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I haven't cried since Sunday. The healing, the recovery is progressing. Things are slowly returning to a sense of normalcy. In my place of work -- a social place where friends gather -- there are more familiar faces gathered in the late afternoon. There's a bit more laughter, more back-slapping.
At home, at night, I walk into my son's room and watch him sleep. I am reminded how often I used to do this when he was an infant. I think to myself that I don't do this as much as I should. These days it seems I go in to turn a light off or pull the covers up. Since Sept. 11, I've made a point of staying longer, like when he was an infant. He is 7 now.
The tragic events of Sept. 11 were hundreds of miles away, yet here in the dawn of the 21st century, they happened before our eyes. They happened in our living rooms. We could all but smell it. We hear the unending stream of stories, of ordinary people's lives turned upside-down, inside-out and shredded to pieces. We hear of heroes. And we cry. We hear the prayers, the hymns, the impassioned speeches and the patriotic songs, and we cry.
Not since my father's passing almost five years ago have I shed so many tears. That was a great personal loss, yet it was different. It was understandable. While we hurt by his passing, we knew that he had lived a full life in his 80 years. We understood the causes that took him from us. We mourned our loss but celebrated his life. The tragic events of Tuesday, Sept. 11, are nearly incomprehensible. Even as we watched it happen, it was with disbelief. In the days, following the horrific events I caught myself thinking, 'Did this really happen?'' Sadly, I knew the answer was yes.
And so we recover, each in our own way.
Last Sunday, we cleaned up in the wake of Tropical Storm Gabrielle. As I surveyed the mess that was in our yard, I could not help but think about images in lower Manhattan. It helped keep it all in perspective. As we cleaned up limbs, raked and bagged up debris, I thought of the firefighters working around the clock at ground zero. The yard work didn't seem like a big deal.
Last night our family did the things that families do. We ate, we helped with homework, we read a book. We watched our son sleep. We discussed work, we discussed finances. And we watched our son sleep.
Some things that seemed important before Sept. 11 now seem trivial, and some things that seemed trivial now seem more important. The off-to-school hug to a son, the off to work kiss to a spouse -- I admit I've probably been guilty of taking these for granted, of going through the motions. And so I make a vow never to be guilty of that again.
As we strive to get back to normal, I cannot help but think that recovery is a journey, not a destination. We've only just begun.
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Chris Ivy
Chris Ivy Poems
- Your Broken Eyes You all look at me with those broken eyes, ...
- Would Anyone Care? If I dare, Would anyone care? If my ...
- The Last Push {boy Version} The night I decided to kill ...
- The Last Push {girl Version} I sit wanes again on my ...
Click here to add this poet to your My Favorite Poets.
Comments about Chris Ivy
The Last Push {boy Version}
The night I decided to kill myself,
Was very same night I met the girl,
I sat be hide a bush a knife in my hand,
Then I heard crying, I dropped my knife on the land,
I asked why are you crying,
The girl sobbed because am lying.
I smiled grabbed her hands and held her tight,
She was surprise ally light,
She smiled and said thank you,
But that was long ago before I was due,
Years later we were walking with my friend lee,
But I guess it was meant to be,
A car came speeding down the road,
I didn't see it, but it hit me with a big load,
I flew ...
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subset: commoncrawl


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A friend of mine shot a nice buck the other day and I was kind of interested in the cape. He said the rack was busted up but otherwise the deer was about 3 1/2 yrs and had a nice big neck. I don't know why, but he cut a hole in the ear to tag it, and I was wondering if this would be a problem if I wanted to use the cape? I don't know why he didn't just put it on the antlers, but he didn't! Is this something that will show, after the taxidermist is done with it? I'm trying to decide if I should take the cape, or wait for another one, without a cut hole in it's ear. I have not seen the deer, but I will be going over to look at it and decide if I want the cape this sunday.
Return to Gamehead Taxidermy Category Menu
If the cut in the ear is all that is wrong with it, then I wouldn't think thats a problem. A good taxidermist can fix that wtih no problem.
Go ahead and take the cape.
from your question I am assuming you are a beginner. Take the cape. It will be a good one for you to practice on. do not worry about the ear, It can easily be fixed. You will probably not be producing a first rate mount, in the beginning, so take any cape you can get. It is better to practice on deer no one wants, than to ruin one that they do. Experience is the best teacher, and try to get all of it you can.
if your gonna be a taxidermist, ya better get used to fixing ear holes
He just wants to know if his taxidermist would be able to use it. Yes but despite what was mentioned above there will be some sort of mark if the hole is in a area where there isn't any hair. The length of the hair will make some difference. If its free and a big cape then take it and just have that ear put back so as not to be shown as much. Think about turning the mount in torward the wall of that damaged side. Most of all, talk to your taxidermist! He/she will know if its something they are confortable with.
When you work the ear, you can make it match the other one pretty easily. Just think outside the box.
As for your taxidermist using it, some beginners will go nuts and wnat to a prefect cape! WHat, wait you say there are no perfect capes? You rrrrrright!
here in pa. us taxies get pretty good at fixin those ear holes, since our law states our deer need to be tagged through the ear, i gua
rantee a competent taxidermist can fix those ears to be unnoticeable!
i also charge 25 bucks to make it happen. i also give the same customer a safety pin for that 25 bucks. saves him money on his next mount


