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Pro wrestling announcers have perhaps the most challenging jobs in the business. They are the only ones required to sit at a desk for two or three hours and work from the minute that little red light on the camera goes on, to the second it goes off.
The job is very demanding and requires a lot of hard work, patience and preparation, which veteran announcer Jim Ross cannot emphasize enough.
"I will generally spend several hours the week of the PPV from Wednesday through Saturday preparing and then I lay low the night before the event reading over my notes and of various ways to describe the superstars," Ross told SLAM! Wrestling. "You will rarely see me 'out with the boys' the night before a big event. I have been known as one who perhaps 'over prepares' but I like to be mentally ready to do my job and I approached broadcasting football or any other entity the same way. The viewers deserve the best product possible and that means the broadcasters need to carry their share of the water and not get in the way of the broadcast but enhance it with info that they perceive the fans need or want to know."
Just like any other major industry, the wrestling business is always changing in order to appeal to different generations. All aspects of the business are expected to make those changes, including announcing. And being in the business during the evolution of pro wrestling into sports entertainment, Ross knows this perhaps better than anybody.
"When I first started, I was a wrestling announcer doing play-by-play or hold-by-hold calls, while now I am no longer considered a wrestling announcer and am more of a storyteller," he said. "From a broadcaster's perspective, I liked the original play-by-play presentation a great deal but overall the business has improved immensely when one looks at the income the wrestlers are able to earn, the production improvements the TV folks have brought to the table and the global exposure of the product. It's all about the money and there is more money to be made by more people within the industry than ever before."
Having several different broadcast partners with several different styles throughout his career, Ross has been able to adjust his own style in order to create great chemistry with everyone he works with. In a business like pro wrestling, not everybody is going to get along, but Ross says it's important for individuals to pull it together and maintain their professionalism on camera.
"It isn't imperative that the broadcasters get along off camera but it certainly doesn't hurt. It makes the team better if partners do positively co-exist as it lends to the chemistry of the team. I have been lucky in that I have worked with some really good guys over the years that all to the man, in one way or another, have made me better," Ross said. "I worked the longest with Jerry Lawler and we did and still do get along famously. I don't think that I have ever worked with any one over any length of time that I did not really get along with even though Jesse Ventura and I had some bumps in the road getting used to each other's style and timing when we first began our partnership in WCW. I hope that Jesse and my work together did not adversely affect any of our broadcasts. I feel like I have done some of my best work while being 'provoked' by my partner during a broadcast."
"I learned more about announcing from Jim Ross than I can ever describe. He was a marvellous teacher, because he wanted to be the best, and didn't want anyone to drag him down," Heyman said. "So he made sure my game was upped at every level. We both studied our asses off, and critiqued our own performances, and the chemistry was just there. We could just come out and argue in a shoot, but within a worked context about the storylines involved."
Heyman had the opportunity to work with Ross again in the WWE on Monday Night Raw, as the replacement for Jerry Lawler in 2001. While the environment had changed significantly, the chemistry remained the same.
"Comparing the announcing duties in WWE and WCW is like comparing apples to hockey pucks. During the time I was in WCW, Jim Ross and I produced ourselves. No one really gave us any creative direction. WWE has Vince McMahon's distinct vision and he gives you direction before, during, and after the show," Heyman said. "When I was going on the air that first week, the only thing Vince asked of me was to take Jim Ross out of his own comfort zone. JR had worked with Jerry Lawler for seven years, and they had a natural give-and-take. Vince wanted me to figuratively stick a pin in JR's ribs and make him fight for the babyfaces. Vince wanted a combative Good ol' JR. I guess Vince didn't watch the old WCW tapes because that's exactly what JR and I were like on the air. I liked it when JR would bring the fight to me on the air. I knew I was pushing his buttons. But the job was to always battle each other over the storylines, and we really felt it. He took the position the babyfaces were heroes who were being victimized by the dastardly heels, and I defended the heels as if my life depended on it. That simple formula made for some great on-air arguments."
Heyman agrees with Ross that chemistry is important for any announce team, but balance is just as important. He's played the role of the antagonist for most of his announcing career, but it's a role that really hasn't been seen in a while. Back then, it was common to have both a protagonist and an antagonist announcer, who would not only grab attention by bickering on-air, but also get the product over in the process.
"I always approached colour commentary as being the heels' advocate. I didn't just want to take shots at the babyfaces, which had become the norm. I wanted to present legitimate arguments from the heel perspective as to why this move, this attack, this swerve was justified. I didn't want to say things heel-ish just for heel's sake. I wanted to come across like a lawyer presenting the case to the jury," Heyman said. "Back then, the play-by-play guy called the action, while the colour commentator added the sizzle. Today, the lines are blurred. There are two people announcing the show, with either a supporting analysis or a conflicting analysis. I can't say either is better than the other. It all depends on the product you're selling, the point in time, and the announcers involved."
Announcers rarely start their careers in the wrestling business as announcers. Ross was a referee, Heyman did play-by-play on the Northeast independent scene but was a manager at first when he got to WCW, and more often than not, retired wrestlers will step into the broadcast booth to provide their two cents.
"It wasn't my thing at first. I was a wrestling star. But it didn't take long for me to get into the groove of announcing and I suddenly realized that I was making more money doing this than wrestling," Zbyszko said. "When you put wrestlers on camera as announcers, they have to be able to step out of that role as a wrestler and start putting everybody else over."
Zbyszko wasn't an announcer for that long, but during his run as an announcer, he understood the roles that each announcer is required to have and it was almost as if he created a completely different personality for himself that had never previously been seen when he was a wrestler.
"The job of the play-by-play announcer was pretty boring and straight forward," Zbyszko said. "The colour commentator would add the details and fill in the blanks. I would add emotion to the broadcast and explain why a wrestler is doing what they're doing from a wrestling point of view."
It's really hard for a wrestler sometimes to put someone else over. But Zbyszko was able to make the transition quite smoothly. He would sometimes play the antagonist role, but other times, such as when he called Nitro with Tony Schiavone in 1996, Zbyszko remained neutral to change it up a bit.
"I wouldn't go out of my way to play a heel commentator," Zbyszko said. "If a commentator stays heel, the broadcast becomes one-sided and isn't easy to listen to. It turns into a two-hour heel promo, which becomes irritating. I loved doing commentary. It was a great job. I was on television and was getting more publicity than any of the wrestlers."
Terry Funk was another wrestler-turned-announcer. But the difference between him and others is that he was able to switch between wrestling and announcing so frequently without ever missing a step. In fact, he still had one more run left in him after his stint as an announcer.
Funk enjoyed commentating and remembers working with Chris Cruise in particular, calling WCW Worldwide. Funk says the relationship between announcers is an important one and it shows on the air.
"The key is to have two guys that meld together very well. That's the real key to the situation; it's a good team, not a good individual. Really, it's like a straight man and another guy. It's Abbott and Costello all over again," Funk said. "You have to be very spontaneous. You have to have a compassion for one another, so you don't run over each other. You have to have two guys who are willing to give. It's very much similar to working in the ring. That's the truth, announcing a great match is very much like working a great match. You have to have both guys doing their best not to try to bury somebody, but trying to make their partner and do well themselves at the same time."
Though Funk has never announced in the WWE, he sees it as a completely different playing field than WCW. In fact, Mick Foley, who Funk has been a mentor to over the years has had a run as an announcer for WWE, which didn't work out. Funk says he doesn't know if he could have done it either, but overall, he's enjoyed his run as an announcer and wouldn't have changed a thing.
"As far as their (WWE's) announcers are concerned, they trust their judgments better than they do their wrestlers. I don't think I could have done it. I love to create, no matter if it's in the ring, if it's announcing, or wherever it is. That's the part that's missing. That's the part that's missing from Gordon Solie. Jim Ross, he's been doing this so long that he can interject his own personality -- if they let him. So can Lawler. They're there, they're established, and they're capable of doing more things than what they allow any of them to do," Funk said.
Some wrestlers are great at cutting promos, so one would think they'd be naturals in the broadcast booth. But it doesn't always work out that way. After the WWE's purchase of WCW in early 2001, Scott Hudson was called up for a one-time announcing job on Raw and was partnered with perhaps one of the best talkers in the history of the business, Arn Anderson.
"That first night on Raw was a catastrophe. The match we called between Booker [T] and Buff [Bagwell] was terrible and nothing against them, because they're great athletes, but it just didn't work that night," Hudson said. "As we were leaving up the ramp, I saw Arn backstage and he was covered in sweat. So I went up to him to ask if he was okay and he says, 'Man, I don't know how you guys do this every week.' Coming from a guy who is universally acknowledged as one of the greatest talkers in the business, I took that as a compliment."
Hudson grew up as a fan first and foremost, so he certainly had an unbridled enthusiasm and passion for the product, which is essential in adding to the success of a broadcast. His most popular run as an announcer came in the late '90s, when he was working in WCW, calling Nitro with Tony Schiavone and Mark Madden. He really enjoyed being part of the team.
"The key to having a great announce team is for everybody to know their roles. One guy is the play-by-play guy and is responsible for keeping the story moving and keeping the audience entertained, while also selling pay per views," Hudson said. "Tony was the anchor that carried the broadcast, I was in charge of calling the action in the ring and Mark injected the colour."
"I found that it really hindered the broadcast," he said. "There are just too many voices out there and it was hard for everyone to keep their egos in check, but we all liked each other and were very appreciative and respectful of each other's skills, so we were able to co-exist."
In wrestling, a great announcer is a great announcer, but Hudson says that sometimes the most effective way to put over a certain angle or segment is to say nothing.
"Whenever a special 'moment' happens in wrestling, you really don't have to say anything, because the visual is enough," Hudson said.
Hudson was a member of the WCW announce team in its later years, but Chris Cruise called play-by-play for WCW in what may have been the company's glory days. Cruise was usually paired with wrestlers who made the transition into commentary, and he had a great time, despite the fact that the actual product was not always as great. Cruise specifically remembers being paired with Dusty Rhodes and Larry Zbyszko, calling WCW Pro and WCW Prime, as well as a show on Saturday mornings.
"My job as an announcer was to produce good and entertaining television," Cruise said. "But I would never try to outshine the actual match that I was calling. Sometimes I would call matches with Larry Zbyszko and Dusty Rhodes and some of the matches were just awful. So in those cases, I would try to make the most of it and do my best to make chicken salad out of chicken shit."
Cruise was calling matches at a time when the protagonist/antagonist relationship still existed. He always tried to get along with all of his partners and enjoyed many of his broadcasts.
"The two members of an announce team have to genuinely like and respect each other and respect each other's talents and passions as well in order for the team to work," Cruise said. "Back then, there was a face announcer who always remained neutral and then there was a pro-heel colour commentator. Now, it's migrated into complimentary storytelling."
Much like Ross, Cruise was very adamant about preparation before a broadcast. He worked a lot of shows throughout his announcing career, but perhaps his most famous broadcast was in 1994, when he called a pay per view for AAA called When Worlds Collide. That night, Cruise was working with a relative new-comer to the business named Mike Tenay. It really impressed Cruise that night to see how well prepared Tenay was.
"I don't think there's enough preparation that announcers do before a broadcast, which really bothered me. Some announcers would just want to go out and wing it on the air, except Jim Ross," Cruise said. "It's the easiest thing in the world to call the moves, but it's really tough trying to tell a story the way Jim Ross did it. I traveled to Mexico and I didn't really know anything about that style of wrestling. But Mike had prepared background notes and history for us to use and I was very impressed. The atmosphere that night was simply electric."
The job of an announcer in pro wrestling is not an easy one. Every comment has to be timed perfectly, right down to the minute. And even though that classic relationship between protagonist and antagonist announcers has disappeared, the memories still live on.
"Back in the day when I started, 1974, the play-by-play guy was largely a 'homer' for the fan favourites while the color commentators, often times the promoter or a more neutral representative, eventually morphed from objective 'analysts' to siding with the villains," said Ross, who blogs and promotes his restaurants at jrsbarbq.com. "The play-by-play announcer called the running commentary including holds and predicaments while the colour commentator explained the holds and how they functioned while adding some 'sizzle' to the steak. The first 'bad guy' that I worked with extensively was Freebird Michael Hayes who was an excellent antagonist and who, occasionally, legitimately got under my skin which raised the tension and realism of our broadcasts."
-- with files from Greg Oliver
Blaine van der Griend lost his voice, trying to announce one time ...Email him at email@example.com.


