text:
Grizzly Bear, which has just released its fourth studio album, Shields, spoke to Morning Edition host David Greene about democracy within the band, censorship and candor in interviews, and achieving success as an indie band. Hear the radio version at the audio link and read part of their conversation below.
Interview Highlights
On division of labor in Grizzly Bear
Daniel Rossen: "The ultimate goal for us is always to make an album that all four of us love and are excited about, which is one of the biggest challenges of all. We're not even thinking about the world or how it's going to be received or if the fans are going to like it. If the four of us can agree on it, then, mission accomplished.
"The beginning of 'Sun In Your Eyes' — sometimes I would just ask Ed to go to the piano and just play whatever he thought of. One of the very first riffs of that song was something that he just went and played at the piano, those first few notes. I recorded it and, over the course of a few weeks, started playing with it and then wrote a melody to it. And then Chris Bear played these kind of strange jazz chords at one point, and I went over and recorded those. Then we incorporated that into the middle of the song.
"It just kind of kept developing. And then Chris Taylor took it for months. We didn't even think it was going to turn into anything, but Chris kept chipping away at it and adding bits here and there. It took like six months for it to become something real, but by the end, it was the kind of song no one of us could ever have conceived on our own. I would never have sung over a track like that on my own. It was just really thrilling in that way where it almost felt like listening to somebody else's music rather than making your own record, which is kind of the best thing about having a band that's so democratic. That's the greatest goal, maybe."
On candor in interviews
Edward Droste: "I'm not going to lie, I feel like I sometimes have to censor myself in interviews. I can't quite fully be honest about how I feel about certain things because it can be taken out of context. People love a juicy quote, they love a headline, and they love to twist things and make it seem like it's something bigger than it is.
"I guess I would consider myself an opinionated person, and it just doesn't benefit to — I could just be, like, a really outspoken person and go for gold and just say a lot of things that are controversial, but I kind of feel like at this point, it's best not to. Not to be boring — there's plenty of interesting things to talk about that doesn't have to get into things that people are going to latch onto and retweet or blog a million times. There's an element to that. I definitely felt like there was a sort of freedom in the early times where it was like, 'No one's going to read this, so maybe the 20 people that do will get a kick out of it.' "
On making a living
Chris Taylor: "Now, an indie band doesn't really make much money selling records, so you have to be on tour a lot. And we're on tour, like, a lot. Talk about connection with your loved ones or your friends or romantic relationships or your family — it's pretty crazy how much we have to be away from home.
"And that is just in order to make a living — to promote the record and go on tour and play shows and have an income from working really hard on something. I think musicians deserve to — if they've worked hard, they should see some sort of remuneration for their efforts like everyone else who goes to work at their job. I guess if everyone was buying records, maybe indie bands wouldn't have to tour as much. Who's to say?
"I think the download scenario that we're in the middle of is kind of hopefully still a work in progress and the final model hasn't been realized, because at the moment things like Spotify are actually pretty harmful to musicians. The only people who really benefit is the company Spotify itself and large record labels. Not independent [labels] but, you know, Columbia Records, Sony. So things like Spotify, although they expose people to music, it doesn't really do anything effectively for the band unless that person decides to buy a ticket to your show.
"In order to make a living, all I know for us is that we have to go on tour. You won't really sell records if you don't tour. And also, you don't really make a lot of money selling records just because people just take them."
Droste: "You can get a record and legally buy it for sometimes as low as six or seven dollars. I'm like, that is some mozzarella sticks at your local diner. Two years of work making an album, and seven dollars is not a big deal.
"I do feel like there's a ceiling that independent artists hit, and the only way past it is radio — commercial radio. It's not like that's our aspiration. We don't write music with that intention at all. You shouldn't have to, but that is how one reaches people that aren't as curious and going online looking for new music."
On the surfeit of music on the Internet
Droste: "There's way more bands, first of all. That's 'cause of the Internet, which I think is a great thing because that means people get exposed to way more music. The traditional channels of media that I remember growing up with were very selective with what I could hear, like the radio or MTV. So I was funneled certain music, and I didn't learn about a lot of different music. People can still turn to blogs or websites and discover music and stream it and hear it and test it out much more than before, so in that sense it's really helpful.
"I don't think we'd be where we are pre-Internet. So, it's like push and pull again, where you're, like, very grateful and then at the same time you're like, 'Hey, y'all, just buy the albums.' "
Taylor: "I don't know if I even believe this, but just to pose as devil's advocate: There's also that buffet situation where there's turkey and chicken and fish and steak and you can decide what you want to eat. There's like eight kinds of vegetables. And none of it is really that good. Maybe the turkey is the best thing there. Maybe the house salad is safe, so that's what you end up with. Or you go for gold and you just try all of them. You don't really remember what you ate but you feel sick.
"It's a way you could look at it. There's an oversaturation of just everyone like, 'I'm going to start a band.' For me it can be a little overwhelming. And I run a record label, so it's my job to sift through things like this. There's an argument too that it's so easy to get something out there, and anyone can make an album with their laptop. I love punk music and I love how off the cuff it is, and that's an expression and that's amazing. But then there's also just, like, taking time on something as well is also a good thing."
UNIDENTIFIED MAN #1: It's been sounding like that for the past couple of days.
Why don't we step outside for just a minute where it's quieter. So I've come to the 9:30 Club. It's this classic rock venue in downtown Washington, D.C. And the band you hear getting warmed up there is Grizzly Bear. And in a few hours, this wooden floor at the 9:30 Club is just going to be this sea of people. The concert's been sold out for a while.
Grizzly Bear, they're these four guys from Brooklyn who have just been growing in popularity. Their last album, it hit number one on the Billboard Indie charts. Now they've got a new album out call "Shields" they're on tour. The group seems to be on this journey, navigating all the pressures in this modern age of music and really figuring out what it means to be an indie band today.
DANIEL ROSSEN: I'm Daniel from Grizzly Bear.
Hi, my name is Edward.
CHRIS TAYLOR: Chris Taylor.
CHRISTOPHER BEAR: And I'm Christopher Bear.
GREENE: OK, so we've got two Christophers in the band. And then the two lead vocalists are Daniel Rossen and Edward Droste. We were all chatting at the club a few hours before their show last week. It was Edward who started the band back in 2004. And I asked him how it all began.
EDWARD DROSTE: I was feeling a little bit of like the post-college confusion malaise. And I had taken guitar lessons in high school and started messing around on it and writing songs. And through very stereotypical low-fi bedroom, pop story where you just start of like I'm going to make songs in my bedroom. And then I met Chris Bear through a friend. And I had a bunch of songs, he was intrigued and he sort of came in at the tail-end of the first album.
And then, basically, even though the first album was essentially just me, when that came out, almost immediately we became a band. And from then on, it just totally changed to no longer became a bedroom situation.
GRIZZLY BEAR: (Singing) Oh goodness, mercy mine, soldier on but please not so long this time...
GREENE: I'm also struck, because when you guys perform, you're lined up, just a line together. It feels very democratic.
ROSSEN: It is.
DROSTE: Pretty democratic, yeah.
ROSSEN: It's good to have like three other very different creative minds around that push you, as opposed to just being left spinning your own wheels. And the ultimate goal for us is always to make an album that all four of us love and are excited about, which is one of the biggest challenges of all. I mean we're not even thinking about the world or how it's going to be received, or whether fans are going to like it.
It's just like if the four of us can agree on it, then mission accomplished.
GREENE: Is there a song on the album where you really feel like that comes through?
DROSTE: It's like the last song that was really interesting sort of journey of passing hands from person to person.
GREENE: Yes, remind us what song that is.
ROSSEN: This song is called "Sun in Your Eyes." The beginning of "Sun In Your Eyes" is sometimes I would just ask Ed to go to the piano and just play whatever he thought of. And the very first riff of that song was something that he just went and played at the piano, those first few notes.
BEAR: (Singing) You've fallen once, you'll fall again. And lean on...
ROSSEN: Over the course of a few weeks, started playing with it and then wrote a melody to it. And then Chris Bear played these kind of strange jazz chords at one point, and I went over and recorded those. Then we incorporated that into the middle of the song. And it just kind of kept developing in this weird way. And then Chris Taylor took it, kept kind of chipping away at it and adding bits here and there.
By the end, it was the kind of song, like, no one of us could ever have conceived it on our own. It was just really thrilling in that way, where it's like it almost felt like listening to somebody else's music, rather than making your own record.
BEAR: (Singing) Look on your face. The burden's on your back. The sun is in your eyes. Stretched out, far and wide. The light that scorched the sand...
GREENE: As you guys get - have been getting more popular, we're sitting here, you have two sold-out shows in Washington, D.C. Jay-Z came to one of your concerts. And he kind of joked about why is everyone asking why I'm here. I'm here because great music and I like it, and these guys are doing great things for kind of indie.
But the tradition of indie means independent. It means, you know, underground. As you bigger, I mean do you lose that sort of identity in some ways, of being underground and independent? I mean you guys have huge crowds.
TAYLOR: If you're just referring to the record label situation. We are still on an independent record label and we do run our own ship. Now an indie band doesn't really make much money selling records, so you have to be on tour a lot. It's just in order to make a living, you know. I guess if everyone is buying records, maybe indie bands wouldn't have to tour as much.
So things like Spotify I think, you know, although they expose people to music, it doesn't really do anything effectively for the band, unless that person decides to buy a ticket to your show.
DROSTE: You can get a record and legally buy it for sometimes as low as six or seven dollars. And I'm like, that is some mozzarella sticks at like your local diner.
BEAR: (Singing) Yet again, we're the only ones. No surprise, this is often how it's done...
GREENE: Is this as far as you can get, having sold-out your other 9:30 Club. Is there any way to get kind of the next step and explode?
DROSTE: You got to be a Bieber.
GREENE: Got to be a Bieber.
DROSTE: I do feel like there's a ceiling that independent artists hit, and the only way past it is radio - commercial radio. And like, it's not like it's our aspiration. We don't write music with that intention at all. You shouldn't have to, but that is how one reaches people that aren't as curious and going online and looking for new music. That is how you reach people that you may just never reach.
GREENE: And that might mean doing a song that you kind of know would make it on the radio.
DROSTE: It would just have to be by chance. We always write music for ourselves and what we like...
GREENE: You would never make a song knowing it was for...
DROSTE: No, that would be a total false intentions and I think it would ring really insincere to us. And I feel like the audience would be able to tell what's going on here. You know what I mean?
GREENE: We're actually going to be hearing a lot more music this week, as MORNING EDITION explores the challenge of making money in today's music industry.
As for the guys from Grizzly Bear: Edward Droste, Daniel Rossen, Chris Taylor and Christopher Bear, they played on into the night at 9:30 Club. And you can hear that full concert at NPRMusic.org.
It's MORNING EDITION from NPR News. I'm David Greene.
And I'm Steve Inskeep.
(SOUNDBITE OF A MUSIC) Transcript provided by NPR, Copyright NPR.


