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An outgrowth of "Cityscape," a weekly column that debuted in the San Francisco Chronicle in 2009, Cityscapes is part history, part guidebook, and part architectural primer. John King is the San Francisco Chronicle's urban design critic. He joined the paper in 1992 and has been in his current post since 2001. His writing on architecture and urban design has been honored by groups including the California Preservation Foundation, the Society of Professional Journalists, and the California chapters of the American Institute of Architects and the American Planning Association. He was a finalist for the Pulitzer Prize for Criticism in 2002 and 2003.
What are the first three things you look for when looking at a building?
How it meets the street is essential, because that sets the tone from the start. The quality of execution counts more for me than style; if a building has clarity and snap, looks are secondary. And then there's the challenge of context. Does the building fit into its surroundings, even if the fit is provocative? Or is it just a lump unto itself? The latter is too often the norm.
What were your favorite places as a kid?
Growing up in Walnut Creek, a pal and I used to head into "The City" every quarter or so. We'd take BART, ride the cable car to the Cannery, explore North Beach, have lunch in Chinatown and then meander back towards BART. I quickly realized that, say, Grant Avenue was different than, say, Sunvalley Mall in Concord. And that I preferred the former.
What is the most notable trend right now in architecture?
I'm really excited at how, after decades of talk, transit-oriented development is taking root in the suburbs as well as older cities such as Oakland and Berkeley. The frustrating thing is, most of it isn't very good in any sort of urbanistic way. The quantity and location is laudable; now we need developers and architects who genuinely strive to make places where people will want to be, not simply structures that are convenient.
Is there an architectural style that suits cities best?
No. If a building is well-proportioned, with good details and an inviting sidewalk presence, it doesn't matter whether the details are classical or modern, gothic or high-tech, flat-topped or crowned with a spire.
If readers could take one thing away from Cityscapes what would it be?
Buildings aren't simply objects. They're parts of a whole—and the whole is in a state of constant flux. Change is a fact of life in cities, and we should relish chances to learn from the shifting perspectives around us.
Any advice for aspiring architects?
Pay attention to the details and whatever you do, do it with conviction. When architecture becomes a business, where a building has no more nobility than a to-do list, we all lose out.
Did you study architecture in college?
Nope. That's the beauty of journalism—you get to follow your passions, and learn on the job.


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With its contrast hood and fully lined Cotton and Polyester construction, our Uglies Hoody will keep your junior athletes warm on the coldest training days like no other hoody.
Canterbury's Uglies Hoody for boys is constructed from a quality blend of 55% Cotton and 45% Polyester Brushed Back 300gsm and is designed to keep your junior athletes warm on the coldest of training mornings. With an equally warm contrasting hood liner, this hoody is ideal for covering up between training sessions, and it can even be worn at home or when spending time with family and friends. It's the perfect wardrobe addition for an active boy who's into outdoor sports whatever the weather, and it's available from Canterbury in Black or Navy for ages 6 to 16 years.
Orders over $100 are Free standard shipping within Australia.
Standard Delivery $7
The Canterbury Shop will only ship orders within Australia.
All parcels are sent via Eparcel and have a full track and trace service.

subset: commoncrawl


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Frohe Ostern!
Hopefully you've all had a very happy Easter, or a 'Frohe Ostern' as they say auf Deutsch.
There are of course certainly worse places to be during a time of year celebrated with chocolate than in Switzerland and as they go for chocolate rabbits rather than eggs over here we've had a bit of a confectionary bunny massacre on our hands - it's been a bit like Charlie and the Chocolate factory meets Watership Down.
Religion is important to the Swiss also, and so the christian nature of the festival is very much celebrated. The Swiss churches love to toll their bells for any religious occasion (it was hard to get to sleep when the new Pope was chosen) and so the regular chimes for the frequent services have served as a nice reminder of the true meaning of Easter.
Eggs are still very much a symbol of Easter time in this part of the world, though more traditionally it's the hard boiled variety which are worth hunting for. You can buy them pre-painted in bright colours from the supermarket. The Swiss sprinkle them with 'aromat' which is like bouillion powder (the stock cube is a Swiss invention) before devoruing them.
We've had a relaxing long weekend despite the weather being pretty dire, popping into Zurich on Saturday to do a bit of shopping. The Swiss continue to find new ways to impress me with their efficiency and Saturday was no exception, with the major department stores providing machines that 'bag' wet umbrellas to stop them dripping on the shop floor.
We took shelter for lunch at 'Hiltl' - the oldest vegetarian restaurant in the world having opened in 1898. Now, both Zoe and I are far from veggies, and I was a bit apprehensive about a meat free meal. I am, however, a fan of the 'pile it on your plate buffet', so I got stuck in.
It's a bit like vegetable pick-and-mix as you pay depending on the weight of the plate. Lots of the options are indian style in spicy sauces and the samosas and paneer cheese were real highlights. It was all delicious and the exotic flavours provided a moment of sunshine on a very grey Zurich day.
On Easter Sunday the weather wasn't much better but as the rain held off we headed off for a walk in Zurich's academic district. Using a fancy app which offers a number of routes around the city, we strolled among the buildings of the famous Eidgenoessische Technische Hochschule Zurich (ETH for short) which is one of Europe's top science and technology institutions. It's buildings nestle among those of the University of Zurich and the University Hospital. This district of brainpower nestles on the hill just above the city centre, offering great views of Zurich's impressive church spires.
At one point during the walk we came across the original ETH observatory. Now surrounded by tall buildings it is hard to imagine that when it was built in 1861 it was nestled among vineyards and pastures. It seems the astronomers spent so much time gazing up at the stars that they missed the city of Zurich sprawling towards them. The observatory was closed in 1980 as light pollution from the surrounding buildings made planet spotting impossible.
It was a lovely stroll and the perfect way to work up an appetite and I didn't need to consult the stars to know that our roast lamb dinner was going to be delicious.
Leave a Reply.
The Author
Mike Stuart moved to Switzerland in 2013 when his better half Zoë landed a job in Zurich.
January 2017


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dokuwiki 0.0.20091225c-8 source package in Ubuntu
dokuwiki (0.0.20091225c-8) unstable; urgency=low * debian/rules: remove lib/exe/multipleUpload.swf from binary package, as it cannot be built from source, violating the Policy. (Closes: #592593) * debian/NEWS: document that removal and how to get lib/exe/multipleUpload.swf from the upstream distribution. * debian/postinst: correct wrong plugin path + in the dpkg-statoverride. (Closes: #592653) + in the symlink creation. (Closes: #592656) * debian/po/de.po: debconf template translation update + German, thanks to Holger Wansing. (Closes: #592651) * debian/copyright: explicited the license of lib/_fla/* (the Flash-base multiple upload applet). dokuwiki (0.0.20091225c-7) unstable; urgency=low * debian/po/fr.po: debconf template translation update + French, thanks to Steve Petruzzello. (Closes: #591252) * debian/control: bumped Standards-Version to 3.9.1 (no change needed). dokuwiki (0.0.20091225c-6) unstable; urgency=low * debian/postinst: check existence of conffiles before chown/chmoding them: the user may have deleted them. (Closes: #589263) * debian/po/*.po: debconf templates translation update + Czech, thanks to Miroslav Kure. (Closes: #589566) + Danish (new translation), thanks to Joe Hansen. (Closes: #589095) + Spanish, thanks to Francisco Javier Cuadrado. (Closes: #590051) + Portuguese, thanks to Rui Branco. (Closes: #589086) + Russian, thanks to Yuri Kozlov. (Closes: #588950) dokuwiki (0.0.20091225c-5) unstable; urgency=low * debian/preinst: remove useless ucf association with /usr/share/dokuwiki/.htaccess * debian/postinst: + make /etc/dokuwiki/local.php readable by the web server. (Closes: #588699) + transition to plugins and templates under /var/lib/dokuwiki/lib, see below. + remove auto_prepend_file from Apache configuration: it only works with mod_php and is now useless, see below. + generate wiki configuration file /etc/dokuwiki/local.php candidate event if there is already one: ucf is here to allow the user to manage the conflict. * debian/postrm: do not call lighty-disable-mod if lighttpd is not installed. (Closes: #588700) * debian/copyright: integrated the BSD license, as it will be removed from common-licenses. * debian/control: updated Standards-Version to 3.9.0, taking into account the BSD license removal from common-licenses. * debian/patches/fhs.diff: modified lib/plugins/acl/ajax.php to define DOKU_INC to its location under Debian. (Closes: #588405) (LP: #589469) * Added an ucf historical md5sum file for /usr/share/dokuwiki/.htaccess.dist. * conf/license.php: backported an upstream commit to fix the CC-BY-ND license URL (btw, this license is inappropriate for a wiki, and will be removed in the next upstream version). (Closes: #531353) * Added a lintian override for a template detected as unused because lintian does not understand Perl config scripts. * Moved templates and plugins to /var/lib/dokuwiki/lib, to reproduce the original hierarchy of DokuWiki, so that plugins with standalone scripts can find it where they expect it. Cf. <http://bugs.debian.org/cgi-bin/bugreport.cgi?bug=588405#20>. dokuwiki (0.0.20091225c-4) unstable; urgency=low * debian/control: + added Vcs-* fields (correct ones, this time). + removed useless build-dependency on sharutils. + switch from Uploader to Maintainer. * Added debconf and postinst support for special file system rights: optional web-writeable configuration and plugins. (Closes: #572502) (LP: #219414, #205908) * Added debconf and postinst support for wiki configuration. (Closes: #404353) * debian/templates: corrected templates according to advice from <firstname.lastname@example.com>. * debian/config: removed non-translatable titles. * debian/preinst: removed useless exit 0. * debian/postinst: + made the plugins and template transition to /var/lib/ more robust for some specific cases. (Closes: #572377) + corrected web server reload command (file descriptor #3 redirection, see bug #446324). + write configuration for apache2 only if autoconfiguration for apache2 is requested. + apache2 configuration: added preload.php as an auto_prepend_file for the plugins directory, to set the base DokuWiki directory for plugins that need to find it. + use full path for lighttpd-{enable|disable}-mod. * debian/postrm: + updated content purging rules with more precise ones. + moved #DEBHELPER# placeholder to the end. + removed old commented part. + use full path for lighttpd-{enable|disable}-mod. * debian/rules: + updated to debhelper 7 new syntax: implicit catch-all rule and dedicated overrides. + updated special permissions rules with more precise ones: - the web server only needs write permissions to the data and cache directories and files. - root:www-data is more appropriate for web apps configuration files. * Added auto-configuration for the lighttpd server. (LP: #489987) * Disabled the built-in update notifier, not relevant for a distro-managed software. (LP: #325013) * Updated the debian footer button: cleaner Debian spiral, HTML code similar to the other buttons. * Removed the symlink to /etc/dokuwiki not to expose it to the web. * Moved the prepend.php to the new upstream-supported inc/preload.php and removed the now useless PHP preload code from the .htaccess. Cf. <http://www.dokuwiki.org/security#move_directories_out_of_docroot>. * debian/copyright and patches: clarified the licences of files that were taken from other projects. -- Alessio Treglia <email address hidden> Fri, 13 Aug 2010 22:28:17 +0200
Upload details
- Uploaded by:
- Alessio Treglia on 2010-09-04
- Uploaded to:
- Maverick
- Original maintainer:
- Tanguy Ortolo
- Architectures:
- all
- Section:
- web
- Urgency:
- Low Urgency
See full publishing history Publishing
|SHA-256 Checksum
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|1.2 KiB
Available diffs
- diff from 0.0.20091225c-3 to 0.0.20091225c-8 (54.6 KiB)
Binary packages built by this source
- dokuwiki: No summary available for dokuwiki in ubuntu maverick.
No description available for dokuwiki in ubuntu maverick.