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Canvas Draw Created Nov 23, 2012 460 x 640px Unless noted Copyright 2012 txgerl.
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pencildream Nov 23, 2012
very creative!
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Very cool!
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Wed, Jun 18 7:15AMW 40
A Model for Centralized Monitoring: Reducing Costs While Ensuring Compliance, Risk Mitigation and Quality
The poster will describe how the CDOS model delivers value in four key areas: ability to impact clinical monitoring costs; decreased time to analysis-ready data; increased quality/reduced risk; and ability to impact medical monitoring.
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A recent study has found new possible treatments for obsessive-compulsive disorder. Following are some of the findings:
The question: Might antidepressants help people quell the symptoms of obsessive-compulsive disorder, or OCD?
This study: analyzed data from 17 studies, involving 3,097 adults with OCD who had been randomly assigned to take an antidepressant (citalopram, fluoxetine, fluvoxamine, paroxetine or sertraline - all selective serotonin reuptake inhibitors, SSRIs) or a placebo daily. After six to 13 weeks, people taking an SSRI were nearly twice as likely as the others to have responded to treatment, based on a reduction of symptoms by at least 25 percent, with essentially no differences among the drugs. Those taking antidepressants reported more instances of nausea, headache and insomnia.
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D.C. snow day: Government closed, Metro open - EPW leaders want transport bill in April - But funding is an issue
Featuring Kevin Robillard and Kathryn A. Wolfe
SNOW DAY! The federal government is closed today, and the House and Senate are both out of session as a winter storm system makes its way through the D.C. region. Metro is opening normally today, though it warns that above-ground tracks could be closed with more than eight inches of snow. Buses will only run on major routes and there's no MetroAccess service today. With federal workers off and many in the private sector wanting to likewise avoid travel, the nation's second-busiest rail system should be pretty empty today. Kathryn leads the coverage on POLITICO: http://politi.co/1bqtLmO
Story Continued Below
Down south: City by ci ty, Southerners are learning not to drive in the snow. First it was Atlanta's day-long traffic jam that led to some apt "The Walking Dead" comparisons. This time around, Atlantans learned their lesson and largely stayed home after warnings from state and local officials. But people in Raleigh, N.C., weren't so lucky, suffering through the same lengthy traffic jams and impassable roads that plagued the Georgia capitol several weeks ago. News & Observer has more: http://bit.ly/1g9FMML
DISPATCHES FROM THE EPW COMMITTEE: The Senate Environment and Public Works Committee kicked off highway bill season with a hearing yesterday — and things might be moving more quickly than we first thought. EPW Chair Barbara Boxer laid out an ambitious timeline at the hearing: "I've spoken with [ranking member Sen. David] Vitter, and he approved my saying this: It is our intent to have this bill before this committee in April," she said. "That's our intent." Deadlines come and go without action all the time on the Hill, so don't be surprised if the early goal of April doesn't pan out. Most importantly, though, Boxer's comments show that the bill is a top priority for her this year. And Vitter's blessing indicates that he's, so far at least, playing well with Boxer in their first transportation bill together as the committee's leaders. Kevin has more in his Pro story: http://politico.pro/1bpANYN
But how to pay for it? Kevin reports on one exchange between Sen. Jeff Sessions and Chamber President Tom Donohue that's awfully telling about the odds of one oft-discussed option: "'Is it the position of the Chamber of Commerce that we need to be raising taxes to increase spending today?' Sessions asked. 'We have not raised the federal user fee, fuel tax, in 20 years,' Donohue said, adding that citizens would ultimately have to pay for the highway trust fund in some way. 'You want to raise taxes on Alabamians who have to commute to work. You can spin it however you'd like to spin it,' Sessions said, later adding, 'Some of my people would rather raise the corporate tax than the gas tax, but you wouldn't favor that, would you?' The exchange shows how much work business groups still have to do to win over Republicans skeptical of any tax increase, even ones dedicated to transportation like the gas tax." Full story: http://politico.pro/1bNG0o2
Already talking: Boxer also said she's already talking to incoming Finance Chairman Ron Wyden and ranking member Orrin Hatch about how to fund the transportation bill. Boxer herself has suggested revamping the tax at the refinery level, and moving the gas tax upstream and replacing it with "a percentage highway fee that is paid for at the refinery level." House Transportation Chairman Bill Shuster has said it's not "the right time" to boost the tax.
Toll it: The gas tax isn't the only way to raise the tens of billions of dollars needed for even a few more years of current federal spending levels. Today the Reason Foundation's Robert Poole puts out a list of 10 reasons why tolls are a better financing option than the fuel tax. Give it a look and download the full report here: http://bit.ly/1fhJlMR
First things first: Kevin DeGood of the Center for American Progress on what needs to happen before a funding agreement: "In reality, Congress has struggled to address funding shortfalls because there is a deficit of consensus on what the federal program should achieve. Developing a shared policy vision will not be easy. Without addressing policy differences, however, there is little chance of finding additional money for the next transportation bill." http://bit.ly/1nuVySP
JUST ANOTHER THURSDAY. Thanks for reading POLITICO's Morning Transportation, your daily tipsheet on trains, planes, automobiles and ports, where on this day in 1920, the League of Nations, a precursor of the modern-day United Nations, recognized Switzerland's permanent neutrality. Please be in touch: firstname.lastname@example.com. And follow me on Twitter: @ AdamKSnider.
"If you need to, you can call me from the road…" http://bit.ly/1e2lIqq
T&I WATCH: Gary Miller, a senior Republican on the House Transportation Committee, said yesterday that he won't run for another term in Congress. His retirement makes him the fourth House member currently on the panel who won't be back next year. Howard Coble is retiring, Shelley Moore Capito is running for the Senate and Mike Michaud is running for the governorship of Maine. Republican Trey Radel, who started out on the committee, resigned from Congress earlier this year.
**A message from POWERJobs: Jobs on our radar this week: Rail Coalition Manager at Consumers United for Rail Equity, Central Control Supervisor at METRO and Senior Aviation Analyst at SAIC. Interested? Apply to these jobs and more at www.POWERJobs.com; finally, a career site made for YOU!**
NHTSA ADVANCES RECALL AWARENESS EFFORT: The government safety agency announced two new tools designed to help consumers better understand vehicle recalls — a new graphic on recall mailings and a new smartphone app. Starting next week, all manufacturer recall notices will have to be labeled with the new image that includes the DOT and NHTSA logos along with a note that the recall is "issued in accordance with federal law." The new graphic is meant to make an important and potentially life-saving recall notice stand out amidst the pile of junk mail most people are used to getting. "Recalls only work if consumers are aware of them," Transportation Secretary Anthony Foxx said in a statement. "This new label will allow consumers to quickly recognize recall notices mailed to their homes so they can act quickly to get their vehicles, child restraints, tires, or other motor vehicle equipment fixed." NHTSA also issued an Android version of the SaferCar app that includes recall and other safety information; the tool was already available on Apple products.
A STREETCAR NAMED LOBBYING: Byron Tau and Andrea Drusch report on the lobbying that comes along with the streetcar boom: "Streetcars are all the rage in urban planning circles. And K Street has taken notice. A renaissance for the vintage mass-transit option has spawned a new niche area for lobbying — a rare growth spot in an otherwise difficult business environment. Driven by the hunt for federal transportation dollars, a handful of downtown firms is seeing an influx of municipalities, states or private development organizations lobbying for grants and transit projects. … A consulting firm hired by Washington estimated that the city's proposed 37-mile system would spur between $5 billion and $8 billion in development. Washington's first line is due to open in the coming months — a line that planners hope will someday run through the median of K Street N.W. before ending in Georgetown or Arlington, Va." Pick up today's POLITICO paper for the full story: http://politico.pro/1dkQy2a
- Norwegian Air Shuttle wins operating license in Ireland, but U.S. and European airlines and pilots are strongly opposed. New York Times: http://nyti.ms/1eRoOUn
- Sinkhole opens below the National Corvette Museum, swallows eight cars. Watch the video: http://bit.ly/1maISoS
- National Safety Council, which calculates road deaths differently than NHTSA, puts out its 2013 estimate. http://wapo.st/1bOjueA
- New York Gov. Andrew Cuomo "really doesn't want to discuss the Port Authority." Capital New York: http://bit.ly/1bphG10
- West Islip, N.Y., pol writes that "my personal feeling is that no one who lives in our hamlet or for that matter in Suffolk County should ever ride a bicycle or motorcycle." CBS New York: http://cbsloc.al/1gsX7zw
- T&I member Rick Nolan wants weight limit exemptions for logging trucks on part of I-35, has talked to Secretary Foxx about it. KDAL 610: http://bit.ly/1etSPU8
- New GAO report: "Maritime Administration: Ship Disposal Program Needs Improved Communications and Updated Strategic Plan." http://1.usa.gov/1jyrA2V
THE COUNTDOWN: MAP-21 expires and DOT funding runs out in 230 days. FAA policy is up in 595 days. The mid-term elections are in 264 days and the 2016 presidential election is in 999 days. MLB's Opening Day is in 46 days.
CABOOSE — All aboard! A hotel room in Tokyo boasts an awesomely detailed model train, complete with a camera hooked up to a television so you can see things from the perspective of the tiny model train engineer. Descriptions don't do it justice — so check out the pictures yourself on Kotaku: http://bit.ly/1fis3z4
**A message from POWERJobs: Tap into the power of POWERJobs for the newest job opportunities in the Washington area from the area's top employers, including METRO, SAIC and Accenture. Powered by names you trust — POLITICO, WTOP, WJLA/ABC-TV, NewsChannel 8 and Federal News Radio- POWERJOBS is the ultimate career site with more than 2 million job searches and nearly 17,000 applications submitted this year so far. Connect through Facebook or LinkedIn, search jobs by industry and set up job-specific email alerts using www.POWERJobs.com, the site for Washington's top talent.**


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2014 Harlem Fine Arts Show Details Revealed
Fri, 27 Sep 2013 16:58:52
The 2014 Harlem Fine Arts Show in NYC is less than five months away, and the roster of artists and galleries slated to display works is growing rapidly. As of September, the following have committed to participate in the fifth installment of the annual event, which highlights Black History Month and celebrates the artistic vitality of the African-American community.
The annual event is being hosted by famed Riverside Church, from January 29 through February 2.
Artists already confirmed are as follows:
Andrew Nichols
Corinthia Peoples
Dane Tilghman
E&S Gallery
Elizabeth Baez
Ernani Silva
Frank Frazier
George Nock
Laura James
Leroy Campbell
Nkosi Imported Crafts
Robert Carter
Sidney Carter
Verna Hart
Water Kolours Fine Art
Many additional artists are expected to be added to this list in the months leading up to the show. In fact, as many as 80 different artists and galleries -- many nationally- and even internationally-known -- are projected to participate in the event that features contemporary paintings, sculpture, and photography reflecting the African diaspora.
The event will run from January 29 to February 2, 2014, during the week preceding the New York metropolitan area playing host to the Super Bowl for the very first time.
"It's breathtaking to look ahead toward the array of talent we'll be enjoying in just a few months," says Dion Clarke, founder of the Harlem Fine Arts Show. "Each year, we seek opportunities to further broaden what's on display, and I'm confident attendees to this latest show will truly be captivated by works from both established and emerging artists from around the world."
The 2014 Harlem Fine Arts Show will take place in Harlem at the historic Riverside Church complex, and will be open to all, with a $20 entry fee on most days. The exception will be opening night, January 29, when the still-to-be-determined admission fee will benefit the Harlem School of the Arts.
During the course of the show, attendees will have the opportunity to participate in meet-and-greets with select artists.
For more info, visit http://hfas.org/events/hfas-in-nyc/.
Anyone in NYC planning to attend?
—Carly Costello


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Legal Question in Criminal Law in North Carolina
I was convicted of a misdemeanor marijuana citation this past february (caught with one marijuana joint) in the state of North Carolina. I wasn't arrested just written a citation. Anyways, being such a small amount of marijuana.....this is already giving me alot of trouble when applying for jobs. This is devastating to me. Is there anything I can do to keep this conviction hidden from public viewing AFTER being convicted?
1 Answer from Attorneys
yu have fallen into the classic trap of thinking yu could handle your case w/out a lawyer...yu now have a misd. conviction on your record which you may not be able to expunge...there are circumstances where you could have a misdemeanor expunged, but they are fact specific...i could tell you whether you qualify in 5 minutes (or less)...if expunction is not an option, then you can only try to attack the conviction by a motion authorized by statute...yu now have to get a lawyer...you certainly can contact me or any other attorney you are comfortable with to find out what to do...good luck
Related Questions & Answers
MY wife was "raped" anally when she was 12 by a male "baby... Asked 5/16/10, 7:25 am in United States North Carolina Criminal Law


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Player of the Year: Victoria Robertson, Patrick Henry
The junior captured the San Diego Section title with a 6-2, 3-6, 6-4 win in the finals over Fallbrook's Monica Robinson, who had beaten her in a Southern California Tennis Association tournament two weeks earlier. Robertson was undefeated in Eastern League play. The loss in the second set of the final was only her third set loss of the season.
Name / School / Yr.
Victoria Robertson / Patrick Henry / Jr.
Monica Robinson / Fallbrook / Sr.
Kelly Shaffer / Bishop's / Jr.
Kylie Haviland / Del Norte / Sr.
Lindsay Brown / Patrick Henry / Jr.
Rozel Hernandez / La Jolla / Sr.
Gabriela Rosas / Vincent Memorial / Fr.
Valeria Corral / Mater Dei Catholic / Fr.
Wakana Tanaka / Rancho Bernardo / So.
Carissa Bernhardt / Rancho Bernardo / Fr.
Dani Devor / LJ Country Day / Jr.
Lauren Ross / LJ Country Day / Sr.
Coach of the Year: Kevin Brown, Orange Glen