text:
History scholarship at Cardiff combines theoretical innovation and research expertise, creating distinctive strengths in a range of areas, including warfare and the Crusades, authoritarian regimes, Wales and the wider world, gender and identity, and medicine and the body.
The research environment here is notable for its broad chronological sweep from the ancient world to the twenty-first century, and for its geographical diversity, covering Greek, Roman, British, French, German, Russian, American, Indian, Chinese, Japanese, and Welsh history, and extending from local to global histories.
We attract research funding from a wide range of sources including the AHRC, Leverhulme Trust, Wellcome Trust, Heritage Lottery Fund, British Academy, Royal Historical Society, and other key grant and charitable bodies.
Research themes
- Authoritarian regimes
Examining the role of ideology and resistance in authoritarian regimes from Nazi Germany to early Soviet Russia.
- Warfare and the Crusades
Considering Greek, Roman and Carthaginian warfare and the history and impact of the crusades and the Military Orders from the end of the eleventh century.
- Gender and identity
The difference that gender makes from the ancient world to the present day, in a variety of sites from the home, the workplace and the classroom to popular culture and literary texts.
- Medicine and the Body
Considering themes including women and medicine; the history of psychiatry and shell shock; urban and rural public health; hospitals and medical education; and medicine in the ancient world.
- Wales and the Wider World
Addressing the ways in which global histories have shaped local cultures and Wales's reciprocal influence across the modern world.
- Transnationalism
Addressing a range of themes, from links between Southeast Asia and Australia to the Welsh diaspora in Australia and South America.
- Historical theory
Considering how historical theories have developed, and how theory has been used in historical writing.
Research impact
The beneficiaries of our research range from individuals and local schools to heritage organisations, healthcare professionals, and the media. We collaborate with a wide range of partners to facilitate the dissemination and impact of our work, from heritage organisations (e.g. Cadw, National Museum Wales) to local schools, media organisations and professional groups. For example, funding (£159K) from the AHRC Connected Communities: Research for Community Heritage led to the co-production of research with local communities through the CAER heritage project with Archaeology and the School of Social Sciences, which was identified by the AHRC as a flagship project.

subset: commoncrawl


text:
By Peter Rudegeair
(Reuters) - Three highly distinctive designs for a new Tappan Zee Bridge spanning the Hudson River in New York were unveiled on Wednesday, ranging from designs that resemble two pairs of tuning forks, a regatta, and a cream-colored version of San Francisco's Golden Gate Bridge.
The New York State Thruway Authority unveiled the proposals for a new bridge connecting Westchester and Rockland counties north of New York City to replace the existing Tappan Zee, which was built in the 1950s and is now in poor condition.
Proposal 1, which looks like side-by-side tuning forks, is the least costly at $3.1 billion and earned the endorsement of a selection committee making recommendations to the Thruway Authority Board, which is to choose a design on December 17.
"Best looking and most cost-effective," said New York Governor Andrew Cuomo, describing Proposal 1 at a cabinet meeting on Wednesday.
The selection committee's endorsement was based on price, bridge lifespan, construction schedule and environmental effects, according to Brian Conybeare, a special adviser for the project.
Proposal 2, which looks a bit like the Golden Gate, has an estimated cost of $3.990 billion, and Proposal 3, which resembles a crowd of sail boats racing in one of the regattas often seen on the Hudson, is estimated at $4.059 billion.
Proposal 1 also has the shortest construction time frame, at just over five years, meaning the new bridge could be completed before 2019.
With any of the three options, there would be $600 million to $800 million in additional costs related to project finance, management, oversight, contingencies and aesthetic improvements, Conybeare said.
In the hopes of insuring the massive transportation link reflects the beauty of the Hudson River Valley, Cuomo in September named a team of six artists to advise the selection team, including sculptor Jeffrey Koons and Metropolitan Museum of Art director Thomas Campbell, a tapestries expert.
The names of the design firms that created each proposal were not released by the state.
(Reporting by Peter Rudegeair; Editing by Leslie Adler)


text:
Anglers should be aware of new rules, areas open
PRATT — The Kansas paddlefish season begins March 15 and runs through May 15. Paddlefish begin the annual spawning run when water temperatures reach 60 degrees, and some snagging areas, such as Chetopa, require a rise in the river level for paddlefish to be present. This usually occurs shortly before or after the March 15 opener. This year, some new areas are open, and new rules apply to certain areas.
Paddlefish may be taken on posted areas inside city parks on the Neosho River in Chetopa and Burlington, on the Neosho River at Iola downstream from the dam to the city limits, on the Marais des Cygnes River below Osawatomie Dam downstream to the posted boundary, on the Marais des Cygnes River from the upstream boundary of Marais des Cygnes Wildlife Area downstream to the Kansas-Missouri border, and on the Browning Oxbow Lake of the Missouri River. Other areas may be posted by KDWP.
Barbless hooks must be used in Chetopa City Park. Catch and release is allowed in Burlington, Chetopa, and Iola except that once attached to a stringer, a fish becomes part of the daily creel limit. Immediately upon attaching a fish a to stringer, anglers must sign a carcass tag, record the county, date, and time of harvest, and attach the tag to the lower jaw of the paddlefish. Anglers must stop snagging once the daily creel limit of two paddlefish is reached.
Anyone snagging must have a paddlefish permit — good for six paddlefish. Only one permit is allowed per angler for the season. The $12.50 permit includes six paddlefish tags that must be attached to each fish immediately upon catch. A youth paddlefish permit fee is $7.50 for anglers 15 years and younger. Snaggers must sign each carcass tag; record the county, date, and time of harvest; and attach the tag to the lower jaw of the paddlefish.
In addition to the paddlefish permit, a valid fishing license is required (unless exempt by law). The daily creel limit is two, and the possession limit is six. Anglers must stop snagging once the daily limit is reached. Legal equipment includes pole and line with not more than two single or treble hooks.
While other sportfish snagged must be released, nonsport fish (carp, drum, grass carp, threadfin and gizzard shad, goldfish, gar, suckers including carpsucker and buffalo, goldeye, and bowfin) may be kept when snagged in waters posted open to snagging during the paddlefish season. There are no limits on nonsport fish.


