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Clerks II: Special Edition (US - DVD R1)
Gabe overcomes his preconceptions and enjoys Kevin Smith's sequel...
Randal (Jeff Anderson) and Dante (Brian O'Halloran) are back, and just as unhappy about their jobs as ever. After the Quick Stop burns to the ground, our disgruntled professionals are forced to find employment at a fast food burger joint called Mooby's. Dante has found love, and at the end of today's shift will be on his way to Florida with his fiancé. Needless to say, Randal isn't happy about the prospect of being best friend-less. Matters are complicated when Dante begins to realize his true feelings for his store manager, Becky (Rosario Dawson), and must make an important choice in a matter of hours.
I was the perfect age for the original Clerks when it came out. I was in high school, and my band had retrofitted my dad's garage with a TV, a VCR, and a crude surround sound system. We practiced on Saturdays, and then watched movies loudly while eating junk food all night long. Clerks was on the menu pretty much every weekend. Over the years I've gotten a little sick of it.
In turn, I ended up pretty sick of the whole View Askewiverse. I've since found new love for Dogma, but honestly thought Jay and Silent Bob Strike Back was one of the most disappointing trips to the movie theatre I'd made in years. I just didn't think it was funny. After Jay and Silent Bob Kevin Smith said he wasn't going to make any more flicks in his hometown universe, and as a bored film goer I was happy. Then his first post Silent Bob film was Jersey Girl, and it looked pretty dull. I never saw it, but apparently no one else did either. After that failure Smith announced he was going back to his 'roots', and I (like a lot of folks) pretty much gave up.
The one bit of the Askewiverse I still held close was the Clerks animated series (ask my friends, I quote it all the time), which may be one of the most underrated, short lived TV series ever cancelled after three episodes. Smith's return to familiar territory was going to be with these characters I actually still liked, though I assumed in a less fantastical sense. When I heard that Rosario Dawson would be co-staring, and that the flick got an eight-minute standing ovation at Cannes, I almost, almost went to see it in theatres. In the end I still wasn't excited enough about Smith or his universe to spend the ten bucks.
I was wrong to judge the film, but in my defence there really wasn't any evidence in favour of the thing being any good. My reservations were not at all unfounded. The final product isn't a masterpiece, but it's about as good as we can expect Smith and Co. to muster, and what Smith can muster is heart—a big, fat, blood oozing, glucose laden, cholesterol-encrusted heart.
Clerks II takes a long time getting to the good stuff—a really long time. I'm not saying that the first forty-five minutes aren't amusing or important to the overall plot, but up until the moment Jason Lee shows up as a successful co-high school graduate of Randal and Dante's, I was revelling the fact that I was right. I was positive that this guy had nothing left to say about life, art, or film. Long, boring conversations about pop-culture, and crude sex jokes for the sake of crude sex jokes are so 1994. Lord of the Rings versus Star Wars? Lame. Minus one potent scene between Dawson and O'Halloran, this wasn't an impressive return.
After Lee's appearance, and Anderson's reaction to it, I was presented with a new film. Clerks II actually did have something to say, and it was 'be yourself'. If I'd read that sentence I just typed I'd be even more judgmental of the film going into it, but I mean it in a positive way. There really are only two salvageable places you can take the characters from the original film, you can make them happy in their element, or take them out of it. Or I suppose you can kill them, but that's the alternate View Askewiverse as seen on the deleted scenes on the original film. Smith picks the harder choice and brings about genuine warm fuzzy feelings.
The tree's vein is tapped, and the sap flows freely, but it's not cheap sap, it's the refined, expensive stuff you have to buy at the carpeted grocery store. It's the kind of sap that makes you feel good and a little ashamed of yourself as the end credits roll. It's the kind of sap filmmakers like John Hughes have refined for years, and that's what Smith seems to have always wanted to be in the end, the new, potty-mouthed John Hughes. There are some great speeches here, where characters bare there soles to one another in a very Hughes like fashion, only these aren't angsty, antipathist teens, they're adults approaching middle age whose stories I can related to. Yeah, there's a silly musical sequence where the characters stew in self-pity (and the irony of how much Smith hates Magnolia was not lost on me for a second), but we don't, and shouldn't expect David Mamet from Kevin Smith. Perhaps we should expect something slightly funnier from Smith, but perhaps this is all part of the growing experience.