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42,428 ways to enjoy music...
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Put the Monster in Your Music! Introducing Monster Standard 100 Instrument Cable. A quality connection starts with quality cable. And with Monster Standard 100, you'll use a cable that sounds as good as it looks. So, whether you're gigging, tracking in the studio, or jamming in the garage, Standard 100 is a great entry-level cable to get you started. All the pros know cable makes a difference...that's why a lot of your favorite bands are using Monster.
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NEW YORK — Target's massive data breach has now cost the company's CEO his job.
Target announced Monday that Chairman, President and CEO Gregg Steinhafel is out nearly five months after the retailer disclosed the breach, which has hurt its reputation among customers and hammered its business.
Experts say his departure marks the first CEO of a major corporation to resign in the wake of a data breach and underscores how CEOs are now becoming more at risk in an era when such breaches have become common.
The nation's third-largest retailer said Steinhafel, a 35-year veteran of the company and CEO since 2008, has agreed to step down, effective immediately. He also resigned from the board of directors.
The departure suggests the company is trying to start with a clean slate as it wrestles with the fallout from hackers' theft of credit and debit card information on tens of millions of customers. The company's sales, profit and stock price have all suffered since the breach was disclosed.
A company spokeswoman declined to give specifics on when the decision was reached. But in a statement issued Monday, the board said that after extensive discussions with Steinhafel, they both "have decided it is the right time for new leadership at Target."
The company's stock fell more than 3 percent Monday morning. It lost 3.45 percent at the close.
Target, based in Minneapolis, said Chief Financial Officer John Mulligan has been appointed interim president and CEO. Roxanne Austin, a member of Target's board, has been named interim nonexecutive chair of the board. Both will serve in those roles until permanent replacements are named.
Steinhafel will serve in an advisory capacity during the transition. Jim Johnson remains lead independent director on the board.
"He was the face of the public breach. The company struggled to recover from it," said Cynthia Larose, chair of the privacy and security practice at the law firm Mintz Levin. "It's a new era for boards to take a proactive role in understanding what the risks are."
Steinhafel's tenure has been tested with many challenges, from a weak economy to a proxy fight. The company, known for its cheap chic clothing and home decor, has seen uneven sales since the recession ended and has battled a perception that its prices aren't as low as its rivals.
Under Steinhafel's leadership, the company has won kudos for expanding into fresh groceries and offered a 5 percent discount to customers who use its branded debit and credit cards. In 2009, he successfully defended the company in a proxy fight against activist hedge fund manager William Ackman, who was pushing his own slate of candidates to the board.
But the company recently has been faced with fiercer competition from Amazon.com and Wal-Mart. Recently, difficulties with expansion in Canada, Target's first foray outside the U.S., has hurt profits. But the breach was the biggest black eye on Steinhafel's tenure.