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March brings college basketball madness, buds of spring and the Ides, that big day in Roman history. But will the month also yield the next Republican presidential nominee?
It's been the case for half the non-incumbent GOP standard bearers since Ronald Reagan, and Donald Trump's lock on things this year seemed to be getting even tighter after the month began with big state wins on Super Tuesday.


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Twitter's Product Chief Is Stepping Down
Twitter Inc.'s product chief, Michael Sippey, is stepping down, marking the first significant exit from the messaging service's upper ranks since it went public two months ago.
In a post on his personal blog, Mr. Sippey, 45, wrote Friday that he will be shifting into an advisory role at Twitter.
"Over the past few weeks I've talked with Dick and Ali about what I want next in my career, and what Twitter needs at this stage of its life," he wrote, referring to Twitter Chief Executive Dick Costolo and operating chief Ali Rowghani. "And I've decided that it's time for me to move on."


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This tutorial relies mostly on using Photoshop Styles, so if you don't know how to do that, you should watch this tutorial first. I get a little distracted in the middle because the dog started being weird...hopefully you find it helpful.
You are hereForums › Digital Scrapbooking › Tutorials › Convert a Layout to a Template, video
Convert a Layout to a Template, video
Oh I am excited to try this video!! Thanks Marisa!!
Thank you for the tip. I will have to try this when I create a layout I like.
Thank you for sharing this technique. Very helpful
I work with PSE, so I don't have all that extra good stuff, but I think with what you showed in the video, I can figure something out that will work. Thanks!
Chickie, your smile is electric. Thank you for the good vibes! xoxox Beth
Looking forward to checking this out! Hopefully I'll be able to translate it into Serif PagePlus X6!
Need to see this video and try to do it in PSP. It would be wonderful to turn your LO in a template.
Why do you want your elements rasterized for a template?
thank you so much for this video
thanks for the tip
helpful video, thanks
When you create a layer in Adobe Photoshop, whether it be a text layer or a custom shape layer, they are vector based layers where the shapes or text are defined by multiple control points. By moving the control points, the shape can be edited. You can't paint a shape layer until it it rasterized. Once the layer is rasterized, it becomes a bitmapped image and is defined by a series of tiny square pixels. when the layer is a "text" or "custom shape" or even a vector brought in from Illustrator or a smart object layer, you will notice that you are able to edit the words or the color of the element by using the text tool or the custom shape tool, or the tool sed to create it. When you rasterize the layer, you can't edit using the text tool or the custom shape tool. because it is now just a regular graphics / bitmap layer like any other, so the only way you can edit it is by using the brush, marquee, move, or selecting the layer and using the layer style option, etc.
Anytime you are creating any element whether it be text or a shape, it is always best to use Illustrator and create it as a vector. Vector images can be scaled as small or large as you want and they always maintain clean sharp and smooth edges. If you notice when you create a shape in PS the bigger it is scaled the more you start to notice pixelation, and this is because PS deals mainly with rasterized images. The rule of thumb is this. You create your shaped and graphics in Illustrator as vectors. Your photos are edited and cleaned up in Photoshop. And then you build your actual document in In Design (i.e., your layout). Illustrator and Photoshop are support applications. Hope this helps!
Marisa this rocks!
where can I find those styles? they look very handy!
Alexandra, wow thanks so much for sharing all this information. Love all the tips. I have a Wacom pen tablet and want to get to using it once I learn more in photoshop - taking a class now. The more I read the more I think I will need to get Illustrator to use it to it's fullest.
In the mean time, please keep sharing!
Thanks Marisa for the great tutorial!
Def need to try this!!! thanks
very good tutorial, thanks.
This tutorial is so massively useful! I don't know how many times I've sat there with a layout I am really happy with, only to realise I started out in "the wrong" end and now can't duplicate it.
I will be using this a lot! Thank you, this rocks!
This is so useful! Thank you.
Well my profile states I us PS but am actually learning to use it. I have been using PSP for years! Your tutorials are going to teach me PS. I think I'll change my profile.....
You make it all look so easy! Thank you!
Thanks Marisa for another great tut!
Thanks to you too Alexandra for all the valuable info you shared!
Before long, everyone will be coming here to learn PS...LOL!
Everything you show us makes it so much easier to use PS...
great job!
Wonderful layout!
I will have to watch this a few times to get it. There are times my mind think literally not visually. Thanks.
thanks so much for this!
Great Tutorial and thanks for sharing!
I will have to learn how to delete like done in the video and how to undo the mask. I got confused but may have to be because I use PSE 11.
Thank you for the tutorial. I am going to try this.
Thank you for the tutorial Marisa!


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The Queen of Soul said she's finally slimmed down after a "really hard" struggle with her weight.
Aretha Franklin revealed on "The Wendy Williams Show" Wednesday that she'd shed 85 pounds since deciding to remove items like hot sauce and pig's feet from her diet.
"I've been looking at a lot of pictures, and I was saying, 'You were entirely too fat for words,' Franklin recalled, according to People. "I was doing everything you could to lose that weight and it's hard."
U.S. & World
The Grammy-winning "Respect" singer, who underwent surgery for a mystery ailment in December, did not open up on the specifics of her condition with Williams.
In an interview with Access Hollywood in January, Franklin shot down rumors she was treated for pancreatic cancer.
"I left that behind," Franklin told Williams about the health rumors. "I'm feeling better."
Part two of Williams' interview with the soul legend hits the airwaves Thursday.
Selected Reading: People, AP, Detroit News


