the manger, wrapped in strips of cloth. He was kept warm by the steamy breath of the farm animals. Francis stood close to the manger overcome with love - enraptured. Meanwhile, a member of the 'congregation' was given a vision of a lifeless baby lying in a manger. In the vision, Francis went to the child and touched him. The child woke up 'as from a deep sleep'. The crowd understood immediately what the vision meant. Jesus had been forgotten by many of the villagers but, through this 'nativity play', Francis had rekindled in the hearts of those among whom he lived, a heart-love for the child of Bethlehem.
The story reminds me of an occasion when I was visiting a friend in hospital. It was Christmas Eve. After I'd given my friend a farewell kiss and a small Christmas gift, I wandered into the hospital chapel to pray. A nun was there. Quietly and prayerfully she was putting in place the Christmas crib - re-enacting in her own way the tradition St Francis unwittingly started. The way she arranged the shepherds and their sheep, the oxen and the manger, filled me with a sense of awe and wonder that resolved into heart adoration and worship. On this occasion I was the one who tuned afresh into the presence of Emmanuel, God with us, in such a way that I could do nothing but gasp in wonder, love and praise.


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Friend of Doug digs deep against SoccerCity
Mission Valley developers pour cash into San Diego State measure
Matt Potter 6 p.m., Nov. 21
Congressman Bob Filner is the first mayoral candidate to endorse San Diego's Compassionate Use Dispensary Regulation and Taxation initiative. In 17-pages, the initiative outlines how to restore safe access throughout the city while keeping money away from drug dealers and cartels, and proposes generating money for the city's general fund, by imposing a sales tax of up to 2.5% on every medicinal marijuana transaction.
"It just makes sense to regulate medical marijuana, otherwise, as a city, we limit our ability to conduct oversight," Filner said. "If medical marijuana is prohibited, the city misses out on valuable revenue, and patients don't have legal access or the ability to manage pain and enjoy regular activities."
The Patient Care Association, who represents more than 60 medicinal marijuana collectives (many are temporarily closed), joined forces with Citizens for Patient Rightsto qualify the initiative for November's ballot. To do so, they must gather 62,057 signatures by May 22.
Thanks to the $70,000 they have raised so far, a professional signature campaign, aided by volunteers, began on President's Day. The initiative's campaign consultant, Cynara Velazquez, is confident they will meet, if not exceed, their signature goal and is pleased with their endorsements so far.
"We haven't started our main push for endorsements yet…but people see the federal and municipal disregard for state law, the will of [our city's] voters, the desperation facing patients and caregivers, plus the resurgence of the cartel in the vacuum of regulated access, and they want to help," Velzaquez said.
James Schmachtenberger, chair of the patient care group, said of Filner's endorsement, "Unlike other local politicians, [Filner] is not afraid to take a stand on important issues like patient access.
The will of the electorate is with us and we look forward to announcing the support of many more local elected officials in the near future." Several organizations, State Assemblymember Tom Ammiano, and former Los Angeles Deputy Police Chief Stephen Downing, have also endorsed the measure
The initiative is set up to pay for itself through a cost recovery measure, making use of existing city departments to implement the more than a dozen operational regulations proposed for the collectives seeking a Compassionate Use Dispensary permit.
Regulations include California Department of Justice background checks for all collective directors and prohibitions on operating within a 600-foot radius of all accredited K-12 grade schools and playgrounds. There is also a 5-year limit on the number of collectives allowed to operate, limiting the first round of permits to those established prior to the initiative's passage. More information about the measure is available online.
This initiative is NOT supported by the San Diego patients or activists. This initiative is written by a few (15) collectives and is designed to monopolize medical marijuana in San Diego for profit. It is about profit not patients. Call his office and let him know you will not vote for him unless he withdraws his support. Bob phone number is (619) 231-6200
Reader story about Bob Filner endorsement. http://www.sandiegoreader.com/weblogs...
This initiative is NOT supported by San Diego Norml or California Cannabis Coalition or Californians for Patient Rights. Below are some comments by San Diego Task Force Members
What does the MMJ task force say about the initiative in San Diego,
Alex Kreit says it's problematic for PCA to control licensing and fees.
"I just can't, for the life of me, see how that makes sense from a policy perspective," Kreit says.... "It seems [like] something geared towards [the dispensaries'] interests, not the interests of medical-marijuana patients and people in the community."
Stephen Whitburn, a Democratic politician who served as the task force's vice-chair, calls the bill "bad policy." He says it cuts neighborhood representatives out of the process and sets unreasonable deadlines. He's also skeptical of PCA's self-serving accreditation concept.
The group who wrote this initiative is 15 collectives not 60 as reported.
For more information go to California cannabis Coalition or SD Norml Facebook page.