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Our Team
Lauren Hancock
Research Assistant Director
Our Services
Get ready for a mindset shift enabling your leaders to jump from using their intelligence to get results to using their smarts to amplify the capability of those they lead. Participants will discover the resoundingly positive and profitable effect that Multipliers have on organizations and what to do about their own accidental diminishing behaviors.
Participants will learn the five disciplines that distinguish Multipliers from other leaders and will receive skill-building opportunities in areas where Multiplier leadership practices can practically and quickly be put to work inside the organization. They will also learn how they may be accidentally diminishing others talents and what to do about it.
Become a certified Multipliers practitioner and deliver our research to your clients or organization. Set yourself apart from your competition and receive the latest tools and resources to help teams and organizations capture all of the
Gain insights into where talent is being fully utilized and where it may be slipping through the cracks in your organization. Assessment options include 360's, self, and UI. When paired with a keynote and workshop, participants will come armed with data to help analyze their leadership behavior and guide their learning to where it's needed most.


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The following list are real, for SURE reasons why women have said they "Had to have a surgical birth"
- My doctor was going to be out of town and the baby would be too big by the time he came back, so he said it would be better to just schedule so I could have him at my birth.
- My mother and my doctor are old friends and they said it was a good idea.
- It was my birthday.
- My baby had it's feet caught on my ribs so she could not get out.
- The nurse went in down there and her hand got caught in my vagina. She could not get it out of there and had to ride down the hall with me and they had to do surgery to get that damn nurse out of me!
- My cervix was too fat.
- The baby was missing for awhile and when they found it, it scared the doctor so, he said I better have surgery before she went missing again!
- My doctor said women who had small feet need surgical births.
- My blood pressure was so high that my doctor nearly had a heart attack!


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We can source and supply "All-Natural" and "Grass-Fed" animals. With our many connections to local farmers, we source directly from local farms!
Below are some of the farmers which process animals through our plant, each with unique qualities, please contact them directly for product pricing and details:
http://www.glcranch.com/ – Gonsoulin Land and Cattle located in New Iberia, LA
https://www.facebook.com/IverstineFamilyFarms – Iverstine Family Farms located in Kentwood, LA
http://thomsongrazers.com/ – Thomson Grazers located in LeCompte, LA
http://gardnerranch.net/index.html – Gardner Ranch located in Sunset, LA
http://www.brookshirefarm.com/ – Brookshire Farm located in Abbeville, LA
http://www.hollywoodlivestock.com/ – Hollywood Livestock in Baton Rouge, LA
http://la.marketmaker.uiuc.edu/business/472438-rolling-r-ranch-freezer-beef – Rolling R Ranch in Opelousas, LA
http://bayoufarm.com/ – Bayou Farm located in Ville Platte, LA


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Publicity Contacts
If you have a publicity enquiry, please contact the appropriate party below according to the imprint of the book you are interested in. To ascertain a book's imprint, enter book title, author's name, or ISBN in the Search box at the top of the main page here. Click on the book title on the resulting page and scroll down. Imprint information appears in italic block containing bibliographic data.
For general publicity enquiries, please contact [email protected].
For corporate press enquiries, please contact [email protected].
For details on review copies, please see this page.
|The Borough Press
|Ann Bissell
|Harper Inspire
|Bengono Bessala
|Harper Audio
|Charlotte Brown
|HarperCollins in Ireland
|Ciara Swift
|HarperCollins Children's Books
|Geraldine Stroud
|Isabel Prodger
|Jessie Meenan
|Lucy Brown
|William Collins
|Nicola Webb
|4th Estate
|Nicola Webb
|HarperFiction, Harper Voyager
|Rebecca Bryant
|Times Books
|Rebecca Jones
|Rebecca Jones
|Rebecca St Pier
|One More Chapter
|Sabah Khan
|Sabah Khan
|HQ Digital, HQ, Mills & Boon
|Sian Baldwin


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As a general rule, pickup trucks are usually the best vehicles when it comes to heavy towing. However, there are many SUVs on the market that are just as capable as a pickup of towing a trailer or other load. And when it comes to towing for a long drive, many drivers might opt to employ an SUV over a traditional pickup simply for the comfort and luxury the former provides. Unfortunately, many newer SUV models are much more similar to cars than trucks, so finding an SUV that's up to the task of heavy towing can be difficult.
Basic Requirements for Heavy Towing
The maximum weight that a vehicle can tow is determined by a number of design factors. Most notably, the amount of power output by its engine and the toughness of its chassis, transmission, suspension and braking system all play a part in how much mass a given vehicle can tow. As a rule, the bigger these parts are, the more weight the vehicle can tow. Additionally, all other things held equal, a heavier vehicle will be able to control a heavier towed weight better than a lighter vehicle. Generally speaking, American-made vehicles are usually more capable of towing heavy loads simply because they're usually bigger than those made in other countries.
Engine Power Consideration
As with body size, a bigger and more powerful engine will generally be better at heavy towing than a less powerful one. This is because a powerful engine won't have to work as hard as a less powerful one to tow the same load. However, a high-power engine will probably be less fuel efficient when it comes to daily commutes. For this reason, engine power should be taken into greater consideration when buying an SUV. The power of your SUV's engine should be matched with how much heavy towing it's going to be doing, as opposed to how much city driving it'll be doing.
The Best SUVs for Heavy Towing
As stated above, many SUVs from American manufacturers are great for heavy towing simply because of their large size and bulk. The Cadillac Escalade, the Chevrolet Tahoe, and the Chevrolet Suburban are three great SUVs from General Motors that are perfectly capable of towing heavy loads. The Ford Expedition and Lincoln Navigator and the Aspen from Chrysler are other similarly capable models.
While many American SUVs are great for heavy towing, several foreign manufacturers have also produced vehicles that are just as capable as their American counterparts. The Land Rover Range Rover from the UK, the Nissan Armada from Japan, and Germany's G-Class and GL-Class from Mercedes Benz and the Touareg from Volkswagen are all SUV models that are great for towing heavy loads.
More and more people are considering purchasing trucks and SUVs simply for their heavy towing capabilities. The installation of trailer hitches has grown from 40 percent of all owned trucks in 1988 to nearly 60 percent in 2006, and it is forecast that this number will continue to grow. The appeal of these vehicles lies in their ease of use and the wide range of applications they allow.