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Man, woman drown at Miami Beach
Couple pulled out by rip currents
MIAMI BEACH, Fla. – A crowded yet windy day on the beach usually doubles as a busy day for lifeguards.
The scene of repeated rescues played out over and over again on Miami Beach, but for a pair of beachgoers, rip currents proved to be too much.
Rough surf along Miami Beach lead to a double tragedy on Sunday after a man and woman were pulled from the water and rushed to the hospital.
"Two victims had been pulled out of the water because of rip currents," said Capt. Adonis Garcia of Miami Beach Fire Rescue. "They were in cardiac arrest when fire rescue arrived. We worked them all the way to the hospital where they have been pronounced dead."
Witnesses describe the couple as elderly. They were swimming in the water near 64th Street and Collins when they disappeared from the surface.
Crime scene investigators snapped photos from the area the couple was last seen.
The stretch of water where the drowning happened is manned by lifeguards, but it only took a few short seconds for bad situation to turn worse.
"Obviously the conditions have been very rough -- a lot of winds. We recommend that people pay attention to the tides and the rip currents, please stay out of the water."
The water warnings are also up courtesy of color coded flags. Red, of course, to stay out of the water, but many beachgoers ignored that warning, choosing to enjoy the water under the sun instead.
Copyright 2013 by Graham Media Group. All rights reserved. This material may not be published, broadcast, rewritten or redistributed


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(Costa Mesa, CA) March, 2013 – Guilt has a frightening ability to destroy a human being in one of two methods: it could either slowly eat at a person's soul like a cancer where there is nothing left but a decaying husk, or guilt can fill that person with such self-hatred, malice, and resentment that an "explosion" occurs, not only annihilating that person, but also the people connected to this individual. Guilt possesses an unsettling ripple effect that is ultimately destructive to all involved. There is one cure for guilt and that is redemption. But a guilt-ridden person who seeks redemption will face many trials, trials that are patiently revealed in the South Coast Repertory's production of The Whale. Courtesy of playwright Samuel D. Hunter's layered dialogue and especially Matthew Arkin's phenomenal lead performance, The Whale is a careful exploration of how redemption is sought and earned.
Charlie (Matthew Arkin) is a man filled with contradictions. He is an energetic optimist and yet for many years he has been eating and gaining up to almost 600 pounds in order to mask his grief over the loss of his life partner Alan. As time goes on, Charlie has been allowing his guilt to slowly build inside his rotund body where it is obvious that he is committing suicide, much to the chagrin of his nurse Liz (Blake Lindsley). When his health deteriorates to where he has only days to live, he decides to reunite with his daughter Ellie (a volatile performance by Helen Sadler), who he left fifteen years ago---along with his wife, Mary (Jennifer Christopher)---in order to pursue his relationship with Alan. And it's Charlie's quest for redemption and reconnection with Ellie, as well as meeting a young Mormon missionary names Elder Thomas (Wyatt Fenner), that he discovers how the selfishness of his past can be ultimately forgiven.
Since this one hour and forty minute play contains no intermission, pacing is paramount. Two factors play important roles in maintaining the audience's attention: Martin Benson's deft direction and playwright Hunter's use of short scenes interspersed with blackouts to help move the production at a fluidic speed without it being rushed. And setting this play in the smaller Julianne Argyros Stage instead of the Segerstrom Stage is a perfect way to add to the intimacy of the story. In terms of technical achievement, the true stars are Kevin Haney's prosthetic design of Arkin's make-up and Angela Balogh Calin's design of the fat body suit, all of which cover and hug the artist with incredible flawlessness.
But the "man behind the suit" brings this prosthetic effect to life in more ways in one, almost single handedly driving this entire play at full speed. Arkin indicated in an interview that Charlie was one of the most challenging roles he has ever played, both emotionally and physically. Arkin's ability to "flesh out" Charlie (no pun intended) is a monumental feat of theatrical craftsmanship and character dimensionality. Arkin disappears into the physicality of Charlie every time he breathes with a painful gasp or when he has to move with his walker. His adaptability with the fat body suit is absolutely profound; the most heartbreaking is when he tries to rise from the sofa and his face turns beet red from the effort. Arkin's deteriorating physicality is matched by his emotional investment in Charlie as he combines sympathy, regret, and a little dose of optimism for his daughter's future. But the most revealing facet about Charlie's guilt comes in a powerful scene between him and Jennifer Christopher, most notably, when Mary barks out, "The only reason you married me in the first place was to have a kid. I know that." Following that statement is a deathly pause between both artists, and then Arkin's face transforms, turning sallow with increased self loathing, until he finally discovers the selfishness that fueled his past actions. It's a layered, delicately nuanced performance by Arkin, one of the best portrayals at South Coast Repertory this 2012/2013 Season.
But Arkin's bravura performance doesn't overshadow his co-stars. Besides Christopher's Mary (whose dynamic portrayal is laced with sorrow and alcoholic rage), Lindsley's Liz is an earnest, desperate woman trying to save one of the closest friends she has, especially when she reveals later in the play why her connection to Charlie is so strong. But the standout supporting performance is Fenner's endearingly innocent Elder Thomas. Fenner wisely avoids the stereotype of a Mormon missionary by harnessing the character's naïveté, compassion, self-deprecating humor, and especially the conflict he feels about the hypocrisy he has seen from many of his fellow Mormons. Fenner shows incredible passion to help Charlie. Although he initially tries to convert him in the beginning of the play, as time goes on, Fenner's desire to evangelize is subtly replaced with simple empathy to save Charlie's life and his soul. It becomes a mission for Thomas not to convert Charlie to becoming a Mormon, but to have Charlie embrace God by simply forgiving himself and to prevent his self destruction. But Fenner expertly shows that although Thomas's intentions are good, his methodologies are too abrupt and painful. This realization is shown beautifully by Fenner, adding to the talented cast and the production of The Whale.
The Whale opened March 10 through March 31, 2013
South Coast Repertory: Julianne Argyros Stage
655 Town Center Drive,
Costa Mesa, CA 92628-2197
Photos by Scott Brinegar


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HDD Pictures of Magnetic Curtain rod for bay window
Since the discovery of the Curtain rod for bay window, there is a problem with the curtain rod. Keeping it, customize them and to improve the surface where it used to be all you can add up to a real pain. It is important to make sure that you buy the right rod for the job when it comes to installation. If you are lucky enough to have a metal door or window, and there is a huge selection available that may not have considered yet.
Advantages of magnetic curtain rod
Unlike traditional counterparts and magnetic rods curtains are very easy to install, manage and delete. No drilling or nailing concerned when placed, so that there are no holes to fill or cover up when the cut. Jump magnetic curtain rod from one another arrangement requires more than just a strong pull at the attachment point. Magnet in the trunk that is designed to be strong and durable set simple length, and can be repeated without any hassles.
Using adhesives
This is possible, because some companies that sell magnetic curtain rod will tell you, the glue sticks on the wall if you do not have the metal to create an effective magnet. It is also possible, although it does not make a good idea.
Any sticking to the wall with glue is a gamble. Curtain rod will stick carrying heavy enough so Shadier (pun intended). Predict when and how the glue is committed difficult. If you do not rod comes unstuck, it can take part of the wall or window with them (especially if it is glued to the coated) surface. Try this for your Curtain rod for bay window.
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|Isoquinoline alkaloid biosynthesis - Reference pathway + Dictyostelium
|Isoquinoline alkaloids are tyrosine-derived plant alkaloids with an isoquinoline skeleton. Among them benzylisoquinoline alkaloids form an important group with potent pharmacological activity, including analgesic compounds of morphine and codeine, and anti-infective agents of berberine, palmatine, and magnoflorine. Biosynthesis of isoquinoline alkaloids proceeds via decarboxylation of tyrosine or DOPA to yield dopamine, which together with 4-hydroxyphenylacetaldehyde, an aldehyde derived from tyrosine, is converted to reticuline, an important precursor of various benzylisoquinoline alkaloids.


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10 May, 2014
Never ages...Have been listening to this since the day it came out. It never ages, and I still get chills at the guitar solo.
26 August, 2012
ShockThe album Atchung Baby and especially this video was a shock for a lot of fans of U2 and for the world of music... thanks for this!!
16 August, 2012
Well,this is different?I recall this one coming out.Radio 1 in the Uk have always been really supportive of U2 launches and Gary Davis,a regular dj of the time had previewed a lot of their new stuff.'The Fly' kinda stunned everyone as the first single to be lifted off the album,but it was different - so glad we didn't get Joshua Tree #3. I remember queuing at midnight at a store in Belfast (it was a longer queue than that for Rattle n Hum a couple of years earlier),with a great atmosphere waiting for the store to open to get our hands on Achtung Baby. The album title,the vibe,the beat,The Fly,the other tunes. This was new U2.I was 22 years old,it made quite an impression. Remember Bono's quote on the London rooftop vividly.....'I'm learning to lie'.... and the persona was hatched.Just a pity it took so many so long to get it,and some hacks still don't even get it today. The Fly and subsequent tour with McPhisto etc etc.Brilliant. 'look what you've done to me,you've made me very famous and I thank you!'
10 August, 2012
There are no secrets!!The Fly from the Elevation Tour- Live from Boston is hard core, hard hitting, in-your-face, pure adrenaline, no-holds-barred rock at its best.
29 November, 2011
Why can't we see all the video???Why can't we see all the video???
05 September, 2011
Everything you know is wrongThis video was U2;s first strong statement after \"going away and dreaming it all up again\". Gone were the cowboy hats and the wide spaces of American deserts were left behind. Here we found ourselves in an artificial European and surreal and highly engineered world and we could finally surrender to the temptation of modern life-TV. Slogans like \"Watch more TV\" appeared on the screen, already anticipating the astounding visuals of ZOO TV. With the rapid change of images and colours partly reduced to darker shades, the video provided the perfect surroundings for wild music that seemed to come from a gloomy and uncertain place. And it was the first astonishing manifestation of Bono;s newest persona: The Fly. When I saw this video for the first time I was stunned by this character-dressed in shiny black leather, with hair shortened and eyes covered by gigantic Fly shades he demonstrated U2;s radical change of sound with his new look. In 1991 U2 became cool. And still they are.
03 September, 2011
YumI remember seeing this for the first time and thinking, \"they\'ve done it again.\" Reinvented and refreshed their look image and sound without selling out. Plus Bono never looked so hot as he did during the ZOOTV days.
25 June, 2011
The FlyWhen Are you going to put the full videos cause we want to see them!!