At his best Kevin Smith has always been able to do poignant emotions, what impresses me is his growth in filmmaking beyond writing. Clerks II looks good, which is more than I can say for most of the Smith cannon. There are beautiful crane and tracking shots throughout, no-centred framing, and a definite lack of static cameras. The film reunites Smith with cinematographer David Klein for the first time since Chasing Amy, and the amount to which the couple has grown is immense. I'm also very impressed with Smith's editing abilities, for which he takes the sole credit.
The fact that I didn't find the film particularly hilarious is no fault of the actors, who sell the jokes with total conviction. What can be blamed on the actors, as much as the writer/director, is the fact that the film moved me. Rosario Dawson is always good, so I almost feel no need to praise her for doing her thing, but Brian O'Halloran and Jeff Anderson deserve some props and high-fives. O'Halloran has always been the whiny, straight man, and Anderson the smart-ass, but several scenes see them emoting just like real people trapped in a total bummer of a situation. I'm not sure if I can credit them for staying in character because they seem to be these guys in real life, but I believed them, and not once did I think I was watching a amateur attempt performance, I was watching actors at work.
Shot on HD to save time and money (edt: I'm wrong, it was shot of film but digitally processed in some magical way in post), Clerks II looks fantastic. It's medium budgeted and doesn't have a lot of bravado visuals, but everything here is crisp, clean, and detailed. I was most impressed with flesh tones during shadowed sequences, which showed little to no cross-colouration or noise, the bane of some of the best transfers on the market. There is some noise here and there, but nothing beyond what should be expected from the medium. Had there been more night shots (almost the entire film takes place under the warm glow of fluorescent lights) there may've been more grain or low-level noise. I can't call it perfect due to the lack of contrast, but it's one of the better non-animated discs I've seen in a while.
I can't abide by Smith's taste in music. Some of it's okay, and some of it works for the scene, but often it's too obvious. There's been some great use of acquired songs in film lately, especially songs that've been played out, or weren't good in the first place (see Devil's Rejects, The Matador, or Layer Cake), and I was hoping for more of this re-appropriation from Clerks II. Oh well.
The film is song heavy, but not sound effect heavy, so to judge the Dolby Digital soundtrack one must take Smith's intentions to heart. The music sounds very good, though sometimes it's awkwardly split amongst the surround channels, leaving the centre channel empty. LFE is huge, to the point that I actually turned down my subwoofer. I hate the song 'Frustrated Incorporated', I hate it, but it sounds great here (great being a relative term). Smith dialogue is always clear, and the occasional sound effect is high in its fidelity.
Fans know they can count on Smith to deliver good DVD extras, and he does not disappoint here. The first disc of this two-disc set houses not one, but three commentary tracks, a hefty selection of deleted scenes, and a featurette on 'interspecies erotica'. Disc two has a feature-length documentary about the making of the film, trailers, bloopers, and hours of behind the scenes footage originally created for the web.
Kevin and friends can always be depended on for entertaining commentary tracks. The first is Smith, producer Scott Mosier, and DP David Klein. They call it the 'technical track', and that pretty much sums it up. It's technical, and great for people interested in the filmmaking process.
The second track is the cast track, and is the best track. I laughed quite a bit more at this track than I did while running the film in Dolby Digital. Anyone who's heard any other Smith track knows what to expect here, and there is no disappointment to be had. The most intriguing part of the track is Jason Mewes, who is now sober, actually seems to have something to add to the conversation this time.