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|Gold Nugget Detecting In Arizona
The desert areas of Arizona are ideally located for nugget hunting. Rich placers have been found in several parts of Arizona, the best known are located at: Lynx Creek, Weaver (Rich Hill), La Paz and Greaterville, but smaller placer gold deposits are found all over the western part of the state. Many Arizona prospectors are interested in nugget shooting for gold with a metal detector. Minelab Pulse Induction (PI) metal detectors are very popular in Arizona as many locations have lots of black sand and other mineralization. While very few prospectors will strike it rich, there is some very nice gold still out there to be found - its a fun and exciting hobby, but patience and skill are required. Gold just does not occur here and there spread over everywhere, so before one can find his own gold, you have to know where to look. While this info may get you started, further details on the claims and land status of the goldfields can be obtained from the regional office of the BLM, located in Phoenix, or through the internet at the BLM's LR2000 website. Click on the highlighted topic links below to access the information I have assembled for you to review. Good luck in your prospecting and may you find that big nugget that's out there waiting for you!
For Information on Placer Gold Districts in Located In Arizona, check out the links below:
Prospecting in the
Bradshaw Mountains
Prospecting at Gold Basin/King Tut
The gold placers here cover a wide area here and good sized gold nuggets are still found with metal detectors. Dry Washing can also be productive at this location. Some very interesting meteorites are also found by prospectors in the Gold Basin mining area. This web page will give you more information.
Historical Research Links about Arizona Placer Gold Mining:
Placer Gold Mining in Early Arizona
The Mining Districts Of Pima County
Mines of Santa Cruz County, Part I
Mines of Santa Cruz County, Part II
Mines of Santa Cruz County, Part III
Mines of Santa Cruz County, Part IV
Mines of Santa Cruz County, Part V
Mines of Santa Cruz County, Part VI
Mining History of Yavapai County, Part I
Mining History of Yavapai County, Part II
Mining History of Yavapai County, Part III
Yavapai County, Land of Gold and Mines
History and Description of Yavapai County
Pinal County Mining Districts
Mineral Resources Of Gila County
Mines Of Mohave County, Arizona Part I
Mines Of Mohave County, Arizona Part II
Gold And Silver Mines of Yuma County
Mines and Minerals of Maricopa County
Mines and Minerals of Graham And Apache Counties
Arizona Mining Districts, Part 1
Arizona Mining Districts, Part 2
Arizona Mining Districts, Part 3
Arizona Mining Districts, Part 4
Arizona Mining Districts, Part 5
Arizona Mining Districts, Part 6
Arizona Mining Districts, Part 7
Arizona Mining Districts, Part 8
Arizona Mining Districts, Part 9
Arizona Mining Districts, Part 10
|Return To The Prospecting Encyclopedia Page
|Return To The Basic Placer Mining Page
|Return To The Miner's Reference Page
|Return To The Nevada Outback Home Page
Nevada Outback Gems
|Find out more by checking out all of our links below:
|Learn The Basics of Placer Mining for Gold
|Locations to Prospect for Gold for Free
|Build Your Own Gold Mining Equipment
|Miner's Reference Guide: How its Done
|Chris' Adventures Prospecting for Gold, Silver, and more
|Investing In Gold and Precious Metals
|Metal Detecting with the MXT Metal Detector
|Prospecting In Nevada
|Prospecting In California
|Nevada Outback Library and Bookstore - Learn more!
|Prospecting In Arizona
|Prospecting In Alaska
|Natural Gold Nugget Photos: Big Nuggets, Crystal Gold
|Recovering Gold From Black Sand
|Metal Detecting For Gold Nuggets
|The Rockhound's Corner for Gem Hunting
|Panning for Gold Nuggets
|Advice on Selling Your Gold
|Take a virtual tour of our Nevada Turquoise mines
|Build Your Own Gold Dredge
|Dredging for Gold Nuggets
|Our Free Colored Gemstone Information Encyclopedia
|Gold Sluice Box Plans
|Gold Investment Vehicles
|Rare Crystals and Gemstone Rough, including Turquoise
|Processing Rich Gold Ores
|Affordable Home Welding
|More Info about Turquoise, the Beautiful Gem
|Nevada Outback Gems Homepage
|Nevada Outback Gems Site Map


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Get a personal account for free and without commitment.
The Gnosjö Konstsmide GmbH was founded in 1942 by former bus driver Gunnar Johansson in the southern Swedish town of Gnosjö. The focus of the world-famous company is on outdoor lights and Christmas lighting. Konstsmide lights will win you over with their great Scandinavian design, although international influences are not excluded as long as they fit into the traditional brand. From the elegant classics up to practical outdoor lights with modern LED technology, Konstsmide is there for stylish home, garden, and Christmas lighting.
Enjoying comfortable living in extremely cosy atmosphere has a very high priority in Sweden because the winters in the far North are long and cold. Konstsmide lights make a significant contribution in that you feel completely comfortable in your home. Decorative garden lights from Konstsmide make the land even more beautiful and safe. Your wallet also benefits because as a future-oriented manufacturer, they have been consistently focused on energy-saving LED bulbs for the past 15 years, as well as in making high quality products at affordable prices.
The comprehensive selection of Konstsmide outdoor lighting covers all areas of stylish lighting for exterior walls, terraces and gardens - whether it is an elegant wall light, practical path light, shapely lamp post, or a different kind of light. Special attention should also be given to the numerous Konstsmide outdoor spotlights for the targeted illumination of individual areas, such as with solar energy-powered LED ground spotlights.
Many of the Konstsmide lights are among the most popular items in our huge assortment of our fairly priced, and high quality outdoor wall lights. To create a comfortable and attractive atmosphere in the living spaces as well, you can also learn more about Peill Putzler lights. Honsel lights will also make an excellent addition to the Konstsmide fixtures. At Illumination.co.uk, we offer great indoor and outdoor lights of many other brands that really delight customers throughout Europe and the world.


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Miga Solutions Foundation is a 501(c)(3) non-profit corporation that engages in the acquisition and donation of surplus medical equipment, and related activities and services for the benefit of charitable organization, hospitals and healthcare providers, agencies other groups committed to helping advance global healthcare. The Foundation is based in Plymouth, Minnesota.
The Miga Solutions Foundation works closely with Miga Solutions (Miga), a for-profit healthcare information and services company (www.migasolutions.com) that enables hospitals to drive savings from their annual medical equipment lifecycle costs. Miga Solutions and its Clients support the efforts of the Foundation through the donation of used medical equipment that is provided to charitable healthcare organizations around the globe.
Foundation Board
- Peter A. Robson – Board Chairman, CEO of Miga Solutions, Inc.
- Jarrett Collins – Board member. Director of Operations, University of Global Health Equity.
- Chip Truwit, MD – Board member. Chief of Radiology and Chief Innovation Officer, Hennepin County Medical Center.


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Novel Approaches to Characterize Depressive Symptoms and Cognitive Outcomes
Associate Name: Pamela Surkan
Funding Source/Period of the Grant: NIMH R03 - 05/15/14 - 10/31/17
As we shift HIV-research focus towards secondary complications and aging in the modern therapy era, mental, behavior and cognitive health are critical domains for study. HIV-infected individuals are at high risk for depression, substance abuse and cognitive impairments, all of which can be exacerbated by the social stresses that gay and HIV-infected populations often endure. Many of these problems are also problems of aging and the U.S. HIV-infected population is rapidly approaching a median age of 50 years. These issues can only rise in importance as age and HIV-related factors drive up the prevalence of depression and cognitive impairment. We propose to use a comprehensive approach to understand the complex relationships between psychosocial factors and long term trends in depression and cognitive function. Using novel statistical approaches and data from the Multicenter AIDS Cohort Study, a well-described data source with many under- utilized psychosocial variables and over 25 years of under-explored depressive symptom and neuropsychological (NP) function history, we will elucidate the pathways leading from life-course social stressors through depression to NP decline by: 1. Elucidating the longitudinal relationship between depressive symptoms and NP function tests/self- perceived memory among HIV-infected men. 2. Examining complex interrelations between NP function tests/self-perceived memory, depressive symptoms, substance abuse, social stressors (internalized homophobia, gay victimization), social support and connectedness, HIV disease indicators (viral load, CD4 cell count) and race. 3. Developing methods for identifying and characterizing distinctive patterns of longitudinal depressive symptom and NP outcome data in HIV-infected and -uninfected men who have sex with men (MSM) and describe how treated HIV infection influences these trajectories. Depression is a treatable condition. Disrupting a long-term pattern of chronic or cyclic depression may provide more than just improved quality of life; such an intervention may also prevent, halt or even reverse cognitive function decline. Understanding the nature of the relationship and the myriad pathways between an HIV-infected person's history of depression and their NP functional trajectory is an important first step towards devising an effective screening and intervention program.
(from NIH RePORT)
Photo: "Overcome depression naturally" by Petiri Eisikovitsh licensed under CC BY 2.0


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Through our contacts in Hawkes Bay we work at some fabulous venues and private properties.
Hawkes Bay
River House, Havelock North
The River House, Tuki Tuki Road, Havelock North is set in a stunning location just seven minutes from Havelock North and eleven minutes from Ocean Beach. Overlooked by the majestic Te Mata Peak with sensational views down the Tuki Tuki Valley, The River House can offer various options for weddings and private/corporate functions. The marquee site overlooks the vines with views down to the river and up to the peak. Marquee packages available. Venue only hire but some accommodation can be made available on occasions. www.theriverhouse.co.nz Wedding of the week
Millar Road, Haumoana
Millar Road is a slice of heaven. Set on a stunning vineyard nestled in the northern end of the Tuki Tuki Hills with panoramic views over vineyards, orchards and farmland out to sea, Millar Road is the ultimate place to unwind. A split level lawn provides great areas for wedding ceremonies and marquees.
Cape Estate, Te Awanga
A homely rural residence standing on an elevated terrace overlooking sweeping vineyards, glistening sea and the spectacular Hawkes Bay coastline. Ideal for corporate retreats, weddings and family occasions. The spacious homestead sits on a 1,000 acre farm with lovely pool, two grass tennis courts, expansive gardens and stunning views.
Belmount Homestead, Tuki Tuki Road
The original "Craggy Range" Belmount is an historic homestead and garden on the east side of the Tuki Tuki River. The sensational park like landscape and grand homestead have been a feature of the Tuki Tuki Valley for close to a century. For your next special event, come and relax with your friends and family in this beautiful unique venue which is suitable for any number of special occasions.
Gwavas Gardens, Central Hawkes Bay
Gwavas Garden Homestead allows you a unique opportunity to live in history, as you are transported back 120 years, to the world of early pioneering settlers. With the some of the most sensational gardens in Hawkes Bay, the extensive outdoor areas offer plenty of options for open air events, weddings, family celebrations and corporate events can all be accommodated.