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This is an excerpt from Yoga Anatomy, Second Edition By Leslie Kaminoff and Amy Matthews.
Axial Extension, Bandhas, and Mahamudra
The fifth spinal movement, axial extension, is defined as a simultaneous reduction of both the primary and secondary curves of the spine (see figure 2.36). In other words, the cervical, thoracic, and lumbar curves are all reduced, and the result is that the overall length of the spine is increased.
Because the primary and secondary curves have a reciprocal relationship, which is expressed in the natural movements of flexion and extension, axial extension is "unnatural" in the sense that it bypasses this reciprocal relationship by reducing all three curves at once. In other words, axial extension generally doesn't happen all on its own; it usually requires conscious effort and training to accomplish.
The action that produces axial extension involves a shift in the tone and orientation of the breathing structures known as the bandhas. The three diaphragms (pelvic, respiratory, and vocal) and their surrounding musculature become more sthira (stable). As a result, the shape-changing ability of the thoracic and abdominal cavities is more limited in axial extension. The overall effect is a reduction of breath volume but an increase in length. The overall yogic term that describes this state of the spine and breath is mahamudra, or great seal, which always involves axial extension and the bandhas. It is possible to do mahamudra from many positions, including seated, standing, supine, and in arm support.
A seated posture named mahamudra (figure 2.37) adds a twisting action to axial extension. It is considered a supreme accomplishment to do this practice with all three bandhas executed correctly, because it represents a complete merging of asana and pranayama practice.
Read more from Yoga Anatomy, Second Edition By Leslie Kaminoff, Amy Matthews.
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17 August, 2011
2nd time at Croke Park...Fly from Italy to Croke Park is a must for me and my wife: there\'s nothing like to LIVE a U2 show in Dublin and, this time, was simply Magnificent!i
16 May, 2010
Finally made it to DublinEver since my first U2 show in 1985 at the Los Angeles Sports Arena, I had vowed to see one of their hometown shows, but not until 2009 did I make it happen. Jim & I celebrated our 17th anniversary (July 23) by seeing both the July 24 & 25 shows at Croke Park (my 23rd and 24th shows). We had arrived in Dublin at the beginning of the week which gave us several days to wander around exploring. Ran into other U2 fans everywhere, from all around the world. Walking through the streets of Dublin to and from Croke Park, with tens of thousands of fellow travelers...it was everything I hoped it would be, and more.
brid martyn
09 May, 2010
BridMy 7th U2 concert since 1987. and I had the pleasure of bringing my two children to their 1st U2 concert and they sang along to every song as they have been raised on U2 music.The stage was awesome.
07 May, 2010
Magnificent!To see U2 in their hometown is a dream come true for any fan!! I was in 7th heaven!! Best show from the best band in the world!
02 February, 2010
WHAT A NIGHT, WHAT A SHOWSimply the best U2's concert I've ever been to. Seen them 20 times in total and 5 times in the 360 tour, but this night they were at their best! End of The World and Bad were Magnificent, and the band in a really great mood! In Croke there were people from all over the world, also from New Zealand (unbelievable). The atmosphere was incredible not only at Croke Park, but in Dublin City too: we came from Italy and we had a full immersion in U2 music and culture for 5 days: the best holiday in my life!
02 February, 2010
All the way from MELBOURNE, AUSTRALIAI flew with two mates from Australia to see the two shows in Amsterdam and the 3 shows at Croke. What a trip! No band is better live, no band gets greater crowd involvement and no band can match live songs such as No Horizon, Unknown caller, Bad, Ultra Violet, COBL, TUF, Streets etc. Have already booked to see the 2 Montreal and New York shows in July 2010. Can not wait to see every show in Australia in November 2010.
24 October, 2009
All the way from USAWe travelled to Dublin with our children and friends (8 of us) to see U2 in Dublin. It was AWESOME. A once in a lifetime experience for us Americans of Irish descent. We loved the country, we loved Dublin, and of course love doesn't adequately describe how we feel about U2. It is the music of our little tribe and we all know every word!!
18 October, 2009
Here we are, the brazilians in Eire!Well, one year after having seen Radiohead at Malahide, I could barely believe I was being led to the pit area of a U2 concert, in the same fabulous town! I've been fortunate enough to manage getting access to this area for the 3 concerts in a row (24/25/27 of July). The first night's memorable moments besides seeing them from up close were the band playing Until the end of the world and the celular phone scene, where Bono picked one that was thrown to the connecting bridge like 10ft from me and started calling out this girl's boyfriend or brother...amazing! Great band, great album, great concerts, amazing to have been there!
16 October, 2009
ZootasticAs I follow Willies diary on the tour I am astounded by the stadiums that U2 play globally. Every event, every concert and every city brings more to their shows. As Bono said before walking on stage in Dublin everywhere else was a warm up......... So surely this can only mean a possible end of tour concert in Dublin................. Wishing it so..... Dublin awaits for the return performance
30 September, 2009
What a feeling !!!24.7.09 a date i'll never forget !!! 20 years after my first concert in Dortmund 89........... Bono said:"the best place to see U2 live in the world". The fantastic concert, the fans from all over the world, the party in the city. So great. Thanks to all. See U again... next time in Dublin !
13 August, 2009
PERFECT HOLYDAY GIFT EVER!This was the best performance ever! "Bad" was perfect and the set-list too! Congrats on an excellent performance of friday and monday concerts :) It was unforgetable to be in Dublin and Croke Park with all of You Fans all over the world! Greetings from Finland. Finnish funs waiting for U2 become here.
05 August, 2009
birthday party!me and my boyfreind travelled from leeds england to see u2 in dublin, for me the only place to see them, it was my boyfriends birthday and what a spectacular evening! i was blown away!! we were 1117/1118th people in to the stadium and got into the pit!! tears formed when i realised i was 10ft away from my idol! the evening was, well ,magnificant! words can not describe the emotion and energy that filled the stadium! stuck in a moment was beautiful, as was bad and one. moment of surrender is my favourite song from the new album and was a great closing song. Although the show was different from 05 at croke park in respects to the performance and the encores, costume change etc it was definatley everything i hoped for and more. U2 you rock my world! x
01 August, 2009
WAWThis was the best performance ever! UltraViolet was perfect! Show was excellent. Greetengs from Estonia. We r waiting U2 here.
28 July, 2009
Well Worth ItAfter spending 36 hours in travel from Los Angeles to Dublin it was sooo well worth the flight cancellations, delays and everything else. My guys were on fire from the get go and I sang at the top of my lungs with no shame. I have loved U2 since I first heard the magical first cords to Sort of Homecoming and although I am not Irish the boys and the people of Dublin sure made me feel at home. I will forever remember U2 Croke Park July 24th 2009.
28 July, 2009
Dublin virginMy brother, his mate and I came to see U2 in Dublin for the first time this weekend and we weren't disappointed Highlight of Friday night's performance was Bono nearly not getting hold of a Tricolore in time to start singing again, very close to falling into the crowd at one point Great show ............. as usual!
27 July, 2009
Yanks at Croke...What a great show! been goin since the 80s in the US, but thought that to prove themselves as "dubs" I had to see in person! What an outrageous time...wicked big craic (to mix my metaphors! and showing my age!) Thank you U2 and Dublin (and Jim of course) for making my irish eyes smile, so to speak. Can't wait for Boston! DD was a great opening...hope he can get traction outside the island. I would see him over B47...waddya think? sorry larry... TY TY TY the Banshee
26 July, 2009
The best everWow, what a set list, what a vibe, what a night. Like a good wine U2 just get better with age. No other act in the world can match this. A truly magical evening, my tenth U2 gig and the best....so far! Thanks guys for giving us all so much! Bad and Unforgettable fire on the same night - class. Crazy was amazing, moment of surrender a perfect ending. Pity gig has to start in the daylight - not your fault. Pleeeease come back next year after the rest of the world has witnessed this 360 degrees of pure perfection!
Wil Reason
26 July, 2009
Saturday show even betterDidn't think it was possible after Friday night show, but Saturday was even better ! Hope they BLOW THE CURFEW on Monday night. Would love to hear 'Bullet', but looking forward to a 3rd night, Excellent, can't wait
26 July, 2009
BadIve seen U2 nine times since 84 and this was the best ive ever seen the boys perform Bad/40.What a night!!!!
26 July, 2009
COMPLETE LEDGENDSAs Travelling Brummies at croke park friday night the boys definatly did not disapoint us in any way.Ireland should be proud of their FAB 4.From entering the stadium until leaving the vib was amazing.We were seated in red zone (disabled seats) and the view was awsome.We didn't even notice it wasn't in full 360'.Last time we heard ONE live was in germany Achtung Baby tour and hearing it live again was emotional for us.Any doubts about new album were put aside when hearing it live, it was absolutly rocking, sun was shining and yes indead U2 made it a beautiful day to remember.Once night fell the claw came into its own.Trully the greatest gig ever.Well done boys you rocked AGAIN.
David Kenny
25 July, 2009
Nowhere betterYou know when U2 come home it's special. This was the one we'd been waiting for. Our band Our town. Nowhere else you want to be on Friday night with the air of thunder and lightning threatening. U2 storm on and lift 80,000 people for two hours from past glories to new wonders. This was an uplifting, celebratory, uprising of the spirit. I was lifted from my gloom, Dublin sparkled in the evening sun before the onslaught of Breathe (I could hardly after two hours). This was what we came for, to be entertained, to be thrilled, to wonder. Best band in the world, you bet your ass.
25 July, 2009
THANK YOU U2....Just wanted to thanks you guys for a great show and your awesome music! But even more, for your support for the "Green" movement in Iran!! I'm sure you all know that this is not just about Iran. It's about human rights all over the world and hopefully (in the end), a world at peace. A wold that, among many, John Lennon refers to when he sings Imagine.......... Thank you guys !!!! You ROCK ;)
25 July, 2009
super organised venueWe want to emphasize the grat organising work done from the people working in Croke Park for yesterday U2 gig... everything was really organised and safe! We began to queue at 5.30 am and since the beginning all has been done to make people respect the order arrival... and it worked! Super organisation... for a simply super BAND!
25 July, 2009
Out of this World!!!I've seen them 5 times now since 93 and I was pretty sure they would not have surpassed either Zooropa or Pop Mart. But I would have to say that last night was probably the best I have ever seen. They were simply amazing and surpassed my expectations. The crowd were great, fantastic atmosphere. You could tell the band were out to prove a point. There were so so many highlights, but if I had to pick one, it would have to be Vertigo, the electricity was palpable. The set list is gonna be hard to beat. The concert was a transcendental experience. The band are in a league of their own
25 July, 2009
Welcome HomeWhat a show! An excellent performance from the band. i have to say. with the recession, job losses, church scandals, the country was on a downer. But all it took to forget that was for Bono to remind us all that we are Irish and Proud and can achieve anything if we put our minds to it. I was truly proud to be irish and present to witness U2's homecoming last night. a fantastic show. THANK YOU lads!
25 July, 2009
Amazing...The greatest U2 show I've ever been to - all the traveling was above and beyond worth it. It was unrealistic. And the version of "I'll go Crazy..." was PHENOMENAL live, as was Ultraviolet and Moment of Surrender. The whole thing was tops - and it made the trip from Dallas completely worth it.
25 July, 2009
Worth the wait.....Getting in line from 8am was definitely worth the wait. With the help of Donal and Jo from Corke, both old hands at the 360 tour having been to several in Europe, we managed to secure the best standing place in the house - in the inner, circle at the back rail just off the centre. It can't get better than having Bono in front Adam to your left on one bridge and Edge to your right on the other. The show was A M A Z I N G. Can't wait for Wembley when I'll do it again.