This is an amazing initiative put forth by the PCA. The I and I Rootz Collective is proud to be a part of the PCA and officially endorses this initiative. It is sincerely intentioned in the interests of the patients. I've personally participated in the working meetings that helped draft this initiative (which included directors, patients, and members of the community), and at the core of every meeting is safe access for the community.
Directors are patients too and every member of the PCA is committed and dedicated to this cause. They are working class individuals that are tired of the bickering that has gone on long enough in the local MMJ community. Not in a long time has the situation looked so grim. Time to either join in the movement or get out of the way. :) Lets make this happen!! Its time to TAKE our rights back...VIVA THE PEOPLE!!
Sounds like A.S.A. chanting re-worded. Bottom line is patients were fine and somewhat dandy until you decided to sell pot for profit. Prop 215 and SB-420 were made to help sick people gather together without the threat of police action being taken upon them for growing "their" medication. But here comes these over-night pot pharmacological ideas to profit from the sick and dying that these prop's were created for, not so you could buy houses and cars. Since you claim it's not for profit, then explain to me how you grow enough to supply your patients? We all know anything over 100 plants will get you 5 years fed time. Yet you still hold on to the idea your helping this community? If you can't supply your patients with the needed medication then your "importing it from another county". and I know the prices you pay and the profit your making. Do the math on it. 1 pound goes for $1.000.00 are you breaking even or making money? Remember it's "NON PROFIT".
I was present at the PCA meetings with the initiative proposal was being considered. I can testify that at least forty collectives participated in these meetings and votes. That said, any decrease in PCA membership has everything to do with the City Attorney and federal crackdown, which has effected every collective and every patient they serve. Unfortunatly, there are almost no storefront collective dispensaries left in San Diego, as a result of federal and local incursion. For this reason, we are proposing an initiative to allow collectives to thrive in our city again.
I fully respect those that would like to meet in non commercial cooperatives to disburse medical marijuana without charge to other members of their group. This initiative, allowing storefront dispensaries does not stop this from occuring. However, the vast majority of patients WOULD like the ability to walk into a secure well-regulated location, purchase their medicine from a known professional source and move on with their lives.
A market for medical marijuana will always exist, and the only way to end the drug war is to regulate this market, bring it and the patients out of the shadows.
In response to ImStoned, I don't think you understand the history of this issue. MM patients were not "fine" before. Prop 215 and SB 420 were indeed put in place to help insure safe access to medical cannabis, but they did not address local issues. Last year, the SD city council passed their ill-conceived ordinance that would have forced all dispensaries to close. How accessible will medical cannabis be for seriously ill patients if they cannot obtain it safely and legally within their own city? Also, I am mystified by your reference to when dispensaries "decided to sell pot for profit." Where do you think people were getting marijuana before there were legitimate dispensaries offering high quality medical cannabis? The drug cartels have been and continue to be the elements that are selling 'pot for profit'. Dispensaries in California must be run by a collective as a non-profit---they can compensate members who grow and who operate the dispensary, but the collective can't accumulate profits. I can't imagine you have an issue with paying laborers for their labor. Lastly, your reference to 'importing it from another county' makes even less sense than your earlier points. Agricultural centers are generally not located in big cities. Much of California's #1 cash crop is grown outdoors in other counties such as Humboldt. Did you put this in your letter so that some would read 'country' instead of 'county'? Because since Prop 215 was enacted, a cottage industry has sprung up around medical cannabis that has provided Americans with medical cannabis grown by Americans and distributed by Americans. Sadly, hundreds of these jobs have been destroyed by joint action of the federal government and the SD city attorney to shut down the very dispensaries that were compliant with all possible local and state law. It's a no-brainer that the compassionate use initiative being circulated will give some protection to dispensary operators. As MM patients, we want our collective storefronts to stay safe and open. There's nothing in the initiative that gives any collective running a dispensary preferential treatment over another. It will simply make them all safer. I am a MM patient and activist, and I support this initiative. The Cal. Cannabis Coalition does not represent my views. Anyone who reads the facts can learn the truth. PS. The confusion over the number of collectives involved in the creation of the ordinance is likely due to the fact that at the beginning, sixty collectives were involved, but at this point most of the dispensaries have been shut down. The collectives for the most part are still very much here.
I find it very interesting that both sides, both for and against pot shops, are now publically reporting what we've all known and have been saying for many years; that marijuana dealers and users are hiding behind the "medical marijuana" shield via illegal retail storefronts. And that "Medical marijuana" has never really been about the sick, but always about profits and a fixated desire to be stoned in the name of an ailing hangnail or bruised elbow. "Medical marijuana" is a cheeky marketing ruse created by the pro-marijuana lobby to down play its negative effects on the body and bolster the lie that it's harmless and legit medicine. Recognizing the medi-pot fraud, our communities have successful pushed to prohibit these abusive and illegal marijuana shops in over 90% of the cities in California.
