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Hans' Biography
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Hans Zimmer
James Newton Howard
Lorne Balfe
Henry Jackman
Additional Music
Additional Arrangements
The Dark Knight
Warner Bros. Records
HZimmer.com rating:
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(32516 votes)
Mel Wesson
Andrew Zack
Steven Kofsky
Gavin Greenaway
Bruce Fowler
Suzette Moriarty
Elizabeth Finch
Ambient Music Design
Music Production Coordinator
Music Production Services
Walt Fowler
Kevin Kaska
Alan Meyerson
Daniel Pinder
Noah Sorota
Jacob Shea
Thomas Broderick
Music Scoring Mixer
Music Editor
Sequencer Programmer
Sequencer Programmer
Sequencer Programmer
Dave Holden
Howard Scarr
Jeff Biggers
Stuart Michael Thomas
Peter Oso Snell
Heitor Pereira
Martin Tillman
Synth Programmer
Synth Programmer
Additional Recordings
Technical Score Engineer
Technical Score Engineer
Ryeland Allison
Michael A. Levine
Satnam Ramgotra
Frank Ricotti
Gary Kettel
Mary Scully
Mark Wherry
Digital Instrument Design
Ryan Rubin
Katia Lewin Jablonsky
Greg Vines
Chandra Cogburn
Czarina Russell
Assistant Music Editor
Assistant Score Engineer
Assistant Score Engineer
Studio Manager
Music Composed by
Hans Zimmer
James Newton Howard
Additional Music by
Lorne Balfe
Ambient Music Design:
Mel Wesson
Music Arranged by
Henry Jackman
Album Produced by
Hans Zimmer
James Newton Howard
Album Co-Produced by
Alex Gibson
Lorne Balfe
Ryeland Allison
Michael Levine
Heitor Pereira
Satnam Ramgotra
Martin Tillman
Synth Programming:
Hans Zimmer
Howard Scarr
Sequencer Programming:
Thomas Broderick
Jacob Shea
Noah Sorota
Music Editors:
Alex Gibson
Daniel Pinder
Assistant Music Editor:
Ryan Rubin
Technical Score Engineers:
Peter "Oso" Snell
Stuart Thomas
Technical Assistant:
Chris Bacon
Digital Instrument Design:
Mark Wherry
Sample Development:
Claudius Brüse
Zain Effendi
Michael Hobe
Bruce Fowler
Jeff Atmajian
Brad Dechter
Elizabeth Finch
Kevin Kaska
Randy Kerber
Suzette Moriarty
Walter Fowler
Orchestra Contractor:
Isobel Griffiths
Assistant Orchestra Contractor:
Charlotte Matthews
Score Coordinator:
Becky Bentham
Music Preparation:
Mark Graham
JoAnn Kane Music Service
, Los Angeles, CA &
Dakota Music
, London, UK
Score Recorded at
Air Lyndhurst
, London, UK,
Remote Control Productions
, Santa Monica, CA &
James Newton Howard Studios, Inc.
, Santa Monica, CA
Music Recorded by
Geoff Foster
Assistant Engineer:
Chris Barrett
Music Conducted by
Matt Dunkley
Bruce Fowler
Gavin Greenaway
Orchestra Leader:
Rose Warren-Green
Principal Viola:
Peter Late
Principal Cello:
Anthony Pleeth
Principal Bass:
Mary Scully
Frank Ricotti
Gary Kettel
Paul Clarvis
Richard Watkins
Maurice Murphy
Pete Davies
Owen Slade
Hans Zimmer
James Newton Howard
Simon Chamberlain
Music Production Services:
Steven Kofsky
Score Mixed by
Alan Meyerson
Score Mixed at
Remote Control Productions
, Santa Monica, CA
Additional Recording by
Jeff Biggers
Assistant Engineers:
Katia Lewin
Greg Vines
Album Compilation:
Daniel Pinder
Album Mastered by
Louie Teran
Marcussen Mastering Studios
Production Coordinator for Hans Zimmer:
Andrew Zack
Scoring Coordinator for James Newton Howard:
Pamela Sollie
Studio Manager for Remote Control Productions:
Czarina Russell
Album Business Affairs:
Keith Zajic
Marc Cimino
Lisa Margolis
Music Administration for Warner Bros. Pictures:
Debi Streeter
Special Thanks:
Christopher Nolan, Alan Horn, Jeff Robinov, Kevin McCormick, Greg Silverman, Charles Roven, Emma Thomas, & Thomas Tull
Hans Zimmer would like to thank
Tiffany Bordenave, Ben Burfield, Ronni Chasen, Sibylle Engel, Will Greig, Andrew Kawczynski, Allie Lee, Christina Mansky, Tom Rann, Jeff Sanderson, Adam Schmidt, Shalini Singh, Chris Strong & Dr. Helge Topka. Special thanks to Suzanne Zimmer & the mini Z's, Zoe Zimmer & Brigitte Zimmer
James Newton Howard would like to thank:
Annica Ackerman, Anouk Ackerman, Jackson & Hayden Howard
Hans Zimmer & James Newton Howard would like to thank:
Christopher Nolan, Emma Thomas, Charles Roven, Lee Smith, Chris Barrett, Becky Bentham, Alison Burton & the staff at Air Studios, Phil Cirocco, Fiona Cruickshank, Ramin Djawadi, Geoff Foster, Doug Frank, Michael Gorfaine, Isobel Griffiths, Urs Heckmann, Richard King, Steven Kofsky, Abbie Lister, Lisa Margolis, & Sam Schwartz
Rebecca Aguilar, Carter Armstrong, Ivona Belda, Maria Belli, Joseph Bille, Lor Blackstone, David Blaikley, Candace Carlo, Suzi Civita, Stephanie Comfort, Patti Connolly, Pamela Cresant, Kevin Delanoy, Suzanne Fritz, Diane Gascoigne, Kerrylyn Genetive, Jordan Goldberg, Danny Gould, Eileen Hale, David Hall, Dirk Hebert, Darren Higman, Carla Holt, Jay Hughen, Natalia Jacke, Gita Jackson, Ernie Johnston, Sue Kroll, Melisa Levine, Kris Little, Kathy Malloy, Nigel McCorry, Kari Miazek, Kristin Moffett, Melissa Musson, Joe Palmer, Keren Poznansky, Xavier Ramos, Kari Rohr, Susan Shapiro, Niki Sherrod, Jennifer Sink, Jodi Tack, Shane Thompson, Bobby Thornburg, Michele Wilcox & James Wood
Release date : 07/15/2008
Why So Serious? (9:14)
I'm Not A Hero (6:34)
Harvey Two-Face (6:16)
Aggressive Expansion (4:35)
Always A Catch (1:39)
Blood On My Hands (2:16)
A Little Push (2:42)
Like A Dog Chasing Cars (5:02)
I Am The Batman (1:59)
And I Thought My Jokes Were Bad (2:28)
Agent Of Chaos (6:55)
Introduce A Little Anarchy (3:42)
Watch The World Burn (3:47)
A Dark Knight (16:15)
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John G.
Replies: 5
|| 2019-10-07 12:23:52
So, what does everyone think of Joker (2019)? Is Hans Zimmer's Joker Theme still the top Joker theme?
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2019-10-07 15:04:21
Joker with my new theme called call me joker is my favorite score because it's very dark and disturbing. Also, I like that movie, I gave 10/10 Stars. Joaquin Phoenix's Performance in the joker is outstanding, and Todd Phillips is a cinematic genius! But, I'm really enjoying with Hans Zimmer with Joker's theme and Hildur Guðnadóttir's new joker theme are good too.
2019-10-07 23:33:06
Jean-Luc, are you Jack Afrogarix?? :-o
2019-10-08 21:23:47
i dont like Hildur music in the Joker btw. Full dramatic cello's. But that's normal. Maybe i shouldn't think so because nobody's as smart as Hans Zimmer. Hans joker theme is always legend and legends never die.
2019-10-09 15:14:11
(Basing it off the most popular cue of that OST, Call Me Joker) It's functional enough. I'm almost certain both Philips and Guonadottir settled on a dense, atmospheric musical tone to complement the cynicism of the movie. It kind of reminds me of a dark version of The Revenant's main theme at times, which can be both a good and a bad thing.
I do agree though that Zimmer's Joker theme, technically simplistic as it is, still stands out the most and screams "The Joker" more readily than Guonadottir's.
2019-10-10 02:34:42
They are two vastly different interpretations of the same character, I really like Hildur's more "tragic" approach. Zimmer's fits Heath Ledger like a glove, scary and deranged with an intelligent aspect.
Mike (OTM)
Replies: 0 || 2018-07-25 04:19:54
I gotta take a minute and use this score to demonstrate why hans-zimmer.com is a great resource for fans of Hans and Remote Control.
(TL DR: Never trust interviews for score information, or to know who wrote what, because misinformation continues for years.)
There's an article over at Polygon about the tenth anniversay of TDK, and it talks — rightly — about how James Newton Howard is underappreciated in this score. I agree with that. Without the Harvey Dent stuff and the more emotive music reprised from Begins, this score would definitely lack something. TDKR did lack something, IMO, because Howard was gone.
Here's the thing, though... Hybrid has been totally right over the years when he says never to trust interviews. The writer of the article I mentioned pulled from a bunch of old interviews and makes it sound like...
1) Hans and James co-wrote TDK just like they co-wrote Begins, but wrote the Joker and Harvey themes separately. Pretty sure that's inaccurate, based on this score's credits and what's been said about Hans and James being in different places.
2) The article pulls from an old Batman Begins interview — which has been referenced on Wikipedia for years — and says how Batman's theme is used at the end of Begins because Batman had to earn his theme. But I'm pretty sure they abandoned whatever initial idea that was in the final product. Batman's theme in Begins is the two notes...His theme at the end is the two notes. It's all throughout the movie. There's nothing at the end that's new. It sounds like Hans in the original interview was talking about the "Dark Knight" theme, which got used at the end of TDK. but there's been this internet story for years about Batman getting some new theme at the end of Begins, because the interview confused people.
And ditto for tons of other scores and interviews. People still think Klaus Badelt did POTC. Or Junkie XL wrote Batman's theme. Or Hans wrote the majority of Modern Warfare 2. This site is awesome because it helps clear the air on this stuff.
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Replies: 0 || 2017-10-11 14:36:35
You can hear a LOT of Zim's Hannibal score in this. Maybe because DR Lecter and the Joker have much in common. Feeding someone pieces of his own brain sounds like something the Joker might do. And immolating someone on top of a giant pile of money sounds like something Hannibal might do. Those two ought to get together for a few games of racquetball.