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Cooking For Engineers
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Recipe File: Pan Fried Fish Fillets
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Michael Chu
Joined: 10 May 2005
Posts: 1654
Location: Austin, TX (USA)
Posted: Tue Sep 13, 2005 10:55 pm
Post subject:
Anonymous wrote:
is it good to use clarified butter for pan frying or when you saute' fish?
Sure, clarified butter is an excellent fat to pan fry fish in.
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Posted: Sun Nov 27, 2005 1:27 pm
Post subject: FRIED FISH
Frying fish in an iron skillet works best for me.
My question is, when cooking a large quantity of fish, how do you keep
it hot and crisp until you are ready to serve it all?
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Michael Chu
Joined: 10 May 2005
Posts: 1654
Location: Austin, TX (USA)
Posted: Mon Nov 28, 2005 1:01 am
Post subject: Re: FRIED FISH
ORVET wrote:
My question is, when cooking a large quantity of fish, how do you keep it hot and crisp until you are ready to serve it all?
I suggest keeping it in the oven at the lowest setting (200°F or less) to keep it warm and crispy.
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Joined: 02 Nov 2005
Posts: 88
Location: WA
Posted: Mon Nov 28, 2005 1:35 am
Post subject: Re: FRIED FISH
Michael Chu wrote:
ORVET wrote:
My question is, when cooking a large quantity of fish, how do you keep it hot and crisp until you are ready to serve it all?
I suggest keeping it in the oven at the lowest setting (200°F or less) to keep it warm and crispy.
... and place the fish on a rack over a cookie-sheet or foil, and put the fish rack on an oven sahelf that is above the mid-point of the oven. you want lots of air circulation around the fish, and just warm enough to keep it from cooking more.
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Posted: Wed Feb 15, 2006 10:26 pm
Post subject:
This may be a bit cheap but it works great for me.... I use an inverted paper plate over the fish while cooking. It blocks most of the splatter while allowing most of the excess moisture to escape.
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Posted: Mon Feb 20, 2006 5:34 pm
Post subject: Tips for crispy fish?
I love pan-fried fish, especially if done right (crispy outside, flaky inside). However, the last few times I've done it, I'd get it crispy and when I go to serve the fillets a few moments later, the crust has turned soggy. What gives? I usually use tilapia, patted dry, sprinkled with salt/pepper/garlic powder, dredge in beaten egg, then dredged in regular flour. I fry in nonstick skillet with 1/4 inch or more of canola oil. I don't move the fillets while cooking, don't put a lid on. In your blog, you don't use flour but yet still get crispy fish? Any tips? Thanks! Great site!
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Joined: 08 Mar 2006
Posts: 1
Posted: Wed Mar 08, 2006 1:53 am
Post subject: Differences in Colour With Pans
I suspect the different in colours of the fish is related to the non-stick pan being black. Now, I haven't done any testing with temperatures/temperature changes for nonstick and traditional pans, but I do know cooking times are different for the two (even for baking with non stick/traditional cookie sheets).
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Posted: Sat Oct 21, 2006 3:35 am
Post subject: Awesome recipe
Hello, I just wanted to say this recipe is excellent! I am a 25yr old web programmer with little cooking skills and using this recipe, my peice of Salmon came out great!
Ken Fischer
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Posted: Fri Dec 01, 2006 9:00 pm
Post subject: Brining fish ?
Although i love fried fish, I've found that some fish if fried using minimal seasoning tastes well .. too fishy on the insides.
I have seen plenty of chicken recipes on the site which uses brining to give some flavor to the chicken. So barring marinades, has anyone ever tried brining their fish ?
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Brave new cook
Posted: Thu Dec 07, 2006 4:49 am
Post subject: A fishy start for me...
Came across this forum because I've just bought uncooked salmon for the first time in my life and I am hoping to pan fry it. I am very scared of splattering oil and was intending to wear my mittens for added protection!! I like the idea given regarding coating the fish with a thin layer of oil and then putting it onto the non-stick pan without any further oil added on the pan. I hope this elminates the splatter - am I too optimistic to say it won't splatter at all? Here's hoping I come thru OK...
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justin case
Posted: Sun Jan 28, 2007 8:52 pm
Post subject: Pan-fried fish: stainless vs. nonstick
I make several fish recipes that use this technique, and tend to get good results with both my stainless and nonstick skillets. But, I prefer the stainless for overall color and appearance, plus it makes for better browned bits if subsequently making a sauce. To keep the fish from sticking in the stainless pan, I get the pan and oil hot (med-high) first, add the fish, and give the pan a quick wiggle after all of the filets have been added. I'm guessing that this allows the surface of the fish to cook a little, and then permits a little extra oil to get underneath. After that, the fish can be left to do its thing until ready to flip, at which time the process gets repeated. Perhaps this no longer counts as pan-frying, but I could care less. The results are delicious.
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Posted: Tue Jul 31, 2007 11:19 pm
Post subject: Splatter Guard
I got my slatter guard at a local 99 cent store for, you guessed it....99 cents. Works great!
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Posted: Tue Jan 22, 2008 7:42 pm
Post subject: pan fried fish
I just took a cooking class and we made pan fried catfish fillets in a "traditional" skillet. Our instructor insisted that if you cooked the fillets long enough that the fish would flip right over...and they did.
The key was keeping the oil at the right temp. It dropped when you put new fish in.
I can't wait to try it again. It was with bacon grease and canola oil and we topped the finished fish with bacon bits (real), fried parsley and lemon.
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Posted: Fri Feb 22, 2008 6:38 pm
Post subject:
Hi Michael!
I have a few questions about this recipe (and seafood cooking techniques, in general)...
- What is the reason for placing fish either skin-side down or up?
- Should the fillet only be flipped once?
- Do you determine doneness using an internal meat thermometer or just by appearance?
- How do you choose a cooking method for different types of fish?
Thanks so much for this website. I am def not an engineer but I love that your methods are so simple and straightforward! I am a complete novice in the kitchen (first apartment!) and a microwave-chef extraordinare but your recipes and techniques and informative guides have encouraged me to branch out and try new things.
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Michael Chu
Joined: 10 May 2005
Posts: 1654
Location: Austin, TX (USA)
Posted: Sat Mar 01, 2008 3:01 pm
Post subject:
jenn wrote:
- What is the reason for placing fish either skin-side down or up?
- Should the fillet only be flipped once?
- Do you determine doneness using an internal meat thermometer or just by appearance?
- How do you choose a cooking method for different types of fish?
There's are no easy answers to these questions. In the case of this particular article - I think I misfiled it under Recipe File when it should be Test Recipes. It is clearly a documentation of a particular attempt at pan frying fish and not a definitive recipe. Sorry about that. I'll move it to the correct category in a few days.
The skin side up or down doesn't make a difference except for timing. Crispy skin will usually require it to be the last step when preparing pan fried fish because if the skin side was cooked first then it could lose crispiness as it absorbed moisture while the other side was cooking.
Usually fillets are flipped only once to preserve the integrity of the fish. Some recipes call for double flipping - especially when glazing is involved.
For fish, I usually go by appearance and how the meat flakes (or in the case of salmon - is about to flake but hasn't yet)
Cooking technique for specific fish - I don't know... usually I choose by whatever sounds like a good idea at the time. It doesn't hurt to experiment, so go wild!
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text:
Re: Paris : Métropolitain [v5][2012-08-22]
Posted: Thu Aug 23, 2012 11:35 pm
Here is your first of what will be many.
Good luck in the main foundry.
Conquer Club, a free online multiplayer variation of a popular world domination board game.
koontz1973 wrote:
Here is your first of what will be many.
Good luck in the main foundry.
Qyu wrote:Original work base the official RATP map of Paris network subway & equivalent.
Qyu wrote:We colored each station, depending of which line go through them.
iancanton wrote:Qyu wrote:Original work base the official RATP map of Paris network subway & equivalent.
do u have permission from the ratp to use the station names on a map of the paris métro, or is the ratp map free for us to use?
iancanton wrote:Qyu wrote:We colored each station, depending of which line go through them.
there are 14 lines, so the colours of some look very similar to those of others. the little coloured boxes under each station name which show the line numbers are an excellent addition to make the map playable for the colour-blind. my favourite is the method used for the ELY station, with a white background for the station name.
iancanton wrote:remove the +3 for 7 portes bonus because player 1 will always have the advantage of starting with this bonus in 2-player and 3-player games.
the hold half line bonus is ambiguous. change it to, for example, hold 9 stations on same line.
i like the rail station bonus a lot because it gives an incentive to cross the river and hold the middle instead of constantly targetting the periphery. try increasing the bonus values for holding rail stations.
Qyu wrote:excellent question, and actually, RATP released all the data the last july 31st this year : map shape, colors, logos, etc... (even the air quality of each station). The goal is to let third party devellopers to create tool for customers of Paris underground.iancanton wrote:do u have permission from the ratp to use the station names on a map of the paris métro, or is the ratp map free for us to use?
Qyu wrote:For the +3 for 7 portes, ok. But with 2 players, we will also have the same problem for 11 portes. There are 24 portes, so 12 for each. We may put the first bonus at 13 : +5, and keep the next bonuses.
Qyu wrote:About the hold half line, the problem is each line doesn't have the same amount of stations :
line 9 : 14
line 6, 7 : 13
line 1, 2, 4, 12 : 12
line 3, 10 : 11
line 8, 13 : 10
line 5 : 9
line 14 : 7
line 11 : 6
So, the threshold should be different for each group : 7 for the first, 5 for the second.
Qyu wrote:For the Rail station bonus, once we thought about having them as an objective, we also thought the holding bonus wasn't more apposite. It's still in the picture, as we prefer finish the gameplay before rethink the legend presentation. At least, we may have an autodeploy bonus on them.
Qyu wrote:In fact, we also thought about reduce the starting amount for single line stations to only one : EIF, ALM, AN, SOR, ND, VGR, FXF, CAD, RLN & CHE
Qyu wrote:we have 2 groups :
13 and above : 1,2,4,6,7,8,9, for a bonus of 14, and 5 territs for an half bonus of 5. Each of those line have between 10 and 14 territs, so, that mean two players may hold an half bonus at the same time
12 and lower : 3,5,10,11,12,13,14, for a bonus of 11, and 4 territs for an half bonus of 4. Same comment as above : two players may hold an half bonus at the same time for most of them, except for the line 12 where we could have 3 players for the half (unless we delete VGR station)
iancanton wrote:the full bonuses look much better! at +5 for 5 and +4 for 4, the half bonuses give too much reward for too little aggression. in a multiplayer game, it's easy to capture 4 stations on a line and u can share a line amicably with an opponent to avoid conflict, with both players holding a half bonus, so the city centre will remain largely empty (except for line 11). for the half bonuses, perhaps u can consider +6 for 7 stations (long lines) and +4 for 5 stations (short lines), so that some lines can be shared and some cannot be shared?
iancanton wrote:i dislike the black background. it looks menacing, like the eye of a monster. however, we can keep it temporarily while we discuss gameplay because the diagram is clear.
koontz1973 wrote:I like the idea of the CCD territ more than the way you have MDL. But two things, that white is very bright so a softer grey may look nicer. Also, the line number in black on the dark green is hard to read. Find a lighter colour for the darker line numbers maybe.
Qyu wrote:Players start at Porte territories (24 territories)
Qyu wrote:all territories start with 2 neutrals, except the Rail Stations (3 neutrals), and the territs with only one line (1 neutral)
Qyu wrote:Maybe we could erase the drawn river in this version, or color the one on the satellite view. The fact is we move a little some stations : Eiffel and Trocadero to the west, and Victor Hugo and Etoile to the North, so we bent the river at the same time.
We also prefer this one, but some railroads become unreadable, especially darker one (11 & 14). We may solve this issue by change the color.