Most importantly to remember is that it doesn't matter what the outcome of the initiative campaign is, because the Drug Enforcement Agency (DEA) in San Diego is steadfastly closing pot shops, and they said they won't stop until all the shops are closed. But in a state of denial and blinded by the potential profits the Patient Care Association slugs along wasting our time and lying to the public saying its about sick people. No matter how you package it, pot shops directly violate federal law, and are and will be shut down by law enforcement.


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|Jones Hewson as Colonel Calverley in Patience
Jones Hewson (1894-99, 1900-01)
[Born Swansea, Wales 2 Sep 1874]
John Jones Hewson began his D'Oyly Carte career in in July 1894 as a chorister in Messager's Mirette at the Savoy, before going on tour with D'Oyly Carte Opera Company "D" later that year. With Company "D" in December 1894 he took the small parts of Captain Corcoran and Calynx in Utopia Limited, and Francal in Mirette. From February to April 1895, he moved up to Mr. Goldbury in Utopia Limited, Gerard de Montigny in Mirette, Tommy Merton in The Vicar of Bray, and also took the part of Ferdinand de Roxas when The Chieftain was added to the repertoire in February.
When Scott Fishe joined Company "D" in April 1895, Hewson reverted to Corcoran/Calynx, Francal, and the Chieftain chorus, though he appears to have kept Tommy Merton. He would add Sergeant Bouncer when Cox and Box was revived in May and Arac when Princess Ida joined the tour in September. Hewson would also fill in for Fishe as Goldbury and, perhaps, as Ferdinand in August 1895.
Jones Hewson left the tour in October 1895 and reported to the Savoy where he appeared as Pish-Tush on November 6 in the second revival of The Mikado. He would also appear as Selworthy in the curtain raiser After All when it was added to the program later that month. In March 1896 he created the small part of the Herald in The Grand Duke, and resumed Selworthy when After All was added again in April. He also filled in on occasion for Rutland Barrington as Ludwig in The Grand Duke and would play Pish-Tush once more when The Mikado was given six matinee performances between May 27 and July 4.
During the subsequent revival of The Mikado (July 1896-February 1897), Hewson began as Pish-Tush (and Selworthy when After All was played), but would also take turns as the Mikado (August 1896) and Pooh-Bah (November-December 1896). In February 1897 he created Baron Vincentius in His Majesty, then filled in from time to time for Fred Billington as King Mopolio starting in March.
For the first London revival of The Yeomen of the Guard (May-November 1897), Hewson would play the Lieutenant of the Tower. He would continue to appear in the companion pieces:yet again as Selworthy in After All (May-June), and then as the Rt. Hon. Claude Newcastle in Old Sarah (June-November). He would next play Captain Hochheimer (and occasionally Baron Grog) in The Grand Duchess of Gerolstein (December 1897-March 1898), followed by Luiz in the first London revival of The Gondoliers (March-May 1898). He also played Newcastle again when Old Sarah was added to the Grand Duchess and Gondoliers programs.
For The Beauty Stone (May-July 1898) Hewson created the part of Nicholas Dircke. He then resumed Luiz when The Gondoliers was brought back from July to September, and took the Counsel to the Plaintiff and Sir Marmaduke Pointdextre in the Trial by Jury/Sorcerer revival (September-December 1898). He would leave the Savoy to go on tour with D'Oyly Carte Opera Company "D" with one week to go in the run, yielding Sir Marmaduke to its originator, Richard Temple, and the Counsel to Scott Russell.
With Company "D," Hewson assumed an old familiar role--Tommy Merton in The Vicar of Bray, until February 1899 when he transferred to Carte's Company "C." Company "C" had a large repertoire and Hewson played principal baritone roles in H.M.S. Pinafore (Captain Corcoran), The Pirates of Penzance (Pirate King), Iolanthe (Mountararat), The Mikado (Mikado), The Yeomen of the Guard (Sergeant Meryll), The Gondoliers (Giuseppe), and Utopia Limited (Mr. Goldbury). Hewson left Company "C" in August 1899.
Ten months later he would return to the D'Oyly Carte, and this time he was back at the Savoy, replacing George Ridgwell as Abdallah near the end of the first production of The Rose of Persia in June 1900. Hewson would remain with the D'Oyly Carte at the Savoy until the summer of 1901. After The Rose of Persia he would appear as the Pirate King in the second London revival of The Pirates of Penzance (June-November 1900), Colonel Calverley in the first London revival of Patience (November 1900-April 1901), and the Earl of Newtown in the initial production of Sullivan's last opera, The Emerald Isle (beginning April 1901). He suffered from tuberculosis, however, and was unable to finish the run. He was replaced by Powis Pinder.
A benefit performance of The Emerald Isle was given for Hewson in October 1901. He then traveled to Australia and New Zealand where he died at the early age of 27.