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Replies: 0 || 2015-10-26 08:36:59
Awesome performance of Lasiurus and Like A Dog Chasing Cars (+ The Hanging Tree).
youtube.com /watch?v=1b9s52eRZ18
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Replies: 0 || 2015-10-18 03:07:23
I was just listening to the song Origins by Brian Tyler from Thor 2. Has anyone else noticed that it sounds almost exactly like The Dark Knight Score? I believe around the 2:30 mark
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Replies: 7
|| 2015-06-13 09:17:33
Hans Zimmer said that this style of music has been copied over the last few years and so it was time for something new - Interstellar. Anyway, can some of you call any movie score where you can hear these similarities or where even his music style has been copied? Thank you!
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2015-06-13 16:28:00
You for real? You know how many composers copied Inception?
2015-06-13 17:16:51
All of them. Literally every single one.
2015-06-13 20:02:12
Tron Legacy
Transformers 1,2,3
Captain Phillips
Dracula (tv show)
X-Men Days of Future Past
and countless advertising and trailer cues
just to name a few...
2015-06-13 21:04:47
Yeah, uhh....that list is not 100% accurate
District 9, Transformers 1 & 2, and TRON: Legacy (somewhat) all predate Inception. TRON I say somewhat because Daft Punk had been working on the score for how many years before the film opened, 3? I mean the first trailer (released in March 2010, 4 months before Inception) even contained music from the film.
2015-06-13 21:52:12
What forum are we on right now? Inception? No, Dark Knight. I included it with Inception here and the Transformer scores are 100% dark knight rip offs. The main theme to district 9 is also dark knight heavy. And even though daft punks music was in the trailer for tron, inceptions score was already done at that point. Tron was released 5 months after inception, coincidence? I think not. Joseph Trapanese orchestrated tron and just like oblivion he took those themes and inception'd and dark knight'd the hell outta them. Hell Zimmer is even listed as a music consultant on the tron forum on this site.
2015-06-13 21:55:19
Thank you guys! I also thought of Transformers, Obliviion and TRON. These movies sound very like Zimmer. I will give the other ones a listen. Are there further recommendations?
Btw. who was first, the trailer music for Inception 'Mind Heist' or Steve Jablonsky with 'It's Our Fight' from Transformers 3?
2015-06-14 00:15:39
Mind Heist
Lord Eddard Stark
Replies: 0 || 2014-09-11 13:30:14
I'm Not a Hero ... it's amazing how, using only score in the sound of a mantle that flutters in the wind, HZ has managed to encapsulate the essence of Batman ... heroic song and triumphant, despite the title.
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Replies: 7
|| 2013-10-07 18:03:10
Hybrid, at the 0:46 mark in the track "Always a Catch", there's a cue totally unused in the movie. I don't believe it's on the complete score either. Was in gonna be used, or did Zimmer just include it to flesh out the track?
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2013-10-08 00:38:38
It's 3m24 v7 in Batman Begins. I could swear it's used in TDK
2013-10-08 01:18:55
I've seen this movie countless times and don't remember hearing that particular cue in any of it. Where do you think you heard it, //////? Because I could be wrong.
2013-10-08 02:39:33
I could be wrong as well, but like I said - I could swear I've heard it in the film. And I JUST watched TDK 2 days ago after receiving TDK Trilogy UCE in the mail. I too have seen the film countless times. And I'm picturing a million scenes in which it could be heard, but I got nothing. It's gonna bug the shit out of me until I figure it out
Another dude
2013-10-08 16:12:10
Its An unused cue. Check out the complete score and its named "Dirty Cash". The dude with the ////// its right is used in batman begins when bruce met fox for the first time. But they only use the first part of that cue
2013-10-08 16:18:37
Wow, you know what? You're right. It is indeed "Dirty Cash". For some reason I thought that cue was something different. Guess there's anonymous' answer.. It was a JNH cue, I see. I guess it would have been used right after the "Buyer Beware" scene? Wonder why they removed/didn't use it.
Another dude
2013-10-09 04:40:51
Yeah, I guess it was suppose to be in the scene where gordon and batman met to talk about the "dirty cash" after joker's robbery
Another dude
2013-10-09 04:45:27
Same with "Halfway to Hong Kong" in the complete score, its unused. It was supposed to be the scene when harvey, gordon and batman reunited.
I dont if that last thing was writed right
Replies: 5
|| 2013-08-19 01:10:22
the fact that the pencil trick in the movie, released a big laugh in the cinema, deeply disturbed me. you can argue with this thing endlessly but personally I think that in this movie the joker is not funny in any possible way. I am familiar with the notion of morbid jokes, I know Mr Tarantino. I mean that's point of the movie and that's point of this character. that's why it was so unusual as a summer blocbuster. that's the point of the Chris Nolan machine. he really pushed the music. even the sound design is really brutal in this scenes. but in the movie, if you watch it with people, they laugh when the joker comes. his family stories, the pencil trick, the party crash, everything becomes a
big-funny-family-friday-night moment. my mind is simply unable to understand this. and then, 4 years later Mr Holmes comes in and suddenly the hole-wide-world saying that these movies should be burned in hell with their directors. I truly hope Nolan comes in with full bore seriousness in Interstellar. like in TDK. I do realize that there are jokes in TDK at some point...
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2013-08-19 11:34:26
You know laughing can be considered a defense mechanism...
...just saying...
2013-08-19 14:49:20
No offense intended, but why is this on a page about the film's music?
2013-08-19 19:39:41
usually when you hear a summer action sequel score, you almost hear the stupid jokes flying in the movie. the first minute of why so serious is not funny and basically that's his signature. this is not about the stupid fucking annoying attitude like:
ohh oscar for Zimmer and Howard!! but shit, it's not yust an oscar worthy performance from Ledger, it's simply a world class presentation of a villain. that includes everything in filmmaking terms, so it's also about who did the score and how they manipulated the audience. music is important to Nolan, so it seems no matter how hard you push the score, people will laugh.
2013-08-19 19:45:17
I do see your point matt i was kinda upset about that myself. But in terms of what this page is about the film music is good
2013-08-20 02:43:27
Look, Mat go to nolanfans forum page and crap there, this is a zimmer page ;)
Replies: 1
|| 2013-05-15 22:24:06
I wonder... is "Agent Of Chaos" a HZ or JNH piece? I'm listening to it right now and it's so moving!
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2013-05-16 01:50:44
I believe it was primarily JNH's when it played in Batman Begins ("Bruce Left for Dead") and then Hans arranged it in TDK. Can you confirm, Hybrid?
Replies: 2
|| 2013-04-20 19:29:21
What part of score it was composed for the truck chase?
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2013-04-20 21:18:15
Contrary to popular belief, Like a Dog Chasing Cars was not intended to be used for that. Apart from the music when the Batpod is seen for the first time, the scene was meant to be without music.
2013-04-20 22:02:04
Yeah, it's the new Batman Theme for the film
Replies: 0 || 2013-04-01 09:27:21
2:15-4:00 in Agent of Chaos is so suspenseful. Crazy.
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Replies: 36
|| 2012-10-20 23:25:17
The heroic take on the Dark Knight theme found in "Like a Dog Chasing Cars": was that ever intended to be used in the movie and if so, where would it have played?
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Hybrid Soldier
2012-10-20 23:29:14
To be clear with people who, for years, have wanted this track to be some sort of unused car chase cue, it's NOT.
It's simply a theme suite ! It was never meant to be used like that in the film. From that suite is derived "Introduce A Little Anarchy" (aka Storming Pruitt Building).
I've never seen anyone asking where Why So Serious? or A Dark Knight would be in the movie... Why Like A Dog then ? ;)
2012-10-20 23:36:52
Okay, danke. As for why people want it to be in the movie, well...I think perhaps it's because the rest of the score sounds so dark while that cue sounds, comparatively, so heroic. It seems like a theme that would play during some giant action scene. Just my two cents.
Hybrid Soldier
2012-10-20 23:43:21
Yeah... :)
And for the short story, it was tracked again in TDKR, in the "Batman Chased" scene, it was even written (don't know if it was recorded though). But they replaced the heroic segment by something else (which is cool too, but I'd have prefered the other one :P) !
2012-10-20 23:45:15
By "something else" I assume you mean the theme in Imagine the Fire, Risen From Darkness, and The Shadows Betray You?
Hybrid Soldier
2012-10-20 23:50:03
Yeah, 1:37 to 1:55 of Batman Chased, it would have been there. :)
2012-10-20 23:53:43
I would have preferred the original, too, but props to Zimmer, Nolan, and co. The music they used still made the scene really awesome.
2012-10-21 01:20:25
What's so frustrating to me is to see Hans write these amazing theme suites, and then seeing them dumped in favor of repeated segments of music in specific scenes. It's not a huge problem in TDK, although the ending could have been better. I mean, the last section of A Dark Knight would have worked perfectly for the very end of the movie rather than having the "Barbastella" theme again. Introduce A Little Anarchy and the other segments of the Pruitt Building scene follow the structure of "Train Fight" from BB.
But it hurts the TDKR score, for me. Seriously, the latter half of the score feels like a rough draft. You have all of Bane's music, sure. But then you have music from BB and TDK formulaically filling in the empty spaces, when they had the "Moody Bruce" suites ( consider the fact that we haven't heard the eight minute "transfiguration" suite) just sitting there mostly unused.
I have no idea if this was just Nolan not wanting to use all the new music (he implies it in an interview) or a conscious choice from Hans, Lorne, and Chris. It doesn't matter, I suppose. But what a shame to hear so much unused (and great) music in the suites.
2012-10-21 01:51:07
Agreed, @MGDrone.
2012-10-21 01:55:17
With regard to repetition, I noticed that a lot in the score for On Stranger Tides as well. They re-used so many cues in that movie, even the Davy Jones theme at one point!
2012-10-21 02:11:52
Which why I truly believe Mr. Zimmer needs a break. Though I love his scores, they have been getting repetitive and a little vacation for a year or two couldn't hurt.
2012-10-21 03:23:48
@Mike: it was truly appalling in OST. Beckett's theme used for Barbossa?! The less said about that score, the better lol.
@uga2: I completely agree. I don't really think he's losing it, but he definitely spreads himself too thin. I mean, look at his schedule. He's got at least four projects coming up! Man of Steel, Mr. Morgan's Last Love, Rush, and Winter's Tales.
2012-10-21 04:58:21
I'm not a John Williams lover and a Zimmer hater; I often prefer Zimmer over Williams. But, Williams is really good at the re-using of themes. He does it subtly and occasionally. Many composers could learn from him in that respect.
2012-10-21 05:36:23
The cue in question came very close in the Ferrari scene, if I can remember correctly, and I felt that The Pruitt scene cue was meant to reprise the Batman Theme Heroic, thanks to the Official soundtrack sequencing..
2012-10-21 05:44:10
You used the perfect word: occasionally. Truthfully, I got tired of hearing the end credits theme in TDKR. Too much of a good thing... But I honestly think Hans can handle a sequel pretty well. Which goes back to the theme suites. They show the great ideas Hans can come up with.
2012-10-21 05:52:36
The end credits theme was used a bit too much, but I don't think anyone can deny it: it made Batman's first appearance on the Batpod very epic.