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Rayonier (NYSE: RYN) is a real estate investment trust that manages timberland and produces basic wood products (i.e. lumber and wood chips) and fibers that are used in products such as textiles and diapers. It is one of the largest private landowners in the U.S., with over 2.5 million acres of land in the U.S., Australia, and New Zealand.[1] Like other timber companies, Rayonier has made money by selling off desirable parcels of land - specifically its coastal land in Florida and Georgia - to home developers. The company generally makes money profit from the initial sale of the land as well as receiving a portion of the proceeds when finished homes are sold to home-buyers. The company earned $1.17 billion in revenue and $3.9 billion in net income in 2009.[2]
Rayonier enjoys a greater degree of insulation from fluctuations in U.S. housing market than other types of REITs. When the housing market slumps and demand for timber drops, the company can sit on its land - unlike other goods, timber appreciates in value over time as trees grow.
The dividend dvtciee website httpwwwdividenddetectivecom this site list not only equities but also reits mlps and have purchased items found on this site list not only equities but also reits mlps and canadian brokerage firm espcially fidelity since have purchased through.The dividend dvtciee website httpwwwdividenddetectivecom this site list not only equities but also reits mlps and have purchased items found on this site list not only equities but also reits mlps and canadian brokerage firm espcially fidelity since have an account with them and canadian brokerage firm espcially fidelity.The dividend dvtciee website httpwwwdividenddetectivecom this site list not only equities but also reits mlps and royalty trusts most of which can be purchased through any major us and royalty trusts most of which can be purchased items.
I really like the cahnges you've made here and recently installed the latest version. However, I just called load.project' in an older project directory only to be reminded that config/global.yaml' is not present. It's easy enough to copy the new directories into my old project, but you might consider adding a function to update old projects to make it quick and transparent.Also, I have a number of scripts in src/ that I usually want loaded at the same time as I run load.project()'. That is, they're functions that I'm actively developing, but the next step after calling load.project() is usually to load these so I can continue development. I previously had these source commands in lib/load_libraries.R (as a bit of a kluge). Did you have a plan for auto-loading stuff in src/ or is that contrary to your intended usage?
The timber market is influenced by the general business cycle and the health of other markets that demand timber. Although an enormous variety of industries use wood-derived products in some form, some external factors that influence demand include:
However, the nature of timber production offers companies in the industry some unique advantages to weather fluctuations in demand. Since trees increase in value over time, RYN can choose to harvest more during periods of high demand. By reducing production with low demand, RYN reduce costs while their inventory (trees) continue to increase in value, independent of economic influences.
Declining demand doesn't necessarily lead to lower prices, as described above briefly: Timber companies can offset lower demand to a degree by reducing production capacity, thereby tightening the supply of timber goods as well. Due to the organic nature of its products, the timber industry has a particular incentive to cut production and wait out periods of low demand. Instead of harvesting more trees and producing more end products to compensate for lower prices, timber companies can reduce output and wait for market conditions to improve. By the time demand for timber products increases again, the companies' timberlands will have grown in both size and value. Though it requires patience and a belief that the timber market will rebound, many companies take this approach, as it maximizes per-tree profitability.
Chinese timber companies, however, have not scaled back production in times of low demand. They have instead increased production capacity, building more plants and mills despite declining global demand. The Chinese demand for timber goods, particularly paper products, is currently stronger than in the global market, and much of the extra production is consumed domestically. In spite of this, the fact that China is importing less paper from other countries exacerbates the already-decreasing demand facing U.S. timber companies. Increased Chinese production capacity can put downward pressure on timber and paper prices around the world.
Ah yes, nielcy put, everyone.
As someone wevhoer hired a proper floor sander and edge sander to sand a parquet floor, next time I would employ an expert to do it. My floor isn't ruined but it certainly isn't what it could have been. It is very hard work, even with the right tools and it is very easy to cause damage . . . so you sand a bit more elsewhere to even it up . . . and cause more damage. I wouldn't attempt it with a 5 orbital sander. That really would be hard work and, depending on the grain in the wood, might well not produce the most pleasing finish.
That's a smart ansewr to a difficult question.


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At least 4 died last summer in Yosemite: 3 were washed over Vernal Falls ...
We are talking here about dangerous places, not reckless people. The three ignored warning signs and jumped the railings that separated people from the water.
If nature wasn't a dangerous place then reckless people wouldn't lose their life and those warning signs would not be required.There are plenty of high cliffs, steep drop offs, etc, where a slip or false step can have serious consequences - and that's along many of the well trodden trails.
Fixed it for you.
Nature isn't inherently dangerous any more than cities are. People with no street smarts going into a city can easily put themselves in dangerous situations, likewise people with no nature smarts need "don't fall over the cliff" and "don't feed the bear" signs.
You can't be serious in saying that a city is as dangerous as nature?
Stepping in front of a bus is about as dumb as falling over a cliff and equally hazardous. Most of us through experience recognize the ordinary hazards of city living but a large number of park visitors don't have the experience needed to recognize the ordinary hazards of nature.
I photograph in many Arizona wild areas. I wouldn't even think about doing so without a firearm handy. Too many bears, javalinas, mountain lions, and two-legged vermin around.
I think this new perception of nature being dangerous comes from our increasing detachment from the outdoors.
... My understanding is, they not only ignored the railing and signs, they also ignored people yelling at them to get back to safety...