The last track is a podcast track. I don't really know the story behind it, but I guess it was something fans could stick on their iPods before seeing the film for a second time, and thusly not have to wait for the DVD release for a commentary. It's a cool idea, but with two solid tracks already adorning the disc it seems a little moot, though there actually isn't too much of the same ground covered. Only for hardcore fans.
There's a decent selection of deleted scenes, all of which feature an introduction by Smith and Mosier (who self indulgently introduce just about every thing on the set, including the film itself). As per the norm, the film is better without these scenes, but they're good to have.
The first disc finishes itself with a featurette about Zak Knutson and his 'Interspecies Erotica' scene. The making of the scene is funnier than the scene itself, and the featurette finishes with Knutson saying that he told his mother that she's not allowed to see the finished film. It's cute.
Disc two brings us to the making-of documentary entitled 'Back to the Well: Clerks II'. This is a great doc, very entertaining, well shot and edited, and it covers everything you ever needed to know about the making of the film. The doc's creators are careful to include footage of Smith stating publicly that he'd never again be revisiting the characters of his Askewiverse post Jay and Silent Bob Strike Back, along with new interview footage of Smith admitting that he felt down on himself after the failure of Jersey Girl. Every problem met and conquered prior to filming is covered, including the fan disapproval, and actor Jeff Anderson's initial disinterest.
The varying array of actresses approached to play the role Rosaria Dawson eventually took is impressive, as is the story of Jason Mewes' road to sobriety, and it's all here. The actual filming process is slightly glossed over, but that's what those hours of production diaries are for. The story behind the making of the film is, as seems to happen quite often, more interesting and valuable than the film itself, and the whole thing culminates with the film's Cannes premiere. I knew about the eight-minute standing ovation, but there's still quite a bit of suspense to behold, as I didn't realize how much of Smith's personal mental health was riding on the event. That's the real meat of the matter, the human drama behind the scenes.
The blooper reel is long, but there's some gold in the mix. Personally, I just feel more in love with Rosario Dawson, who shouts 'Mooby's' in an adorable little voice every time someone says cut. Often these things aren't worth it, but Smith culled out the junk here, it seems.
And it's all wrapped up with the web based production diaries, entitled 'Train Wrecks'. I lied a bit when I said there were hours of them, technically there's just two hours of them. Each featurette is about ten minutes long, and some are better than others, but they're a great addition to the full documentary. My favourite was actually the first one, which features Jason Mewes and Smith getting hair weaves to look more like the original versions of their characters.
I liked this film a whole bunch more than I thought I would. It's not highly recommend to non-fans, but even casual fans should give it an open-minded look. The DVD is great, featuring a really gorgeous video transfer, and a big old array of extras. This is a nice send off for the View Askewiverse, though I'm not sure I believe Kevin Smith is entirely done.
Review by Gabriel Powers
Under 17 requires accompanying parent or adult guardian
Disc Details
Release Date: 28th November 2006
Discs: 2
Disc Type: Single side, dual layer
RCE: No
Video: NTSC
Aspect: 1.78:1
Anamorphic: Yes
Colour: Yes
Audio: Dolby Digital 5.1 English
Subtitles: English, Spanish
Extras: Director/Producer/DP Commentary, Director/Producer/Cast Commentary, Podcast Commentary, Deleted Scenes, "Back To The Well: Clerks II" Making of Documentary, "A Closer Look at Interspecies Erotica" Featurette, Bloopers, 10 Train Wrecks: Video Production Diaries
Easter Egg: Yes
Feature Details
Director: Kevin Smith
Cast: Brian O'Halloran, Jeff Anderson, Rosario Dawson, Jason Mewes, Kevin Smith
Genre: Comedy
Length: 97 minutes
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SLU Madrid 2014 : The Rhetoric of War 12th Annual International Conference
|Link: http://spain.slu.edu/academics/degrees_&_programs/graduate_programs/MA_in_english/conferences.html
Call For Papers
Rhetoric of War
12th Annual International Conference, 23-24 May 2014
The Department of English at Saint Louis University Madrid Campus will host its Twelfth Annual International Academic Conference on Friday, 23 May and Saturday, 24 May. The keynote speaker will be Mary A. Favret, Professor of English, Indiana University-Bloomington.