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Slight Tangent
Posted by ESC on January 16, 2000
In Reply to: Slight Tangent posted by Darren Williams on January 15, 2000
: : : : I'm hoping not to curve this educational and fun forum
but I have an arguement to solve with friends.
: : : : Call it a phrase or a technicality but does anyone really know the truth about what constitutes someones name (phrase)to being a "junior" vs. 11 (the second).
: : : : I was told that the American rules are not the same as the England rules. If your first name only is the same as your parent but your middle name is different then your are a "junior".
: : : : But, if your first and middle names are the same as your parent then you're considered 11 (the second).
: : : : Please help. And forgive me if I pivoted too far.
: : : Neither the term 'junior' or 'II' are used in the UK and if there is a rule it is 'don't use that silly American expression'. I sould say that if you refered to a yound person as '******** junior' they would construe it as a term of abuse and punch you on the nose - in impolite society such as down in the public bar at the 'Dog and Duck' pub.
: : : Hope this helps.
: : You all over there in England have bars with names like "Dog and Duck" and think we Americans have silly expressions?? Our bars have nice sensible names like "Mom's" or the "Dew Drop Inn."
: Now real English Pub names are interesting in that they originally all had painted signs which depicted some simple scenes, e.g., Plough and Horses, Eight Bells, The Kings Arms, etc. The population in those early days of the 14th and 15th centuries were, in the main, illiterate and travellers who couldn't read the words under the sign used the scene on the sign to identify the Pub - which was usually an hotel of sorts.
Oh. So that explains it. We just waited until neon lights were invented. The illiterate and travellers could find their way by looking for the giant martini glass.
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Crumb's sound world is so eerily beautiful one is quickly seduced before realizing how well organized the seemingly endless array of dramatic states are arranged. No one writes for percussion like Crumb, who uses a host of items such as Mexican rain sticks and African takling drums to far greater narrative effect than mere novelty.
The title work dates from 1968 and is a 29-minute exploration for baritone, electric instruments and percussion of death-poems by Federico García Lorca.
It's brilliantly sung and chanted in sprechstimme fashion by Nicholas Isherwood and its evocative instrumental substrate gets the same care.
Quest (1994) is performed as a sextet led by acoustic guitar, with recollections of Amzing Grace in a telling setting that diverts at every turn.
If you're new to Crumb, look no further.
George Crumb is not for everybody. He has been criticized for being overly theatrical, even histrionic, and reliant on nonmusical effects, such as asking his instrumentalists to chant or wear masks. For his admirers, including this writer, his music represents some of the most original and powerful of our time. Crumb has developed an inimitable language, and he is unafraid to speak with oversized emotion. The same might be said of the Spanish poet Federico Garcia Lorca, whose dark and image-laden work has long fascinated the composer, who has made several settings between the years 1962 and 1970. The music at hand, Songs, Drones, and Refrains of Death, his largest setting of Lorca, is from 1968. The match of artistic sensibilities here is uncanny, as Crumb explores the shadows and ironic comers of this music with remarkable insight, evoking a sort of primal energy. When I heard this cycle live in Philadelphia a few years ago (as sung by Sanford Sylvan, with the composer present), a woman shrieked in horror at one point, a testament to the power of this marriage of words and music.
This performance is as compelling as the one I recall hearing in Philadelphia. The acclaimed new-music champion Nicholas Isherwood delivers a nuanced and boldly projected version of these songs, which grow in their effect from repeated hearings. Crumb's inspired use of falsetto is especially eerie in this rendition. Turkish-born pianist and conductor Fuat Kent leads the ensemble he founded in 1991 in Austria with the combination of delicacy and howling vigor that is required. Naxos has another strong entry in the "American Classics" series, in short, but there is one important caveat. The release does not include the song texts, which are a must for a full appreciation of this work.
The CD also includes a beautifully wrought recent work by Crumb, Quest, for solo acoustic guitar and six instruments. Again, Ensemble New Art delivers a strong, completely sympathetic, even loving performance. Quest was written in 1994 for the composer's friend and frequent musical collaborator, David Starobin. The almost impressionistic flavor of the music is produced with a Crumb trademark, complex textures rendered by exotic percussion instruments, in this case including hammer dulcimer (a favorite of the West Virginia native), African talking drum, and Mexican rain stick. This allusion to folkloric elements, as well as the inclusion of the melody from Amazing Grace seems to presage the composer's latest work, the four-part American Songbook. It is encouraging to observe that Crumb, now in the second half of his seventh decade, seems not to have lost any of his prodigious imagination.
Songs, Drones, and Refrains of Death (1968), for baritone, electric instruments, and percussion, is another set of Lorca poems produced by Crumb in the 60s, this time for male voice, along with an amplified quintet of guitar (it's Lorca, after all), contrabass, two percussionists, and piano (doubling on harpsichord). The atmosphere is, as usual, dark, nightmarish, and more than a little deranged. Baritone Isherwood performs with great effectiveness and virtuosity. The competition is Sanford Sylvan with Speculum Musicae in Bridge's Complete Crumb series. Check for couplings, but this is, of course, less expensive. It's also extremely well recorded and performed.
The coupling is Quest (1994), an extended nocturne for guitar, soprano sax, harp, and percussion (also available on Bridge, with its dedicatee, David Starobin, as guitar soloist). For me, this is one of the composer's most touching efforts, with its endlessly circling fifths and touches of 'Amazing Grace' creating a moving, valedictory atmosphere. Crumb is at his best, or maybe most accessible, when dealing with American folk music- his Unto the Hills is another beautiful example. If you have doubts about this composer's work, you might try these pieces. This program includes both of Crumb's expressive extremes, so it might serve as a good introduction to his music. Notes by the composer.
George Crumb writes almost as much as you need to know in his own booklet notes for these pieces: "From 1962 until 1970 much of my creative activity was focused on the composition of an extended cycle of vocal works based on the poetry of Federico García Lorca. Of the eight works constituting the cycle, Songs, Drones, and Refrains of Death is the largest in conception and the most intensely dramatic in its projection of Lorca's dark imagery. The important formal elements of the work are identified in the title. These are, first, the settings of four of Lorca's most beautiful death-poems: The Guitar, Casida of the Dark Doves, Song of the Rider, 1860, and Casida of the Boy Wounded by the Water. Each of these settings is preceded by an instrumental "refrain" (also containing vocal elements projected by the instrumentalists, in most cases purely phonetic sounds) which presents, in various guises, the rhythmic, fateful motif heard at the beginning of the work. And finally, three long "Death-Drones" based on the interval of the fourth."
Crumb goes on to describe each piece in detail, but for our purposes it is the general impression which is perhaps most important. For many, this music will represent a fairly archetypical example of avant-garde music of the sixties. Extremes of contrast, seemingly directionless, angular, fragmentary passages, shouting and words declaimed in 'sprechstimme' – all elements which can have an aversive effect on the uninitiated. Each piece runs on into the next, so that continuity and intensity is preserved. The poems are not reprinted in the booklet, but I would suggest becoming acquainted with them would help a great deal in accessing Crumb's intentions. Through all of the echoes and musical commentary from instruments already laden with symbolism (the guitar, for instance, "the primitive voice of the world's darkness and evil"), the texts are clear, and superbly delivered by Nicholas Isherwood. The prevailing mood is darkly sinister, at times surrealist, sometimes ironic, but Crumb is quick to acknowledge the paths which led to his own solutions – Schubert's Erlkönig for the Song of the rider for instance, and Mahlerian influences in the final Casida of the Boy Wounded by the Water. This last poem is set to chilling piano harmonics and movingly simple, rocking motifs. With some fascinating sound colorations – twanging jew's harps, water-tuned crystal glasses, a whole raft of percussion and an electric harpsichord there is enough here to make you think, 'hey, play that again…' You certainly won't feel you've 'got it' on a single hearing, and repeated visits will reward the listener with a huge spectrum of subtlety.
Crumb writes, "Quest was composed at the request of the guitarist David Starobin and was commissioned by Albert Augustine, Ltd. The final revised version of the work was completed in February, 1994, and is dedicated to David Starobin and Speculum Musicae. In requesting this new piece he specified only that I write for acoustic guitar and that the guitar part be treated soloistically. Within the chosen sextet of players the guitar remains the principal protagonist, but other instruments, especially the soprano saxophone, can also take over the principal "voice". The inclusion of a wide variety of percussion instruments gave me an exceptionally colourful palette of timbral and sonoric possibilities. I would specifically cite rather unusual instruments such as the Appalachian hammered dulcimer, the African talking drum, and the Mexican rain stick. …although the movement titles are poetic and symbolic, there is no precise programmatic meaning implied. There is one use of musical quotation in the work: phrases from the famous hymn tune Amazing Grace are played by the soprano saxophone - initially, at the conclusion of Dark Paths, over a delicate web of percussion sonority, and finally, in Nocturnal, over a sequentially slowing ostinato of bare fifths in the harp and contrabass. On the very last page of the score a distant echo of the tune is intoned by a harmonica, or, as in this recording, a concertina."
Quest immediately shows how Crumb has developed over the 30 years since Songs…The music has is in many ways 'stabilised', with more immediately accessible (if still greatly attenuated) tonal relationships and resonances. The various 'fields' of sound are sharply delineated, and textures effectively corralled so that the guitar sounds clearly through softly played and transparent instrumentation. The relationships with guitar and tuned percussion, dulcimer and double bass are remarkable (III Forgotten Sounds), and the general effect is one of loneliness, distance and timelessness. The last movement, Nocturnal, is sublime.
If, like me, you consider your life with music to be (among other things) a constant exploration of new experiences, then I can think of few better places for widening your horizons. I already knew Crumb's Makrosmos for piano and knew I liked his approach to extending sound worlds beyond the conventional, but there are some moments in both of these pieces which had my ears in a spin. Superbly played and recorded as usual, you can give these unique works a try for the price of a couple of drinks in a bar so, while such music can never be all things to all people, I'm once again grateful to Naxos for a such a stimulating and intriguing release.
George Crumb's Songs, Drones and Refrains of Death is part of a larger cycle of vocal works from the 1960's on texts by Federico Garcia Lorca, Spain's master of macabre imagery. Songs (for electric instruments, percussion and baritone) are sung here by Nicholas Isherwood, whose sepulchral bass (it sounds as if he is singing into a cistern) lends an extra element of horror to Lorca's already dark and mocking poetry, and the precious quality of Crumb's meticulous sound world is mediated by the performance's theatrical momentum.
This disc has been a sheer pleasure to review. Naxos are to be commended on their rapidly broadening repertoire and its extent. This disc also has playing and recording of excellent quality.
The first of the two works is based on and inspired by poems of Lorca. The singing and recitative is for bass voice with electric guitar, amplified double bass, piano, harpsichord and percussion. The image from Lorca's works of the guitar as the primitive voice of the world's darkness and evil underpins the work, which sets four poems (the named movements) on the theme of death, embodying ancient Spanish tradition. Despite the darkness of the material, there is a haunting mystical beauty in the resulting music which makes it complex and thought-provoking rather than unremittingly gloomy.
Its structure and sound-world are immediately recognisable to anyone familiar with the composer's better known piece, 'Black Angels' recorded by the Kronos Quartet, although also by the Tale Quartet from Denmark. Despite the similarities, this work has greater subtlety and nuance; it come out of a lengthy project in which Crumb set Lorca's poetry in four different works, of which this is one.
The second piece was written for the guitarist David Starobin, who has played on all Crumb's recorded works for plucked instruments - mandolin in The Ancient Voices of Children, electric guitar in Songs, Drones and Refrains of Death, sitar in Lux Aeterna and banjo in The Four Moons. He asked that this work be for acoustic guitar. The resulting piece is a mini-concerto with the guitar taking a 'solo' role against a small ensemble. The soprano saxophone has quite a prominent role - for example in the opening of the second movement, where it introduces a quotation from the Scottish hymn 'Amazing Grace' - making this almost a 'double concerto' for small ensemble. Accompanying this are double bass, harp and percussion. The combination of the guitar with this group creates a mesmerising and beautiful effect, with a glistening resonance of sound.
The work repays listening a number of times; it is not entirely straightforward to grasp but grows on the listener with repetition. Although the first, and slightly longer, work is the title track, I like this second work very much and have found it quite fascinating. I have replayed it several times and enjoyed it more each time than the last.
If you like 'Black Angels' you will find this a recognisable approach. If you find 'Black Angels' rather intense, dissonant and hard hitting, this disc may help you to reconsider Crumb's work in a more positive light. If you are interested in modern writing for the guitar, the second work is a gem. If you have any interest in contemporary music, this is interesting music performed and recorded very well for a bargain price.