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27. Using Push
Ableton Push is an instrument for song creation that provides hands-on control of melody and harmony, beats, sounds, and song structure. In the studio, Push allows you to quickly generate clips that populate Live's Session View as you work entirely from the hardware. On stage, Push serves as a powerful instrument for clip launching.
Push's controls are divided into a number of sections, as shown in the diagram below.
Much of Push's behavior depends on which mode it is in, as well as on which type of track is selected. To help you learn how to work with Push, this chapter will walk you through some of the fundamental workflows, and then will provide a reference of all of Push's controls.
There are also a number of videos that will help you get started with Push. These are available at https://www.ableton.com/learn-push/
27.1 Setup
Setting up the Push hardware is mostly automatic. As long as Live is running, Push will be automatically detected as soon as it is connected to a USB port on your computer. After connection, Push can be used immediately. It is not necessary to install drivers and Push does not need to be manually configured in Live's Preferences.
27.2 Browsing and Loading Sounds
You can browse and load sounds directly from Push, without needing to use Live's browser. This is done in Push's Browse Mode.
Press Push's Browse button:
In Browse Mode, the display shows all of your available sounds and effects, as well as locations from the Places section of Live's browser (see 5.1.1). The display is divided into columns. The far left column shows either the specific type of device being browsed or the Places label. Each column to the right shows the next subfolder (if any exist). Use the In and Out buttons to shift the display to the right or left, allowing you to browse deeper levels of subfolders or view a larger number of presets on the display.
Navigate up via the Selection Control button (the first row below the display) in each column. Navigate down one folder via the State Control button for each level (the second row below the display). Samples and presets from official Packs or Live's core library will preview when selected in the browser. To load a device preset, press the green button on the right. To load the default preset of the selected device, press the green button on the left.
You can scroll quickly through folders and subfolders via the encoders. Holding Shift while pressing the up or down buttons will move by a whole page.
After pressing a device or preset load button, the button will turn amber. This indicates that the currently selected entry is loaded; if you navigate to a different entry, the button will turn green again. Tip: pressing an amber load button will load the next entry in the list, allowing you to quickly try out presets or devices.
What you see when in Browse Mode depends on the device that was last selected. If you were working with an instrument, Browse Mode will show you replacement instruments. If you were working with an effect, you will see effects. When starting with an empty MIDI track, the display shows all of your available sounds, instruments, drum kits, effects, and Max for Live devices (see Chapter 25), as well as VST and Audio Units instruments (see 17.2). Folders are only visible on Push if they contain items that can be loaded at any particular time. For example, the Samples label (as well as any of your own folders in Places that only contain samples) won't be visible unless you're browsing from a single pad in a Drum Rack (see 27.3.2).
27.3 Playing and Programming Beats
To create beats using Push, first make sure Note Mode is enabled.
Then use Browse Mode to load one of the Drum Rack presets from Live's library.
When working with a MIDI track containing a Drum Rack, Push's 8x8 pad grid automatically configures itself into three sections, allowing you to simultaneously play, step sequence and adjust the length of your clip.
The 16 Drum Rack pads are laid out, like Live's Drum Rack, in the classic 4x4 arrangement, allowing for real-time playing. The Drum Rack pad colors indicate the following:
- Bright yellow — this pad contains a sound.
- Dull yellow — this pad is empty.
- Green — this pad is currently-playing.
- Light Blue — this pad is selected.
- Dark blue — this pad is soloed.
- Orange— this pad is muted.
When working with Drum Racks that contain a larger number of pads, use Push's touch strip or the Octave Up and Octave Down keys to move up/down by 16 pads. Hold Shift while using the touch strip or Octave keys to move by single rows.
27.3.1 64-Pad Mode
In addition to Push's default three-section layout, you can also use the entire 8x8 pad grid for real-time drum playing. This is useful when working with very large drum kits, such as those created by slicing (see 11.1). To toggle to 64-pad mode, press the Note Mode button a second time. Pressing Note again will then toggle back to the standard three-section layout, allowing you to quickly get back to step sequencing. The pad colors in 64-pad mode are the same as those used in the three-section layout.
Note: when moving back and forth between 64-pad mode and the three-section layout, the 16 pads available for step sequencing will not change automatically. You may still need to use the touch strip or Octave keys in order to see the specific 16 pads you want.
27.3.2 Loading Individual Drums
Browse Mode can also be used to load or replace individual pads within a loaded Drum Rack. To switch between browsing Drum Racks and single pads, press the Device button to show the devices on the track.
By default, the Drum Rack is selected, as indicated by the arrow in the display. To select an individual pad instead, tap that pad, then press the selection button below the pad's name.
Now, entering Browse Mode again will allow you to load or replace the sound of only the selected pad. Once in Browse Mode, tapping other pads will select them for browsing, allowing you to quickly load or replace multiple sounds within the loaded Drum Rack.
Additional Pad Options
To copy a pad to a different location in your Drum Rack, hold the Duplicate button and press the pad you'd like to copy.While continuing to hold Duplicate, press the pad where you'd like to paste the copied pad. Note that this will replace the destination pad's devices (and thus its sound) but will not replace any existing notes already recorded for that pad.
27.3.3 Step Sequencing Beats
Tapping a pad also enables it for step sequencing. (Tip: to select a pad without playing it, press and hold the Select button while tapping a pad.)
To record notes with the step sequencer, tap the pads in the step sequencer controls to place notes in the clip where you want them. The clip will begin playing as soon as you tap a step. By default, each step sequencer pad corresponds to a 16th note, but you can change the step size via the buttons in the Scene/Grid section.
As the clip plays, the currently playing step is indicated by the moving green pad in the step sequencer section. (When Record is enabled, the moving pad will be red.) Tapping a step that already has a note will delete that note. Press and hold the Mute button while tapping a step to deactivate it without deleting it. Press and hold Solo button while tapping a pad to solo that sound.
You can also adjust the velocity and micro-timing of individual notes, as described in the section on step sequencing automation (see 27.11).
To delete all notes for a pad, press and hold Delete while tapping the pad. (Note: this will only delete notes that are within the current loop.)
The pad colors in the step sequencer section indicate the following:
- Unlit — this step doesn't contain a note.
- Blue — this step contains a note. Darker blues indicate higher velocities.
- Dull yellow — this step contains a note, but the note is muted.
- Light Red — the right two columns of pads will turn red if triplets are selected as the step size. In this case, these pads are not active; only the first six pads in each row of steps can be used.
For detailed information about adjusting the loop length pads, see the section called Adjusting the Loop Length (see 27.6.1).
27.3.4 Real-time Recording
Drum patterns can also be recorded in real-time by playing the Drum Rack pads. Follow these steps to record in real-time:
- If you want to record with a click track, press the Metronome button to enable Live's built-in click
- Then Press the Record button to begin recording
Now any Drum Rack pads you play will be recorded to the clip. Pressing Record again will stop recording but will continue playing back the clip. Pressing Record a third time will enable overdub mode, allowing you to record into the clip while it plays back. Subsequent presses continue to toggle between playback and overdub.
Pressing New stops playback of the currently selected clip and prepares Live to record a new clip on the currently selected track. This allows you to practice before recording a new idea. By default, pressing New also duplicates all clips that are playing on other tracks to a new scene and continues playing them back seamlessly. This behavior can be changed by changing the Workflow mode in Push's User preferences (see 27.13)
27.3.5 Fixed Length Recording
Press the Fixed Length button to set the size of new clips to a predetermined length.
Press and hold Fixed Length to set the recording length.
When Fixed Length is disabled, new clips will continue to record until you press the Record, New or Play/Stop buttons.
Tip: enabling Fixed Length while recording will switch recording off and loop the last few bars of the clip, depending on the Fixed Length setting.
27.4 Additional Recording Options
27.4.1 Recording with Repeat
With Push's Repeat button enabled, you can hold down a pad to play or record a stream of continuous, rhythmically-even notes. This is useful for recording steady hi-hat patterns, for example. Varying your finger pressure on the pad will change the volume of the repeated notes.
The repeat rate is set with the Scene/Grid buttons.
Tip: if you press and release Repeat quickly, the button will stay on. If you press and hold, the button will turn off when released, allowing for momentary control of repeated notes.
Turn up the Swing knob to apply swing to the repeated notes. When you touch the knob, the display will show the amount of swing.
27.4.2 Quantizing
Pressing Push's Quantize button will snap notes to the grid in the selected clip.
Press and hold Quantize to change the quantization options:
Swing Amount determines the amount of swing that will be applied to the quantized notes. Note that the Swing amount can be adjusted from Encoder 1 or from the dedicated Swing knob.
Quantize To sets the nearest note value to which notes will be quantized, while Quantize Amount determines the amount that notes can be moved from their original positions.
Enable Record Quantize to automatically quantize notes while recording and adjust the record quantization value with Encoder 8. Note that these controls correspond to the settings of the Record Quantization chooser in Live's Edit menu, and adjustments can be made from Live or from Push.
When working with drums, press and hold Quantize and press a Drum Rack pad to quantize only that drum's notes in the current clip.
27.5 Playing Melodies and Harmonies
After working on a beat, you'll want to create a new track so that you can work on a bassline, harmony parts, etc. Press the Add Track button to add a new MIDI track to your Live Set.
(Tip: press and hold the Add Track button to select between Audio, MIDI and Return tracks.
Adding a track puts Push into Browse mode, so you can immediately load an instrument. After loading your instrument, make sure Note Mode is enabled.
When working with a MIDI track containing an instrument, Push's 8x8 pad grid automatically configures itself to play notes. By default, every note on the grid is in the key of C major. The bottom left pad plays C1 (although you can change the octave with the Octave Up and Down buttons). Moving upward, each pad is a fourth higher. Moving to the right, each pad is the next note in the C major scale.
Play a major scale by playing the first three pads in the first row, then the first three pads in the next row upwards. Continue until you reach the next C:
The pad colors help you to stay oriented as you play:
- Blue — this note is the root note of the key (C.)
- White — this note is in the scale, but is not the root.
- Green — the currently-playing note (other pads will also turn green if they play the same note.)
- Red — the currently-playing note when recording.
To play triads, try out the following shape anywhere on the grid:
27.5.1 Playing in Other Keys
Press Push's Scales button to change the selected key and/or scale.
Using the display and the Selection and State Control buttons, you can change the key played by the pad grid. The currently selected key is marked with an arrow in the display:
By default, the pads and scale selection options indicate major scales. You can change to a variety of other scale types using the first encoder, or the two buttons below the display on the far left. The selected scale type is also marked with an arrow.
In addition to changing the key, you can also change the layout of the grid using the two buttons on the far right.
Fixed Y/N: When Fixed Mode is on, the notes on the pad grid remain in the same positions when you change keys; the bottom-left pad will always play C (except in keys that don't contain a C, in which case the bottom-left pad will play the nearest note in the key.) When Fixed is off, the notes on the pad grid shift so that the bottom-left pad always plays the root of the selected key.
In Key/Chromatic: With In Key selected, the pad grid is effectively "folded" so that only notes within the key are available. In Chromatic Mode, the pad grid contains all notes. Notes that are in the key are lit, while notes that are not in the key are unlit.
Holding the Shift button while in Scales mode allows you to access a number of additional note layout options.
The "4th" and "3rd "options refer to the note interval that the grid is based on, while the ^ and > symbols refer to the rotation of the grid. For example, the default layout is "4th ^" which means that each row of pads is a 4th higher than the row below it. The "4th >" option is also built on 4ths, but now moves to the right rather than upwards; each column is a 4th higher than the column to the left. The "Sequent" options lay out all notes in order. These options are useful if you need a very large range of notes available, because they have no duplicated notes.
The last settings that you chose in the Scale options (key, scale type, In Key/Chromatic, and Fixed Y/N) are saved with the Set. Push will return to these settings when the Set is reloaded again.
All of the real-time recording options available for drums (see 27.3.4) are also available for melodies and harmonies, including fixed length recording (see 27.3.5), recording with repeat (see 27.4.1), and quantizing (see 27.4.2). But for detailed editing, you'll work with the melodic step sequencer described in the next section.
(Tip: one editing possibility is available in the real-time Note Mode: to quickly delete all notes of the same pitch within the current loop, press and hold Delete and then tap the respective pad.)
27.6 Step Sequencing Melodies and Harmonies
In addition to playing and recording in real time, you can also step sequence your melodies and harmonies. To toggle to the melodic step sequencer, press the Note Mode button a second time. This will set the 8x8 pad grid as follows:
When using the melodic step sequencer, the pads in the top row adjust the length of your loop, as described in more detail below (see 27.6.1). The bottom seven rows of pads allow you to place notes in the clip. With In Key selected, each row corresponds to one of the available pitches in the currently selected scale. With Chromatic selected, notes that are in the key are lightly shaded, while notes that are not in the key are unlit. The light blue row (which is the bottom row by default) indicates the root of the selected key. Each column of pads represents a step in the resolution set by the Scene/Grid buttons.
As with the real-time playing layout, pressing the Octave Up and Down button shifts the range of available notes. You can also use the touch strip to change the range. (Tip: hold the Shift key while adjusting the touch strip or pressing the Octave buttons to fine tune the pitch range.) After adjusting the pitch range or when switching between the real-time and step sequencing layouts, the display will briefly show the available range.
Additionally, brightly-lit touch strip lights indicate the currently available note range, while dimly-lit touch strip lights indicate that the clip contains notes within the corresponding note range.
Pressing Note again will toggle back to the real-time playing layout.
Tip: in addition to adding and removing notes, you can also adjust the velocity and micro-timing of the notes, as described in the section on step sequencing automation (see 27.11).
27.6.1 Adjusting the Loop Length
The loop length controls allow you to set the length of the clip's loop and determine which part of it you can see and edit in the melodic and drum step sequencers. Each loop length pad corresponds to a page of steps, and the length of a page depends on the step resolution. When working with drums at the default 16th note resolution, two pages of steps are available at a time, for a total of two bars. In the melodic layout, one page of eight steps is available at a time, for a total of two beats. To change the loop length, hold one pad and then tap another pad (or, to set the loop length to exactly one page, quickly double-tap the corresponding pad.)
Note that the page you see is not necessarily the page you hear. When you set the loop length, the pages will update so that the current play position (as indicated by the moving green pad in the step sequencer section) always remains visible. But in some cases, you may want to disable this auto-follow behavior. For example, you may want to edit a single page of a longer loop, while still allowing the loop to play for the length you set. To do this, single-tap the pad that corresponds to that page. This will "lock" the view to that page without changing the loop length. To then turn auto-follow back on, simply reselect the current loop. (Note that single-tapping a page that is outside of the current loop will immediately set the loop to that page.)
The pad colors in the loop length section indicate the following:
- Unlit — this page is outside of the loop.
- White — this page is within the loop, but is not currently visible in the step sequencer section.
- Dull yellow — this page is visible in the step sequencer section, but is not currently playing.
- Green — this is the currently playing page.
27.7 Navigating in Note Mode
Now that you've created a few tracks, you can continue to add more. But you may want to move between already-existing tracks to continue working on musical ideas using those instruments and devices. The Arrow Keys allow you to do this.
The Left/Right Arrows move between tracks. Note that selecting a MIDI track on Push automatically arms it, so it can be played immediately. In Live, track Arm buttons will appear pink to indicate that they have been armed via selection.
The specific behavior of the Up/Down Arrows is determined by the Workflow mode, which is set in Push's User preferences (see 27.13). In both modes, the Up/Down Arrows move up or down by a single scene. In Scene Workflow, the selected scene is triggered. In Clip Workflow, only the selected track's clip is triggered. Clips in other tracks are not affected.
Navigating with the Up/Down Arrows in Note Mode always begins playback immediately, and a triggered clip will take over the play position from whatever clip was played in that track before. Note that this is the same behavior as if the clips were set to Legato Mode in Live (see 13.5).
27.8 Controlling Live's Instruments and Effects
Pressing the Device button puts Push in Device Mode, which allows Push's encoders to control parameters in Live's devices.
In Device Mode, the Selection Control buttons select devices in the currently selected track, while the State Control buttons turn the selected device on or off. The currently selected device is marked with an arrow in the display.
The In and Out buttons allow you to navigate to additional devices and parameters that may not be immediately available.
Use these buttons to access:
- additional banks of parameters (for effects that have more than one bank of parameters).
- additional device chains within Racks that contain more than one chain.
27.9 Mixing with Push
To control volumes, pans, or sends with the encoders for up to eight tracks simultaneously, press the corresponding button on Push. Hold Shift while adjusting the encoders for fine-tune control.
In Volume Mode, the encoders control track volume.
Pressing the Pan & Send button repeatedly will cycle between controlling pans and however many sends are available in your Live Set.
Press Push's Track button to enable Track Mode.