In honor of the First World War centenary, the conference will explore the art of literary discourse and the power of language in recreations and realities of war. We will consider questions such as: How do literary texts rhetorically position friends and foes? How do they witness the reality of war, craft reconciliation, and/or remember war? How do rhetorical techniques change over time and across cultures in regard to changes in political structures, military order, and technology? How is the rhetoric of war affected by other media? Why does the rhetoric of war migrate to other areas of society, and how does it function in non-military contexts? The topic is open to the function of rhetoric as it relates to any war (not only WWI).
Papers may develop questions of rhetoric and war from an interdisciplinary perspective that incorporates: cultural studies, journalism and media, political and popular culture, gender and/or sexuality, cognitive theory, linguistic studies, ethics, religious studies, transnational studies, migration studies, cross-cultural communication, postcolonial studies, globalization, internet and mass media, ecocriticism, medicine, technology, or trauma studies.
We welcome proposals that explore the rhetoric of war as represented in literary texts or use techniques of literary interpretation to analyze other kinds of texts. Suggested topics may include but are not limited to:
Rhetorics of support for and resistance to war
Players in war (e.g., alliances and allies versus enemies, correspondents, heroes, traitors)
Theatre of war
The landscape of war
Changing rhetorics of war
War and censorship
Memory of war (e.g., commemoration, monuments, narrating events)
Trauma, wounds, and the body in war
Genre and representations of war (e.g., protest poetry, funeral oration, elegy, science fiction)
Civil war
Technology and modern warfare
Gendered and/or ethnic rhetorics of war
Migration of war rhetoric (e.g., race war, war on drugs)
War as a metaphor
War in colonial and post-colonial contexts
Global war and globalization
Please submit a 300-word proposal in English along with a short bio via e-mail by Sunday, March 30, 2014 to: firstname.lastname@example.com
Presentations will be 15 minutes in length.

subset: commoncrawl


text:
Network DVR (NDVR), or NPVR (Network Personal Video Recorder), or Remote Storage Digital Video Recorder (RS-DVR) is a network-based digital video recorder (DVR) stored at the provider's central location rather than at the consumer's private home. Traditionally, media content was stored in a subscriber's set-top box hard drive, but with NDVR the service provider owns a large number of servers, on which the subscribers' media content is stored. The term RS-DVR is used by Cablevision for their version of this technology. This book is your ultimate resource for Network DVR. Here you will find the most up-to-date information, analysis, background and everything you need to know. In easy to read chapters, with extensive references and links to get you to know all there is to know about Network DVR right away, covering: Network DVR, Digital video recorder, Astro MAX, Beyond TV, Commercial skipping, DPandA DVB-T PCI Digital TV Receiver Card For The PC, Dreambox, DTE (Direct To Edit), DVArchive, Electronics Line USA, Elgato, Explorer 8300, Flip Video, Flip Video Mino, Freebox, GB-PVR, Hauppauge MediaMVP, IceTV, LinuxMCE, MediaPortal, Micro DVR, Motorola 3412, Motorola 6412, Moxi, MPEG Streamclip, Multi Access Video Disk Recorder, MythTV, PlayTV, Proprietary DVR, PSX (DVR), PVR-resistant advertising, ReplayTV, SageTV, ShowShifter, Sky+, SnapStream Media, SnapStream Server, Telly (home entertainment server), Thomson DTI 6300-16, TiVo, TiVo digital video recorders, Tivo's Media File System, TiVo, Inc., Tivoweb, Topfield Application Program, TV-Anytime, V+, Vu+, Whole-home DVR, Windows XP Media Center Edition This book explains in-depth the real drivers and workings of Network DVR. It reduces the risk of your technology, time and resources investment decisions by enabling you to compare your understanding of Network DVR with the objectivity of experienced professionals.The term RS-DVR is used by Cablevision for their version of this technology. This book is your ultimate resource for Network DVR. Here you will find the most up-to-date information, analysis, background and everything you need to know.