A prime example of Zimmer doing well on a sequel is POTC 3. That was full of new and complex material.
2012-10-21 06:09:47
Yes, POTC3 was my favorite of his pirate scores. He reinvented the love theme and created some new ones, he didn't go overboard when it came to reusing anything either. I think that's what I expected to happen in TDKR, but sadly not, however I still enjoyed it nonetheless. I'm hoping if they do a third Sherlock Holmes movie and he comes back as composer that he will do more new stuff and not have to reuse too many things from the previous. It's very rare you see a breath of fresh air zimmer score these days. I think the last one for me was Inception.
2012-10-21 06:32:05
Admittedly, I haven't heard much of this one, but from what I have heard, I think Madagascar 3 was pretty good where making new music is concerned.
2012-10-21 07:25:40
"Though I love his scores, they have been getting repetitive and a little vacation for a year or two couldn't hurt."
Zimmer is always contradicting himself. He said a couple of years ago he was retiring. Still hasn't happened.
Hybrid Soldier
2012-10-21 09:42:01
What you guys don't get when you say "HZ needs a break" is that POTC 4 was a mess, and the heavy (ridiculous) temptrack was the director's choice, and Hans had to drop a lot of great ideas.
2012-10-21 09:45:14
If you're saying, Hybrid, that we're blaming this on Zimmer--I'm not. I know for the Dark Knight movies that the repetition of cues was in large part Chris Nolan's fault. I remember in the booklet that came with the 2 CD Dark Knight score, Chris said how Hans and James insisted on new themes rather than just having them re-use old ones. It wouldn't surprise me if On Stranger Tides were the same way.
2012-10-21 13:26:58
@Mike: yeah, indeed. Nobody speaks about Madagascar 3 on this board, but this score is the proof that Hans still can manage a VERY good sequel. So many new themes, new ideas. The score for Madagascar 3 was simply awesome.
Mr. Fate
2012-10-21 17:54:31
Not to go back to Pirates 4, but I've got a question that maybe you can answer Hybrid. You said Zimmer had to throw out a lot of ideas in place for a bunch of music that originated from temp tracks...Do you know if there was actually any music written or even orchestrated from these ideas?
I ask because there are a couple special features I've seen on YouTube that have music that both sounds like Pirates as well as an imitation of Pirates. Bits and pieces of it sound like an 'inversion' of the "He's A Pirate" theme. A similar sample of the music could be heard in the film's website when it came out.
Hybrid Soldier
2012-10-21 19:05:57
Nope I don't think so. Demo stuff.
2012-10-21 22:08:28
"What you guys don't get when you say "HZ needs a break" is that POTC 4 was a mess, and the heavy (ridiculous) temptrack was the director's choice, and Hans had to drop a lot of great ideas."
I wish reviewers of soundtrack sites like Filmtracks knew details like this, instead of just bashing Zimmer.
Hybrid Soldier
2012-10-21 23:48:33
They don't care knowing, they don't even ask...
2012-10-22 00:00:18
Filmtracks is waaaaay to harsh on Zimmer scores. I don't give it the time of day lol.
2012-10-22 00:01:56
too* harsh
2012-10-22 05:00:34
Filmtracks is either ridiculously biased or has extremely pretentious and illogical taste.
2012-10-22 06:05:38
I think the second. They did give a positive review to Crimson Tide.
2012-10-22 06:11:00
Both. If it isn't John Williams, they do not wish to know. (A slight generalization but you get the idea)
2012-10-22 06:12:05
They are very biased toward Mr. Williams. lol.
Hybrid Soldier
2012-10-22 11:47:46
It's not exactly a question of "pro" or "against" or Williams or anything. The most annoying is that he generally doesn't know the facts, and presents what he thinks as facts.
2012-10-22 23:28:54
He'd be an awful scientist, taking hypotheses as facts lol
Edmund Meinerts
2012-10-23 19:58:54
As a Filmtracks regular, this sort of bashing always slightly gets on my nerves, so I thought I'd say something: first, Hybrid, you're absolutely right that he likes to present his thoughts or assumptions as facts, one of the few issues I have with Clemmensen as a writer. But to assume that he's "biased" towards John Williams or against Zimmer or whatever is just silly; isn't the whole point of a review to state what you think of a score? Bias would be if he actually thought, say, The Dark Knight Rises score WAS good but wrote a bad review of it anyway. But as it is he's just writing what he thinks, and there's nothing wrong with that. There are plenty of other positive Zimmer reviews at Filmtracks - and though I'd definitely not be as harsh as him on things like the Batman and Pirates scores, I can at least understand his viewpoint, even if I don't agree with him (personally, I think At World's End is one of Zimmer and co.'s best scores).
But when I read things like "if it isn't John Williams, they do not wish to know" I do wonder whether that person has actually read more than a dozen or so Filmtracks reviews. And you have to admit that Williams has written more "famous" themes than probably the rest of the film composers put together.
2012-10-23 21:28:29
@Edmund: You're absolutely right about one thing, there's nothing wrong with him giving his opinion. In the words of the great critic, Roger Ebert, "no one can be wrong about their own opinion." That then comes down to whether you trust his taste. I have no problem with seeing a critic give a negative "score" to something I love. In fact it intrigues me. That's the whole point of criticism. But what happens with Clemmenson is that he brings up ridiculous and illogical points when he bashes certain Hans Zimmer's scores (you know the ones I'm talking about). In fact, he has often implied that the score is not that bad, even enjoyable, but he just can't bring himself to like it. You judge for yourself whether that's good criticism. I sincerely believe he prefers to write negative reviews when it comes to RCP scores. He follows traditions more than the premise of a score when criticizing. He seeks what he wants to find in a score and nothing more. He lets popularity and a composer's PR track record influence his opinion strongly. I do not believe for a second that he goes into every score with an open mind. If a score sticks to his rules, he'll like it. If not, he won't. You judge whether his rules agree with you. You know what they are.
I'd like to say one last thing because this always comes up in these conversations. I fell in love with film music because of John Williams. I'm fond of many of his scores. It personally doesn't matter much to me how many of his themes are popular. It's exciting when a theme gains popularity like so many of John Williams'. But there are too many good scores that receive little attention that I started to not care which ones are popular and which ones are not.
And my very last comment. I prefer your reviews to Clemmenson's.
2012-10-23 21:39:28
This ^
Replies: 2
|| 2012-05-01 21:55:44
Anyone saw the new trailer for The Dark Knight Rises? It features new music from Hans!
New material + old themes = GOOSEBUMPS!!
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2012-05-02 20:20:50
Now, We are waiting for a Great Score Of Hans Zimmer ther's no doubt,I am optimistic...!
2012-05-04 21:23:20
I love music in trailer, i can't wait for TDKR :)))
Replies: 0 || 2012-03-18 16:19:35
Is there any video of recording of these soundtracks while the band is playing????
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Replies: 0 || 2012-03-10 12:36:27
The Joker's music is heard while Selina is talking to Bruce at the ball, and the chant with synth percussion is heard at the end before the logo appears.
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Replies: 0 || 2012-03-10 11:20:03
After all the hoopla and price-gouging of the Movie Masters Joker fiurge comes the REAL DEAL, a right aerial's item. The Movie Masters Joker is cool in its own right, but this 1/6 scale DC Preside over Joker blows it out of the water. $89 is no pocket change but then over again, one must pay $40-$50 at eBay to get the Movie Masters Joker if they can't find it in stores, which is usually the case. And I'm no expert on action fiurge values, but I don't reckon one must be to conclude that this DC Preside over Joker will end up life a lot more valuable in the prospect than the Movie Masters Joker. In terms of detail, there is simply no comparison. This Joker even has real shoelaces, and his clothes are of a high-quality fabric. There are many cool extras accessories like a gun, knife and playing cards. I just watched the trailer for The Dark Knight over again and I'm amazed as to how this fiurge looks exactly like Heath Ledger's Joker. As tempting as it is to take it out of the box, I'd strongly recommend not doing so and keeping it mint. The accessories can be lost pretty easily as they're so small and besides, a fiurge of this value is probably better off not opened anyway (it can be very proudly showed inside the box due to the brilliant packaging). All in all, a splendid for any fan of The Batman franchise/Joker/Heath Ledger.
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Replies: 3
|| 2012-03-04 11:11:20
Hans Zimmer - The Fire Rises! (Prologue) [The Dark Knight Rises] on youtube...
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2012-03-04 15:29:54
Were you...planning on going somewhere with that sentence fragment?
2012-03-04 16:39:59
sorry, just type it to listen to the 6min extract. enjoy
2012-03-04 16:48:03
also on h t t p ://www.ecranlarge.com/article-details-22389.php
Fin de la conversation
Replies: 1
|| 2012-02-29 10:38:45
hello guys!
It was some time ago, i read an interview in which Nolan said talked about Hans Zimmer!
Something like: There's no one other than Hans Zimmer that defines music like this....
I want to read this interview again, but can't find it on the internet!
So if anyone nows what i mean !!!PLEASE!!! give me the link!
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2012-03-01 09:25:08
have already found it ;)
Replies: 2
|| 2012-01-09 08:51:59
youtube.com / watch?feature=player_embedded&v=2cXWtFknQlg
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2012-01-10 15:30:07
indeed it is!!
2012-01-11 11:27:35
I bet Zimmer will says that it was intentional and will be surprised no one figured it so far
Replies: 2
|| 2011-12-20 23:01:56
Anyone seen the second trailer yet? What's interesting is that Zimmer inserted the Joker theme in one part and we hear the chant again with percussion added to it. I'm very excited for this score. It'll be interesting to see what Zimmer comes up with for Catwoman/Selina.
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Mr. Charles
2011-12-20 23:19:21
Ya I saw it in front of Sherlock Friday night. At which part can you hear it?
2011-12-21 00:13:47
The Joker's music is heard while Selina is talking to Bruce at the ball, and the chant with synth percussion is heard at the end before the logo appears.
Hybrid Soldier
Replies: 13
|| 2011-07-14 16:40:51
I couldn't find anyone knowing if JNH is in or not... Even Lorne Balfe & Stu Thomas, at this point, couldn't answer me...
The only sure thing is that HZ started working on the score a couple of months back (Mel Wesson providing Ambient Music Design :)).
Hans did that "A Dark Knight" atmospheric reprise you can hear in the trailer... And the very few seconds of the trailer contain a weird cue, that was on the film website some time ago, also by HZ (some Bane idea ?) !
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2011-07-18 23:05:25
Thanks for looking in on this, Hybrid. It's hard to imagine a Batman score without JNH's beautiful and elegant theme input, but I'm confident Hans Zimmer will blow us away no matter what.
I had a hunch that the "chanting" was something for Bane. It's certainly an interesting idea. I like it though; it's chilling in the teaser.
2011-07-18 23:16:59
Hybrid is there any way for us "average" people to get complete or additional musics to movies like sherlock holmes and inception?