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The Bayer Bee Care Center provides facilities for open discussion on bee health topics.
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Blooming strips in front of the Bayer Bee Care Center Monheim.
A honey bee collecting nectar and pollen from canola flowers.
A queen bee surrounded by worker bees.
Varroa mites on a bee larva transmit diseases and viruses.


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The Texas Medical Center boasts some of the nation's great specialty hospitals — the University of Texas M.D. Anderson Cancer Center, Texas Children's Hospital, the Texas Heart Institute, Menninger (Psychiatric Clinic) and The Institute for Rehabilitation and Research.
But for the previous 19 years U.S. News & World Report put out its oft-criticized but highly influential rankings of the nation's best hospitals, no general-care adult hospital at the medical center ever made it into the magazine's "honor roll" of the nation's most elite, hospitals such as the Mayo Clinic and Johns Hopkins and Massachusetts General. It was a blight on the largest medical complex in the world's bid to also be the best.
Texas Medical Center, where rankings are king
Methodist Hospital still isn't breathing the exact same rarefied air as those institutions, but it finally broke through in the magazine's 2009 rankings out today, placing 20th in the magazine's honor roll and ranking in 15 of 16 specialty categories. It is the honor roll's only hospital without a nearby affiliated medical school, a distinction many thought would doom such ambitions. One expert said last year that in trying to become an academic hospital unto itself, Methodist was attempting what no hospital has ever achieved.
The ranking demonstrates how Methodist has thrived since its 2004 split from Baylor College of Medicine, whose subsequent financial struggles have led to merger negotiations with Rice University — negotiations complicated by Baylor's lack of an affiliated adult private hospital to generate revenue. Methodist, meanwhile, becomes the U.S. News & World Report honor roll's only hospital in the southernmost third of the country from Arizona to Florida.
There was no let-up for the medical center's renowned specialty hospitals, all of which retained their high status in the rankings — M.D. Anderson was No. 1 for cancer, Texas Heart Institute No. 5 for heart and heart surgery, Menninger No. 9 for psychiatry and TIRR No. 4 for rehabilitation. Texas Children's made the the magazine's alphabetically listed honor roll of 10 best children's hospitals.
Methodist's ascension provides a possible coda to one telling chapter in the Baylor-Methodist saga. Just before the divorce, aware its increasingly unhappy partner was being wooed by St. Luke's Episcopal Hospital, Methodist offered the highly ranked medical school a bonus of $7 million to stay if it could improve the hospital's U.S News & World Report ranking. Baylor rejected the offer, but five years later Methodist could brag it managed the feat without the school made famous by pioneering heart surgeon Michael DeBakey.
Still, Methodist's victory isn't likely to settle the matter in some minds. People still hoping for the divorcees to get back together are sure to ask, wouldn't a Rice-Baylor-Methodist partnership catapult all three institutions to an even higher stratosphere in the rankings?