|Network DVR: High-impact Strategies - What You Need to Know: Definitions, Adoptions, Impact, Benefits, Maturity, Vendors
|Kevin Roebuck
|Emereo Publishing - 2012-10-24
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City Of Duluth Parks & Recreation Softball Deadline Approaching
If you have not yet lined up your sponsor for the City Of Duluth Parks and Recreation adult softball leagues, you have until April 6th to turn in your $600 registration fee. Keep in mind, April 6th is Good Friday so you may want to plan on getting that in by April 5th. Need the form?


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The 22-year-old is understood to be on the south coast discussing personal terms and preparing to undergo a medical in a deal that will see midfielder Ryan Fraser join Ipswich on a season-long loan.
Mings was one of the outstanding performers in the Championship last season, making 44 appearances for Mick McCarthy's side as they just missed out on promotion via the play-offs.
He was the subject of a rejected bid from Crystal Palace on transfer deadline day last summer – ??a bid believed to be in the region of ??3.5.million – and was also of interest to Arsenal before they signed Calum Chambers from Southampton.
Mings signed for Ipswich as a trainee from his local team Chippenham Town in 2013 in a deal worth ??10,000. He made his Tractor Boys debut on the final day of the 2012-13 season against Burnley.
He has since made 56 appearances for the club in total, scoring once.


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The Broadcast Film Critics Association-- a group I'm proud to be a new member of-- is one of the largest critic's organizations in the country, which means you can look at their annual nominees for the best films of the year as a pretty fair representation of what all critics think. The BFCA has released the nominees for their annual Critics Choice Awards, and unsurprisingly, they seem wild about a lot of movie other critic's groups have already voted for, with Zero Dark Thirty, Lincoln, Argo and The Master leading the pack.
Lincoln actually set a record for the most nominations ever from the group after 13 nods, including one in every acting category aside from Best Actress. Les Miserables was right behind it with 11 nominations, including Actor and Supporting Actress, and Silver Linings Playbook followed it with 10 nods. All three were Best Picture nominees, of course, but surprisingly enough, Zero Dark Thirty-- which has won the lions share of critic's prizes so far-- was well behind with just 5 nods overall. A lot of that is due to the fact that it's really a one-woman show for Jessica Chastain in terms of acting prizes, and that the film's cinematography (wrongly) isn't being considered as highly as more typically beautiful films.
Worth noting: The lineup of the 10 Best Picture films is identical to the lineup for my other group, the New York Film Critics Online, and nearly identical to the AFI's last, which traded The Dark Knight Rises for The Master. Consensus, and how.
You can see the full list of nominees at the bottom of this post and on the next page, and with six nominees in most categories (plus 10 for Best Picture), there's a lot of titles included. In terms of surprises, I'm thrilled to see Ann Dowd make it into the Best Supporting Actress category for Compliance, following up on her National Board of Review win and earning serious potential as an Oscar nominee. The Supporting Actor category is a delight too, with Matthew McConaughey making it in there for Magic Mike and a nod for Skyfall's Javier Bardem-- he'd be the first acting nominee ever from a Bond movie if he made it in. Fans of Rian Johnson's Looper should be happy to see it make the Best Original Screenplay category, and I'm especially surprised to see Stephen Chbosky's adaptation of his own book, The Perks of Being A Wallflower, slip into the Best Adapted Screenplay category.
Take a look at the full list below, and see the awards handed out live on the CW on Thursday, January 10.