text:
The basic requirements for parents, guardians, and employers of child performers are as follows: employers who engage a child performer to work in this state must obtain a certificate to employ the performer and parents or guardians must obtain a Child Performer Permit so the performer is eligible to work in this state.
All forms, documents, and FAQs can be found below. Any application that does not have the correct attachments may be returned.
Complete the Online Application (first-time-applicants only): 15-day Child Performer Permit Online Application
Employer Certificate Application
Employer Group Certificate Application
Notice of Use of Child Performers
Variance from the Child Performer Regulations Application
Workers Compensation/Disability Benefits Coverage Verification Form
Child Performer Permitted Working Hours
The Child Performer Advisory Board to Prevent Eating Disorders (Labor Law Section 154)
Employer Certificates and Child Performer Permits
Trust Accounts and Deposit of Child Performer Earnings in Trust Accounts
Article 4-A Employment & Education of Child Performers
Part 186 - Child Performer Regulations
Summary of Part 186 - Child Performer Regulations
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As the holidays come to a close it is time to take a look back at what we have just experienced.
This is a special time of the year because families get a chance to reconnect. Everyone slows down for a few days and spends time with their loved-ones.
While everyone gets excited about the holidays, nobody looks forward to this time of year more than moms.
All over the world, mothers get excited to have their kids home for some quality family time.
Children are out of school and on top of that… no homework! (this excitement goes for kids and moms)
But now the presents have been opened, the dinners have been eaten, and the time together has worn our mothers out.
It is now approaching every mother's favorite time of the year. This only happens twice each year, so that makes it even more special.
School is about to be back in session. The holiday vacation is coming to a close. This is an exciting day for mom. Not quite as special as the end of summer vacation, but close (the end of summer vacation is like mom winning a $100 million dollar lottery; the end of holiday vacation is like winning $75 million).
Moms haven't been this happy since their pregnancy was over.
Sure, all mothers love their children. They gave birth to us after all, but enough is enough.
They have cooked, cleaned, wrapped presents, done laundry, gone to the grocery store 119 times, picked up after us, and heard "I'm bored, there is nothing to do" one too many times.
On the outside, they express their love for their children. But inside, they are saying "Get Out and Don't Let the Door Hit You In the …." Moms can have quite the mouths on them.
Students have asked me about why the holiday break is a couple of weeks long. This is an easy one to answer and my answer is always the same.
That is the maximum amount of time moms can take their own evil spawn before they become physically violently ill at the mere sight of them. No one wants to see their mother have a meltdown, but if the holiday break was one day longer… well all I can say is, "It wouldn't be pretty."
Moms love their kids, but even they have their limits.
They act like they don't want us to have to go back to school, but as soon as the front door closes behind us… they do a very secret moms' dance (there could possibly be gyrating and pelvic thrusting so please don't try and picture this… if you do go blind the PrincipalsPage.com legal staff says I am not liable).
I have often thought that moms with kids in school should buy presents for their child's teacher after the break instead of before.
The quality of present would go way up. And I am talking 60 inch flat screen TV. Minimum. Maybe more, depending on how many siblings and arguments took place over the break.
Nothing like mom spending two weeks with her own kid(s) to put things in perspective.
You may be asking yourself… "What about Dads?"
Dads don't care. We have garages to hide in.


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Carlos Boozer's Whoring Diary
Just days after declaring his love for Chicago, the Bulls organization, and Stinking Rose in Chicago, Carlos declared his love for Miami, the Heat organization, and Dwaywawyane Wade in Miami.
Let's compare and contrast FB's passionate declarations to Chicago (ESPN 1000) and Miami (Miami Herald) [Updated 8/8 with quotes from FB's subsequent interviews with Miami (WQAM) and Chicago (ESPN 1000)]:
The Jazz Don't Want Me (KOC says the conversation never happened)
Chicago: "I had a talk with the Jazz and the Jazz told me they wanted to go in a different direction and I respected their decision and we mutually agreed to work out a trade…"
Miami: Boozer, 27, said he and the Jazz have 'mutually agreed' to a trade…
Miami Part II: "I was asked not to speak about that and let my agent and the Utah Jazz take care of that situation and getting me taken care of."
Chicago Part II: "I can't really speak about that right now."
Would Love to Play for Team
Chicago: "But obviously if I did get traded to Chicago, I'd love to be a part of the Bulls" [repeated twice]; "If it happens, I'd be very happy."
Miami: "It's like paradise here, and I would love to be part of the Heat." [repeated twice]
Miami Part II: [In response to "Is [Miami] an attractive place to come to, besides the fact that for young guys and single guys, we have South Beach and all the beautiful ladies and all that stuff?"] "Well, for players that come to the Heat, it's very exciting for a couple different reasons. One, it has one of the top-notch organizations in the league, in our sport, and they're run by Pat Riley*, they have a brand new coach in Eric Spoelstra who's very exciting, plays very up-tempo, very excited to be a coach right now. He coaches with a lot of enthusiasm. And they have one of the best players in the game in Dwyane Wade, so if a player does come to the Miami Heat, they have a lot to look forward to on top of being in Miami. / Especially in this economy, with the lull that we're having, obviously it's a great (incentive) to not have to pay a state tax. As fortunate as we are to have the jobs that we do, it's still tough when you're getting hit by the taxes that we get hit by. And we're all going through a tough time right now financially."
Trade Timetable
Chicago: "I'm assuming to be traded here relatively soon or in good time."
Miami: [Boozer] said there is no timetable [for a trade].
politico.com: "I could be traded any second," [mentioning] the Heat, Knicks and Bulls as potential destinations.
Miami Part II: "…you anticipate, you know, trying to figure out where you gonna be at, you get excited, at the same time, when you hear certain rumors…/That's their call, they're in control of that situation, obviously they will handle it in the best way that they can."
Chicago Part II: "I was asked to let my agent and let the Jazz take care of the situation, and I'm gonna leave it at that and let them take care of it."
Love for the Team and Players
Chicago: "…they have a very good group of talent there, and obviously Derrick Rose being the helm of that…"
Miami: "They're a very good team, and I'm real close to some of the guys."
Miami Part II: "And [Wade] knows that Pat Riley* is hungry to win, Pat Riley* one of the best champions that we've had in our sport in its entirety for a long time…and I'm a very good friend of DWade, and I wish them the best of luck."
Best Buds with DWade
Chicago: "Well, me and D-Wade are very, very close. We talk quite a bit."
Miami: "Dwyane and I started to get close at the Athens Olympics in 2004, and I'd love to play on his team."
Miami Part II: "Yeah, we're very close, we're very good friends, we've been friends since '04…we're very close, our relationship has grown over the years."
No. 1 Choice
Chicago: [In response to "Is that why the Bulls are your No. 1 team, you could recruit a guy like Wade?"] "I would definitely recruit."
Miami: Miami is his No. 1 choice.
Chicago Part II: "Awwww no, I didn't say that [Miami is my number one choice]. I didn't say that. What I said was, if I was traded to Miami I would welcome that. I didn't say they'd be my number one option. So I was misquoted there."
Future with the Jazz
Miami Part II: [I'm guessing that you believe by the time the season starts though you'll be moved, you don't think you'll be with the team?] "umNO."
Chicago Part II: [[If you end up remaining with the Jazz, do] you anticipate no issues being able to do your thing there without any hard feelings?] "No, not at all."
Chicago: Plugging his basketball camp (in Alaska) and telling parents (in Chicago) how to sign up
Miami: "My wife [CeCe] and I first came here for tax reasons, and fell in love with it"
Miami Part II: [In response to question on whether he will talk to the Jazz about trading him to Miami] "No, that's not my style. It's not me and what we do…I'm staying out of it."
Chicago Part II: [In response to "Would [Jim Paxson's presence] be an issue for you coming here?"] "No, not at all."
*Pat Riley was "turned off" by Boozer's Public Declarations of Affection for Miami hwa hwa hwa. Riley: "I wasn't really comfortable with it" and "I really don't know what kind of agreement that he and Utah have. We have had conversations about a number of things, but there hasn't been anything really, at all, nothing, about a trade for Carlos Boozer."
Another thing: why on earth would Carlos be the one with "hard feelings" if the Jazz don't trade him? He's the one that dicked the Jazz. Similarly, if he ended up in Chicago, why on earth would would Paxson's presence be an issue for him? He's the one that dicked Paxson back in Cleveland.
In all seriousness, I can't wait for Boozer's next interview with Detroit/New York/New Jersey/whoever. First, so I can this add to this post. Second, because he'll piss off ownership (which doesn't like to be bullied) and the Jazz organization even more, and maybe (it IS possible) he'll end up with his ass stuck to the bench behind whoever next season's equivalent of Morris Almond is, and bye bye big fat contract. The bottom line is that the Jazz don't have to play him. The Jazz don't owe him anything. Why's that? Oh yeah, because of his superdickery move of opting in and then trying to weasel his way out.