2011-07-19 13:17:48
There is ABSOLUTELY NO WAY that a new score, the soundtrack for TDKRises, will be NEARLY AS SUCCESSFUL AS were the previous ones, unless JNH is back for it (along with HZ and the rest of the 'crew' of Batman soundtracks).
Yes, maybe it can be done, a new score without JNH, and it might be a nice and cool one, powerful even, but THERE IS A VERY GOOD CHANCE IT WONT BE ABLE TO HELP the movie like the two previous scores.
Because it was them, TOGETHER (along with Lorne Balfe and a whole lot other musicians), that the previous ones were made, so Hans Zimmer and James Newton Howard MUST MEET AGAIN IF WILLING TO ACHIEVE A SOUND-PERFECTION score, in and out of the movie, similar to the work of the previous ones.
Because also, after all, it was that BLEND OF DIVERSITY and the mix of THOSE different talents that created this unprecedented love of people for those Batman soundtracks.
Please dear administrators and loving fans of BB and TDK scores, make whatever is possible to spread the message out: WE, THE FANS OF THIS MUSIC, NEED AND WANT THE NEXT BATMAN SCORE TO BE MADE FROM THE SAME SUCCESSFULL AND TALENTED PEOPLE. NOT SOME NEW COMPOSERS AND NOT SOME RANDOM, UP-AND-COMING MUSICIANS.
2011-07-19 18:50:45
Btw .. if u saw the teaser trailer for The Dark Knight Rises .. U Can See in the Credits that Hans Zimmer WILL Be the one to compose the music .. and u can actually here the music heard in the site at the end of the teaser .. So rest assured .. The Soundtrack will be Awesome :)
2011-07-19 21:54:15
Dear JBourne, it's not about the music being good, or 'awesome' as you claim, or anything else.. IT'S ABOUT FUNCTION, FIRSTLY, (being good in the movie, help and enhance director's vision) AS WELL AS FASHION (being able to be heard and be likable to the fans, without the movie).
If you were a musician or knew anything about the way film composing works, you would already have known that since the soundtrack for THOSE BATMAN MOVIES worked not only once but twice, it could definitely work for a third or a fourth film and be AN EQUALLY SUCCESSFUL one, IF ONLY ONE PARAMETER WERE TO BE KEPT THE SAME (STEADY): the recipe, the formula, BEING THE SAME. And by that of course, I mean its core, the ideas and sounds of the original creators of the first two Batman scores. Otherwise, yes, the new soundtrack it might sound good and do well in the movie, but it most probably won't be like the Batman scores we already have heard from the previous two soundtracks.. But that's another question, for a different topic, whether or not fans WOULD OR COULD LIKE a new approach of the Batman score in the next Chris Nolan's movie..
By the way, thank you, but it has been common knowledge for quite a few months now that HZ was going to compose music for the next Batman film.. ; -)
You cannot imagine what I would give right now and how much I wish for it, one year from now, to be asking you for an apology. But, believe me, it would disappoint me even more, to hear a less interesting BATMAN-STYLE-SOUNDTRACK, than the previous ones.
But you already know the answer in order for that 'awesomeness' to happen again: Zimmerish sounds MIXED TOGETHER WITH JNHoward's sounds (and of course other composers of the RCProductions in minor roles, i.e. Mel Wesson, Heitor Pereira, Martin Tillman and others).
2011-07-19 23:27:54
Couldn't Agree more ..
I dunno if Zimmer is Gonna Deliver us with a Another Score as Good as the ones Before it ..
I Do however know for a Fact .. that for the past couple of years, he's been trying new things .. like the Theme He Used for the Joker .. And Look what he came up with in Sherlock Holmes ..
So I Guess I Can Safely Say that Something about the Soundtrack will be Surprising And Yet Beautiful ..
Can't Believe Tho its still a year far from happening :( ..
2011-07-20 00:40:50
The year will go quickly and The Dark Knight Rises will be here before we know it. And I don't know if James Newton Howard isn't returning, but isn't it all up to Christopher Nolan? I may be wrong I don't know much, but that's the way I see it...
2011-07-20 01:57:45
james N howard has the coice to opt out if he wants. its not all up to nolan
2011-07-20 04:46:34
Well of course he can drop drop out if he wants, but what I meant was that it's possible Nolan wants just Hans on this one. Afterall, looked what he did with Nolan's last film, Which was Inception. Amazing score. But I really hope James will be on board.
Nick Cave
2011-09-29 08:26:03
A little over a year ago I stumbled acoss a piece of music that was unmistakeably a work by HZ & JNH and it was entitled 'A Bank Robbery' yet it was not the same piece as The Bank Robbery on the film's official score. It opens with heavy percussion and staccato strings and has a powerful middle section in which there is a reverb-laden female's vocals before an epic reprise of a progression extremely similar to the piece I keep finding on mp3 hosting sites called 'preview' which is a piano-based theme with descending minor scale. I NEED TO KNOW WHAT IT IS.
It does not feature on either disc 1 or 2 of TDK. Upon download, it had The Dark Knight artwork but I understand that may have been misleading.
2011-09-29 09:14:58
I think Hybrid is the right man to answer, but I don't think there are ANY vocals on the score whatsoever. I could be wrong, but I don't recall anything. There's nothing on the complete score. There's not even anything on Batman Begins. At least I don't think so....
2011-09-29 14:26:17
I think the only vocals in either were the cues after Bruce's parent's death (Mugging Part 2, Courthouse Part 1, ect). But even so, those are the ONLY occurrences.
Personally I'm not much of a fan of vocals in action scores, but that's a whole different discussion entirely.
2011-09-29 20:22:37
@ Nick thats probably "Why so serious" crystal method remix. and it iss on disc 2, it has synth vocals, but is not part of the score, so you probably didn't listen to the whole thing, I'd understand
Replies: 1
|| 2011-07-25 08:03:20
What an awesome way to explain this-now I know evertyihng!
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2011-07-25 08:20:23
Troll - stop trolling.
Replies: 0 || 2011-07-25 06:02:29
Great artlice, thank you again for writing.
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Replies: 0 || 2011-07-24 18:48:10
This aritcle went ahead and made my day.
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Replies: 0 || 2011-07-14 14:31:37
the endt titles at the end of the teaser confirms only Zimmer on the TDKR score. Just by curiosity, why JNH isn't working on this ?
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Replies: 0 || 2011-06-22 19:04:50
h t t p://www.youtube.com/watch?v=xzSuEAS31jU&feature=mfu_in_order &list=UL
4:44 this sounds like Joker theme
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Replies: 2
|| 2011-05-29 21:39:22
Anyone know if James Newton Howard really isn't returning for TDK Rises?
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2011-06-10 10:44:43
As far as i know he wont return...
But lets wait and see...
2011-06-10 23:59:55
Whaaaat? Why isn't James Newton Howard returning?
Replies: 2
|| 2011-06-09 23:48:47
my favorite movie i love the music!...hans zimmer is the best man..
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2011-06-10 06:06:34
Than you'll love the recording sessions that leaked.
2011-06-10 10:26:28
I truely believe that the epic score is the driving force of this film. There's nothing else to be said
The Dark Knight soundtrack - Hans Zimmer - James Newton Howard 2008


text:
Ok, y'all – you know at this point that I like making cakes and cupcakes, right? Right. So when my sweet friends at Daily Grommet asked if I wanted to try out some of the Brys + Edgewood cake making kits, I thought "sure of course!". I knew I'd like them. Did I? No… I flipping LOVE THEM. As in, everyone is getting a kit for their birthday, everyone is getting a kit for Christmas, and anyone throwing any baby/bridal shower, birthday party, etc who likes to bake should get one. I've always thought the smooth fondant and super couture decorations would be too hard for me (I'm used to just piping pretty and adding sprinkles), but these kits have everything you need and walk you through it effortlessly.
I tried out the GLAMOUR CUPCAKE KIT and LOLLIPOP CAKE KIT. You can read about all the kits + what's included here.
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I loved making both the cakes, but here are my "behind-the-scenes" for the glamour cupcakes!
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- I LOVE that the kits have everything you need (except oil, water, eggs) which means no running all over town to pick up this and that.
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TWO WINNERS WILL BE CHOSEN (winner can select his/her fave kit to receive!)

subset: commoncrawl


text:
Spitzer Space Telescope
Artist rendering of the Spitzer Space Telescope
|Space Infrared Telescope Facility
|Mission type
|Infrared telescope
|NASA / JPL / Caltech
|Mission duration
Planned: 2.5 to 5+ years[1]
Primary: 5 years, 8 months and 20 days
Elapsed: 12 years, 9 months and 25 days
|Spacecraft properties
|Lockheed Martin / Ball Aerospace
|Launch mass
|950 kg (2,094 lb)[1]
|Dry mass
|884 kg (1,949 lb)
|Payload mass
|851.5 kg (1,877 lb)[1]
|Start of mission
|Launch date
|25 August 2003 05:35:00 UTC[2]
|Delta II 7920H[2]
|Launch site
|Cape Canaveral SLC-17B
|Entered service
|18 December 2003
|Orbital parameters
|Reference system
|363 days[2]
|25 August 2003 04:35:00
|Main telescope
|0.85 m (2.8 ft)[1]
|Focal length
|10.2 m (33 ft)
|3.6 to 160 microns[4]
The Spitzer Space Telescope (SST), formerly the Space Infrared Telescope Facility (SIRTF), is an infrared space observatory launched in 2003. It is the fourth and final of the NASA Great Observatories program.
The planned mission period was to be 2.5 years with a pre-launch expectation that the mission could extend to five or slightly more years until the onboard liquid helium supply was exhausted. This occurred on 15 May 2009.[5] Without liquid helium to cool the telescope to the very low temperatures needed to operate, most of the instruments are no longer usable. However, the two shortest-wavelength modules of the IRAC camera are still operable with the same sensitivity as before the cryogen was exhausted, and will continue to be used in the Spitzer Warm Mission.[6] All Spitzer data, from both the primary and warm phases, are archived at the Infrared Science Archive (IRSA).
In keeping with NASA tradition, the telescope was renamed after its successful demonstration of operation, on 18 December 2003. Unlike most telescopes that are named after famous deceased astronomers by a board of scientists, the new name for SIRTF was obtained from a contest open to the general public.