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Long before he was the star of cable television's No. 1 new show, Mike Wolfe built a career scouring America's forgotten cachés to fuel the industrial style movement. His company, Antique Archeology in sleepy Le Claire, Iowa, is the inspiration behind HISTORY's American Pickers, a show chronicling the adventures of two dealers searching the back roads, junkyards, and filled-to-the-brim barns in America for "rusty gold."
Over the years, he's earned a reputation as one of the country's foremost foragers and his clients include interior designers, art directors, photographers and collectors.
"[Industrial style] has been hot, it's been hot for a while," Wolfe told Antique Trader, "but now that you see it in these mainstream magazines, and it's been in these mainstream magazines, all of a sudden it's being reproduced so it will be interesting to see where things go from here."
Wolfe's sources for industrial style are as diverse as the pit stops he and his partner Frank Fritz make on the weekly show, whose second season debuts June 7 at 9 p.m. ET. Barns, defunct factories, salvage yards, hoarder/collectors. He never knows what he's going to find or just how it's going to fit into an industrial style
|Read "Young collectors are drawn to urban industrial style"
You may also enjoy these articles on American Pickers:
"With urban industrial style what I try to look for is any sources of lighting, that's always important. It makes a nice accent in any room," he said. "I've bought some nice foreman's desks before, something that's slanted on top and something someone can use for a computer table, something someone can use for a drawing table.
Wolfe says he can tell when a style is maturing when he sees reproductions popping up to satisfy demand.
"If you look at Restoration Hardware (www.restorationhardware.com or 800-910-9836), I keep beating that home but the stuff that's reproduced there, the tables, the industrial parts that were used through the factories of America, everybody's using them as coffee tables now. I think what's cool about some of this stuff is some of the materials being used."
Materials matter, Wolfe said. Young urbanites want a variety of textures in their décor and industrial style offers that dimension. The most valuable pieces also offer functionality to satisfy design tastes and the desire to renew, reuse and recycle.
"What a lot of people like about the early industrial is, for one, you can still do painted pieces, and two, it's the different materials. You're looking at cast iron, you're looking at wood, you're looking at galvanized metal.
"And all this stuff, all these things that we're talking about, they want it pockmarked, they want the grease, they want the hammered tops because it shows the life, it shows the history, and people can actually look at it and repurpose it.
"The people who started this trend were people in urban areas, the same people that were doing architectural-designed lofts and open spaces — they were doing those in warehouse spaces. Yeah, it's cool to put a piece of modern furniture and you can a slap a Knoll, wrapped chair into a warehouse space but you're really looking for something that looks like it existed there back then.
"And now the cream on the top of that cake is not only having something that looks good but having something you can use."
For the design conscious, Wolfe and Fritz have a decidedly transportation-themed style.
"We seem to use anything transportation wise to hang on walls," Wolfe said. "We use a motorcycle or bicycle or the front end of cars, because the front end of a car was the signature piece when it was coming down the road and when it's coming out of your wall it's large and in charge.
"We just picked up a really cool 10-foot-tall galvanized, faded, red paint arrow the other day that came off Highway 66. That thing almost looks like a rocket ship if you stand it straight up and if you hang it on the wall it's got a nice look to it."
The fact that industrial style devotees like more unusual pieces opens up a whole new way at looking at what constitutes a valuable antique. One of the more unusual industrial style items Wolfe has picked was featured on the show.
"One of the pieces we picked up early in the show was the Shriners' sign, remember the Shriners' sign? We pulled that out of a warehouse and that actually went to a store in Chicago. A guy's got a store … he says he wants his store to look like Ralph Lauren, Hunter S. Thompson and Steve McQueen had a yard sale." ?
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Under…denims? That's the new underwear push from Diesel, who've put together a new range of "Underdenim" trunks for men who like to wear their slacks low with a bit of cheek on show, otherwise known as the "Most Dumbest Fashion Fad Eva".
Misleading marketing be-damned, they're made of cotton rather than denim (which we're certain your knackers will be thankful for), and are designed to blend in with your jeans if you're "riding low batty".
The argument then surely is to just invest in a belt instead and keep your trousers pulled up, but then we'd all look like Tories or something is what I assume is being inferred here.
Yours for £20 a pop from Diesel, we're just a little bit disappointed that they don't have a touch more influence from Tobias "Never Nude" Funke of Arrested Development fame:


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Another View: Sununu, Merrill, Benson show just how out-of-touch the GOP isBY KATHY SULLIVAN
December 10. 2012 5:58PM
Last week I spoke with someone who is not a Democrat about recent comments by John H. Sununu. My friend asked, with some frustration in his voice, "Why doesn't someone tell him to just shut up?"
The former governor, along with former Republican governors Steve Merrill and Craig Benson, participated in a panel discussion about why Barack Obama was reelected. Sununu said that the President won the election because Democrats were able to turn out voters who are dependent on government. He used the example of Cleveland, stating that Democrats ran up big majorities there.
Why the reference to Cleveland, and not, oh, say, Concord, where President Obama racked up 67 percent of the vote, compared to Romney's 32 percent? Or Portsmouth, where the President doubled up Romney, 8,848 to 4088?
The answer could be that Cleveland's population is 53.3 percent African-American, or it could be because there are neighborhoods in Cleveland with a double-digit unemployment rate. Whatever the reason, Sununu's statement that President Obama was reelected because he appealed to those dependent on government was an insult to the American people and an insult to the 52 percent of the voters who gave Barack Obama a Granite State victory.
Sununu's comments reflect a troubling belief system that is not his alone. Merrill said he agreed with everything Sununu said. Benson went even further, stating the Democratic Party appeals to people by promising "stuff."
What all these former governors essentially believe is that most voters are lazy and can be bought with the dole. They are blind to the vast majority of Americans who are a hardworking people looking for an honest day's pay for an honest day's work, people who are strivers who want to support themselves and their families, regardless of race or ethnicity. The former governors are so ignorant about their fellow citizens that it is a wonder any of them ever managed to get elected to anything. No wonder there are those who just do not want to listen to anything they have to say.
Sununu, Merrill and Benson must not read the newspaper stories about thousands of people showing up at job fairs, like the one sponsored by the Congressional Black Caucus in Atlanta a year ago. So many people showed up they had to stand in line for hours; some collapsed in the August heat. They haven't spoken to people here in New Hampshire who work two jobs to get by. They certainly haven't been talking to the people who work low-wage jobs for the dignity of a regular paycheck, even though their company's wage and hour structure means they qualify for food stamps. They don't know the college students taking out back-breaking debt for the opportunity to advance.
In the world of Sununu, Merrill and Benson, it is wise policy when they want to take or give away government help to those who don't need it. But when it is helping low-wage employees who aren't paid enough to insure their kids, or middle-class families trying to save their homes or send their kids to college, well, that's just us good-for-nothing Americans wanting stuff.
Compare those citizens to Sununu, who lost his government job as George H.W. Bush's chief of staff over his use of government jets and limos, to attend political fundraisers and visit ski lodges, golf resorts and his dentist in Boston. One trip, to the Vail ski resort, cost taxpayers $86,330. Talk about government dependency!
Then there is Benson, who said the Democratic Party promised voters "stuff." Here is my definition of wanting "stuff": taking millions in state and federal tax incentives to expand in Ohio, as Cabletron did. Cabletron promised to provide employment in exchange for the incentives, then subsequently closed the plant, leaving hundreds out of work.
Then there was Benson's war on the business profits tax. In 1990, Cabletron threatened not to expand in New Hampshire if the state did not reform the BPT to Cabletron's liking. Cabletron sued the state, claiming the tax was unconstitutional, refusing to pay $13 million in taxes until the law was changed. Merrill must remember Cabletron's demands; in 1993, Benson said that Gov. Merrill had promised to do whatever Rhode Island was doing to get Cabletron to expand there, "times 10." Times 10? Now that is giving away "stuff!"
It is time for Sununu, Merrill and Benson to stop trying to delegitimize Barack Obama's election with this notion that somehow those who voted for Romney are pure of heart, while those who did not are greedy moochers. It isn't true.
We voted for President Obama because as patriotic Americans who want what is best for our country, we think he will do a better job than Mitt Romney.
Kathy Sullivan is a Manchester attorney and member of the Democratic National Committee. She was chairman of the state Democratic Party from 1999-2007.