Beasts of the Southern Wild
Django Unchained
Les Misérables
Life of Pi
The Master
Moonrise Kingdom
Silver Linings Playbook
Zero Dark Thirty


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About the ApocryphaThe Apocrypha is a collection of books found in the Septuagint--the Greek version of the Jewish Bible. Though not incorporated into the final, canonical version of the Hebrew scriptures, it was included in important Bible translations such as the Latin Vulgate and the original King James Version of 1611. For centuries the books of the Apocrypha have had a significant influence on Christian art, literature, and theology.
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By Tim Hanlon
BARCELONA (Reuters) - The transfer of Neymar to Barcelona is to be investigated by a Spanish court over claims of misappropriation of funds and club president Sandro Rosell may be called to give evidence.
The Brazilian was paraded as a 57.1m euro signing by Barcelona from Santos in June last year but the details of the contract were not revealed due to a confidentiality agreement.
A hearing will now decide whether an wrongdoing took place after legal action was pursued by disgruntled fan Jordi Cases who had demanded a response from the club to his request for clarity over the high-profile transfer.
State prosecutors backed the legal challenge and called for a hearing, having decided that there was sufficient grounds to believe there could be a case of "contractual simulation" or distorting the final figures over what has to be paid.
They pointed to 40 million euros that was paid as part of the overall fee and went to a company owned by Neymar's father.
It caused the wrath of Rosell who has adamantly denied that any more than 57.1 million euros was paid.
In light of a claim by Spanish daily El Mundo on Monday that the figure was in fact 95 million euros, Rosell changed tack and from calling the judge to throw out the case he said he would be willing to give evidence and clear his name.
"Having anticipated you would ask about this, there are two points I would like to make," Rosell told a news conference on Monday. "The first is a reaffirmation that Neymar cost 57.1 million euros, full stop.
"I am saying it for the umpteenth time and that's enough now. The second is a request, with all my respect for the judge in this case. Ask him to initiate proceedings and call me to testify, precisely so I can tell the judge anything he would like to hear because there is nothing to hide.
"Everything is absolutely legal and absolutely clean. Any confidentiality clause that existed was always because it was asked for by the other side," he added this week.
Judge Pablo Ruz has decided to open a hearing and will be asking for more information from Neymar, Santos and Barcelona, while a decision will be made at a later date over whether Rosell will be called in person to provide evidence.
On the basis of the evidence already received, an order from the judge on Wednesday read: "It leads to the conclusion that the facts given by the complainant are plausible in being a crime of misappropriation as laid down in article 252 of the penal code."
(Editing by Martyn Herman)


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UPDATED: Woman dies after being burned in Old Lyme fire
Old Lyme — An elderly woman badly burned in a Saturday night fire on Lyme Street died this afternoon, according to Fire Marshal Dave Roberge.
The woman, whose name has not yet been released, was flown by Life Star helicopter to Bridgeport Hospital after the fire.
First Selectwoman Bonnie Reemsnyder said this morning that officials are still awaiting confirmation from the family about the woman's name.
The fire was reported at around 8:25 p.m. at 7 Lyme St., a two-story condominium complex that is part of an association that includes Boxwood Apartments on the same street. The victim, who others at the scene identified as a woman in her mid-90s, lives alone in a first-floor unit, according to Old Lyme Fire Department spokesman Johny Cody.
Roberge said the fire was accidental and originated in the kitchen stove, which ignited the woman's clothes.
Other residents were attempting to help the woman when firefighters arrived at the scene, he said.
At about 10 p.m., firefighters broke a window at the front of the structure to give firefighters an extra egress area. At one point earlier, firefighters had been ordered out of the building as officials worried about flare-ups.
Cody said it took about 15 to 20 minutes to put out the flames.
The house has four one-bedroom condominium units, though only three are occupied, according to Cody. He didn't know how many other people were in the building at the time of the fire but said everyone else got out without injuries.
Cody said only two of the four units were affected by the fire. Both of the units were in the back of the building, where a gaping hole in the roof created by firefighters was still releasing smoke late into the night.