The contest led to the telescope being named in honor of astronomer Lyman Spitzer, who had promoted the concept of space telescopes in the 1940s.[7] Spitzer wrote a 1946 report for RAND Corporation describing the advantages of an extraterrestrial observatory and how it could be realized with available or upcoming technology.[8][9] He has been cited for his pioneering contributions to rocketry and astronomy, as well as "his vision and leadership in articulating the advantages and benefits to be realized from the Space Telescope Program."[7]
The US$800 million Spitzer was launched from Cape Canaveral Air Force Station, on a Delta II 7920H ELV rocket, Monday, 25 August 2003 at 13:35:39 UTC-5 (EDT).[10]
It follows a heliocentric instead of geocentric orbit, trailing and drifting away from Earth's orbit at approximately 0.1 astronomical unit per year (a so-called "earth-trailing" orbit). The primary mirror is 85 centimeters (33 in) in diameter, f/12, made of beryllium and was cooled to 5.5 K (−449.77 °F). The satellite contains three instruments that allow it to perform astronomical imaging and photometry from 3.6 to 160 micrometers, spectroscopy from 5.2 to 38 micrometers, and spectrophotometry from 5 to 100 micrometers.[4]
- History 1
- Instruments 2
Results 3
- GLIMPSE and MIPSGAL surveys 3.1
- 2010s 3.2
- Planet hunter 4
- See also 5
- References 6
- External links 7
By the early 1970s, astronomers began to consider the possibility of placing an infrared telescope above the obscuring effects of Earth's atmosphere. In 1979, a report from the National Research Council of the National Academy of Sciences, A Strategy for Space Astronomy and Astrophysics for the 1980s, identified a Space Infrared Telescope Facility (SIRTF) as "one of two major astrophysics facilities [to be developed] for Spacelab", a Shuttle-borne platform. Anticipating the major results from an upcoming Explorer satellite and from the Shuttle mission, the report also favored the "study and development of ... long-duration spaceflights of infrared telescopes cooled to cryogenic temperatures." The launch in January 1983 of the Infrared Astronomical Satellite, jointly developed by the United States, the Netherlands, and the United Kingdom, to conduct the first infrared survey of the sky, whetted the appetites of scientists worldwide for follow-up space missions capitalizing on the rapid improvements in infrared detector technology.
Earlier infrared observations had been made by both space-based and ground-based observatories. Ground-based observatories have the drawback that at infrared wavelengths or frequencies, both the Earth's atmosphere and the telescope itself will radiate (glow) strongly. Additionally, the atmosphere is opaque at most infrared wavelengths. This necessitates lengthy exposure times and greatly decreases the ability to detect faint objects. It could be compared to trying to observe the stars at noon. Previous space-based satellites (such as IRAS, the Infrared Astronomical Satellite, and ISO, the Infrared Space Observatory) were operational during the 1980s and 1990s and great advances in astronomical technology have been made since then.
Most of the early concepts envisioned repeated flights aboard the NASA Space Shuttle. This approach was developed in an era when the Shuttle program was expected to support weekly flights of up to 30 days duration. A May 1983 NASA proposal described SIRTF as a Shuttle-attached mission, with an evolving scientific instrument payload. Several flights were anticipated with a probable transition into a more extended mode of operation, possibly in association with a future space platform or space station. SIRTF would be a 1-meter class, cryogenically cooled, multi-user facility consisting of a telescope and associated focal plane instruments. It would be launched on the Space Shuttle and remain attached to the Shuttle as a Spacelab payload during astronomical observations, after which it would be returned to Earth for refurbishment prior to re-flight. The first flight was expected to occur about 1990, with the succeeding flights anticipated beginning approximately one year later. However, the Spacelab-2 flight aboard STS-51-F showed that the Shuttle environment was poorly suited to an onboard infrared telescope due to contamination from the relatively "dirty" vacuum associated with the orbiters. By September 1983 NASA was considering the "possibility of a long duration [free-flyer] SIRTF mission".[11][12]
Spitzer is the only one of the Great Observatories not launched by the Space Shuttle, which had been originally intended. However after the 1986 Challenger disaster, the Centaur LH2/LOX upper stage, which would have been required to place it in its final orbit, was banned from Shuttle use. The mission underwent a series of redesigns during the 1990s, primarily due to budget considerations. This resulted in a much smaller but still fully capable mission which could use the smaller Delta II expendable launch vehicle.
One of the most important advances of this redesign was an Earth-trailing orbit. Cryogenic satellites that require liquid helium (LHe, T ≈ 4 K) temperatures in near-Earth orbit are typically exposed to a large heat load from the Earth, and consequently entail large usage of LHe coolant, which then tends to dominate the total payload mass and limits mission life. Placing the satellite in solar orbit far from Earth allowed innovative passive cooling such as the sun shield, against the single remaining major heat source to drastically reduce the total mass of helium needed, resulting in an overall smaller lighter payload, with major cost savings. This orbit also simplifies telescope pointing, but does require the Deep Space Network for communications.
The primary instrument package (telescope and cryogenic chamber) was developed by Ball Aerospace & Technologies Corp., in Boulder, CO. The individual instruments were developed jointly by industrial, academic, and government institutions, the principals being Cornell, the University of Arizona, the Smithsonian Astrophysical Observatory, Ball Aerospace, and Goddard Spaceflight Center. The shorter-wavelength infrared detectors were developed by Raytheon in Goleta, California. Raytheon used indium antimonide and a doped silicon detector in the creation of the infrared detectors. It is stated that these detectors are 100 times more sensitive than what was once available in the beginning of the project during the 1980s.[13] The Far-IR detectors (70 - 160 micrometers) were developed jointly by the University of Arizona and Lawrence Berkeley National Laboratory using Gallium-doped Germanium. The spacecraft was built by Lockheed Martin. The mission is operated and managed by the Jet Propulsion Laboratory and the Spitzer Science Center,[14] located on the Caltech campus in Pasadena, California.
Spitzer carries three instruments on-board:[15][16][17][18]
- IRAC (Infrared Array Camera), an infrared camera which operates simultaneously on four wavelengths (3.6 µm, 4.5 µm, 5.8 µm and 8 µm). Each module uses a 256×256-pixel detector—the short wavelength pair use indium antimonide technology, the long wavelength pair use arsenic-doped silicon impurity band conduction technology.[19] The two shorter wavelength bands (3.6 µm & 4.5 µm) for this instrument remain productive after LHe depletion in the spring of 2009, at the telescope equilibrium temperature of around 30 K, so IRAC continues to operate as the "Spitzer Warm Mission". The principal investigator is Giovanni Fazio of Harvard-Smithsonian Center for Astrophysics; the flight hardware was built by NASA Goddard Space Flight Center.
- IRS (Infrared Spectrograph), an infrared spectrometer with four sub-modules which operate at the wavelengths 5.3–14 µm (low resolution), 10–19.5 µm (high resolution), 14–40 µm (low resolution), and 19–37 µm (high resolution). Each module uses a 128×128-pixel detector—the short wavelength pair use arsenic-doped silicon blocked impurity band technology, the long wavelength pair use antimony-doped silicon blocked impurity band technology.[20] The principal investigator is James R. Houck of Cornell University; the flight hardware was built by Ball Aerospace.
- MIPS (Multiband Imaging Photometer for Spitzer), three detector arrays in the far infrared (128 × 128 pixels at 24 University of Arizona; the flight hardware was built by Ball Aerospace.
As an example of data from the different instruments, the nebula Henize 206 was imaged in 2004, allowing comparison of images from each device.
The first images taken by SST were designed to show off the abilities of the telescope and showed a glowing stellar nursery; a big swirling, dusty ESA images do for the Hubble Space Telescope.
As one of its most noteworthy observations, in 2005, SST became the first telescope to directly capture the light from extrasolar planets, namely the "hot Jupiters" HD 209458b and TrES-1b (although it did not resolve that light into actual images).[22] This was the first time extrasolar planets had actually been visually seen; earlier observations had been indirectly made by drawing conclusions from behaviors of the stars the planets were orbiting. The telescope also discovered in April 2005 that Cohen-kuhi Tau/4 had a planetary disk that was vastly younger and contained less mass than previously theorized, leading to new understandings of how planets are formed.
While some time on the telescope is reserved for participating institutions and crucial projects, astronomers around the world also have the opportunity to submit proposals for observing time. Important targets include forming stars (young stellar objects, or YSOs), planets, and other galaxies. Images are freely available for educational and journalistic purposes.
In 2004, it was reported that Spitzer had spotted a faintly glowing body that may be the youngest star ever seen. The telescope was trained on a core of gas and dust known as L1014 which had previously appeared completely dark to ground-based observatories and to ISO (Infrared Space Observatory), a predecessor to Spitzer. The advanced technology of Spitzer revealed a bright red hot spot in the middle of L1014.
Scientists from the University of Texas at Austin, who discovered the object, believe the hot spot to be an example of early star development, with the young star collecting gas and dust from the cloud around it. Early speculation about the hot spot was that it might have been the faint light of another core that lies 10 times further from Earth but along the same line of sight as L1014. Follow-up observation from ground-based near-infrared observatories detected a faint fan-shaped glow in the same location as the object found by Spitzer. That glow is too feeble to have come from the more distant core, leading to the conclusion that the object is located within L1014. (Young et al., 2004)
In 2005, astronomers from the University of Wisconsin at Madison and Whitewater determined, on the basis of 400 hours of observation on the Spitzer Space Telescope, that the Milky Way Galaxy has a more substantial bar structure across its core than previously recognized.
Also in 2005, astronomers Alexander Kashlinsky and John Mather of NASA's Goddard Space Flight Center reported that one of Spitzer 's earliest images may have captured the light of the first stars in the universe. An image of a quasar in the Draco constellation, intended only to help calibrate the telescope, was found to contain an infrared glow after the light of known objects was removed. Kashlinsky and Mather are convinced that the numerous blobs in this glow are the light of stars that formed as early as 100 million years after the big bang, red shifted by cosmic expansion.[23]
In March 2006, astronomers reported an 80-light-year-long nebula near the center of the Milky Way Galaxy, the Double Helix Nebula, which is, as the name implies, twisted into a double spiral shape. This is thought to be evidence of massive magnetic fields generated by the gas disc orbiting the supermassive black hole at the galaxy's center, 300 light years from the nebula and 25,000 light years from Earth. This nebula was discovered by the Spitzer Space Telescope, and published in the magazine Nature on 16 March 2006.
In May 2007, astronomers successfully mapped the atmospheric temperature of HD 189733 b, thus obtaining the first map of some kind of an extrasolar planet.
Since September 2006 the telescope participates in a series of surveys called the Gould Belt Survey, observing the Gould's Belt region in multiple wavelengths. The first set of observations by the Spitzer Space Telescope were completed from 21 September 2006 through 27 September. Resulting from these observations, the team of astronomers led by Dr. Robert Gutermuth, of the Harvard-Smithsonian Center for Astrophysics reported the discovery of Serpens South, a cluster of 50 young stars in the Serpens constellation.
Scientists have long wondered how tiny silicate crystals, which need high temperatures to form, have found their way into frozen comets, born in the very cold environment of the Solar System's outer edges. The crystals would have begun as non-crystallized, amorphous silicate particles, part of the mix of gas and dust from which the Solar System developed. This mystery has deepened with the results of the Stardust sample return mission, which captured particles from Comet Wild 2. Many of the Stardust particles were found to have formed at temperatures in excess of 1000 K.