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Merrimack's Ida Mae's Deli burglarizedBy KIMBERLY HOUGHTON
Union Leader Correspondent
October 09. 2013 11:39AM
MERRIMACK - Local police are investigating a burglary that may have occurred late Sunday night or early Monday morning at Ida Mae's Deli.When employees arrived for the morning shift Monday, they discovered that the restaurant was broken into and an undisclosed amount of cash was stolen.The business is located at 600 Daniel Webster Highway adjacent to the Village Variety at Depot Street.According to police, the person responsible for the incident likely knew where the money was kept inside the restaurant. Police are in the process of interviewing current and former employees but are asking for the public's help.Anyone with information about the burglary is urged to call local police at 424-3774 or the anonymous Crimeline at 424-2424.


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Find Our Latest Video Reviews on YouTube!
If you want to stay on top of all of our video reviews of the latest tech, be sure to check out and subscribe to the Gear Live YouTube channel, hosted by Andru Edwards! It's free!
Tuesday November 27, 2007 11:54 am
Bluetrek Releases Sense Headset
Posted by Sheila Franklin Categories: Wireless / WiFi
Bluetrek's Sense Bluetooth V1.2 headset has replaced the need for buttons with a touch-sensitive capability. The earphone also features an LED battery level indicator, and a voice alert to confirm your function choice, missed calls and low battery. A detachable wire ear hook is provided and you should get about four hours of talk time or five days of standby. At a size of 50 mm x 15mm and a weight of only 8 grams, the Sense will work up to a range of 10 meters. Look for it early next year at a price of £49.99 (~$103.00.)
Read More | Bluetrek
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The Freedom to Read Foundation (FTRF) offers an annual scholarship for library school students and new professionals to attend ALA's Annual Conference. The goal of the Gordon M. Conable Conference Scholarship is to advance two principles that Gordon held dear: intellectual freedom and mentoring.
The Conable Scholarship provides for conference registration, transportation, housing for six nights, and a $300 stipend for meals and other expenses. The recipient also will receive a one-year membership in the Freedom to Read Foundation. In return, the recipient will be expected to attend various FTRF and other intellectual freedom meetings and programs at conference, consult with a mentor/board member, and present a report about their experiences and thoughts.
Students currently enrolled in an ALA-accredited library and information studies degree program or an AASL-recognized master's programs in school librarianship and new professionals (those who are three or fewer years removed from receiving an LIS degree) are eligible to receive the Conable Scholarship.
Note: If the recipient is already registered for ALA's Annual Conference, he or she will have their conference fee refunded.
The conference scholarship winner will be expected to arrive on Wednesday and stay through Monday afternoon.
The application requires a resume, two references, and an essay of up to 500 words describing your interest in intellectual freedom issues and how you will use your attendance at an ALA conference to further your interest in intellectual freedom during and after the conference. Your resume should include your education, work history, and volunteer experience.
Submit an Application.
The Freedom to Read Foundation (FTRF) has selected Kate Davis as the recipient of the 2017 Gordon M. Conable Conference Scholarship.
Davis very recently received her Master of Library and Information Science from the University of Denver. She received a Master of Education from the University of Florida, and completed her B.A. in English and History at Rutgers University. She is a former school teacher who has taught in Denver, Colorado and the United Arab Emirates. She will soon begin working as a solo librarian at a school in Nigeria.
Read the full press release at FTRF NEWS
FTRF Executive Director James LaRue, 2016 Conable Scholar Katie Chamberlain Kritikos, FTRF Trustee Julia Warga.
Conable Conference Scholarship
Email firstname.lastname@example.com or call (800) 545-2433 x4226 with any questions.
Gordon Conable was a California librarian and intellectual freedom champion who served several terms as president of the Freedom to Read Foundation. His unexpected death in 2005 inspired his wife and the FTRF board to create the Conable Fund, which provides funding for the Conable Scholarship.
Gordon was executive vice president for public libraries at Library Systems and Services (LSSI) in Riverside, CA. He was responsible for management and performance of LSSI's public library contracts, including the 30-branch Riverside County, CA system. He also served as director of the Monroe County (MI) Library System from 1988-1998; during his tenure there, he withstood an intense controversy over Madonna's book Sex. Before that he was associate director of the Fort Vancouver Regional Library in Washington. For his efforts, Conable was a recipient of the Freedom to Read Foundation Roll of Honor Award and the John Phillip Immroth Memorial Award for "intellectual freedom fighters." In 1994 he was the first librarian recognized as Michigan's Public Administrator of the Year.
7/24/2018Freedom to Read Foundation Celebrates Collaboration with San Jose State University School
6/19/2018Freedom to Read Foundation Announces 2018 Roll of Honor Awards
5/10/2018Five Elected to the Freedom to Read Foundation Board
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Software Engineer - New Ventures Campus
- Be currently enrolled in an academic program and looking for a full time job in 2018
- Bachelor's degree in Computer Science, Engineering or equivalent area
- Experience working with a development team using Agile methodology
- Working knowledge of fundamental CS concepts
- Hands-on skills working with SQL and No-SQL databases
- Proficiency in automated unit tests
- Experience with developer tools and with at least one language: NodeJS, React, Go, .Net, or Java
- Knowledge cloud infrastructure such as AWS, Azure or Google and container technologies like Docker, Kubernetes is a plus
- Strong analytical and problem solving skills paired with the ability to develop creative and efficient solutions
- Strong command of English language (both verbal and written)
Who You'll Work With
You'll work with our New Ventures Technology team in one of our North America offices. This team supports our Solutions through incubating their technology applications and building out a common platform to accelerate each solution with reusable core components across infrastructure, platform, services and front-end technologies. You will work closely with the Product Management, Product Design and Scrum Master team members.
McKinsey New Ventures fosters innovation driven by analytics, design thinking, mobile and social by developing new products/services and integrating them into our client work. It is helping to shift our model toward asset-based consulting and is a foundation for –and expands our investment in –our entrepreneurial culture. Through innovative software as a service solutions, strategic acquisitions, and a vibrant ecosystem of alliances, we are redefining what it means to work with McKinsey.
As one of the fastest-growing parts of our firm, New Ventures has more than 1,500 dedicated professionals (including more than 800 analysts and data scientists) and we're hiring more mathematicians, data scientists, designers, software engineers, product managers, client development managers and general managers. Jr. Specialists have a base of expertise in a function or industry. They are staffed on engagements (largely in full time roles) and are expected to leverage expertise to solve some of the most pressing and complex issues at clients.
What You'll Do
You will help deliver software products with high levels of value, usability, quality and predictability for our New Venture Solutions.
Your work will expand into Cloud technologies, Automated testing and Micro-services domains. You will be an active learner, identifying new open source libraries, using unfamiliar technologies and learning new programming languages to meet technical requirements. You will have an understanding of key agile engineering methodology and modern software development best practices.
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The Vogue March Issue Highlights
MODEL of the year Cara Delevingne leads the charge into Spring in an issue as varied and coolly quixotic as its charismatic cover star. Lucinda Chambers and Mario Testino showcase their interpretation of fashion's current reworking of oriental pattern and shape in Orient Excess, Brit model-to-watch Rosie Tapner offers an object lesson in how to wear graphic modern monochrome, and in Come As You Are, Vogue gives Nineties Grunge a softer more ethereal makeover.
Elsewhere, Craig McDean showcases Spring's strong, masculine, minimal tailoring in Cut To The Chase and, in our newly redesigned Spy section, photographer Ben Toms' illustrates Vogue's guide to the key trends you'll want from high street to high fashion.
The new issue is bursting with a wealth of British talent. In Vogue's brand new arts section, designer and writer Luella Bartley salutes the revolutionary androgyny of pop icon David Bowie, Anna Karenina director Joe Wright talks about his theatrical debut and Helen Mirren grants an audience to Christa D'Souza about reprising her role as the Queen onstage.
The business of fashion is a fascinating mix of personality and market demand. Few designers represent industry change more than Alexander Wang, recently appointed Balenciaga's creative director. In Wang Man Style, Vogue sums up his star quality and in a special report, Beyond The Veil, Kathleen Baird-Murray investigates the seismic impact of the Arab world on the fashion market. All this, and the best facials in town and Girls' creator Lena Dunham's Spring highlights. what more could you want?
The March issue of Vogue hits newsstands nationwide on Thursday February 7.