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When setting up a new system, people tend to spend lots of time setting up the various modules and creating user account. But what is often forgotten is to create employee records and link them to the users.
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Category Archives: Wii
Xenoblade Chronicles
It is unexpected for any Wii game to take nearly 100 hours to complete. After all, Nintendo is supposed to be the well-marketed system for the casual crowd. The focus should be on the Just Dance and Mario Party games, not an intense and sprawling action RPG that has taken some obvious cues from MMORPGs. But earlier this year, thanks in part to Operation Rainfall, Nintendo released Xenoblade Chronicles in America. I have been playing the game on and off since its release in April, and I am happy to report that I finally finished it. Read the rest of this entry
Muramasa: The Demon Blade
The push for photo realism in games has really drawn attention away from games with great sprite art. Muramasa: The Demon Blade is a title that got completely lost in the American market, in part because of it's being a sprite-based side-scrolling action game and in part due to its being released on the Wii. In fact, I remember being interested in the title before it was released here and then totally forgot about it until a friend brought it to my attention again. I'm glad he did because the game really hit me on an aesthetic level and brought me into the world of magical ancient Japan. Read the rest of this entry
Silent Hill: Shattered Memories
It seems to me that people in person as well as those reading this blog are generally dismissive of discussion of video games. No matter what strides the medium makes, people cannot help but to connect it to adolescent power fantasies – an immature notion of control in an otherwise uncontrollable world. By and large, it is true. Walk by any Game$top and find images of larger than life men holding larger than possible weapons, not to mention promises of quests that can only be completed by saviors. Despite these things, I urge people to give the medium another chance. Only with additional consumer input can it reach its potential.
I know that I am not the only one that sees what the potential of the medium is, but it feels like even those involved in the industry are still trying to figure out what toys they are playing with – along with being unnecessarily focused on a narrow audience. Games can be more than fantasies for asocial, weak-willed males. Games at their best are simulators conducive for problem-solving, not to mention an untapped source for interactive fiction. I long for the day when video games are integrated into classrooms for more than just game studies. I long for the day when the latest story craze is found on a console or computer first.
Silent Hill: Shattered Memories is an example of the latter. The problem-solving is a moot matter. The game merely expects the player to think intuitively about interacting with common objects to find keys or open doors. (One of the last keys in the game is found by unvelcroing (not a word) the neck flap on a jacket, pulling a chain out of a shirt pocket, and then grabbing the dangling key.) The storytelling in the game, however, is above and beyond most other games. It does not take much, but I put this up there with Eternal Darkness and Metal Gear Solid 3.
The game begins with a psychological advisory explaining that the game will be mining the player for data which then gets integrated into game play. After a short video, the game begins with a psychiatry session, the framing device of the story, and the player has to fill out a true-false questionnaire. Then traditional game play occurs after the psychiatrist asks you to start from the beginning. Your player avatar, Harry Mason, loses control of his car on an extraordinarily snowy day, crashes, and then starts searching for his missing daughter who was sleeping in the backseat. The adventure begins, and the only actions you have are shining your flashlight on objects and calling your daughter's name.
To be honest, I was not a fan of the objective and projective tests employed by the psychiatrist, nor was I a fan of the choice of a psychiatrist over a more traditional therapist. After completing the game, having a psychiatrist makes sense. As for the tests, they could have been made to better resemble actual tests rather than exist to communicate bland binary data that can be deciphered pretty easily once the player knows what it affects.
But the effects of the data is pretty amazing overall. Decisions made at the very beginning of the game affect the atmosphere as well as Harry's personality. The answer to "Does alcohol make you feel more relaxed?" will litter the world with soft drink or beer cans. Providing different opinions on sex will make Harry either an extremely nice guy or a pervert who comments on every picture (or mannequin) he stumbles across. That's just the tip of the iceberg, as even thematic elements of the story change, resulting in completely different endings.
Maybe I my background is too heavily littered with Choose Your Own Adventure books, but I have been waiting for a game that changes based on user actions. Sure, many games have multiple endings. Sure, many games have branching dialogue trees. Few games, however, broaden both elements out and then make the multiplicity make some sort of sense in the end. (Eternal Darkness, I must say, brilliantly interwove its three endings together. That game still needs a sequel…) I just cannot get enough of Shattered Memories.
I hate to put up a subtle spoiler warning, since people might complain otherwise, but the greatest strength the game has is how the ending weaves the framing device and traditional game play together. Harry Mason makes his way to the lighthouse clinic where he finds his daughter in session – except Harry is not there. He died 18 years ago, but his daughter has not been able to let him go. Harry and the world are a reflection of how she wants to see and remember things. When she sees him, he tells her to let go. She is not cured, though, as the psychiatrist notes that further sessions will be necessary. As will starting back at the beginning.
Proudly, this is one of the few games out there that actually deserves a mature rating from the ESRB. Unlike most games that wear the M proudly as a badge for its juvenile approach to violence and sexuality, this game gets there by actually being mature. Well, that and some of the darker subject matter that gets explored, but what else do you expect to find in the psyche of a girl who is discussing the loss of her father figure?
Why I hate online gaming…
This is the ranking screen from Mega Man 10. My score does not read 5 days, 2 hours, and 3 minutes. No, that is 5 hours, 2 minutes, and 3 seconds. That means that the top scorer completed the game in 52 seconds – an impossible feat. I wonder what people get out of cheating at games like this. Is there a sense of accomplishment I am not understanding?
For the record, I am not crying foul due to my game time. Mine is not suitable for submission. If I were to play again with the goal being reduction of overall time (and, of course, bragging rights), I would definitely stop myself and ask why I should bother. The number 7 score, by Purrfect:3, is the only one that looks realistic – and that barely broke top 10!
"Jack is on fire!"
"Probably from all the laser beams."
"It's a figure of speech."
"Well you're a figure of shit!"
"Great… I'm a figure of shit… Can we move on?!"
Sega's MadWorld was a game I had questioned purchasing long before it had been released because I wasn't sure if it would hold up. The only information released on the game was the level of violence it contained. It's assuring to know that the violence level might be enough to induce catatonia in the conservative elderly population. The game is just obscene, but the obscenity is reduced when you realize how over-the-top it is. I mean, you can trap someone in a tire, then shove up to five street signs in his skull before throwing him into a dumpster – whose lid then snaps the guy in half. Brutal but acceptable when one notes the level of absurdity.
The game does actually have some substance, though. First and foremost is the artistic style of the whole game. It's black and white – and red all over, if you play it right. It looks like the comic of Sin City come to life, although the lead character resembles Hellboy more than he does anyone from Frank Miller's comic. It looks great in its simplicity. There's even a smattering of florescent blue when you fight space aliens!
The plot isn't anything to write home about, but it's there. You play a participant in the Death Watch competition, fighting your way to the number one position. The competition takes place on an island whose previous inhabitants were slaughtered by some unknown virus. Early in the game, you save a doctor who somehow never escaped but also did not die after exposure. It's around this time that you find out that your character, Jack, is not just there to participate but to investigate the incident. While the plot gives the illusion of depth, by the end it's all revealed to be a plot by the rich simply for the purpose of entertainment. (Oh, and to threaten other countries with a virus and whole the vaccine for ransom.)
The story isn't the point of the game. The gameplay is all that matters, and this game delivers. It's not just about killing people – it's about finding creative ways to maim them before you end them. The game's world is in a sandbox style, meaning it's an open playground for you with tons of creative death traps. Tires, giant coins, and steel drums can be used to keep an enemy in place; signposts and candelabras can be used to (repeatedly) impale your oponnent; and giant hazards like spinning blades, iron belts of thorns, giant grinders, giant fans, the aforementioned dumpsters, and even the afterburners of a jet can be used to finally remove baddies from the playing field.
The absurdity of the action is aided by the commentary provided Greg Proops (of Whose Line is it Anyway? fame) and John DiMaggio (Bender on Futurama). They spend the entire game discussing how disgusting your actions are as well as ripping on each other without bounds. The only problem is that some jokes are repeated due to being connected to specific items (how many times have I heard the cockroach head joke after picking up a one-up?) and how long you spend running around a stage. However, they're creative and vulgar, and that's what makes it so damn pleasant in the end. You can just tell that the guys had fun in the recording booth the entire time.
As can be expected, the game is surrounded by a bit of controversy. The game will not be released in Germany due to violence, and I'm not sure if the rest of Europe will be receiving the game. Additionally, The National Institute on Media and the Family released a statement saying that they were disappointed in Nintendo's allowing this game to be published on the Wii, since the family-friendly nature of the system was so lauded by them. Of course, my response is that it's a video game system. That's like blaming VCR manufacturers for the existence of porno vids. One final controversy about the film is that it sold only 66,000 copies in the first month, which is suggestive to onlookers that M-rated games are difficult to sell on the Wii (see previous statements about its family-friendly nature). There's a lot that I have to say about the ability to sell so-called mature content on the Wii, but that has no place here. I have to say, though, that I don't recall the game's having any advertising outside of the video game journals/blogs world.
The important thing to note is that Sega is pleased with the sales of the game, and I am pleased with having purchased the game. It's really short, but it's insanely fun nonetheless. I wouldn't mind a sequel with more creative tools and a less repetitive music soundtrack. And more commentary. Definitely need more dick, poop, and blood jokes.
Out of Touch – The Nintendo Wii Experience
I don't really get why I started reading the Gamasutra blog, seeing as I am not in the video game industry myself. It is very much an insider's blog, but they try to make sure it is accessible to simply game fans. Truth be told, who is most likely their bread and butter? Yeah, game fans who want to make games.
An interesting article on creating must-have Wii games came my way, actually indirectly through another blog. I forget the blog's name, but I'm probably going to give them a shout-out sooner or later. Gamasutra is interesting, but it's just not something that calls my attention by itself.
The article sums up what it is you find on Wii and why. There are a lot of bargain-priced titles that people in the gaming communities call "shovelware" that sell really well. They have accessible box art, promise short play experiences, and most important cost less than the A-class titles on the system. The big thing that jumps out at me is the lower price, especially after Valve publicly stated a month or so ago that more units of a game sell when the price is lower.
Shock and awe.
Along with value, games that sell well on the Wii are accessible and have a certain level of recognition factor involved. This is pretty common in mainstream marketing, which is what the Wii has definitely reached. Movies that sell exceptionally well tend to have brands or actors that people recognize and deliver fairly simple narratives (along with trailers that pretty much tell people what they're getting). It is what appeals to the base level of person.
I resent what Pachter says in the article about the Wii audience's not being as sophisticated as the audience for the other two consoles. There's something about the word that bothers me in this context. We're talking about video games, and these people who play on the Wii are playing games that they want to play. Whether or not the games receive critical acclaim is not important when the discussion should be about the amount of fun the individual user is experiencing. I would say that these individuals are making incredibly wise choices, especially since they may not have as much invested in video games as others might. A bargain title to a new gamer is a huge investment. People who are used to paying upwards of $30 for games see the cost as lesser than people who are just now finding out how much everything costs. While I would not buy these games myself, these are fairly wise investments for people who are essentially experimenting with gaming.
It starts making more and more sense to me why game developers and the long time enthusiasts do not understand this. The only time they experienced this newness to video games was long ago, and they forgot all about the experimental wonder that it was. Hell, this may even explain why their idea of a social gaming experience, for the most part, is cold, competitive, and usually at a long physical distance from everyone else. Gaming for them is personal, and they can't understand the mindset of people who are not at their level of intensity about it.
The developers are also the reason why the new consumers found on the Wii are not accustomed to the more intense, serious-minded games that are found on other systems. Where were these developers at the Wii's launch? Their negligence cultured the crowd they are currently unable to sell their games to because they were were busy being nay-sayers about Nintendo's less powerful system. Now if they want to profit off of the machine, they have to build their brands from the bottom up. They can also continue ignoring the Wii and making their profits from the other two, but it would be naive not to tap into a larger market.
And what we come away with is that people want to buy games they recognize, that are cheap, and that are easy to pick up and play. MAKE your games recognizable. If not based on a previous property, put it out in the public consciousness. Advertising, believe it or not, can sell games. SELL games for less than standard price. What you fail to accrue per unit may be made up by total units sold. MAKE GAMES FUN AND EASY TO PLAY. Don't make games easy, but don't overcomplicate them. That should be a no-brainer.
This is not coming from a Nintendo apologist. I support the Wii because I find it to be a really fun system, and the price point matched where I needed it to be. I have gotten a lot out of it already, but I would like to see more come its way. I'm by no means the average Wii owner, but I know people who are. These people want to play games, but they're not the elitists who pour through all information available on the entirety of the internet before they play games. They pick what is fun to them, not what they're told is fun. They want to share games with their friends. They want to have fun with their consoles. I'm not going to lie. I want to have fun with my console as well. Developers just need to realize that the only crowd out there isn't the niche audience that was initially cultured in the 80's. It's time to start thinking that really anyone could be a gamer if given the chance.