In Track Mode, the encoders control track volume, pan and the first six sends of the selected track. Press the Selection Control buttons to select which track will be controlled in Track Mode.
Press the Master button to select the Master track.
(Tip: press and hold a Group Track's Selection Control button to unfold or fold the track.)
27.10 Recording Automation
Changes that you make to device and mixer parameters can be recorded to your clips as automation, so that the sound will change over time as the clip plays. To record automation, press Push's Automation button.
This toggles Live's Session Automation Arm button, allowing you to record changes you make to Push's encoders as part of the clip. When you're done recording parameter changes, press the Automation button again to turn it off. To delete the changes you've recorded for a particular parameter, press and hold the Delete button and touch the corresponding encoder. If automation hasn't been recorded for a parameter, holding Delete and touching an encoder will reset the corresponding parameter to its default value.
Automated parameters are shown with a "�" symbol next to the parameter name in the display. Parameters that you have overridden (by manually adjusting the parameter while not recording) will show their value in brackets.
To reenable all automation that you have manually overridden press and hold Shift and press the Automation button.
27.11 Step Sequencing Automation
In both the drum and melodic step sequencers, press and hold a step to access note-specific parameters (selected by pressing the button below "Notes" in the display) or per-step automation (selected by pressing the button below "Automat" in the display).
27.11.1 Note-Specific Parameters
Press Notes and then adjust the corresponding encoders in order to:
- nudge notes backwards or forwards in time. The value represents the percentage that the note is offset from the previous grid line. (Negative values indicate that the note occurs before the grid line.)
- change the length of the selected notes. The first encoder adjusts the coarse length while the second encoder allows you to fine tune the length adjustment.
- change the velocity of the selected notes.
You can also adjust these note-specific parameters for multiple steps at the same time. To do this, press and hold all of the pads you'd like to adjust, and then tweak the encoders. The display will show the range of values for the selected steps.
Tip: you can also create notes with your desired Nudge, Length, and Velocity values by holding an empty step and then tweaking any of these encoders.
When working with drums, you can adjust nudge, length, and velocity for every note played by a particular pad by pressing and holding the Select button, pressing the pad, and then adjusting the encoders.
27.11.2 Per-Step Automation
Press "Automat" when holding a step in order to create and edit device or mixer automation for only the selected step. While holding a step and tweaking an encoder, the corresponding parameter's automation value will be adjusted specifically for the time represented by that step. Note that per-step automation can be created for any step, even if that step doesn't contain notes.
27.12 Controlling Live's Session View
Press Push's Session button to switch from Note Mode to Session Mode. (Press and hold the Session button to temporarily toggle Session Mode. Releasing the button will then return to Note Mode. Likewise, pressing and holding Note while in Session Mode will temporarily toggle Note Mode.)
In Session Mode, the 8x8 pad grid will now launch clips and the Scene/Grid Buttons will launch scenes. Pressing a pad triggers the clip in the corresponding location in Live's Session View. If the track is selected, pressing the button records a new clip.
The pads light up in different colors so you know what's going on:
- The color of all non-playing clips in your Live Set is reflected on the pads.
- Playing clips pulse green to white.
- Recording clips pulse red to white.
You can stop all music in a track by enabling Stop Mode and pressing that track's State Control button.
To stop all clips, press and hold Shift, and then press Stop.
Push tells you what's going on in the software, but, importantly, the software also reflects what's happening on the hardware. The clip slots currently being controlled by Push's pad grid are shown in Live with a colored border.
The directional arrows and Shift button increase the scope of the eight-by-eight grid.
- Pressing Up or Down moves you up or down one scene at a time. Hold the Shift button while hitting Up or Down to move eight scenes up or down. (Tip: you can also use the Octave Up and Down buttons to move by eight scenes at a time.)
- The Left and Right arrow keys move you left or right one track at a time. Hold the Shift button while hitting Left or Right to move eight tracks at a time.
27.12.1 Session Overview
Push's Session Overview lets you navigate through large Live Sets quickly without looking at your computer screen. Hold down the Shift button and the pad grid zooms out to reveal an overview of your Session View. In the Session Overview, each pad represents an eight-scene-by-eight-track block of clips, giving you a matrix of 64 scenes by 64 tracks. Hit a pad to focus on that section of the Session View. For example, holding the Shift button and then pressing the pad in row three, column one will put the focus on scenes 17-24 and tracks 1-8. Furthermore, while Shift is held, each scene launch button represents a block of 64 scenes (if they are available in your Set.)
In the Session Overview, the color coding is a little different:
- Amber: indicates the currently selected block of clips, which will be surrounded by the colored border in the software.
- Green: there are clips playing in that block of clips (though that may not be the block of clips selected).
- Red: there are no clips playing in that range.
- No color: there are no tracks or scenes in that range.
27.13 Setting User Preferences
Press and hold the User button to adjust the sensitivity of Push's velocity response, aftertouch, and other settings.
Pad Threshold sets the softest playing force that will trigger notes. More force is required at higher settings. Note that at lower settings, notes may trigger accidentally and pads may "stick" on.
Velocity Curve determines how sensitive the pads are when hit with various amounts of force, and ranges from Linear (a one-to-one relationship between striking force and note velocity) to various logarithmic curves. Higher Log values provide more dynamic range when playing softly. Lighter playing styles may benefit from higher Log values. The diagram below demonstrates the various velocity curves, with striking force on the horizontal axis and note velocity on the vertical axis.
The Workflow option determines how Push behaves when the Duplicate, New, or Up/Down arrow buttons are pressed. Which mode you choose depends on how you like to organize your musical ideas. In Scene Workflow (which is the default), musical ideas are organized and navigated in scenes. In Clip Workflow, you're working with only the currently selected clip.
In Scene Workflow:
- Duplicate creates a new scene containing all of the currently playing clips, and seamlessly switches to playing them back. This is the same as the Capture and Insert Scene command in Live's Create menu (see 7.4.3).
- New is identical to Duplicate, except that it does not duplicate the currently selected clip. Instead, an empty clip slot is prepared, allowing you to create a new idea in the current track.
- the Up/Down Arrows move up or down by a single scene. Playback of the clips in the new scene begins seamlessly.
In Clip Workflow:
- Duplicate creates a copy of the currently selected clip in a new scene, while continuing playback of any currently playing clips in other tracks. (Tip: hold Shift while pressing Duplicate to create a new scene containing all of the currently playing clips.)
- New prepares an empty clip slot on the currently selected track. Clips in other tracks are not affected.
- the Up/Down Arrows move up or down by a single scene. Playback of the currently selected track's clip in the new scene begins seamlessly. Clips in other tracks are not affected.
Aftertouch Threshold sets the lowest incoming aftertouch value (from 0-127) that Push will register. Input values below this level will be ignored, while input values above this level will be scaled across the entire aftertouch range. For example, if you set the Aftertouch Threshold to 120 and play with an aftertouch value of 119, nothing will happen. But input values between 120 and 127 will be scaled to output a value from 0 to 127, as follows:
120 -> 0121 -> 18122 -> 36123 -> 54124 -> 72125 -> 90126 -> 108127 -> 127
27.14 Push Control Reference
The function of each section and control is explained below.
Focus/Navigation Section
Note Mode — when selected, the Pad Section changes its functionality based on the type of track that is currently selected:
- MIDI track containing an instrument — the pads plays notes. Pressing Note additional times toggles between real-time playing and melodic step sequencing.
- MIDI track containing a Drum Rack — the Pad Section is divided; the lower-left 16 pads play the Drum Rack, the lower-right 16 pads adjust the loop length of the clip, and the upper four rows control the step sequencer. Press Note again to toggle to 64-pad mode, allowing you to play drums across the entire 8x8 pad grid.
Session Mode — When selected, the Pad Section changes to launch clips in Live's Session View.
Shift — press and hold Shift while pressing other buttons to access additional functionality.
Arrow Keys — move through your Live Set (in Session Mode) and between tracks or scenes/clips (in Note Mode).
Select — In Session Mode, hold Select and press a clip to select the clip without launching it. This will also display the clip name in the display. In Note Mode, hold Select and press a Drum Rack pad to select its notes without triggering the pad.
Add Section
These buttons add new devices or tracks to your Live Set.
Add Effect — opens Browse Mode to add a new device to the right of the currently selected device. Hold Shift while pressing Add Effect to add the new device to the left of the currently selected device. Tip: to add a MIDI Effect, first select the instrument in a track. Then hold Shift while pressing Add Effect.
Add Track — creates a new MIDI track to the right of the currently selected track. Press and hold Add Track to select a different type of track to add (Audio, MIDI, or Return.)
Note Section
These buttons adjust how notes are played on Push.
Scales — When Note Mode is on and an instrument track is selected, pressing this button allows you to select which scale will be played on the pads. Note that this button has no effect when a Drum Rack track is selected or when in Session Mode.
- Fixed Y/N: When Fixed Mode is on, the notes on the pad grid remain in the same positions when you change keys; the bottom-left pad will always play C (except in keys that don't contain a C, in which case the bottom-left pad will play the nearest note in the key.) When Fixed is off, the notes on the pad grid shift so that the bottom-left pad always plays the root of the selected key.
- In Key/Chromatic: With In Key selected, the pad grid is effectively "folded" so that only notes within the key are available. In Chromatic Mode, the pad grid contains all notes. Notes that are in the key are lit, while notes that are not in the key are unlit.
- Scale selection: Select the base scale with the up/down buttons on the lefthand side.
User — All of Push's built-in functionality can be disabled via User Mode. This allows Push to be reprogrammed to control alternate functions in Live or other software. Press and hold the User button to access a number of configuration options. (Tip: Push's relative encoders work best in "Relative (2's Comp.)" mode. To ensure this mode is selected, turn the encoder slowly to the left during mapping.)
Repeat — when Repeat is enabled, holding down a pad will retrigger the note. The Scene/Grid buttons change the rhythmic value of the repeated note.
Accent — when Accent is enabled, all incoming notes (whether step sequenced or played in real-time) are played at full velocity. Press and hold Accent to temporarily enable it.
Octave Up/Down — if an instrument track is selected, these buttons shift the pads up or down by octave. If a Drum Rack is selected, these buttons shift the Drum Rack's pad overview up or down by 16 pads. In Session Mode, these buttons shift control of the Session View up or down by eight scenes. These buttons will be unlit if no additional octaves are available.
State Control Section
When working with tracks, the leftmost eight buttons will either stop clips or mute or solo the corresponding track, depending on which of the three rightmost buttons is pressed (Stop, Mute, or Solo). When working with devices instead of tracks, the leftmost eight buttons will toggle devices on and off. These buttons have additional functionality in other modes (scale selection, etc.)
Tip: to stop all clips, press and hold Shift, and then press Stop.
Selection Control Section
These buttons work in conjunction with the Display/Encoder Section buttons and select what parameters can be edited by the encoders and shown in the display. The In and Out buttons allow you to access devices inside Racks or additional parameter banks for devices with more than eight parameters. In Browse Mode, the In and Out buttons shift the display to the right or left, allowing you to browse deeper levels of subfolders or view a larger number of presets on the display.
Display/Encoder Section
The six buttons to the right of the display determine the editing mode of the encoders. In all modes, the ninth encoder controls the volume of the Master track (or the Pre-Cue volume if Shift is held.) Holding Shift while adjusting any of the first eight encoders allows you to fine-tune whichever parameter is currently being controlled by that encoder. Note that you can temporarily toggle to a different editing mode by pressing and holding the corresponding button. Releasing the button will then return to the previous mode.
In Volume Mode, the encoders control volume of the eight selected tracks.
In Pan & Send Mode, press once to control pans. Subsequent presses cycle through sends.
In Track Mode, the encoders control track volume, pan and the first six sends of the selected track. Select which clip track to control via the eight Selection Control buttons. Press the Master button to select the Master track.
In Clip Mode,the encoders control various parameters for the selected clip. The parameters depend on the type of clip selected:
- Loop Start (or Clip Start if Loop is off)
- Position
- Loop Length (or Clip End if Loop is off)
- Loop On/Off
- Loop Start (or Clip Start if Loop is off)
- Position
- Loop Length (or Clip End if Loop is off)
- Loop On/Off
- Warp Mode
- Detune
- Transpose
- Gain
Tempo Section
Tap Tempo — as you press once every beat, the tempo of the Live Set will follow your tapping. If the "Start Playback with Tap Tempo" button is enabled in Live's Record/Warp/Launch Preferences, you can also use tapping to count in: If you are working in a 4:4 signature, it takes four taps to start song playback at the tapped tempo.
Metronome — toggles Live's metronome on or off.
The left encoder adjusts Live's tempo in increments of one BPM. Holding Shift while adjusting will set the tempo in increments of .1 BPM.
The right encoder sets the amount of swing applied when Quantizing, Record Quantizing or when Repeat is pressed.
Edit Section
Undo — undoes the last action. Press and hold Shift while pressing Undo to Redo. Note that Push's Undo button applies Live's Undo functionality, so it will undo actions in your Live Set even if they were done without using Push.
Delete — In Note Mode, this button deletes the selected clip. In Session Mode, hold Delete and then press a clip to delete that clip. Hold Delete and select a device or track with Push's Selection Control buttons to delete. Hold Delete and touch an encoder to delete automation controlled by that encoder. If automation has not been recorded for a particular parameter, holding Delete and touching the corresponding encoder will reset that parameter to its default value.
Quantize — press and release to quantize the selected notes (or all notes in the clip if there is no selection). Hold Quantize and press a drum pad to quantize that pad's notes. For audio clips, Quantize will affect transients. Press and hold Quantize to access quantization settings. After changing these settings, press once to exit and then press and release to apply your changes.
Double — doubles the material within the loop, as well as the length of the loop.
Transport Section
Fixed Length — when enabled, all newly created clips will be a fixed number of bars. When disabled, new clips will continue to record until you press the Record, New or Play/Stop buttons. Press and hold, then use the buttons beneath the display to specify the fixed recording length. Tip: enabling Fixed Length while recording will switch recording off and loop the last few bars of the clip, depending on the Fixed Length setting.
Automation — toggles Live's Automation Record button. When on, your parameter changes will be recorded into playing Session View clips. Hold Shift and press Automation to reenable any automation that you have overridden. Hold Delete and press the Automation button to delete all automation in a clip.
Duplicate — In Scene Workflow, Duplicate creates a new scene containing all of the currently playing clips. In Clip Workflow, Duplicate creates a copy of the currently selected clip in a new scene, while continuing playback of any currently playing clips in other tracks. Hold Duplicate while pressing a Drum Rack pad to copy the pad and paste it to a new location in the Drum Rack.
New — Pressing New stops the selected clip and prepares Live to record new material. This allows you to practice before making a new recording.
Record — Press the Record button to begin recording. Pressing Record again will stop recording but will continue playing back the clip. Pressing Record a third time will enable overdub mode, allowing you to record into the clip while it plays back.
Play/Stop — toggles the play button in Live's transport bar. Hold Shift while pressing Play/Stop to return Live's transport to 1.1.1 without starting playback.
Touch Strip
When an instrument track is selected, the touch strip adjusts pitch bend or modulation wheel amount when playing in real-time, or the available range of notes when step sequencing. When a Drum Rack track is selected, the touch strip selects the Drum Rack bank.
Pitch bend is selected by default when an instrument track is selected. To change the functionality of the touch strip, hold Select and tap the strip. This toggles between pitch bend and mod wheel functionality each time you tap it. The display will briefly show the current mode each time you change it. Note that pitch bend and modulation wheel functionality is only available when playing instruments in real time, and not when using the melodic step sequencer.
Pad Section
The functionality of the Pad Section is determined by the Note and Session Mode buttons. When Session Mode is on, the Pad Section is used to launch clips in Live's Session View. When Note Mode is on, the Pad Section changes its functionality based on the type of track that is currently selected:
- MIDI track containing an instrument — the pads plays notes. Pressing Note additional times toggles between real-time playing and melodic step sequencing.
- MIDI track containing a Drum Rack — the Pad Section is divided; the lower-left 16 pads play the Drum Rack, the lower-right 16 pads adjust the loop length of the clip, and the upper four rows control the step sequencer. Press Note again to toggle to 64-pad mode, allowing you to play drums across the entire 8x8 pad grid.
Scene/Grid Section
These buttons also change their functionality depending on whether Session Mode or Note Mode is selected. When Session Mode is selected, these buttons launch Session View scenes. (Tip: hold the Select button while pressing a Scene button to select the scene without launching it.) When Note Mode is selected, the Scene/Grid Section determines the rhythmic resolution of the step sequencer grid and the rhythmic resolution of repeated notes (when Repeat is enabled.)
Two ports on the back of Push allow you to connect momentary footswitches. Footswitch 1 acts as a sustain pedal. Footswitch 2 gives you hands-free control of Push's recording functionality. A single tap of the footswitch will toggle the Record button, thus switching between recording/overdubbing and playback of the current clip. Quickly double-tapping the footswitch is the same as pressing the New button.
Note that certain footswitches may behave "backwards"; for example, notes may sustain only when the pedal is not depressed. Footswitch polarity can usually be corrected by connecting the footswitch to the port while depressing it, but we recommend using footswitches with a physical polarity switch.