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Like many other programming languages, C employs concepts such as scope and storage allocation. The C standard also employs the lesser known concept of linkage. Some other programming languages employ this concept as well, but few aside from C++ use the same terminology as C.
Although most programmers understand scope and storage allocation well enough to cope with common programming situations, their understanding often breaks down when confronted with anything out of the ordinary. They also seem to have a sense of what linkage is, but don't really understand how it is distinct from the other concepts.
Much of the confusion stems from the complex semantics of storage class specifiers such as
extern and
static. The keyword
static is particularly inscrutable. Sometimes it affects the way a program allocates storage. It can also affect how the linker resolves names as it links object files together. In C++, it can even restrict the behavior of class member functions. Understanding these distinctions can help you implement your designs more effectively and avoid some maintenance headaches.
In this article, I'll explain how the C standard defines the concept of scope. The C++ standard describes scope much the same way as the C standard, but with a few noteworthy differences. I'll focus initially on what the C standard says, and point out the differences with C++ as appropriate. I'll try to be reasonably precise without swamping you with unnecessary details.
Translation Units
As you know, a C program can consist of numerous source files. A compiler processes one source file at a time. A source file usually contains
#include directives that refer to headers. The compiler's preprocessor merges those headers with the source file to produce a transitory source file, which the standard calls a "translation unit." Translation units are also known as compilation units.
Later phases of the compilation process transform each translation unit into an object file or object module. The linker combines object files and library components to produce an executable program.
As you'll see, you can't talk knowledgeably about scope and linkage without mentioning translation units.
Declarations and Definitions
A "declaration" is a construct in the source code that introduces one or more names into a translation unit and associates attributes with those names. Alternatively, a declaration might simply redeclare a name introduced by a declaration that appeared earlier in the translation unit.
A declaration might also be a definition. Informally, a "definition" is declaration that not only says, "Here's a name," but also, "Here's all the information the compiler needs to create the code for that name."
For functions and objects, a definition is a declaration that generates storage. It's easy to tell when a function declaration is also a definition a function definition has a body, which generates storage in the code space. For objects, the distinction is not so simple it depends on the object's scope, linkage, and initializer. I'll get to them in a moment.
In C, a
struct declaration never generates storage, so C doesn't distinguish
struct definitions from other
struct declarations. C++ does. In C++, a
struct declaration is also a definition if it has a body, as in:
struct widget // a definition { ... };
It's only a declaration if it lacks a body, as in:
struct widget; // just a declaration
The C standard uses more complicated verbiage to distinguish these different forms of struct declarations. I prefer C++'s approach.
In both C and C++, all typedef and enumeration constant declarations are also definitions.
Scope Regions in C
When the compiler encounters the declaration of a name, it stores that name and its attributes in a symbol table. When the compiler encounters a reference to a name, it looks up the name in the symbol table to find those attributes. Each declared name is visible can be found by lookup only within a portion of the translation unit called its scope.
Some programming languages use dynamic scoping, in which name lookup is done at run time and may yield different results depending on the state of the running program. That is not the case with C and C++. Both languages use static scoping and do all name lookup at compile time.
C has four kinds of scope:
- A name has file scope if it's declared in the outermost scope of a translation unit, that is, outside of any function, structure, or union declaration. Its scope begins right after its declaration and runs to the end of the translation unit.
- A name (other than a statement label) has block scope if it's declared within a function definition (including that function's parameter list) or in a brace-enclosed block within that function. Its scope begins right after its declaration and runs to the end of the block immediately enclosing that declaration.
- A name has function prototype scope if it's declared in the function parameter list of a function declaration that is not also a definition. Its scope begins right after its declaration and runs to the end of the parameter list.
- Statement labels, and only statement labels, have function scope. A label can be defined only in the body of a function definition and is in scope everywhere in that body, even before the label has been defined.
For example, in Listing One:
- Object k and functions
ghave file scope.
- Parameter
iin function
fand parameter
nin function
hhave function prototype scope.
- Parameter
i, objects
k, and function
h, all within function
g, have block scope.
- Label done in function
ghas function scope.
int k; int f(int i); int g(int i) { int j, k; int h(int n); if (i < j) goto done; k = 42; ... done: return 0; }
Listing One.
Most programmers, not just C and C++ programmers, refer to names declared in an inner scope (a block scope) as "local" names, and to names declared at the outermost scope (file scope) as "global" names. The C++ standard uses the terms local and global in this sense, but the C standard rarely does.


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This was for Zack.
I still don't like bananas, but Zack continues to love them. Since I love him, I made Bananas Foster French Toast for him on Father's day. Our little baby boy is due in less than 8 weeks so I wanted to make something special for Zack and knew he would love this special breakfast. Fortunately for me, you add the bananas in the last step, so I was able to enjoy a banana free breakfast. This breakfast was really delicious and very easy to make. It would be perfect for any special occasion.
Bananas Foster French Toast
topping recipe adapted from Paula Deen, French Toast recipe from Baked Perfection
serves 5
French Toast:
6 eggs
two cups whole milk or heavy cream
2 teaspoons vanilla extract
1 loaf Challah, sliced into 10 slices
Cinnamon for sprinkling
Butter for pan
1/2 cup dark corn syrup
1/2 cup firmly packed brown sugar
1 cup maple syrup
1 cup chopped pecans
5 ripe bananas, sliced
1 teaspoon rum extract
Set a baking sheet in the oven, and preheat oven to 250 degrees Fahrenheit.
Heat a griddle over medium heat. In a large bowl, whisk together the eggs, milk or cream, and vanilla extract until somewhat frothy. Dip 2-3 slices (however many will fit on your griddle at a time) into custard mixture until completely moistened, and place on buttered and pre-heated griddle. Sprinkle top of each slice of bread with cinnamon while it is sitting on the griddle. Cook for 2-3 minutes, until golden brown, flip and cook and additional 2 - 3 minutes. When both sides are golden brown and bread is no longer soggy, remove from griddle and place on the baking sheet in the oven to keep warm until you have cooked all the French Toast.
To make topping:
In a large skilled, combine corn syrup, brown sugar, maple syrup, and pecans. Bring to a boil over medium-high heat. Reduce heat, and simmer for 2 minutes. Add banana slices and rum extract. Coat the bananas with syrup mixture and simmer 1 minute. Spoon over French Toast. Serve immediately.