H Index | "Who Was Who" Homepage
|Page modified February 12, 2007
|© 2001-07 David Stone


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when I looked at my network mode. I see mine is set as "manual". I originally unlock my phone with the thread posted in the the main page (http://forum.xda-developers.com/show....php?t=2176720) and I do believe I also use the same setting there to lock to LTE as well. not sure if that make any difference.
Yes been running beta 2 with Agni 4.2.1 kernel for over a week. rebooted once on fist day, Also today audio went out after installing Viper4Android and had to reboot.
But all the 4.4.2 and S5 features work very nice.
My install: in installation I installed with out tracks and stock kernel let fir for about 10 minutes
then flashed SU and Agni Kernel.
Shutting off all sync I had 41% battery left after 15 hours with 3.23 hours of on screen.
Also installed in Xposed DVFS Disabler and Battery calibrator.
in settings >wifi >advance >un-ticked always allow scanning.
No need to flash modem, note it does now have the ATT model number not tmobile.
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New Super Small Helmet Camera
Found this little gadget... looks cool.
Good price on the 720p version. The real question is how will it perform when in rapid motion? Inexpensive cameras typically use rolling shutters which result in wavy video when moving fast. If they avoid that, it could be a winner.
It doesn't say how many frames per second it shoots. 60 would be nice but 30 is more likely.
According to tachyon's website, the SD and HD versions both record at 30 fps.
HD version
SD version
I watched their video. Once again, no test of the audio quality of the camera:rolleyes: Audio was muted except when the narrator was speaking.
|All times are GMT -6. The time now is 06:50 PM.


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JACKSONVILLE -- Wake Forest's Allan Dykstra broke out of a slump with a single, home run and three RBIs to lead Wake Forest to a 7-3 win over Miami on Saturday in the ACC Baseball Championships.
The win sends Wake Forest into today's championship game against North Carolina.
Dykstra was hitless in the tournament before connecting for his home run in the third inning -- a two-run, line shot over the right field wall. Two innings later, he drove in Wake Forest's third run with a single and later scored on a passed ball in the same inning. Wake Forest (33-26, 14-16) scored its final two runs in the sixth inning without the benefit of a hit. Wake Forest combined two walks, an error and a sacrifice fly by Dustin Hood to round out its scoring.
HOOVER, Ala.-- Shea Robin's two-run single in the 10th inning capped a dramatic rally, lifting Vanderbilt to a 7-6 win over Mississippi Saturday night and into the Southeastern Conference tournament championship game. The 50-11 Commodores will face Arkansas today afternoon seeking their first tournament title since 1980. The Rebels (37-23) were seeking their second straight tournament title.
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Organizing a food distribution
Haiti, January 20, 2010
I'm exhausted tonight – but triumphant! After running around all day between the general hospital and the UN compound, we've succeeded in organizing a distribution of food to the hospital's patients and their families Wednesday morning.
Our role was to connect supply to demand, and under ordinary circumstances, arranging this would be relatively straightforward. Under conditions of limited transportation and unreliable cell phones, however, this was a daylong process. While my colleague staked out the UN compound to identify sources of food, I shadowed an employee of our partner organization Partners in Health, asking her about the needs of their clinics as she drove to their warehouse to pick up medical supplies and rushed into the hospital with boxes of alcohol and bandages.
We met with a doctor at the hospital to discuss logistics. How could we ensure that each patient received some food? How could we make sure some people didn't collect rations twice, taking food meant for other people? Where could we distribute the food securely, without being mobbed or having it stolen by hungry people who have become aggressive with desperation? Late in the afternoon, we finally received confirmation that the UN's World Food Program would be able to transport 2.5 metric tons of high energy biscuits to the general hospital tomorrow afternoon. We were ecstatic. Tomorrow we'll distribute food to 5,000 people.
I found out that someone who went to my graduate school was killed in the earthquake. She graduated some 10 years before me, and I never knew her, but I knew of her. And I feel a kinship with her. She shared my love of travel, my intellectual interests, my desire to leave a mark of goodness on the world, my job. Knowing that she was killed breaks the illusion of "It can't happen to me."
Last night, I lay on the floor in my tent and thought about her, wondering what it would have been like to be her. I think about that every time I drive past a building that has collapsed like a house of cards, the walls blown out, the floors stacked right on top of each other like a layer cake. What would it have been like to be the person inside that house? What would it have been like to see my house crumble around me? I think about that when I drive past buildings that look like they have been cut in half, leaving half of the building still standing, pictures on the wall and chairs arranged around a table, while the other half lies crumbled on the ground. What would it have been like to watch half of the building falling away, people and furniture disappearing in a cloud of dust, the interior suddenly open to the sky?
What would it have been like? I can't imagine it, but I can't stop trying.