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More work for Mr. President
Grammys show proud moments, big and subtle
Posted by Mark Bialczak February 09, 2009 12:23AM
At 51 years old, the Grammy Awards show still has the moxie to surprise and delight us.
There were moments of power, passion and grace as the music world gathered in Los Angeles tonight for the big show broadcast on CBS.
Some of the best moments were colored in gigantic, brash strokes.
When Sir Paul McCartney brought out his voice, bass and pop star appeal to share "I Saw Her Standing There" with the guitar and rock fury of Foo Fighter Dave Grohl, that was a big moment. When rapper Lil' Wayne showcased his swagger with the soul of Robin Thicke, the elegance of Allen Touissant and the pure joy of trumpeter Terence Blanchard marching with the Dirty Dozen Brass Band in tribute to New Orleans, that was a huge moment. When the USC marching band added its pomp, percussion and horns to the alternative rock genius of Radiohead, that was a stupendous moment.
But not all of the best times tonight came sized extra large.
More subtle thrills kept the night hopping, too.
Rapper Jay-Z owned the joint when he sidled out to join Coldplay front man Chris Martin for a simple and spine-tingling tandem on "Lost."
Justin Timberlake showed his star power by stepping in for Chris Brown to help out the Rev. Al Green in the soul king's knockout segment. (The folks at CBS didn't bother to tell the world why Brown and his girlfriend, Rihanna, didn't appear as announced. But by the time the event was an hour old, the Net was buzzing with reports of how Brown had a brush with the L.A. law for alleged domestic violence.)
The traditional encore segment, in which the Grammys pays tribute to musicians who died in the last year, was capped by a gorgeous tribute to rock 'n' roll pioneer Bo Diddley. Generations and styles meshed seamlessly as blues legend B.B. King, rocker John Mayer and country star Keith Urban played their guitars in a gorgeous ode to Diddley's famous beat.
Of course, not all was perfection.
That's the beauty of the Grammys, too, when the stars aren't aligned just right. Tonight, poor Nick Jonas, as talented of a teen he is, obviously forgot the lyrics at his first call to join in with the legend Stevie Wonder on "Superstition."
Speaking of teens, it was one up, one down when Taylor Swift was joined by Mylie Cyrus on Swift's hit "Fifteen." Swift's lovely guitar and striking voice showed why she's quickly become a favorite of country fans of all ages. Cyrus, meanwhile, showed why she's become a favorite of teen and tween pop fans. Billy Ray's daughter seems to be a nice enough young woman, but she's not in Swift's league.
And where else can you watch Neil Diamond try to prod a tuxedo-gown crowd to sing along, "so good, so good," like millions of fans have over the past 40 years to his pop (and pop culture) hit "Sweet Caroline" but the Grammy Awards.
Most years, Grammys honcho Neil Portnow's speech might signal a good time to hit the rest room. Tonight, however, he was the guy to connect the dots between Barack Obama's election to president and what that means for the arts. Portnow told the crowd that as a senator, Obama won two Grammys for recordings of books he'd written. "As a creative community, it means he's one of us," Portnow said. Then he called for the president to create a new cabinet position, secretary of the arts.
"Having a Grammy winner in the White House is an inspiration," Portnow said.
Having music all around us is an inspiration, and the Grammys reminds us of just how much every year. Here's to music in the schools. And music in the corner bars. And in the theaters and hockey rinks and stadiums. And on computers and iPods and CD players. And on the Grammys once a year.
Source: http://blog.syracuse.com/listenup/2009/02/grammys_shows_proud_moments_bi.html


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Engineering students from Rutgers University in New Jersey are part of an effort to end a food desert in one corner of the Garden State.
Led by Carson Hess and Jakub Chmiel, the undergraduate students are working in Camden, N.J., across the Delaware River from Philadelphia, to help residents there turn vacant lots into gardens. Altogether, some 4,000 lots are owned by the city, which turns them over to residents who agree to plant gardens and tend them.
The students' primary focus is on designing and building systems that help the gardeners grow food. The plots typically fit within the footprint of a now-gone house or store. The full scope of the project includes implementation of rainfall catchment systems, solar-powered water pumps, drip irrigation systems and simple structures to bring water to the plots.
The students are members of the Engineers Without Borders USA (EWB-USA) Rutgers University Chapter. The gardens fall under the purview of the organization's Community Engineering Corps program, an alliance of the the American Society of Civil Engineers, the American Water Works Association and EWB-USA that harnesses the expertise of volunteer engineers to help underserved communities in the United States.
That's the engineering focus. A no-less-important experience exposes the students to the human side of engineering: for example, learning that the goals of one gardener "client" may well differ from those of another.
"It's important not to over-engineer a problem and to listen to the gardeners," says Jakub, a 21-year-old chemical engineering and computer science student.
"There is no solutions manual," says Carson, also 21 and a mechanical engineering student. "Success depends on our team. If we don't communicate, we can't implement."
Planting Roots
The Camden Agricultural Coalition (founded by Stefan Erwin, a Rutgers Law School student) began by turning two abandoned lots into community farms with the assistance of the Camden Children's Garden and Concerned Citizens of North Camden. Because on-site water was unavailable, pioneer gardeners had to make as many 50 trips twice a week while carrying 5-gallon buckets from a water source three blocks away. And that was just to water one lot. Not surprisingly, the lack of proper irrigation led to food donation shortages to the local community and a charity kitchen.
EWB-USA Rutgers University Chapter took on the project as a local community service enterprise to supplement its international projects overseas. The Camden Project Team formed in September 2011 to assess how best to implement a water acquisition system for the garden plots.
Students researched several options (such as a well, hose-bib installation, and rainwater capture) and sought mentorship from the Water Resources Program staff of the Rutgers Cooperative Extension.
After the project site assessment, the students concluded that only one of the lots had a suitable collection and placement area for a rainwater system. They figured this would provide roughly one-third of the 4,000 gallons needed to water both farm lots.
Listening to the Client
One garden plot was tended to by church elders. They wanted children in the congregation to experience growing, preparing, and eating their own produce. Important to the elders was the task of hand-watering the plants. Understanding that requirement led the engineering students to craft a solution that included spigots and rubber hoses.
But two other gardeners—known to the team simply by their first names, "Gus and Pedro"—wanted a drip irrigation system. The Rutgers team designed and built a more complicated system for those gardeners. That system includes a structure to capture precipitation, rain barrels, a solar energy-powered pump, and some 200 feet of tubing to pipe the water to the garden irrigation system.
That project, completed in 2015, was an "inflection point," Carson says, and a "confidence boost" for the student chapter. The project relied on fundraising efforts to cover project costs and coincided with publicity efforts to raise awareness of the EWB-USA chapter in the Rutgers community.
The fundraising helped pay for project costs. And the outreach effort helped the chapter grow from five to 20 students, who now regularly make the 90-minute drive from the New Brunswick campus to Camden to work on the garden assistance project.
"There is so much work now," says Carson. The chapter grew large enough to support both a technical team to specify and build projects, and a marketing team to raise funds and build community support.
"Once we started talking to the community members we ended up with more (garden plots) than we can handle," says Jakub. He advises other student chapters to "get to know the community around you."
The Rutgers students, for example, attend as many Camden Garden Club meetings as they can to meet gardeners and learn about the community. "You get to know new people" and so better understand what their everyday concerns are," he says. Overall, the community experience is "extremely high reward."
Agreed, says Carson. He recommends that students "find meetings and show up." The engineering projects, involvement, and sense of satisfaction follow from that initial effort.
Projects similar to the one that is tackling Camden's food desert are, says Carson, "definitely within the wheelhouse of dedicated undergraduates."
To learn more about starting a Community Engineering Corps project or joining a project team, visit communityengineeringcorps.org.


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Canonical and Ubuntu are at the forefront of cloud and IoT computing, helping customers master the challenge of operations on hybrid cloud, bare metal, and container-based systems. Our Field Engineers are at the heart of this process, demonstrating, designing and delivering exciting solutions to a range of customers, from startups to Fortune 500s.
If traveling around the globe and working with some of the smartest people in the industry sounds appealing, and if you like to dig into the code, Canonical might be the place you are looking for!
Canonical's Field Engineering division is unique in its approach with customers: we engage early on in the pre-sales process and remain engaged throughout the delivery phase. This approach creates exciting dynamics in which one is involved in various customer facing processes; going to sales events and providing engineering support to the sales team, designing solutions for customers and in the end implementing those solutions.
This requires unique skills, both technical and non-technical. TCP/IP networking, libvirt/KVM virtualization and core Linux operating system skills are a must-have in the course of discussing detailed architecture, designing complex solutions and guiding customers to successful infrastructure operations. Most of our team's solutions are based on OpenStack, Kubernetes, and Ubuntu; therefore the ideal candidate has interest and experience with one or more of these. If you have experience or are willing to learn about LXD, Snaps, MAAS, Juju and Ubuntu, this team is the best starting point.
If there is one word to describe every day at Canonical, it's learning. Dynamic technologies lead to dynamic environments. Most of us work from home and that brings a perk of defining our own schedule and working hours. Everybody dictates their own pace and works in the environment that works best for them.When we are not with customers, we let our imagination shine. This is when we use our coding skills to improve the products and tools that we deliver to our customers.
Being a very spread out company, we don't get to share office space, but every now and then we meet somewhere in the world and have a great time. This is when our diversity really shines. Come join us and enrich our diversity even more!
- BA/BS degree in Computer Science or related technical field
- 3 years of Ubuntu Linux development experience
- Experience using and contributing code in Python and Go to open source projects in the cloud or devices area
- Excellent communication skills and presentability
- High motivation, ability to multi-task and follow-up reliably on commitments
- Interest in customer-facing engagement, including pitching, demonstrating and understanding customer environment and needs
- Ability to travel globally for periods up to two weeks; overall 50% travel time
- Advantage is given to those that are fluent in any of: French, German or Swedish