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Professional Candle Making Supplies Since 1972
Blueberry Pie Fragrance Oil
- Good for Paraffins and Natural Waxes
- Skin Safe
- New Fragrances
- Phthalates Free
Product Description
Candle and skin safe. Not gel compatible.
People Who Bought This Item Also Bought
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and also its the best phucking war film yet......and most likely won't be sclipsed.....
Quote from: NEON MERCURYand also its the best phucking war film yet......and most likely won't be sclipsed.....why why why? what was so good about it? a lot of narration, characters with very little going on? war scenes that werent shot very interestingly? i mean, it wasnt terrible, but i dont see how it is one of the best war films.
i loved his VO when he thinks "i just killed someone, worst then rape.....and no one can touch me for it"...its stuff like that which gives me chills......and another scene when the soldiers take over the enemy camp and it shows a closeup of a half buried face in the grounnnd with the dust and dirst all over the enemy face and his voice over begins saying, "were you righteous, kind??? nnote that i was too".....all of the characters' thoughts were innteresting to hear and very meaningful..........its just a beautiful , well acted, poetic, trannscendent film......it's a small scale version of 21 grams ,2001, and gerry in way.......am i the onnl;y one here who thinks this film is purely a masterpeice.....?
budgie.. it must be a guy thing.like most great movies i know, it's all about the last 20mins.. in this case the sean penn final moments about "never leaving this room" or whatever, and the dude looking back at the island and asking his soul to let him be inside it.another great highlight is all the lines up to and including "Have you passed through this night?". and the whole nature-law thing through the movie. this was the first and only time where i was overwhelmed by the immediacy of impending mortality, and i freaked out. jim caviezel is ekzellent also, in his embodiment of christ-consciousness. and it's great how malick shifted the focus of the story to him instead of Fife (adrien brody).
You know, I think you're right: it might be a (certain type of) guy thing. It is quintessentially Male Romantic, and that's what bugged me, tho normally I go for that (dunno, maybe I've changed). The nature-law thing, as you call it, is just such a tired philosophy to me. I can see its appeal, tho, and the use of the setting did stir me. I also realise that we're looking through the eyes of various white western idealists, and normally too that would appeal, because in some ways it was a critique of that romanticism. But I didn't find anything to challenge it ultimately, it felt reaffirmed. That is a problem for me, but only because I want to strip it away and expose it I guess. But OK, at 19 years old I loved those ideals (so maybe it isn't only a guy thing, even if it's at the root of the culture). Maybe I wasn't listening attentively enough to this movie, I can't be sure.The tone didn't help with that though. The self-conscious poeticism and the naff narration. I had trouble not seeing through it all, like I had trouble not seeing through the mannered performances, the types and yes, the religiosity. I think this was because it had no relief (except in Penn, and maybe I'd have liked it more with more emphasis laid on his relationship with Caviezel). I just kept thinking 'oh, lighten up', and it made me laugh. Thanks, that's enlightening. I did like the first scenes in the grass too, by the way. I think this all has a bearing on your like/my disregard for Kubrick also. The same aestheticization of pain and, as you say, mortality. We're just feeling it in different styles.As for sweaty men... well, see, this is the same thing. Looking at naked sweaty men indiscriminately has no effect whatever. It's all about the context. If the style and philosophy is all wrong, I remain unmoved. Maybe that's just a girl thing. Or a budgie thing.


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Increase control, decrease day-to-day IT tasks
Any application can only be as responsive and resilient as the underlying infrastructure it runs on. That's why it's so important to let the needs of each application drive your platform decisions.
Some of your applications may have certain performance, availability or security requirements. Some simply can't be redeveloped economically for cloud platforms. And, sometimes, you may want to retain control over specific workloads, data and applications, but without owning, securing, managing and maintaining the infrastructures they run on.
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Eliminate labour-intensive processes. Ease the burden on your team and budget and let us take care of routine maintenance, including monitoring, patching, capacity planning and hardware refreshes, so you can focus on value-added functions.
Improve cost efficiency. Take advantage of our buying power and investments in world-class data centres and technology to gain access to a scalable, resilient IT environment – architected, integrated and administered by experts in high availability and security.
Drive enterprise growth. Deliver improved operational results and spur business growth by using managed IT services that give you the freedom and flexibility to enter new markets and launch products and services quickly.
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Choose the right managed hosting services
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Ted Kennedy's widow to open Unique Lives lecture series
Season 15 of Unique Lives & Experiences, a Denver Post-sponsored lecture series featuring talks by some of the world's most interesting women, opens Feb. 13 with an address by the late Sen. Ted Kennedy's widow, Victoria Reggie Kennedy. And with the new season comes an opportunity for several nonprofit organizations to make money.
"Each lecture will have a charity partner, and that group will host a champagne-and-dessert reception with the speaker," explains Tracy Ulmer, director of community relations for The Denver Post. "The receptions will be intimate, limited to 60 people, and will be held immediately after the lecture in the second-floor lounge at the Ellie Caulkins Opera House."
The Children's Diabetes Foundation is the charity partner for Victoria Kennedy's lecture. Tickets are $150, or $100 for those who already have a lecture ticket but would like to attend the reception, too.
The reservation deadline is Feb. 3; contact Susie Hummell at 303-863-1200.
In addition to the money generated from the reception, the Children's Diabetes Foundation will also receive a $5,000 grant from the Denver Post Community Foundation.
Victoria Reggie Kennedy has been described by the New York Times as "Sen. Ted Kennedy's closest confidante, in politics and in life." She is an attorney and advocate for issues that affect the lives of women, children and families. She'll talk about her life with her husband and his dreams for the country and his impact on U.S. politics. She will also touch on the Edward M. Kennedy Institute for the U.S. Senate, a 40,000-squre-foot facility being built adjacent to the John F. Kennedy Presidential Library on on the University of Massachusetts campus in Boston.
Other Unique Lives & Experiences speakers are Valerie Plame Wilson on March 5; Lucie Arnaz on April 30; Jamie Lee Curtis on May 15; and Connie Chung on June 4.
The Children's Diabetes Foundation was established by Mr. and Mrs. Marvin Davis in 1977 as a nonprofit organization dedicated solely to the support of research in childhood diabetes and to provide the best possible clinical and educational programs for children with this disease. Its mission is to raise funds to support programs at the Barbara Davis Center for Childhood Diabetes where more than 6,000 children and young adults from all over America currently receive care. To learn more, visit childrensdiabetesfoundation.org.
Unique Lives & Experiences is designed to motivate, challenge and enlighten anyone with an open mind and a strong desire to learn from the personal experiences of the featured speakers. "The series was developed in response to women's requests for intellectual entertainment," Ulmer says. "It provides them with a forum for meaningful dialogue and stimulating interaction." The Denver Post has been the title sponsor since it began 14 years ago.
For more information on Unique Lives & Experiences, visit uniquelives.com.
Denver Post Community Foundation strives to improve and enrich lives by raising and distributing money to Denver-area nonprofits that focus on arts and culture; children and youth; education and literacy; and the provision of basic human services.
Joanne Davidson: 303-809-1314, firstname.lastname@example.com and twitter.com/GetItWrite