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North Korea is believed to be using fuel aid negotiated in exchange for the end of its nuclear program to beef up its military, it was reported Sunday.
Talks with representatives of six countries aimed at ending North Korea's nuclear development resulted in an agreement to supply more than 100,000 tons of heavy fuel oil to Pyongyang.
A military source told Yonhap that South Korean and U.S. intelligence officials have seen a "sharp increase in the North's winter (military) maneuvering" and suspect the oil aid was being used to fuel military tanks and jets.
Source: Source:North Koreans misusing oil aid, UPI, 10 February 2008


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A Yankee Notebook
December 31, 2012
MONTPELIER, VT – I'm writing this in the shadow of the looming "fiscal cliff" that's supposed to occur tonight at midnight. It's not clear from the metaphor, coined by some anonymous pundit, whether the dreaded cliff will tumble down upon us in a rockslide, or if we'll careen fearfully over it and fall to our national doom on the rocks below. It's also not clear whether Congress has what it takes to grab this bull by the horns (to coin another metaphor) and, as they say in Vermont, get 'er done, or will instead kick the can down the road again (yet another).
I was just going to say, "Frankly, my dear, I don't give a damn," but I do. I get nervous, for example, whenever I hear Congress debating changes to Social Security benefits as part of a deficit-reduction package. Bernie Sanders is right: The fund is solvent, and has nothing at all to do with the national debt or deficit. A few tweaks here and there – according to my consultants at the Tuck School – and it'll be in good shape for more decades to come. I've been paying into it as a retirement fund for sixty years now, and get upset when it's disparaged as an "entitlement." The military budget? Don't get me started.
Whatever happens, the coming year probably can't possibly be as entertaining and educational as the one just finished. Because of the pervasiveness of the "24-hour news cycle" and what are called "social media," all of us, if we wish, have been able easily to stay abreast of breaking news, professional commentary, and the vast, boiling pot of private remarks and abuse poured anonymously into the interactive blogosphere. It's been fascinating.
The year's big story, of course, was the Presidential election. For months we were treated to a beauty pageant of the right – actually, now that I think of it, more like a long-distance steeplechase reported by breathless ESPN suits – as first one primary candidate and then another surged to the front of the Republican field, with each surge breathlessly reported by eager media and dissected by the ubiquitous talking heads. I frequently felt as if I were in Wonderland. It was obvious from the start that Mitt Romney would prevail; yet the furious rush by most of the others to attract the Republican "base" (a well-chosen term, in my opinion) continually pulled him right along with it. I was frequently reminded of Barbara Bush's comment about the list of Democratic Party primary candidates in 2000: "A pretty sorry bunch."
Unfortunately, Herman Cain and his "9-9-9" tax scheme were already gone before 2012 started. He'd shot to the front initially and then faded as his catchy tax plan, and some allegations of sexual hanky-panky, were given more attention than they could stand. There were others: Buddy Roemer, Michelle Bachmann, Gary Johnson, Thaddeus McCotter, Tim Pawlenty, and Ron Paul (who made good sense until you read a transcript of what he said). Remember them? Poor, hapless Rick Perry came out of nowhere, claiming he carried a weapon as he jogged (Oh, the accidental possibilities there!) and to have killed a coyote with it. He vowed during his worst debate performance to, if elected, eliminate three government agencies. What the third one was he could not immediately recall. After he quit, many of his supporters continued to vote for him. Newt Gingrich, supported by Sheldon Adelson's casino millions and with his faithful blonde companion by his side, seemed to hang on forever. Jon Huntsman, the only primary candidate who made any sense, and whom the White House feared more than any other, quite early took a look around the room, shook his head, and wisely bowed out. Rick Santorum, guarding the citadel of social conservatism, won Iowa, did well elsewhere, and briefly had me worried – not because there was any chance of his prevailing in a general election, but because of what the support for him indicated about the views of a large portion of our population. Truly, we Vermonters live in a bubble.
Once the steeplechase was over and Romney declared the winner, the contest became more like a prize fight, its blow-by-blow and recaps reported breathlessly and nonstop by reporters reminiscent of Don Dunphy and Bill Corum on the old Gillette Blue Blade weekly boxing bout. The President badly lost the first round in the debates, and a touch of anxiety crept into the souls of the faithful. But the tone-deaf remarks of the challenger in England, Poland, and Israel, and the devastating amateur video of his remarks to a roomful of fat cats in Boca Raton, restored the confidence to their bosoms. Apparently only the challenger himself was surprised by the results on election night. Many Americans declared themselves bored or disgusted by the barrage of news, sound bites, and campaign ads; I was enchanted. What a window it was into our national psyche!
Only five weeks after the election, another window opened, when a troubled young man with unsupervised access to what doughty defenders of the Second Amendment have euphemized a "modern sporting rifle" slaughtered his mother and over two dozen children and teachers in an American elementary school. Even before the day was over, the finger-pointing, name-calling, and bullying began. Once again, I get the feeling that a rational, meaningful discussion among all interested parties, about the limits of personal weapons designed primarily to kill human beings, may not occur. In that regard, I disagree with pundits who found NRA Executive Vice-President Wayne LaPierre's subsequent speech totally inappropriate. Delusional as they may sound to many of us, Mr. LaPierre's opinions represent those of many thousands of our fellow Americans who sincerely believe that an armed society is a "polite" society, and fear deeply any infringement of their right (a right that has been, and will be still more times redefined) to possess and carry weapons with names evocative of Green Berets or Revolutionary-era patriots. Any change – and there will without doubt be change; it's becoming epidemic – must deal sympathetically with the fears of all of us. This nation is, after all, the home of the brave, right?