In May 2009, Spitzer researchers from Germany, Hungary and the Netherlands found that amorphous silicate appears to have been transformed into crystalline form by an outburst from a star. They detected the infrared signature of forsterite silicate crystals on the disk of dust and gas surrounding the star EX Lupi during one of its frequent flare-ups, or outbursts, seen by Spitzer in April 2008. These crystals were not present in Spitzer 's previous observations of the star's disk during one of its quiet periods. These crystals appear to have formed by radiative heating of the dust within 0.5 AU of EX Lupi.[24][25]
In August 2009, the telescope found evidence of a high-speed collision between two burgeoning planets orbiting a young star.[26]
In October 2009, astronomers Anne J. Verbiscer, Michael F. Skrutskie, and Douglas P. Hamilton published findings of the "Phoebe ring" of Saturn, which was found with the telescope; the ring is a huge, tenuous disc of material extending from 128 to 207 times the radius of Saturn.[27]
GLIMPSE and MIPSGAL surveys
GLIMPSE, the Galactic Legacy Infrared Mid-Plane Survey Extraordinaire, is a survey spanning 300° of the inner Milky Way galaxy. It consists of approximately 444,000 images taken at four separate wavelengths using the Infrared Array Camera.[28]
MIPSGAL is a similar survey covering 278° of the galactic disk at longer wavelengths.
On 3 June 2008, scientists unveiled the largest, most detailed infra-red portrait of the Milky Way, created by stitching together more than 800,000 snapshots, at the 212th meeting of the American Astronomical Society in St. Louis, Missouri.[29][30] This composite survey is now viewable with the GLIMPSE/MIPSGAL Viewer.[31]
Spitzer observations, announced in May 2011, indicate that tiny forsterite crystals might be falling down like rain on to the protostar HOPS-68. The discovery of the forsterite crystals in the outer collapsing cloud of the protostar is surprising, because the crystals form at lava-like high temperatures, yet they are found in the molecular cloud where the temperatures are about minus 170 degrees Celsius. This led the team of astronomers to speculate that the bipolar outflow from the young star may be transporting the forsterite crystals from near the star's surface to the chilly outer cloud.[32][33]
In January 2012, it was reported that further analysis of the Spitzer observations of Ex Lupi can be understood if the forsterite crystalline dust was moving away from the protostar at a remarkable average speed of 38 kilometres per second. It would appear that such high speeds can only arise if the dust grains had been ejected by a bipolar outflow close to the star.[34] Such observations are consistent with an astrophysical theory, developed in the early 1990s, where it was suggested that bipolar outflows garden or transform the disks of gas and dust that surround protostars by continually ejecting reprocessed, highly heated material from the inner disk, adjacent to the protostar, to regions of the accretion disk further away from the protostar.[35]
In April 2015 Spitzer has co-discovered one of the most distant planets ever identified: a gas giant about 13,000 light-years away from Earth.[36]
Planet hunter
Spitzer has been put to work studying exoplanets thanks to creatively tweaking its hardware.[37] This included doubling its stability by modifying its heating cycle, finding a new use for the "peak-up" camera, and analyzing the sensor at a sub-pixel level.[37] Although in its "warm" mission, the spacecraft's passive cooling system keeps the sensors at 29 K (−244 °C; −407 °F).[37]
See also
- ^ a b c d e f "About Spitzer: Fast Facts". Caltech. 2008. Archived from the original on 2 February 2007. Retrieved 22 April 2007.
- ^ a b c d e f g "Spitzer Space Telescope: Launch/Orbital Information".
- ^ "About Spitzer: Spitzer's Telescope". Caltech. Archived from the original on 24 February 2007. Retrieved 22 April 2007.
- ^ a b Van Dyk, Schuyler; Werner, Michael; Silbermann, Nancy (March 2013) [2010]. "3.2: Observatory Description". Spitzer Telescope Handbook.
- ^ Clavin, Whitney (15 May 2009). "NASA's Spitzer Begins Warm Mission". NASA/Caltech. ssc2009-12, jpl2009-086. Retrieved 26 April 2015.
- ^ Spitzer Science Center. "Cycle-6 Warm Mission". NASA / JPL. Retrieved 16 September 2009.
- ^ a b "Who was Lyman Spitzer?". Nasa: For Educators. California Institute of Technology and the Jet Propulsion Laboratory. 11 March 2004. Retrieved 6 January 2009.
- ^ Carolyn Collins Petersen; John C. Brandt (1998). Hubble vision: further adventures with the Hubble Space Telescope. CUP Archive. p. 193.
- ^ Zimmerman, Robert (2008). The universe in a mirror: the saga of the Hubble Telescope and the visionaries who built it. Princeton University Press. p. 10.
- ^ William Harwood (18 December 2003). "First images from Spitzer Space Telescope unveiled". Spaceflight Now. Retrieved 23 August 2008.
- ^ Watanabe, Susan (22 November 2007). "Studying the Universe in Infrared". NASA. Retrieved 8 December 2007.
- ^ Kwok, Johnny (Fall 2006). "Finding a Way: The Spitzer Space Telescope Story". Academy Sharing Knowledge. NASA. Archived from the original on 8 September 2007. Retrieved 9 December 2007.
- ^ Raytheon Company : Investor Relations : News Release. Investor.raytheon.com (8 January 2004). Retrieved on 21 July 2013.
- ^ Spitzer Science Center Home Page -- Public information.
- ^ SSC Observatory general information page, 4 October 2009.
- ^ SSC Observatory Overview, 4 October 2009.
- ^ SSC Science Information home page, 4 October 2009.
- ^ Spitzer Observers' Manual, reference for technical instrument information, Ver 8, 15 August 2008.
- ^ SSC IRAC (Mid IR camera) science users information page, 4 October 2009.
- ^ SSC IRS (spectrometer) science users' information page, 4 October 2009.
- ^ SSC MIPS (long wavelength 24um, 70um, & 160um) imaging photometer and spectrometer science users' information page, 4 October 2009.
- ^ Press Release: NASA's Spitzer Marks Beginning of New Age of Planetary Science.
- ^ Infrared Glow of First Stars Found: Scientific American.
- ^ JPL News | Spitzer Catches Star Cooking Up Comet Crystals
- ^ Ábrahám, P.; et al. (14 May 2009). "Episodic formation of cometary material in the outburst of a young Sun-like star".
- ^ BBC NEWS | Science & Environment | Traces of planet collision found
- ^ Verbiscer, Anne; Michael Skrutskie; Douglas Hamilton (7 October 2009). "Saturn's largest ring" (PDF).
- ^ Galactic Legacy Infrared Mid-Plane Survey Extraordinaire, University of Wisconsin–Madison Department of Astronomy
- ^ Press Release: Spitzer Captures Stellar Coming of Age in Our Galaxy
- ^ Released Images and Videos of Milky Way Mosaic
- ^ GLIMPSE/MIPSGAL Viewer
- ^ NASA Mission News | Spitzer Sees Crystal Rain in Infant Star Outer Clouds
- ^ Poteet, C. A.; et al. (June 2011). "A Spitzer Infrared Spectrograph Detection of Crystalline Silicates in a Protostellar Envelope".
- ^ Juhász, A.; et al. (January 2012). "The 2008 Outburst of EX Lup—Silicate Crystals in Motion".
- ^ Liffman, K.; Brown, M. (October 1995). "The motion and size sorting of particles ejected from a protostellar accretion disk".
- ^ Newfound Alien Planet Is One of the Farthest Ever Detected
- ^ a b c NASA - How Engineers Revamped Spitzer to Probe Exoplanets (Sept 24, 2013)
External links
- Spitzer Space Telescope at NASA.gov
- Spitzer Space Telescope at Caltech.edu
- Spitzer Space Telescope by NASA's Solar System Exploration
- GLIMPSE/MIPSGAL image viewer at Alienearths.org
- Use dmy dates from April 2015
- Start-date transclusions with invalid parameters
- Commons category without a link on Wikidata
- Space probes launched in 2003
- Artificial satellites orbiting the Sun
- Astronomical imaging
- Infrared imaging
- Infrared telescopes
- Lockheed Martin satellites and probes
- Space observatories
- Spacecraft launched by Delta II rockets
- Spitzer Space Telescope
- Great Observatories program
- Jet Propulsion Laboratory


text:
Is there such a thing? Or is there a project around that aims to realize Quantlib in JS? I'm a JS coder and I'd like to get involved if so.
Maybe it seems futile or insane today, but who can doubt that's merely a calendrical issue?
I find no JS R but there's a JStat package that's advertised as "like R:" Jstat
To make myself clear, I am looking for a way to run Quantlib on a web client.
Anything happening along these lines? Thanks!


text:
Home Care in Air Force Academy is our goal at Home Instead Senior Care. As our parents age, we all come to the point where decisions need to be made about where they will live and how we can help them maintain the independence, dignity, and standard of living that they have become accustomed to over the years. This is how an agency like Home Instead Senior Care can provide you with assistance.
Home Care CAREGivers are qualified and able to assist elderly loved ones with the activities of daily living. That means things like helping with medication, arranging transportation to doctors' visits, preparing meals, and assisting with personal needs and hygiene. And while all of these things are important, our CAREGivers also assist with something else: they are compassionate, empathetic people who are companions to the elderly. Our CAREGivers understand the challenges of aging and know how to help maintain the health and welfare of our clients. We pride ourselves on making a difficult transition easier for the entire family by utilizing our experience and providing quality home care in Air Force Academy.
At Home Instead Senior Care, our goal is to help your loved one live in the comfort of their own home, while providing the level of care that they need and deserve. We strive to relieve the tension and stress caused to the family by worrying how and where an elderly loved one will live. Your mind will be eased by knowing that your parent is being taken care of in the comfort of home, while the senior maintains his own space and privacy. Don't carry the burden of providing home care to an elderly loved one on your own. Allow Home Instead Senior Care in Air Force Academy to assist your family in making the best choice.
Home Instead offers free monthly newsletters with tips and advice for caregivers of elderly loved ones. (Privacy Policy)


text:
by Lanny Udell
Dancing tango since: Edith took her first tango class in 2008. She had signed up for a flamenco class through College of Marin. It was supposed to be four evenings but the teacher was ill for two weeks. Itching to dance, Edith took another look at the COM program and saw Debbie and John pictured on the cover. That was it – her tango life was launched.
Why tango: "After the second class I was enchanted and wanted to continue," says Edith. But after the session ended, there was a long break coming up. "I tried to figure out where else to take lessons, and I started going to beginner classes at various venues in San Francisco." Then Edith moved to Hawaii where she lived for the next three years. Upon returning to the Bay Area, she continued her dancing with Debbie and John.
Favorite part: Edith is a creative person and she finds tango a very creative dance. "I like the connection with your partner and with the music … and the interpretation, which can be different every time," she observes. " It's a beautiful dance for a woman, allowing her to express a female energy that's not so possible in the outside world … of being strong and surrendering at the same time."