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Quoizel Tempest LED 9 inch Asphalt Grey Outdoor Wall Lantern
$161.49 $169.99
Shipping Information
We ship most items via FedEx in the 48 Contiguous United States (Alaska, Hawaii, and Puerto Rico do not apply) free of charge. There will be additional charges for rush delivery.
In the event no one is home to receive your order, we recommend you send your package to a business address to ensure delivery. Sending your package to a commercial address will also guarantee a speedy arrival.
Motor Freight
Some of our products cannot ship via FedEx / UPS ground and must ship via motor freight. Motor freight shall include "curbside delivery" to the shipping address only and shall not include optional services such as transferring the items inside the residence. Any additional services required (inside or white glove delivery) may be provided at an additional charge and must be requested at the time of order.
Items that ship via freight or FedEx / UPS Oversize are not eligible for Free Return.
Risk-Free Shopping With Our 30 Day Return Policy
We are proud to have the simplest return policy in the industry!
No Restocking Fees
As Lighting Experts, we understand that sometimes you may not know if the light is going to work in your space until you open the box and see it in person. We want you to be happy with your purchase the first time, we also want you to be happy when you come back. That's why we have completely eliminated restocking fees at LightingNewYork.com and all of our affiliated sites. You are only responsible for return shipping on any item not covered under our Risk-Free Returns Policy. Ask your Lighting Expert for details or for assistance when choosing the right lighting for you.
Risk-Free Returns
We offer pre-paid returns on items able to ship via FedEx / UPS within 30 days of receipt from within the 48 Contiguous United States (Alaska, Hawaii, and Puerto Rico do not apply). International orders, custom Items, closeout or clearance items and oversize or freight items are excluded from the pre-paid returns offer. To arrange a return:
- Please contact our Customer Care Advocates; a return shipping label will be sent to you via email within five business days
- Apply the label to your package and take it to your nearest FedEx / UPS pick-up center
- We strive to refund you as quickly as possible. In most cases, a refund will be issued once the package is received. Returns on larger items or on orders of larger quantities may need to be inspected before a refund is processed.
- Please see our International Policies for international returns.
Returned products must include: all the original packaging, including all papers, parts and associated pieces. The items are to be uninstalled, in new condition and with no clipped wires or missing hardware. If a returned item is determined to be in non-sellable condition, no refund will be issued on that item. You may also be responsible for any return shipping fees.
The following are considered NON-RETURNABLE merchandise:
- Any item that is marked as nonreturnable
- Any custom made or custom built fixture
- Clearance items, custom quotes, special discounts, and orders of ten or more units
- Any item that is not in resellable condition
- Any item that is not in its original box with the original packaging materials and assembly instructions
- Light bulbs, glass, parts and shades
- Any item without the correct RMA number written on a separate sheet taped to the box
For oversized or freight items, you are responsible for all shipping charges back to our warehouse. You are also responsible for insuring the shipment and for providing proof of return tracking of the package.
Refunds will be issued upon inspection of the returned item. Per inspection, as long as the product is in new condition, received in its original packaging, and sent to the correct warehouse, you will be issued the refund you are due, less any applicable fees or handling charges.
If a returned item is determined not to be in "As New" condition, it will be subject to additional fees being deducted from the credit or the credit may be denied completely.
Return requests made outside of this stated policy will be subject to review and may result in shipping and restocking fees depending on the situation. Items returned outside of this policy will be for store credit only as we are unable to refund on items returned outside of the 30 day return policy.
Damaged Items
In the event that an item is damaged in transit, we will do everything we can to resolve the matter immediately. When items are shipped by FedEx or UPS, we must contact them within 48 hours to ensure a quick, free of charge resolution. Upon inspecting the merchandise, please contact us by calling our toll free number (866)344-3875 or through email, noting what was damaged, so that we can assist you immediately and expedite a new item right away.
For larger items that are shipped via freight carrier, you must inspect the item on site, and mark any noticeable defects on the bill of lading. Once you do so, please call our toll free number right away so we can file a claim with the carrier and expedite a replacement immediately.
In the rare event of a manufacturer defect, we again ask you to call our toll free number with a detailed explanation of the problem or issue. One of our Customer Care Advocates will instruct you on how to get your item replaced, or get the correct parts expedited to you.
Damages or defects reported after 30 days will be subject to review and will be available for replacement only, subject to the manufacturer's warranty.
We reserve the right to charge or invoice you for any item not returned which we have provided prepaid return labels for.
110% Low Price Guarantee
At Lighting New York we do everything in our power to ensure that you're not paying too much for your purchase. That's why we offer our 110% Low Price Guarantee.
If you find a lower advertised price (including shipping, handling and taxes if applicable) on the same item1, simply let us know and we'll gladly meet that price and beat it by an additional 10% of the difference!
The items must meet the following criteria to qualify:
- The product is in stock and available for immediate shipment from the competitor.
- The product is not a close out, discontinued or clearance item.
- The advertised price is from an authorized U.S. retailer2 (online or offline).
- The price is a published price and/or you have a written quotation from a competitor. Verbal price quotes are not acceptable.
- The Low Price Guarantee cannot be applied to previous orders, it only applies to new orders or to open quotes.
To place your order or inquire regarding a price Guarantee, please call us toll free at (866) 344-3875. Before contacting us, please make sure you have the complete URL (address) of the competitor's web site, along with your name, phone number, and the details of the price difference so that we can help you as quickly as possible.
Additional Terms & Conditions
The Low Price Guarantee cannot be used in conjunction with any other coupon or project pricing offer, nor does it apply to limited-quantity offers, manufacturer's rebates, closeouts, clearances, special, sale, or limited-time discounts, bulk quantity items, or typographical errors. Offer does not include wholesale or "trade," contract or manufacturer direct pricing, or below wholesale cost pricing.
The 110% Low Price Guarantee does not apply to the following vendors: Minka Lavery, Minka Aire, Metropolitan Lighting, George Kovacs, and Ambience by Minka Lavery
1 "Same" is defined as an item of the same styling and product by the same manufacturer. Products must be first quality, all new, factory-sealed, of the same brand, style, and SKU.
2 Lighting New York reserves the right to determine which offers are from authorized retailers. In the event that Lighting New York determines that the competitor's offer does not qualify for the Low Price Guarantee we will notify you and will not be able to fulfill the order.
Brand Information
- Brand: Quoizel
- Collection: Tempest
Design Information
- Category: Outdoor Wall Lights
- Finish: Asphalt Grey
- Material: Aluminum
Dimensions and Weight
- Length:2.75 in.
- Width:7.25 in.
- Height:9.25 in.
- Backplate/Canopy Width:4.25 in.
- Backplate/Canopy Length:6.00 in.
- Weight:4.07 lb.
Bulb Information
- Bulbs Included:Yes
- Bulb Category: LED
- Primary Bulb(s): 1 x 13 watts
- Color Temperature: 3000K
- Color Rendering Index: 90.0000
- Total Lumens: 1440
Product Rating
- Voltage: 120v
- Outdoor Rating: Suitable for Damp Locations
- Safety Rating: ETL Listed
Other Specifications
- Ships Via: Ground
- Included Suspension: 0.5 ft. Cord
- Spec Sheet:TPS8407ASG.pdf
- Install Sheet:IS-TPS8407ASG.pdf
Additional Details
- Residential or Commercial Application
- Hardwire
- Assembly Required


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The Auction insights report lets you compare your performance with other advertisers who are participating in the same auctions that you are. This information can help you make strategic decisions about bidding and budgeting by showing you where you're succeeding and where you may be missing opportunities for improved performance. The Auction insights report is available for both Search and Shopping campaigns.
This article explains the statistics available in the Auction insights report, how to find the report, and how to set a filter to locate the keywords, ad groups, and campaigns that have Auction insights reports available.
Auction insights statistics
The Auction insights report for Search campaigns provides 5 different statistics: impression share, overlap rate, position above rate, top of page rate, and outranking share. You can generate a report for one or more keywords, ad groups, or campaigns (as long as they meet a minimum threshold of activity for the time period selected), and segment results by time and device.
The Auction insights report for Shopping campaigns provides 3 different statistics: impression share, overlap rate, and outranking share. You can generate a report for one or more ad groups or campaigns (as long as they meet a minimum threshold of activity for the time period selected), and segment results by time and device. Auction insights data for Shopping campaigns is available from October 2014 to present.
Descriptions of the Auction insights statisticsImpression share
Impression share is the number of impressions you received divided by the estimated number of impressions you were eligible to receive. Eligibility is based on your current ads' targeting settings, approval statuses, bids, and Quality Scores. In the Auction insights report, impression share also tells you the impression share of other advertisers as a proportion of the auctions in which you were also competing. Note that Shopping campaigns don't use Quality Score. However, overall quality and relevance of your Shopping ads offers do factor into their eligibility. Learn more about tracking impression share.
Overlap rate
Overlap rate is how often another participant's ad received an impression when your ad also received an impression.
For example, if one of the other participants in your Auction insights report is showing "60%" in the Overlap rate column, this means that in 6 out of every 10 times your ad showed, an ad from this participant showed as well.
Position above rate (Search campaigns only)
Position above rate is how often the other participant's ad was shown in a higher position than yours was, when both of your ads were shown at the same time.
For example, if one of the other advertisers in your Auction insights report is showing "5%" in the Position above rate column, this means that the other participant's ad showed in a position above yours in 5 out of every 100 times your ads showed at the same time.
Top of page rate (Search campaigns only)
Absolute top of the page rate (Search campaigns only)
Absolute top of the page rate tells you how often your ad (or the ad of another participant, depending on which row you're viewing) was shown at the absolute top of the page as the very first ad above the organic search results.
For example, if out of 100 impressions, an ad has 10 impressions in which it appears as the first ad above the organic search results, the absolute top of page rate will be 10%.
This report provides information on other advertisers who participated in the same auctions as you. This doesn't indicate that the other advertisers have the same advertising settings as you. The other advertisers' metrics shown are based only on instances when your ads were also estimated to be eligible to appear. This report won't reveal the actual keywords, quality, bids, or settings from your campaigns, and it won't give you insight into the same information for others.
While this information is already available by searching on Google—and many already attempt to estimate this data by scanning the ads that appear—this report will make it easier to access and understand this information. It's available to advertisers whose keywords, product groups, ad groups, and campaigns have a minimum threshold of activity.
Find the Auction insights report
Auction insights data is available for Search and Shopping campaigns that meet a minimum threshold of activity. For Search campaigns, you can create a report for keywords, ad groups, and campaigns. For Shopping campaigns, you can create a report for ad groups and campaigns.
- Sign in to your Google Ads account.
- Click the Campaigns, Ad groups, or Keywords page menu based on what information you want to see in the report.
- Select a specific campaign, ad group, or keyword by checking the box next to each item. Note: you can only select keywords on a single page at a time (unless you run a report for "All").
- Click on Auction insights.
- You'll now be taken to your Auction insights report. Note: only keywords and ad groups that meet a minimum threshold of activity will have the Auction insights report.
- If you selected only Search or only Shopping campaigns or ad groups, you'll see the corresponding Auction insights report.
- If you selected a mix of Search and Shopping campaigns or ad groups, you'll need to select the Search campaigns or Shopping campaigns radio button.
Filter your Auction insights
To help you locate keywords, ad groups, and campaigns that have Auction insights reports available, you can create a filter. The Auction insights filter allows you to see at a glance, which of your keywords, ad groups, or campaigns have Auction insights reports available to view.
- Click the Filter icon above your statistics table.
- Select one of the filters that appears to see a list of conditions for new filters.
- Enter the condition then click Apply. The table automatically updates to show you your keywords or ad groups with available Auction insights reports.