The Old Lyme, Essex, East Lyme, Old Saybrook, Westbrook and Deep River fire departments responded to the blaze. No firefighters were injured.
Killingly's Nsaiah Harriet finds the gridiron via the soccer pitch


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Biesse Press Tour: a journey into innovation at Ligna 2015
From the Batch One process for Batch 1 manufacturing to the innovative Viet Opera R automated sanding machine, via the new Rover C processing centre and the bSuite software responsible for the finished products exhibited in the bLab.
These are the stages that 70 journalists from all over the world went through to experience Biesse's technology first hand, exploring the stand's 3,700 m2 together with Raphaël Prati, Marketing and Communications Director for Biesse Group.
A path that led them to get to know the technological innovations showcased at Ligna and along which product specialists explained the exhibited machine's distinctive features and potential through dedicated focus events and live demos. The bSuite family software programmes "played host" to visitors in the bLab gallery, where design and execution met in the finished products manufactured by Biesse's customers: they fully captured Biesse's commitment to innovation, seamlessly combining technology and creativity, precision and freedom.


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CAMBRIDGE, UK - Sept. 6, 2006 – ARM [(LSE:ARM); (Nasdaq: ARMHY)] today announced that Samsung Electronics has licensed ARM® Jazelle® software technology for deployment in the Samsung BD-P1000 device – the first commercially available Blu-ray disc player on the market. The Samsung Blu-ray player enables consumers to watch High-Definition (HD) discs on their HDTVs and uses ARM Jazelle Java acceleration technology to deliver advanced interactive features for an exceptional multimedia experience. Blu-ray technology is a next-generation DVD format supported by more than 170 of the world's leading consumer electronics, personal computer and media manufacturers, offering nearly five times the resolution of conventional DVDs and making extensive use of Java to manage interactive content.
The ARM Jazelle Java Technology Enabling Kit (JTEK™) software licensed by Samsung is a high-performance technology originally developed for the mobile handset market. With the release of the Samsung Blu-ray player, ARM is bringing the proven success of JTEK software running on an ARM processor to the newest generation of consumer devices in the home. Using ARM Jazelle technology, Samsung Blu-ray players will unleash the power of BluRay discs that support the Java BD standard, utilizing advanced features not available on conventional DVD players, such as interactive, easy-to-use menus that can run quickly and seamlessly – without repeatedly accessing the disc. With the growing availability of Blu-ray content – to date, seven of the eight major movie studios have announced titles for Blu-ray technology – the home entertainment market is undergoing a significant shift, offering consumers higher quality pictures and sound, smoother performance, and a richer interactive multimedia experience than ever before.
ARM Jazelle JTEK software technology enables execution of Java byte code in hardware, offering the capability to run these new and demanding applications much faster, without compromising efficiency or cost. Unlike software-only techniques, acceleration of Java technology as part of the core architecture is highly memory efficient and gives fast start-time and smooth application performance. This means consumers can run the highest quality Java applications on a broad range of devices and enjoy an enhanced user experience.
"With the Samsung Blu-ray disc player, ARM is working to take the same efficient, high-performance Jazelle technology used in so many of the Samsung mobile handsets into ARM Powered® home devices," said Mike Inglis, executive vice president, ARM. "HDTV owners and home theater enthusiasts can now enjoy high-quality interactive multimedia content through the use of ARM Jazelle technology."
About ARM
ARM designs the technology that lies at the heart of advanced digital products, from mobile, home and enterprise solutions to embedded and emerging applications. ARM's comprehensive product offering includes 16/32-bit RISC microprocessors, data engines, 3D processors, digital libraries, embedded memories, peripherals, software and development tools, as well as analog functions and high-speed connectivity products. Combined with the company's broad Partner community, they provide a total system solution that offers a fast, reliable path to market for leading electronics companies. More information on ARM is available at www.arm.com.