About Debbie & John: "It's a combination of their passion and ability to teach what they really love," says the tanguera. "They've built a community where it's more than just coming together to dance, and with the performances we have a very strong connection. I feel privileged to be part of this. I couldn't be in a better place."
Anything else? A graphic designer, Edith contributes her talents to many Alma del Tango projects. She designed the poster, program and other elements for Close Embrace. She also creates Debbie and John's promotional pieces, and did the design work for Tango Con*Fusión's Trading Places and last fall's Piazzolla concert.
Edith will be performing the women's choreo in our 2014 student production, Tango Magic. And, she is contemplating a trip to Buenos Aires in March.
Last word: When asked her secret for getting a dance at a crowded milonga, she grinned and said, "smile."


text:
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Blue Laced Red Wyandotte – Pullet
Unfortunately, we do not have any availability for this product right now.
We will email a ship date to you within 30 minutes of placing your order. Your poultry will arrive 1 to 3 days after that ship date.
Your tracking number will be emailed to you on your ship day.
When your poultry arrives at the post office you should receive a phone call. We recommend you pick them up immediately upon notification.
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text:
Gamers Welcome 'Halo 4'
Millions of Americans stand in line today to vote. Last night, thousands of Americans lined up to buy one of the most anticipated new video games of the year. "Halo 4" is the latest installment of the popular franchise for the Microsoft Xbox 360. Some younger gamers refer to "Halo" as their "Star Wars," a cultural touchstone. Now, after a five-year hiatus, the game's hero - the Master Chief - returns.
Noah Nelson reports.
QUINTEN REDD: My name is Quinten Redd. I started playing "Halo" when I was in like sixth grade.
NOAH NELSON, BYLINE: Twenty-one-year-old Quinten Redd is not your typical "Halo" player. He has sponsors and plays for money.
REDD: I started playing competitively around like the seventh or eighth grade and I've been playing since. So I've been playing about like seven or eight years.
NELSON: Redd is a member of a team that competes in a gaming league that has millions of players.
UNIDENTIFIED MAN: And the guy wins two (unintelligible).
NELSON: This is the sound of Redd's team practicing. The guys are physically spread out across the country - California, North Carolina, Florida and Arkansas. "Halo" is what you call a multiplayer game - meaning many people play at once, from different locations, online.
REDD: Most games you, like, die really quick, so it's more about like skill and strategy and teamwork.
NELSON: "Halo" also has an epic story. Religious fanatics, who also happen to be aliens, are trying to wipe out humanity. Standing in their way, a cyborg warrior named Master Chief.
Since Halo first came out, 11 years ago, the franchise has been designed for multiple media platforms, like books, comics and toys.
FRANK O'CONNER: We have people who just read the fiction or just buy the toys or just collect the comic books.
NELSON: Frank O'Conner is the Franchise Development Director for 343 Industries, overseer of all things "Halo" for Microsoft.
O'CONNER: And we have people who don't even play the games.
NELSON: In the run-up to today's release, Microsoft launched a live action Web series on YouTube, to draw newcomers into the "Halo" story. It's called "Forward Unto Dawn," and it introduces a new character, a young cadet named Thomas Lasky.
UNIDENTIFIED MAN: (as character) We should blank them and force surrender.
TOM GREEN: (as Thomas Lasky) You force the blank then he'd never surrender.
UNIDENTIFIED WOMAN #1: (as character) But they would like to circle around. There's still time.
UNIDENTIFIED WOMAN #2: (as character) We can make it.
GREEN: (as Thomas Lasky) Twenty five seconds.
NELSON: An animated version of Lasky shows up in the video game. And to keep the revenues coming in, Microsoft is offering a weekly download that complements "Halo 4," called "Spartan Ops," which people can play, or simply watch.
ADAM SESSLER: Now remember, gamers are very savvy and they can tell when they are being sold to and they're also very paranoid.
NELSON: That's veteran video game journalist Adam Sessler.
SESSLER: And so the idea of kind of embedding your marketing into the availability of narrative and the availability of story is probably the most effective route. They feel like they're getting something for giving you their attention.
NELSON: Sessler admits that "Halo's" hero, Master Chief, is not as developed a character as someone like Star War's hero Luke Skywalker. But like Skywalker, Master Chief inhabits a complex universe.
BONNIE ROSS: And if you look at I think franchises with staying power. "Lord of the Rings," "Star Wars," "Harry Potter," all of them have universes in which you could tell hundreds of stories.
NELSON: Bonnie Ross is the general manager of 343 Industries.
ROSS: And so when we're laying this foundation, it's not necessarily about making money, although we all want to make money, it's about establishing a universe that people want to be in. And I think that does require multiple mediums to really do it justice.
NELSON: "Halo" isn't the only game with a universe that unfolds across multiple platforms, but few companies have taken this strategy to such lengths. Few can afford to.
In a marketplace crowded with cheap and free games, big game publishers are banking on elaborate story worlds to keep fans dedicated, and willing to pay $60 or more for a game.
NELSON: For NPR News, I'm Noah Nelson.
INSKEEP: Noah Nelson is a reporter for Turnstylenews.com, a project of Youth Radio. Transcript provided by NPR, Copyright NPR.


text:
The HBP is a program that allows you to withdraw up to $25,000 from your registered retirement savings plans (RRSPs) to buy or build a qualifying home.
Withdrawals that meet all applicable HBP conditions do not have to be included in your income, and your RRSP issuer will not withhold tax on these amounts. If you buy the qualifying home together with your spouse or common-law partner, or other individuals, each of you can withdraw up to $25,000 tax free.
Under the HBP, you have to repay all withdrawals to your RRSPs within a period of not more than 15 years. Generally, you will have to repay an amount to your RRSPs each year until you have repaid the entire amount you withdrew. If you do not repay the amount due for a year, it will be included in your income for that year.
Following is a complete guide that contains all the information you will need. Also included is the application form.


text:
This paper examines how the auditor's evaluation of internal control impacts substantive testing in a two-location setting with correlated internal control strengths. When control strengths are independent, internal control strength pairings have no effect on the manager's probability choice to commit fraud or on the auditor's substantive test effort. This study shows how the manager's opportunity to commit fraud and informational characteristics of internal control tests impact the manager's probability choice of fraud and the auditor's choice of substantive test effort.
Patterson, E.R. and J.R. Smith. 2016. The Strategic Effects of Auditing Standard No. 5 in a Multi-Location Setting. Auditing: A Journal of Practice and Theory 35 (1): 119-138.
At the empirical level, this analysis brings the impact of global standardization on local communities of small accounting practitioners to the fore. The authors have found that accounting and auditing research has neglected both small practitioners and the impact of resilience in accounting and auditing research. At the theoretical level, this paper is the first to mobilize the notion of resilience in accounting and auditing research. It is the hope of the authors that this study will lead to a qualitative study of the formation of small practitioners' habitus – how they are socialized in taking up the role of docile actors who tend to be obedient to their profession's formal authorities, highly skilled in technical thinking, and not too demanding in terms of requiring justifications.
Durocher, S., Y. Gendron, and C. Picard. 2016. Waves of Global Standardization: Small Practitioners' Resilience and Intra-Professional Fragmentation within the Accounting Profession. Auditing: A journal of Practice and Theory 35 (1): 65-88.
This discussion emphasizes significant caution when interpreting the results of the study. Mainly, it is unclear if results of the study can generalize to the broader public company market in the US. Furthermore, if the results are misinterpreted (i.e., individual auditors are not systematically aggressive but, instead, high quality auditors are systematically assigned the riskiest clients) then regulation requiring audit partner identification could actually have overall negative effects on overall audit quality.
Kinney, W.R. 2015. Discussion of "Does the Identity of Engagement Partners Matter? An Analysis of Audit Partner Reporting Decisions". Contemporary Accounting Research 32 (4):1479-1488.
Auditor aggressive/conservative reporting style may be a systematic audit partner attribute and non-randomly distributed across engagements. Particular market participants (in this case, lenders) appear to recognize and price these differences in reporting style. While the particular mechanism through which these different reporting styles occur is not possible to determine, the results suggest the importance of individual audit partners in influencing audit reporting decisions. Therefore, current regulations in both the US and EU to identify the individual partner's identity could potentially offer valuable information to market participants.
Knechel, W. R., A. Vanstaelen, and M. Zerni. 2015. Does the Identity of Engagement Partners Matter? An Analysis of Audit Partner Reporting Decisions. Contemporary Accounting Research 32 (4):1443-1478.
This study provides evidence on how SFAS 133 affected reporting behavior. While it is not possible to directly assess the extent to which banks might have used LLP to offset hedge ineffectiveness prior to SFAS 133, a variety of tests in this study collectively indicate that bank managers increase their reliance on discretionary LLP to counteract the "undesirable" effects of SFAS 133's recognition requirements. The effects of SFAS 133 go beyond derivatives; SFAS 133 also altered the information content of a non-derivative financial statement component (i.e., LLP) and the pricing of that component in equity markets. The findings are particularly timely given the recent exposure draft on accounting for financial instruments.
Kilic, E., G. J. Lobo, T. Ranasinghe, and K. Sivaramakrishnan. 2013. The Impact of SFAS 133 on Income Smoothing by Banks through Loan Loss Provisions. Accounting Review 88 (1): 233-260.
The results should be considered in the context of due process for setting accounting standards and for legislating financial regulation. The study suggests that bank representatives writing negative comment letters have motives to resist accounting standards that result in reduced accounting slack and increased transparency. As one would expect, these motives and patterns of financial-reporting behavior are not mentioned in the comment letters. Instead, the negative letters submitted by responding bank representatives cite conceptual reasons for resisting proposals intended to increase financial reporting transparency. The results suggest that the processing of comment-letters should explicitly include consideration of letter-writer motivations, and weigh carefully the stated reasons for support or opposition against letter-writer incentives and potentially divergent facts.
Hodder, L. D., & Hopkins, P. E. 2014. Agency problems, accounting slack, and banks' response to proposed reporting of loan fair values. Accounting, Organizations & Society, 39 (2): 117-133.
The results of this study are important in realizing the investor's perception of audit quality as it relates to SAB No. 108 disclosures. Investors respond negatively to the quantification of prior period misstatement disclosures. The investor also distinguishes between misstatements that are waived by previous auditors and misstatements waived in the current year. Investors react negatively to misstatements that are disclosed in the current year. The investors also react to the importance of the client as it relates to the misstatements that are waived. Investors understand and react to the correlation between client importance, waived misstatements, and client retention. The results are important to understand that investors react to disclosures made under SAB No. 108.
Omer, T. C., M. K. Shelley, and A. M. Thompson. 2012. Investors' Response to Revelations of Prior Uncorrected Misstatements. AUDITING: A Journal of Practice & Theory 31 (4):167-192.