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Email email@example.com asap!


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LINCOLN, Neb. — Ron Prince sympathized with everything Nebraska coach Bill Callahan was experiencing — the insults, the jokes, the barrage of blunt questions.
"You don't ever want to see anybody go through that situation," Prince said earlier this week.
How quickly things change.
Saturday, it was Callahan who was in position to extend sympathy, with his rejuvenated Cornhuskers thoroughly and completely in command of Prince's Kansas State team.
And judging from the scoreboard, there was no mercy to be found.
Nebraska cashed in every ounce of Kansas karma built up from last week's loss at KU, routing K-State 73-31 in front of 84,665 fans at Memorial Stadium.
The win probably won't earn Callahan a spot in the Nebraska Ring of Honor — or even another year on the job — but it spared him the discomfort of another postgame grilling.
Prince, meanwhile, had some explaining to do.
"This is about as thorough a defeat as I've ever experienced," he said.
There are plenty of places to start, but this is as good as any. Trailing 31-10 with 28 seconds remaining in the first half, the Wildcats elected to leave the offense on the field for fourth-and-24 from the NU 46-yard line.
Quarterback Josh Freeman got leveled — this was a recurring theme — and his pass sailed incomplete.
Twenty seconds later, Nebraska quarterback Joe Ganz threw one of his seven touchdown passes, a 23-yard strike to Todd Peterson that gave Nebraska a 38-10 lead.
That left just enough time for a Hail Mary attempt, which didn't end well for the Wildcats. Freeman, perhaps thinking he was playing tag instead of football, ran backward toward the end zone and was thrown for a 19-yard loss.
"It backfired on us completely," Prince said.
A few other morsels:
The Huskers finished with 702 yards, their biggest offensive output since 1995.
In his second career start, Ganz established school records with his seven touchdown passes, 510 passing yards and 528 yards of total offense.
K-State, facing the No. 118 run defense in the Bowl Subdivision, had 1 rushing yard at halftime.
Nebraska's 73 points were the most in the history of this long and lopsided series and three shy of the record for most points ever scored against K-State.
After punting on their opening drive, the Cornhuskers scored on their next 11 possessions. Ten of those scores were touchdowns.
"It's pretty clear to me what our deficiencies are," Prince said. "I don't like to talk about them, but it's pretty clear our opponent has a projector, too."
Indeed, the Cornhuskers appeared well-versed on K-State's weaknesses. They torched the Wildcats with screen passes, up-the-gut handoffs and deep strikes.
Frantz Hardy caught three of Ganz's touchdown throws, while Maurice Purify finished with six receptions for 108 yards.
"Every week when we turn on the film, it's the same thing," linebacker Justin Roland said. "Beating blocks, tackling, blowing assignments. It's not the team we're playing that's hurting us. It's us hurting ourselves."
Nebraska's 700-yard explosion dwarfed an otherwise solid outing from K-State's offense. James Johnson ran for 129 yards on 16 carries, while Jordy Nelson finished with nine catches for 125 yards.
Nelson's lone touchdown reception put K-State ahead 7-0 midway through the first quarter.
But everything unraveled from there, as Cortney Grixby fielded the ensuing kickoff, busted through a pack of tacklers and raced 94 yards for a touchdown.
"He got right up the middle on us," Prince said. "Three different guys had a chance to make a tackle and didn't. It was a big momentum play early in the game to really breathe life into the place."
The rout was on from there, as the Cornhuskers bludgeoned K-State with 38 first-half points. They didn't let up, either, scoring their final three touchdowns in the fourth quarter.
While the Cornhuskers certainly savored their first win since September, Prince dismissed any talk of running up the score.
"That's not (Callahan's) job," Prince said. "That's my job to stop them. I don't believe in that."
Callahan, meanwhile, had nothing but praise for his counterpart.
"I just want to say publicly I appreciated coach Prince's remarks during the week of preparation," Callahan said afterward. "He was very complimentary to us and our staff, and he is a class individual."
Clearly, Prince's sympathy didn't go unnoticed.
It did, however, go unrequited.
Austin Meek can be reached
Kansas State 10 0 7 14 — 31
Nebraska 14 24 14 21 — 73
First quarter
KSU — Nelson 21 pass from Freeman (Rossman kick), 8:55. Drive: 10 plays-72 yards, 3:31.
NU — Grixby 94 return (Henery kick), 8:42. No drive.
KSU — Rossman 31 field goal, 4:34. Drive: 10-48, 4:02.
NU — Lucky 26 pass from Ganz (Henery kick), 00:32. Drive: 8-76, 3:54
Second quarter
NU — Hardy 36 pass from Ganz (Henry kick), 13:09. Drive 1-36, 0:06.
NU — Henery 27 field goal, 6:39. Drive: 10-80, 5:24.
NU — Lucky 5 run (Henery kick), 2:05. Drive: 8-73, 3:41.
NU — Peterson 23 pass from Ganz (Henery kick), 0:08. Drive 3-54, 0:14.
Third quarter
NU — Hardy 8 pass from Ganz (Henery kick), 12:00. Drive: 10-80, 3:00.
NU — Hardy 39 pass from Ganz (Henery kick), 6:16. Drive: 8-91, 3:38.
KSU — Freeman 4 run (Rossman kick), 2:48. Drive: 9-80, 3:28.
Fourth quarter
NU — Nunn 7 pass from Ganz (Henery kick), 14:17. Drive: 12-74, 3:25.
NU — Peterson 11 pass from Ganz (Henery kick), 10:58. Drive: 4-62, 1:09.
KSU — Alstatt 1 pass from Freeman (Rossman kick), 10:02. Drive 4-80, 0:56.
NU — Lucky 3 run (Henery kick), 4:04. Drive: 11-74, 5:53.
KSU — Johnson 53 run (Rossman kick), 2:19. Drive: 5-80, 1:45.
First downs 24 35
Rushes-yards 28-108 37-183
Passing 320 519
Comp-Att-Int 26-44-0 31-43-0
Return Yards 0 48
Punts-Avg. 6-42.0 1-36.0
Fumbles-Lost 3-0 1-0
Penalties-Yards 7-40 6-71
Time of Possession 25:49 34:11
RUSHING—Kansas St., J. Johnson 16-129, Patton 3-15, Murphy 2-4, Team 1-(minus 15), Freeman 6-(minus 25). Nebraska, Lucky 16-103, Castille 11-50, Ganz 6-18, Purify 1-7, Helu 2-6, Team 1-(minus 1).
PASSING—Kansas St., Freeman 26-44-0-320. Nebraska, Ganz 30-40-0-510, Davis 1-1-0-9, Lucky 0-1-0-0, Team 0-1-0-0.
RECEIVING—Kansas St., Nelson 9-125, Murphy 5-106, J. Johnson 3-38, Mastrud 3-13, Gonzalez 2-25, Purvis 1-6, Wilson 1-5, Alstatt 1-1, Patton 1-1. Nebraska, Purify 6-108, Lucky 6-78, Nunn 5-56, Peterson 4-85, Hardy 3-83, Erickson 3-25, Swift 2-38, Holt 1-35, Castille 1-11.
PUNTING — Kansas State, 6-42.0; Nebraska, 1-36.0.
MISSED FG — None.
LEADING TACKLERS — K-State, Carney 6 solo-7 assisted-13 total, McKinney 4-3-7, Watts 4-3-7, Walker 3-4-7; Nebraska, Octavien 4-5-9, Asante 5-1-6, Murillo 2-4-6, Blue 3-2-5, McKeon 1-4-5.
SACKS — K-State, Houlik, Cheatham, Campbell; Nebraska, Octavien, Murillo, Green, Turner.
INTERCEPTIONS — None.
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February 5, 2013
The Court continues its outreach efforts with special oral argument sessions
As we've mentioned in the past, the Court sometimes takes its show on the road, hearing oral argument at various spots around the state. Today, the Court keeps that tradition alive with a special oral argument session at the University of San Francisco School of Law. The session commemorates the centennial of the law school's founding. The event is to be broadcast live on The California Channel.
Tomorrow, the Court will hear oral argument at its headquarters in San Francisco and, according to its website, "will welcome more than 100 students and teachers from Sacramento's C.K. McClatchy High School to hear the two morning cases" on the calendar. Perhaps not coincidentally, the Chief Justice grew up in Sacramento and graduated from McClatchy High.
We've previously summarized the cases on calendar this week.
UPDATE: Check out this San Francisco Examiner article regarding the Court's special session of oral argument at USF.