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By Diane Bartz
WASHINGTON (Reuters) - Lawyers squared off on Friday over U.S. rules for granting patents for software, or if software should be patented at all, in arguments in a case closely watched by Google Inc, Facebook Inc and other technology companies.
The full U.S. Court of Appeals for the Federal Circuit heard arguments in the case, which involves whether patents for a computerized system for exchanging financial obligations are valid. The case has drawn wide interest because it could help determine parameters for software patent protection.
Disagreement was apparent among the 10 judges on the panel, and experts said they expected a divided decision, which could land the case before the U.S. Supreme Court.
The case began in 2007 when Alice Corp of Melbourne, Australia, sued CLS Bank International for patent infringement. Alice is owned in part by National Australia Bank Ltd.
CLS, which runs a foreign-exchange settlement system, argued that the Alice patents were invalid because they were nothing more than an abstract idea.
Under patent law, an abstract idea - such as the idea of a self-driving car - cannot be patented but the engineering that creates a self-driving car can be patented.
Mark Perry, the attorney who argued for CLS Bank, said that the U.S. Patent and Trademark Office initially rejected one patent as too abstract but did approve it after Alice Corp re-wrote it to add the use of a computer.
But in the case of at least one of Alice's claims, an impatient Judge Kim Moore strongly disagreed. "Wow! This is so far from ... an abstract idea!" she said, referring to a portion of one patent.
Adam Perlman, the attorney who argued for Alice Corp, said that the patent should be held valid because a machine performs the function.
But Judge Timothy Dyk pressed on the question of whether the patent was abstract and whether it was obvious. An idea that is an obvious, small improvement is not considered patentable.
Referring to a system of tallying trades done over the course of a day, he suggested that it may be impossible to do such work without infringing a patent.
Patent experts at the hearing expected a divided ruling.
"I think everyone walked out of the room with the thought that there's a real difference of opinion from those judges," said Erika Arner, a patent attorney with Finnegan, Henderson, Farabow, Garrett & Dunner LLP, who is not involved in the case.
In July, a panel of the appeals court agreed with Alice in a 2-1 decision.
Google, Dell Inc and Facebook filed a friend-of-the-court brief criticizing the decision, arguing that patents like Alice's do not innovate enough to deserve patent protection. LinkedIn Corp, Twitter and others agreed.
International Business Machines Corp, on the other hand, filed a brief saying most software inventions qualify for patent protection. IBM, which has topped the list of U.S. patent recipients for 20 years, cautioned the court against creating a strict rule that would further limit protection.
The case comes after two Supreme Court decisions involving similar issues of patent eligibility.
In Bilski v. Kappos, the high court found in 2010 that a business-method patent for guarding against investment risk was an abstract idea and could not be patented. Last March, in Mayo v. Prometheus, the court ruled that a company could not patent a diagnostic process involving blood tests because observations about natural phenomena cannot be protected.
The case is CLS Bank International et al v. Alice Corporation Pty Ltd, U.S. Court of Appeals for the Federal Circuit, No. 11-1301.
(Reporting By Diane Bartz and Erin Geiger Smith)


text:
By Steve Holland
WASHINGTON (Reuters) - Vice President Joe Biden's press office has apologized to a student reporter who was asked by a volunteer staffer to delete photos taken at a vice presidential event near Washington.
The apology was in response to a formal complaint lodged by Lucy Dalglish, dean of the University of Maryland's journalism school, where the reporter is a student.
The student, a reporter at Capital News Service, a news organization run by the university, took photos of Biden at a domestic violence event in Rockville, Maryland, while outside of the designated press area.
A volunteer staffer not accustomed to dealing with media asked the reporter, Jeremy Barr, to delete the photos. According to a Capital News Service account, the staffer asked to watch as the reporter erased the photos from his smartphone.
Dalglish wrote in a letter to the vice president's press office that the incident was "pure intimidation."
Biden press secretary Kendra Barkoff confirmed that the office had apologized.
"This was an unfortunate mistake by a staffer who does not regularly interact with the press. Once we learned about it I immediately apologized to the dean of the College of Journalism at the University of Maryland, the reporter involved and to the newspaper. It will never happen again," she said.
The Capitol News Service reported that Adrianne Flynn, a professor and editor in its Washington bureau, called the incident a "clear violation of the First Amendment."
"This is uncalled for and completely wrong," Flynn said.
(This story has been corrected to clarify that person involved was volunteer staffer, not Biden staffer)
(Editing by Doina Chiacu and Eric Beech)


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December 25, 1983 - August 12, 2013
Newburgh, NY
Dontay L. Boykin a lifelong resident of Newburgh, NY, entered into eternal rest Monday, August 12, at Vassar Brothers Medical Center, Poughkeepsie, NY. He was 29. Dontay was born December 25, 1983 in Newburgh, NY. He was the son of Mary Boykin and Melvin Mitchell.
Dontay was well known in the community and loved by all he came in contact with. He grew up on the streets of Newburgh and attended the Newburgh Enlarge City School system.
Before his incident July 9, 2004, Dontay was enrolled in the A&T Arts school for his love of drawing and artistic ability.
This day has been a long time coming and now Dontay gets to rest in perfect peace while living on in the hearts of his family and friends.
He is survived by his mother, Mary Boykin; father Melvin Mitchell; stepfather, Nicholas Samwell; four sisters: Trina Boykin, Aquanise Boykin, Nicole Boykin and Rayisha Reynolds; one brother, Ralph Reynolds; and special friend, Letitia Hodges.
Dontay is also survived by several aunts, uncles, nieces, nephews, cousins and many friends.
Dontay will lay in repose from 10 to 11 a.m., Tuesday, August 20, at Newburgh Christian Worship Center, 60 Dubois Street, Newburgh, NY. Services begin at 11 a.m. at the church with Elder Stacey Burks, Pastor officiating. Cremation will take place at the convenience of the family.
Professional services entrusted to Rhodes Funeral Homes, 259 Walsh Avenue, New Windsor, NY 12553. "Committed To Being The Very Best" Call us anytime at 569-1233.


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States and their school systems need effective tools for diagnosing and addressing the gap between current and desired local standards and practices, formative assessments that can drive improvement, and instructional materials aligned to the CCR.
Resources and services to help states and school systems transition to the NGSS
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Book or DVD that provides 14 hands-on, interactive activities designed to assess and reinforce students' knowledge of chemistry content and scientific practice skills.
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Remember Me


text:
Ryan Howard guest starred on The Office last night. He played himself and met with Jim and Darryl at their sports marketing company in Philadelphia. Howard, whose appearance was more of a Subway publicity stunt (at least four references on the show), pitched his movie, The Big Piece— a film about Howard hitting a home run that goes into outer space and then comes back with space dust, transforming him into – wait for it – The Big Piece.
Howard get a B+ for his acting skills. He looks comfortable on the set and his tone fits in perfectly with that The Office's methodical cadence. The best part is at the end, when he asks Jim and Darryl to secure the rights to Darth Vader for his movie. "We need Darth," Howard says dryly.
Three videos after the jump. Sorry about the ads.


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The End of William Higgins Newsletter


text:
PHOENIX (AP) — Arizona Attorney General Tom Horne will go to court to block the artists' community of Bisbee from implementing a newly approved ordinance recognizing civil unions for same-sex couples, his office said Wednesday.
Horne's office will file its planned lawsuit "in the coming weeks" before the ordinance approved Tuesday night by the Bisbee City Council takes effect in 30 days, Horne spokeswoman Stephanie Grisham said.
The council approved the ordinance on a 5-2 vote during an overflow meeting after three hours of emotional testimony by residents of the former mining town in mostly rural southeastern Arizona.
Horne had written Bisbee officials Tuesday, expressing concern about the then-pending ordinance.
Horne said he was not taking a policy stance against civil unions by planning to sue. Rather, he said, the council acted outside its legal authority because state laws control things such as ownership of a couple's community property, inheritances, appointment of guardians and disposition of remains after death.
The ordinance cites those state laws and others while saying a person in a Bisbee-recognized civil union would have the same responsibilities and benefits as a married person.
However, Bisbee City Attorney John MacKinnon said Tuesday that the ordinance would only affect things that the city controls, such as its personnel practices and the city cemetery.
Bisbee wasn't changing state law and was acting within its authority, MacKinnon said.
The ordinance said the city of about 5,600 people wants to end "discriminatory practices against members of the lesbian, bisexual, gay and transgender community" so that couples could have lasting and meaningful relationships regardless of sexual orientation.
MacKinnon, who also has a private law practice, said he would take on the anticipated state legal challenge at no charge to the city. Bisbee resident and retired attorney Margo McCartney, also offered her services, the Sierra Vista Herald reported.
More than 100 people attended the council meeting, and the fire chief eventually ordered some people outside after attendees began sitting on the floor. People then stood outside City Hall, gazing through open windows at the proceedings.
"Change is coming, and for once, let's be the first, not the last," said Bisbee resident Bree Holcomb, a supporter of the ordinance.
Resident Gayle Schasteen said many residents had been unaware the council was considering the ordinance, which she called "against God's law."
Tom Holley, pastor of Bisbee's Assembly of God church, said the council was using tax dollars to push personal agendas in Bisbee and across Arizona.
"I'm not against these people. I'm against what they stand for, what they are doing," he said.
Resident Hywel Logan said he felt compelled to attend the meeting to support the ordinance because critics were organizing against it.
"It seems ridiculous that I have to defend my relationship," said Logan, who is gay.
Arizona voters in 2008 approved a state constitutional ban on same-sex marriages. However, two years earlier, voters rejected a broader version that would have barred the state and local governments from creating or recognizing "a legal status for unmarried persons that is similar to marriage."