The results of this study are important because they illuminate the impact of new accounting rules on standard setters and companies abiding by these rules (in this case, the specific context was the implementation process related to SOX Section 404). The study suggests that a number of steps are required in order to perfect the guidance. It is important to understand the meaning and intentions behind authoritative literature in order to follow it. The observations suggest that the process for implementing new guidance has room for change, yet has evolved over time to increase effectiveness. The findings are specific to the implementation for assessment and auditing of internal controls for public companies.
For more information on this study, please contact Zoe-Vonna Palmrose (email@example.com).
Palmrose, Z.-V. 2010. Balancing the Costs and Benefits of Auditing and Financial Reporting Regulation Post-SOX, Part I: Perspectives from the Nexus at the SEC. Accounting Horizons 24 (2):313-326.
Overall, the results support concerns expressed by some observers that greater use of fair value measurements for financial instruments will trigger increased audit fees. We believe our results validate the compliance cost concerns expressed by some preparers (i.e. higher audit fees), and provide interesting and timely evidence relevant to the ongoing debate regarding the increased use of fair value measurements for financial instruments (FASB 2010; ABA2010).
For more information on this study, please contact Michael Ettredge.
Ettredge, M. L., Xu, Y., & Yi, H. S. (2014). Fair value measurements and audit fees: evidence from the banking industry. Auditing: A Journal of Practice & Theory 33(3): 33-58.
The findings generally support FASB (2008) Exposure Draft assertions that there is often insufficient timely information about litigation available to users. Specifically, the authors find that in an unexpectedly large proportion of the cases they investigate, companies do not disclose lawsuits until a loss occurs. The authors also find a relatively high incidence of companies not providing estimated losses or ranges of losses prior to resolution. For a substantial number of cases, accruals for estimated losses are not made (or are at least not disclosed) prior to the realization of the loss. Further, the authors find a relatively high degree of disclosure of the items called for in the FASB's (2008) Exposure Draft, suggesting that users already demand at least some of them.
For more information on this study, please contact Ray J. Pfeiffer.
Desir, R., K. Fanning, and R. Pfeiffer. 2010. Are revisions to SFAS No. 5 needed? Accounting Horizons 24 (4): 525-545.


text:
Contact Us
Have a question for the 'Kilt, or just curious? Our About page is a great place to start. Didn't find your answer? Then please use the form below to contact the Tilted Kilt Franchise Office.
*Note: Each Tilted Kilt Pub & Eatery is an independently owned and operated franchise. For questions or comments regarding a specific franchise location please visit the locations page to find and contact your local Tilted Kilt.
For all copyright questions and concerns, please visit our copyright policy and user generated content policy pages for more information.
Please make sure the correct pub location is selected.
Please see the franchising page for more information on opening your own Tilted Kilt.
If you're ready to franchise, we're ready to help. Please fill out the form below and a Tilted Kilt representative will contact you shortly.
For Commercial Real Estate submissions, please fill out the form to submit your inquiry to our Franchise Development Department.


text:
Catcher A.J. Pierzynski leads the first batch of White Sox players filing for free agency Monday, and the team is expected to announce soon whether it will give buyouts to pitcher Jake Peavy, third baseman Kevin Youkilis and reliever Brett Myers that will make them free agents.
The buyouts are expected to be a formality, as general manager Rick Hahn said Friday that he has spoken to the representatives for each of the Sox's core free agents, adding that he understands their wishes to explore the free-agent market.
The Sox have exclusive financial negotiating rights with their own free agents through Friday night. Free agents can talk to other teams but cannot negotiate financial terms until Saturday.
The biggest decision could involve pitcher Gavin Floyd, who could become a free agent if the Sox don't pick up his 2013 option for $9.5 million. If Peavy and Floyd are granted free agency, the Sox would have a rotation consisting of left-handers Chris Sale, Jose Quintana, John Danks and possibly Hector Santiago.
The other Sox players who became free agents Monday were left-hander Francisco Liriano, infielders Orlando Hudson and Jose Lopez, outfielder Dewayne Wise and reliever Brian Bruney.


text:
Comfort Cotton Mossimo Graphic Tee
- X-Large / Quiet Green
is backordered and will ship as soon as it is back in stock.
All stocked items will be processed within 24-48 hours from the date the order was placed. Some specialty items may take longer to ship; customers will be notified if so.
Please note that because of the current pandemic all orders will be sent on Monday, Wednesday, and Thursday at 8:00 AM to 5:00 PM only.
Read about our shipping policies
The cost of return shipping is at the customer's expense. Mossimo shall not be held responsible for any costs resulting from a returned item.
We allow exchanges if the item/s is not damaged.
You have 7 days from the shipping date of your order to return your purchase from mossimo.ph.
Mossimo will not be held responsible for packages that are delayed, stolen, lost, or heavily damaged in transit.
We do not accept returns on SALE ITEMS.
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(Pocket-lint) - Panasonic has announced the launch of two new tough cameras as part of its FT range at CES in Las Vegas, updating last year's models with new features and better sensors.
The new models - the Lumix DMC-FT5 and Lumix DMC-FT25 (the TS6 and TS25 in the US) - will be available in the UK shortly, but fear not, Pocket-lint has already grabbed a play with the new tough cameras ahead of the official launch in the US.
The new Lumix FT5 will follow on from the FT4 previously available and be the company's new flagship tough camera.
The design isn't the same, but very similar, with the usual bevy of locking doors to protect the SD card and connection slots.
The LCD has grown from 2.7-inch to 3.0-inch and has a bigger, longer-lasting battery hidden inside.
To prove its tough credentials, the FT5 will be waterproof up to 12m, freezeproof up to -10C, dustproof, shockproof from a height of 2 metres, able to withstand 100kg pressure, and come with anti-fog glass so you don't get steamed up.
Get past the tough elements of the camera and the new FT5 sports a 16-megapixel sensor, compared to last year's 12-megapixel offering, the same 4.6x optical zoom from the 24mm Ultra Wide Angle Leica DC lens (not protruding), Wi-Fi connection via NFC where available - for quick transfer of pictures to other devices such as the company's range of televisions -1080p, 50p Full HD video recording and a stereo microphone.
Other tech in the camera includes GPS and Glonass support for locating where you're snapping your picture.
Additionally that 16.1-megapixel high-sensitivity sensor is powered by the new Venus engine, giving you 10 frames per second burst shooting, meaning you should have no excuse not to catch those crazy action-packed moves you've got planned.
But Panasonic hasn't stopped there. Realising that the camera will be used underwater the bods at Pani say they are using the GPS location data gained from the two GPS chips inside the phone to know that you are in the sea and turn on an advanced underwater mode that works to correct the colour red even more than usual - lack of light and so forth.
It's a crazy idea, but if it works one that we like the sound of. Sadly for us Bracknell, where Panasonic is headquartered in the UK, isn't anywhere near the sea so we haven't been able to try it. Panasonic. if you are reading this, then a trip to the Caribbean to test it out would be more than welcomed.
Time lapse now includes a video-processing feature to make a time lapse clip for you. The time lapse will last for up to a 1,000 shots every 30 minutes, turning on and off each time to save battery, but you'll actually get only 370 shots before the battery is dead. Still that's a week's worth of time lapse without your being there.
For those not so flush with cash, Panasonic has released the Lumix FT-25, that is still tough, just not as tough.
It comes with 7m waterproofing rather than 5m, 1.5m drop capabilities, and the ability to withstand -10C cold.
The FT-25 features a 25mm wide-angle, 4x zoom lens, 16.1-megapixel sensor and MP4 HD video, 1280x720 (25p) video recording. It will feature a 2.7-inch display, but ditch the GPS, Glonass, Wi-Fi and NFC support, making it a much more basic but also more affordable model.
Both the Lumix FT5 and the Lumix FT25 are out in the coming weeks. Panasonic has yet to set prices.


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- 1 1/2 cups all-purpose flour
- 3/4 cup unsweetened Dutch-process cocoa powder
- 1/4 teaspoon coarse salt
- 1/4 teaspoon finely ground pepper, plus more for sprinkling
- 1 tablespoon plus 1 teaspoon good-quality instant espresso powder
- 1/2 teaspoon ground cinnamon
- 3/4 cup (1 1/2 sticks) unsalted butter, softened
- 1 cup granulated sugar
- 1 large egg
- 1 1/2 teaspoons pure vanilla extract
- Coarse sanding sugar, for rolling
- Sift together flour, cocoa powder, salt, pepper, espresso powder, and cinnamon into a large bowl; set aside. Put butter and granulated sugar in the bowl of an electric mixer fitted with the paddle attachment; mix on medium speed until pale and fluffy, about 3 minutes. Mix in egg and vanilla. Reduce speed to low. Add flour mixture; mix until just combined. Turn out dough onto a piece of parchment paper, and roll into a 2-inch-diameter log. Roll log in the parchment. Refrigerate at least 1 hour or overnight. Preheat oven to 350 degrees. Remove log from parchment paper. Let soften slightly at room temperature, about 5 minutes. Roll log in sanding sugar, gently pressing down to adhere sugar to dough. Transfer log to a cutting board, and slice into 1/4-inch-thick rounds. Place rounds on baking sheets lined with parchment paper, spacing 1 inch apart. Sprinkle each round with freshly ground pepper. Bake cookies until there is slight resistance when you lightly touch centers, about 10 minutes. Transfer cookies to wire racks to cool completely. Cookies can be stored in airtight containers at room temperature up to 2 days.


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Cognitive-behavioral therapy for insomnia and sleep hygiene in fibromyalgia: a randomized controlled trial.
By M. Pilar Martínez, et al.
Sleep disturbances play an important role in the exacerbation of pain and other troubling symptoms reported by patients with fibromyalgia (FM).
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The objective of this trial was to analyze the efficacy of a cognitive-behavioral therapy for insomnia (CBT-I) versus a sleep hygiene (SH) education program at improving sleep and other clinical manifestations in FM.
Sixty-four FM women with insomnia were randomly assigned to the CBT-I or the SH groups, and 59 completed the treatments (30 in the CBT-I group and 29 in the SH group). Participants completed several self-report questionnaires at pre-, post-treatment and follow-ups.
The CBT-I group reported significant improvements at post-treatment in several sleep variables, fatigue, daily functioning, pain catastrophizing, anxiety and depression. The SH group only improved significantly in subjective sleep quality.
Patients in the CBT-I group showed significantly greater changes than those in the SH group in most outcome measures. The findings underscore the usefulness of CBT-I in the multidisciplinary management of FM.
Source: Journal of Behavioral Medicine, June 7, 2013. By M. Pilar Martínez, Elena Miró, Ana I. Sánchez, Carolina Díaz-Piedra, Rafael Cáliz, Johan W. S. Vlaeyen, and Gualberto Buela-Casal. Facultad de Psicología, Universidad de Granada, Campus Universitario de Cartuja, s/n, 18071, Granada, Spain.