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Welcome to Made.com Unboxed
Ever wondered how other people style their MADE pieces? Have a snoop here on Unboxed, where MADE customers share photos to inspire others. Post your own snaps, and you could win a £100 voucher.
Start exploring the world of made
Hooper Storage Side Table, Walnut
The Hooper bedside table in walnut brings instant retro style to your bedroom or living room. Expertly made from curved plywood with walnut veneer and chrome legs.Buy Now


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Story by
Joanna Lin
California Watch is a project of the independent, nonprofit Center for Investigative Reporting in Berkeley and a media partner of The San Diego Union-Tribune.
Disney-themed reusable shopping bags sold in Safeway grocery stores contained more than 15 times the legal limit for lead, according to independent lab tests commissioned by an environmental watchdog group.
The Center for Environmental Health is demanding that Disney, Safeway and the bags' manufacturer, Advanced Publisher, stop selling the "Toy Story" and "Cars" plastic bags. The center, based in Oakland, has threatened to sue unless the companies also eliminate lead in their bags and pay a civil penalty.
The companies have 60 days to respond to the Jan. 11 notice before the center may pursue legal action.
"These hazardous lead levels in Disney-themed products from a major retailer like Safeway are especially disappointing now that it has been almost three years since federal legislation banned lead in children's products," Michael Green, the center's executive director, said in a statement.
The federal limit for lead in children's products is 300 parts per million, or 0.03 percent lead by weight. The center has asked the U.S. Consumer Product Safety Commission to investigate the bags.
The center purchased a couple dozen Disney bags from Safeway stores in Oakland and Oregon. A spokeswoman for Safeway, which uses the Vons store name in San Diego County, told the Glendale News-Press that the supermarket chain no longer sells the bags.
"They were available for just a few short weeks last year, and we sold less than 2,000 nationwide," Teena Massingill said.
Disney officials said they were looking into the matter with Advance Publishers, based in Maitland, Fla., the News-Press reported.
"We require that all Disney products must be tested by our licensees and manufacturers, and that they comply with all laws before being shipped," Disney said in a statement. "We are currently in contact with our licensee, to ensure that these bags were tested and are in compliance."
Other Disney-branded products – including baby bibs, diaper bags, children's jewelry and lunch boxes – have tested high for lead as well, according to the center.
"With a company that has the resources that Disney has, they should be a leader," said Charles Margulis, a spokesman for the center. "They should be one of the companies that's doing the most to avoid these kinds of problems. For it to continue like this seems unacceptable."
Long-term and high exposure to lead is toxic and potentially fatal. It can damage the nervous system, brain, kidneys and reproductive system. Children are particularly vulnerable to the heavy metal.
The Disney bags contained the highest amounts of lead in their plastic interiors, posing risks for hand-to-mouth exposure, Margulis said.
"If you're using this as a shopping bag, food's going in there – lead can rub off on the food," he said. "It's a kids product. Kids might use it for carrying their toys. … Lead can come off onto their hands. Hand-to-mouth exposure is pretty common with kids."
The center recommends consumers use reusable cloth bags, as some plastic bags have been found to have lead problems. The center offers free lead screening of reusable plastic bags at its office or by mail.Copyright © 2017, The San Diego Union-Tribune


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The end of January was very rewarding for the River Parishes own Dance Unlimited.
Louisiana Association of Dance Masters Crowned their new title winners of 2007 and held their Performing Arts Competitions at the New Orleans Center for the Creative Arts and McAllister Theater in Tulane University.
For the sixth time in seven years, Duanne Cazalot and Angie Lehrmann were honored to be the teachers of the Junior Miss Dance of Louisiana.
This year, Dance Unlimited is proud to send Miss Ashleigh Keller to New York City to represent Louisiana Association of Dance Masters Chapter 6 at the Dance Masters of America national finals.
Ashleigh is the daughter of Debra Keller of Reserve.
She performed a tap routine to Big Time choreographed by Cazalot and Lehrmann.
It was even sweeter since Ashleigh was crowned by her best friend, Hailee Weber, the 2006 Junior Miss Dance of Louisiana.
MaQue Hollins is the reigning 2007 Teen Miss Dance of America and was the special guest for the weekend festivities.
MaQue performed several routines including jazz, tap and modern - all choreographed by Cazalot and Lehrmann.
The title competition is the culmination of interview, audition, and performance, which spanned over three days.
The in the audition competition the following won individual awards: Ashleigh won the ballet scholarship and the tap Scholarship in the junior division and Weber was named the overall scholarship winner in the junior division receiving the overall combined high score in ballet, tap and jazz and acro.
During the Performing Arts Competition, Dance Unlimited was "Solid Gold."
Gold is the highest award given at LADM and is nearly a perfect score.
Out of over 200 entries, Jeffrey Keys was selected the "Outstanding Performance of the Day for 12 and under." Jeffery did a Hip Hop Routine choreographed by Stephanie Bayhi.
Dance Unlimited will now advance to the Dance Master Nationals in New York City this summer.
It will be two weeks of intense classes and competition.
The title competition that Ashleigh will participate in consist of interview, auditions in tap, ballet, jazz and acro, performance review and then the final performance.
Ashleigh is no beginner to Dance Master Nationals.
She represented Louisiana in the petite competition two years ago when she was named "Miss Congeniality."
This year in New York City, Hollins will crown the 2008 Teen Miss Dance of America.
MaQue and her teachers Cazalot and Lehrmann have traveled across the United States performing, teaching and judging at other chapters of Dance Masters.
|Photo: courtesy of Dance Unlimited
|From l to r: Ashleigh Keller, MaQue Hollins and Hailee Weber.


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GOP Sen. John Hoeven Blasts Obama on Refusal to Approve the Keystone XL Pipeline: "Mr. President, It Takes more than a Soundbite to get the Economy Going" – Video 2/23/13
Here is video of North Dakota Sen. John Hoeven delivering the GOP Weekly Address today, where he blasted President Obama for refusing to approve the Keystone XL Pipeline that would have brought thousands of good paying jobs to the United States and carry "830,000 barrels of oil a day to U.S. refineries. . . That includes not only oil from Alberta, Canada, but also 100,000 barrels per day of light, sweet crude from the U.S. Bakken region in Montana and my home state of North Dakota."
Hoeven pointed out the project would not only create thousands of jobs, but would also help keep down the cost of fuel and reduce our dependence on Foreign Oil. But Obama is unwilling to approve the Pipeline because it does not fit with his radical "Green" agenda.
Hoeven did a good job making the case that Obama is all talk on improving the economy, but unwilling to take real steps in reducing regulations and taxes to create an environment where the private sector can flourish and prosper.


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IRVING, Texas – The timeline of Terrell Owens since signing with the Dallas Cowboys:
March 18 — Four days after being cut by the Eagles, Owens signs a three-year, $25 million deal with the Dallas Cowboys that includes a $5 million bonus and a $5 million salary in 2006. "I'm a star among stars now," Owens says at a news conference.
May 5 — Forty-eight days after Owens signed, Bill Parcells speaks about him for the first time. "I don't view it as a gamble. It's in my best interest that he's successful." When he speaks again two days later, Parcells puts the subject of Owens off limits until training camp.
June 2 — Owens goes through his first day of minicamp, catching every pass thrown his way but one in a nearly two-hour practice. "I'm looking forward to the opportunity that I can make to help this team win," he says. "That's why they brought me in here."
June 8 — Owens arrives after 5 p.m. for a scheduled 3 p.m. visit with the roughly 60 campers attending the Terrell Owens Youth Football Camp. "I'm sorry I'm late. I've been playing for the Dallas Cowboys," he tells the kids.
July 5 — "T.O.", the second setting-the-record-straight autobiography Owens has written in 22 months, is released five days ahead of schedule. The biggest revelation: His relationship with Philadelphia quarterback Donovan McNabb soured for good when Owens was told "Shut the (expletive) up" in a huddle. McNabb later calls the autobiography a "children's book."
July 13 — At his first book signing, Owens claims he didn't say his return in time for the February 2005 Super Bowl was "heroic," even though that's what he wrote. He called it one of the words chosen by his co-author.
July 27 — Owens goes to Point Mogu naval base to greet teammates when they fly in to Oxnard, Calif., for the start of training camp. Owens has driven up from Los Angeles.
July 29 — A record crowd of 5,500 attends Owens' first training camp practice. After being the last player out of the locker room, he makes the best play of the session, beating Aaron Glenn for a long touchdown, drawing loud cries of "T-O!" from fans.
Aug. 3 — Owens misses practice because of a hamstring problem. "I wouldn't say I'm injured, just a little sore," he says. Says team owner Jerry Jones: "For a guy who is renowned for playing hurt, renowned for working hard and wanting to be out here, we don't have any concerns."
Aug. 5 — An MRI shows no major problems with Owens' hamstring.
Aug. 7 — Owens says he's flying in doctors and trainers to examine his hamstring.
Aug. 8 — Parcells seems flustered by all the T.O. talk: "I'm getting the sense that most of the media is just waiting for something to be controversial in that regard. And I'm here to tell you, it's not going to happen from me. So you need to get that in your head. OK?"
Aug. 10 — Owens wears the silver and blue uniform of Lance Armstrong's Discovery Channel pro cycling team while riding a stationary bicycle. He calls it "my little kickoff for the Tour de T.O. Comeback."
Aug. 16 — Owens returns to practice after missing 14 straight workouts.
Aug. 18 — Parcells tells Owens he hasn't practiced enough to play in the second preseason game.
Aug. 19 — After working out in the morning, Owens misses the afternoon session because of a setback with his hamstring. He later blames coaches for using him too much.
Aug. 25 — Owens is fined $9,500 for missing a team meeting and a rehabilitation session, and being late to an offensive meeting. He later says he overslept. "It's not a big deal," he says.
Aug. 28 — An Internet gambling site posts a 50-50 bet on whether Owens is still employed by the Cowboys at the end of this season.
Aug. 29 — Owens returns to practice.
Sept. 1 — Owens plays 19 snaps over two series in the preseason finale, catching a 6-yard pass from Tony Romo on the first ball thrown his way and missing a wide pass from Romo in the end zone.
Sept. 10 — Owens catches six passes for 80 yards and a touchdown in the opener, a 24-17 loss to the Jacksonville Jaguars.
Sept. 17 — Owens breaks his right ring finger while blocking on one of the first plays of a 27-10 victory over the Washington Redskins, but doesn't leave for X-rays until the middle of the fourth quarter. His play reflects the injury: three catches for 19 yards, all in the first 11 minutes; several drops, including one in the end zone, and two penalties totaling 20 yards.
Sept. 18 — Owens has a plate screwed into the bone attached to his right ring finger. Recovery time estimated at two to four weeks.
Sept 26 — Owens tries to kill himself by overdosing on pain medication. A Dallas police report says Owens told a friend "that he was depressed."
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