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Dorial Green-Beckham, Oklahoma (formerly Missouri)
Where He Wins: Can create that sliver of separation with timing to come down with contested catches despite tight coverage. Does not mind hand fighting along the sideline, extends against armbars. Is bigger than corners and knows it, out leaps them when high pointing after cutting in front to gain positioning. Fights for yards after catch when catching screen passes. Can eat up cushion quickly thanks to burst and long strides off the line. WIll be difficult to slow down once in stride. Adjusts hands and footwork to get off jam.
Where He Fits: Predominantly an outside on the line of scrimmage WR. Tunnel and other screens when in the slot. Might be even better downfield in NFL because of illegal contact rule, would allow for easier release when wanting to high point. First one down the field on vertical routes.
NFL Comparison: AJ Green
DeVante Parker, Louisville
Where He Wins: Receiver on the line of scrimmage on single side. Uses step under to release off the line versus out stretched corner. Does not give up on his crossing route, continues from opposite side when quarterback breaks the pocket. Frequently pulled two defenders downfield, leaving check downs open underneath. Abruptly makes cuts off inside or outside foot. Body control to make contested catches off the ground is obvious. High points extremely well. Creates that sliver of space to win against tight coverage. Aggressively works back towards his QB on comebacks. Finds open areas on hot reads.
Where He Fits: Rarely see him as the inside receiver, and is in motion even less often. Is not a willing blocker. Limited YAC when approaching oncoming defender. Likes to play the ball in the air. Hand use upon release could be improved.
NFL Comparison: Hakeem Nicks
Day Two
Devin Funchess, Michigan
Where He Wins: Can really get down the field for someone his size. Ran a number of vertical routes with late inside or outside breaks. Willingly climbs the ladder to make contested catches. Uses hands and length to get into preferred position and separate during his route. Turns head quickly on short seam routes in trash. Will adjust to either shoulder on inaccurate passes. Plenty of quick hitting catches on curls or slow seams within seven yards. Can win at every level of the field.
Where He Fits: Moving from "TE" to outside "WR." Split time between inline, slot and outside in 2013, with majority seemingly from two point in the slot. There is room to improve on contested catches, has the frame to dominate there. Tough targets are in his hands but ultimately dropped too often for it to be his calling card. Does not seem comfortable on bucket catches.
NFL Comparison: Kelvin Benjamin with short completions mixed in and even more drops.
Rashad Greene, FSU
Where He Wins: Saw more time on the outside in 2012, mostly inside in multiple receiver sets in 2013, but won at each spot. Combines fluidity and burst in his breaks and routes. Targets shoulders when facing press coverage, leverages to avoid jams. Unafraid to catch passes away from his body when led to the sideline. Sustains separation in routes and with the ball in his hands. Let him run a lot of underneath and breaking routes, hopefully there is room to pick up YAC. Will sit in open areas versus zone and can escape diving defenders.
Where He Fits: Best as a slot receiver and wins on the ground. Might struggle to come down with contested catches over the middle of the field and occasionally was bullied on sideline routes. Don't ask him to do things he can't.
NFL Comparison: Doug Baldwin
Amari Cooper, Alabama
Where He Wins: Utilizes plenty of quick moves to make the jam whiff, instead of using a vertical get off. Frequently takes the top off coverages, especially from the slot versus zone, but ball trajectory holds him up. Has plenty of speed with the ball in his hands. Repeatedly had to slow his stride and pause for the football near the top of his route, but did so rather than leaving QB out to dry.
Where He Fits: Frequently lines up on the line of scrimmage, but does see some time as movement receiver. Needs to finish catches, especially along the sideline and over the middle with closing defenders. Does not run at full speed at all times during routes. He's an on the ground receiver, but does flash some lateral moves to pick up yards there.
NFL Comparison: Donnie Avery
Nelson Agholor, USC
Where He Wins: An extremely fluid mover, can round cuts or make quick breaks. Sets up off corners with a stem, can shoot past them when going vertically and then force them to flip their hips early on a comeback on the next play. Can make catches away from his body when being led downfield. Placed as the slot receiver on twins side. Willing to occupy defenders as a blocker. Flashes some yards after catch skills by running away from defenses and using stiff arms to sustain space.
Where He Fits: Saw time as the Z when Marqise Lee was not on the field. Eats up a lot of cushion. Biggest question is how he handles contact during routes. Contested catches are his biggest issue, and even drops some extended targets over the middle.
NFL Comparison: James Jones
Ty Montgomery, Stanford
Where He Wins: Used as a kick returner and has very good straight-line speed. Reads blocks so well when running back kicks. Will leave his feet and climb the ladder to try and bring down contested catches. Just runs by defenders on vertical routes when given a free release. Comfortable on over the shoulder catches. Quick lateral then upfield moves after the catch. Flashes toughness with the ball in his hand. Looks very fluid against off coverage, keeps corner moving.
Where He Fits: Frequently used as the move receiver off the line of scrimmage, both inside and outside and in the slot. For as fast as he is, he could use more speed in his routes (might be for timing purposes). Does not always come down with contested catches.
NFL Comparison: Ted Ginn (Cian Fahey)
Jaelen Strong, Arizona State
Where He Wins: Typically played on the line of scrimmage. Really like what he does on routes between the numbers. Stays strong from the slot, can win against trailing defenders. Puts foot in dirt and gets upfield after the catch. Like how he runs vertical routes from the slot against zone. Plenty of inside breaking and crossing routes. Flashes strength after the catch.
Where He Fits: Needs to play to his size more often. Dropped some contested catches that would make him a more intriguing prospect.
NFL Comparison: Rueben Randle
Fringe Day-Two or Day-Three
Antwan Goodley, Baylor
Where He Wins: Really plays the position like a running back. Plays with low shoulders, tries to barrel through arm tackles, which is different than many receivers. Runs routes at full speed but slows down the closer the ball gets to him. Uses swim and hands to release past corners on downfield routes. Quick and explosive cuts after the catch. Likes to square his shoulders and juke.
Where He Fits: Typically on the line of scrimmage as an outside receiver. Looks extremely uncomfortable catching in traffic or when asked to extend arms/hands away from his body. Like he is catching with oven mitts.
NFL Comparison: Greg Little
Stefon Diggs, Maryland
Where He Wins: Once the pedal is pushed, he can fly. Displays good vision with the ball in his hands. Shows sideline awareness to keep toe in bounds in small sample of instances when forced there. A willing blocker. Confidence as a runner grows as the game goes along. Might be at his best on underneath patterns to run after the catch and vertical routes to run past defenses. Good things happen when he is decisive.
Where He Fits: Frequently lined up in the slot in three wide sets and occasionally saw time in the backfield. Seemed to gear down when not in open areas. Sees time on the edge, but usually takes an inside stem.
NFL Comparison: Chris Givens
Justin Hardy, ECU
Where He Wins: Underneath receiver. Loves to dip his shoulder to release off the line versus press coverage. Very quick in his cuts and breaks, not as explosive after the catch. Continues to move to mirror QB if passer escapes the pocket. Works back towards his QB. So many of his routes are quick movements before seven yards. Frequently keeps his defender guessing, cuts before their reads can be made against off coverage. Flashes some real body adjustments to make tough catches.
Where He Fits: ECU runs multiple WR sets (three, four or five), but he rarely played outside of the slot. Does not absorb contact very well from the slot when making breaks. Does not mind leaving his feet for high targets, but body size or strength is not there to box out. Vertical speed might be a question. Is there a Justin Hardy in every draft?
NFL Comparison: Julian Edelman
Devante Davis, UNLV
Where He Wins: Can create separation with strength. Pushes off or through at the line to beat a jam. Hand fights to create space. Uses frame to box out. Flashes some yards after catch with strength if up to speed. Uses a stiff arm after the catch. Keeps working to find open areas when QB escapes pocket. Likes crossing over defender's face on inside routes.
Where He Fits: Does not separate well enough on the ground. Not sudden. Carries over into yards after catch in terms of lacking quick twitch movements beyond occasional flash.
NFL Comparison: Marvin McNutt


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INVEST IN THE BEST! That's what we did, so you can!(See our Sample Packages below.)At Parris Hill Farm, we will continue to do our part to promote the development of the Alpaca industry, from the animal to the luxurious end product. We are devoted to breeding some of the finest Alpaca stock in the country and to providing our clients with reliable customer service and the type of lifetime support they have come to expect. Every single member of our herd is halter trained for ease of handling. Most of them have been shown in Level V shows and many have returned home with blue ribbons and championship banners having excelled over entries from many of the much larger and highly competitive farms. SAMPLE PACKAGES: If you don't see what you're looking for below, just ask.6 for $10,000 - This package includes 5 females and 1 breeding male (Please contact us for a list of the award-winning alpacas included in this package.)25% off any 2 breeding males50% off one of select breeding males with the purchase of 2 - 4 femalesBreeding male (from select list) included free with the purchase of 5 females THE FINE PRINT:Discounts/Special Offers on males exclude Commander & Davide.Parris Hill Farm will retain 2 breedings to any
Parris Hill Farm
Mt. Ascutney
Northwest pastures


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Jen has been creating a few new stitch patterns while in Stellenbosch this week.
Here is a super sweet spotty dog...so sweet we couldn't help but give him a treat.
Here he is if you would like to print him out and create your own...
...and...while on the topic of cute stitch creations and Incomparable buttons, last week we held a give away of some of our tortoise buttons and offered to give a set of tortoises to anyone who did the following:
'Stitch him onto pockets, on purses, as small blocks of interest in quilts, on tee shirts, the side of a hat....send us pictures of what you have done with your stitched picture...and we will post about him, as long as he is eating an Incomparable flower, or reduced fat cupcake, or Incomparable low calorie ice-cream cones....we will send you a free card of tortoise buttons!, how's that?'
And Marcia took us up on the challenge - she created this adorable little fella...and says he is destined for a quilt top. The button colour was chosen by her mum...we think he is fabulous and cannot wait to see the rest of the quilt.
Thanks for sharing him with us Marcia and we hope you enjoy your tortoise buttons - they should be airborne by now!
If anyone would like to share images of their creations using Incomparable buttons, fabric, stitch patterns or tutorials, we now have a group on flickr.
Happy creating and have a wonderful weekend.


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Ever felt like you had no clue how to help someone who was hurting? It doesn't matter if the pain is physical, emotional or spiritual. Too often we simply freeze, not really knowing how to best help our friends in need.
Should I give them advice? Try to cheer them up? Give them a hug? Offer to help them in some way? Who really knows, right? It's simply hard to know the appropriate way to respond so as not to hurt or offend them further.
The Bible records a story for us about a man named Job (pronounced "jobe") who felt some of the deepest emotional pain one could experience. In his time of pain, three of his friends came to be with him. The initial steps they took serve as an example to us all on how to respond when one of our friends is hurting.