ARM, ARM Powered and Jazelle are registered trademarks of ARM Limited. JTEK is a trademark of ARM Limited. All other brands or product names are the property of their respective holders. "ARM" is used to represent ARM Holdings plc; its operating company ARM Limited; and the regional subsidiaries ARM INC.; ARM KK; ARM Korea Ltd.; ARM Taiwan; ARM France SAS; ARM Consulting (Shanghai) Co. Ltd.; ARM Belgium N.V.; AXYS Design Automation Inc.; AXYS GmbH; ARM Embedded Solutions Pvt. Ltd.; and ARM Physical IP, Inc.
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In a press briefing on the USDA portion of the administration's $2.13 trillion budget plan, Agriculture Secretary Ann M. Veneman said that the FY2003 budget calls for $74.4 billion in USDA spending, an increase of $11 billion over the FY 2002 budget submitted by the president last year.
"The proposed budget reflects the Bush Administration's commitment to support an additional $73.5 billion over 10 years for farm programs," said Veneman. "This is to meet our pledge of a generous farm bill based on sound policy."
She said that the proposed USDA budget also supports the goals outlined in the Bush administration's policy book, Food and Agriculture Policy: Taking Stock for a New Century, released last summer.
"This budget funds the key priorities for USDA, supports the House and Senate budget resolutions for farm spending that were passed last year, strengthens homeland security and infrastructure protections — what we talk about as pests and animals and food safety and the research that supports those things," she said.
"It supports trade expansion, providing tools for our producers to export. It provides record-level nutrition safety nets for families who need assistance. It promotes good conservation and environmental stewardship. It helps rural communities. And it expands initiatives to ensure that we make government work better."
In her comments, Veneman noted that the House-passed farm bill stays within the $73.5 billion figure for additional spending contained in the House and Senate budget resolutions passed last spring while the bill pending in the Senate does not.
But she stopped short of endorsing quick passage of the House bill by the Senate to get a farm bill through conference and to the president for his signature.
"The House bill is a good bill, but there are elements in the Senate bill or in the Cochran-Roberts amendment, such as farm savings accounts, that we feel are beneficial, as well," she said. "Whatever the Congress passes, we think, must be consistent with the administration objectives of increased trade."
Rather than a breakdown for spending on commodity programs in FY 2003, the administration budget includes "plug-in" numbers of $4.2 billion for the fiscal year ending Sept. 30 and $7.27 billion for the new fiscal year.
"We have not pre-determined how that spending will ultimately come out because that's the Congress' responsibility," she said. "But certainly those numbers will be adjusted to reflect what the Congress does in a farm bill."
She repeated her comments that she made at a meeting with Farm Service Agency employees in Georgia that USDA is committed to implementing the new farm bill "as quickly as possible" once it is signed by the president.
"The administration is committed to getting a farm bill passed as quickly as possible and implemented as quickly as possible," the secretary noted. "We believe that there will either be a new farm bill that impacts 2002 crops or a supplemental bill. One way or the other there will be additional spending for the 2002 year."
Veneman also announced that the budget proposes a $146 million increase for programs to protect the nation's food supply from animal and plant pests and diseases, strengthen food safety programs and support specific research activities. In his State of the Union address, President Bush stressed the need for more homeland security protections.
"This budget builds on our efforts to protect agriculture and the food supply from intentional and unintentional risks," Veneman said. "This increase, along with $328 million in supplemental funds provided in the 2002 Defense Appropriations Act, provides needed resources for more border inspectors at ports of entry, increased security at our laboratories and new research into emerging diseases that threaten crops, livestock and our food supply."
In addition, "The 2003 budget reflects our commitment to a nutrition safety net by including a record $41 billion for domestic nutrition assistance programs, such as the Food Stamp, Child Nutrition and the Women, Infants and Children programs," Veneman said. "The budget also allows for more than $2 billion in contingency funds to cover any unanticipated increases in domestic feeding program participation levels."
e-mail: [email protected]


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