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Helmut Gollwitzer, a Protestant theologian, completes this body of work entitled "The Christian Church and Communist Atheism." The author states that, "socialists may be Christians, but Christians must be socialists."
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text:
Our Highlights from Cosmoscow 2014
Antoine Arnault and Natalia Vodianova
Image rights: Pavel Pepperstein Courtesy Nahodka Arts & Pace, London
Rapper, novelist, and painter Pavel Pepperstein merges fantastical scenes and landscapes with a range of cultural and political symbols in his witty surrealistic watercolors. Influenced by the preceding generation of Moscow Conceptualists, Pepperstein creates work deeply entwined with history and literature, replete with fantasy themes and fairy tale characters burdened with dark historical associations: quaint flowers overwhelm a swastika, or an elegant Chinese dragon battles a World War II soldier. A critic once described Pepperstein's practice like a "theoretical family conversation," one that deals fleetingly with existential themes with a sense of whimsy and the visual language of children's books.
Russian, b. 1966, Moscow, Russia, based in Moscow
Our Highlights from Cosmoscow 2014
Antoine Arnault and Natalia Vodianova
My Highlights from Cosmoscow 2014
Dasha Zhukova
My Highlights from Cosmoscow 2014
Aidan Salakhova


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Sidharth Malhotra was seen chilling by the beach with Alia Bhatt on Valentine's Day! Check out the pic here!
View the discussion thread.
Shilpa Shetty recently was at the receiving end of racism when she was ill-treated at Melbourne airport. WATCH!
Read More..
Aamir Khan Copies The Look Of Jack Sparrow From Pirates Of The Caribbean?
Aamir Khan's look from Thugs
Vidya Balan From H0T Bombshell To Housewife | Vidya Balan Transformation
Vidya Balan transforms from
Priyanka Nick's Kiss In Public, Katrina Kaif, Thugs Of Hindostan | Top 10 News | Weekly Wrap
Priiyanka Chopra and Nick
Janhvi Kapoor's Black Dress Or Aishwarya Rai Bachchan's Black Dress - Watch & Vote for Your Favorite
Isha Ambani and Anand Piramal
Abhishek Bachchan Shuts Down A Reviewer Who Tried To INSULT Him For HOUSEFULL Film - Bollywood Now
At Jagran Film Festival 2018
Priyanka Chopra Nick Jonas Look RAVISHING In Lake Como, Italy | Isha Ambani Anand Piramal Engagement
At Isha Ambani and Anand
Tiger Shroff's Girlfriend Disha Patani Gets A New Enemy In Bollywood
Urvashi Rautela wants more
Kriti Verma And Saba Khan BIG FIGHT | Bigg Boss 12 Episode 5 Update
Watch the video for a major
Kareena Kapoor 34 SHOCKING Facts | Happy Birthday Kareena Kapoor Khan
On Kareena Kapoor's birthday


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text:
A planned dog park will be named in honor of Will May, an eighth-grader at Rock Quarry Middle School who died in a hunting accident Jan. 12.
A planned dog park will be named in honor of Will May, an eighth-grader at Rock Quarry Middle School who died in a hunting accident Jan. 12.
May, 13, was an athlete, honor society student and animal lover, like many in his family who have been in veterinary service for several decades.
Veterinarian Guy May, Will's dad, has served on steering committees for Fresh St-Art, a nonprofit group that is planning to build the dog park on nearly 21⁄2 acres set aside for the facility within Munny Sokol Park.
"They've been a part of this project since the beginning, helping get the word out," Kimberly Krause, executive director of Fresh St-Art, said of the May family. The decision to name the park was made at the group's Feb. 19 meeting.
The project, one of the ways in which Fresh St-Art creates gathering spaces to bring the community closer together, has taken on new meanings with the dedication, she said.
"This is not just a dog park anymore; it's a memorial park. And it couldn't go to a better family," she said.
One way the group hopes to get the name of the Will May Memorial Dog Park out to the public will be with the Will May 5K race, to be held May 11, with proceeds going toward the dog park and to cancer research. This will join with ongoing grant-writing efforts; with sales of engraved bricks available through the website www.freshst-art.com; and with a proposed Grand Prix horse event, which will include music, kids' activities and more to become the Hoof and Paw Family Fest, on June 15. All of these are part of attempts to raise $127,000, the projection of money needed for Phase I of the park.
The Will May Memorial Dog Park will be fenced in to create a safe space, with areas to separate small dogs from large dogs, seating, bathrooms, entertainment and art spaces, an educational area, walking path and more.
"It's starting to get real exciting. We are writing grants, trying to get our sponsorships lined up," Krause said. "All our i's are dotted and all our t's are crossed."
Fresh St-Art is a not-for-profit group that designs and builds public spaces, such as the Alberta Gathering Place, an airy outdoor amphitheater space launched in Jaycee Park last summer. Krause, an artist and educator, learned about pulling together disparate groups while spearheading that project.
"When you start to connect with 'we' instead of 'me,' it starts to build healthier communities," she said. "We could use some grant-writing help; we're all learning. We all need each other; we can all learn from one another."
Krause, who grew up in Rhode Island, met Monday with Andy Kocher of Westminster Horse Farm to begin planning for the Hoof and Paw Family Fest, whose centerpiece will be a Grand Prix competition, the highest level of show jumping. Grand Prix events are rare in this area. As far as Kocher could tell, there's only been one in Tuscaloosa previously.
"I'm not sure when the last one was, maybe 10 years ago," Kocher said. "We've had a couple of miniature versions."
What you would see at such an event will be similar to competitions at the Olympics, with a lowered difficulty level. Horses and riders would jump over mostly wooden obstacles, anywhere from about 41⁄2 to 5 feet high, with widths of 5 to 6 feet. Most will be separated by several stride lines, although there might be setups with shorter strides in a double- or triple-combination, water jumps and more, with about 14 to 18 obstacles in a ring.
"We'll be hoping to get anywhere from 20 to 30 entrants, in an invitational format," Kocher said. "In my opinion, if you get more than that, it starts to look like too much of the same thing over and over again."
Ideally this will become an annual event, he said, to promote show-jumping and raise money for charities.
Tuscaloosa has some history with equestrian champions: Tuscaloosa industrialist Jack Warner owned Olympic show jumpers in the '70s and '80s.
"But we've never really gone back to those levels. Right now, I'm the biggest owner and rider in Tuscaloosa," said Kocher, a third-generation horseman, originally from State College, Penn., who met his wife, Ashley, a Tuscaloosa native, at a horse show. He's one of only four Grand Prix riders in the state, including two in Birmingham and one in Mobile.
With this and other movement on the plan, Krause is optimistic it's just a matter of getting grants through and word out to the public, so funding can come rolling in.
"It took almost 21⁄2 years of working on Fresh St-Art to get it moving," before she was able to go to work on it full-time just before the tornado of April 27, 2011, which helped inspire the location and design of the Alberta Gathering Place.
"With this, we're building community support, we have the vision and the belief, we have a site plan, we have fund-raising events, we have grants in work, and we're on the 11th month," she said. "Everything is ready to go. But between getting the word out to those who don't know about it, we've still got a lot of work to do.
"Tuscaloosa deserves to have nice things."


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