text:
Two for the Show
The present structure of public television was an accident of history and a response to the crises of the moment, rather than part of any long-range grand design.
Hartford W. Gunn, Jr.[1]
The first harbinger of change came with an invitation to breakfast from Fred Friendly. It was the spring of 1969 and I was in New York attending the annual NET Affiliates Meeting. There was always a portentous quality about an invitation from Ford—partly because the majesty of its money gave any invitation the gravity of a royal summons, and partly because, as the system's power broker, winners and losers were often decided behind its closed doors. The ominousness of this particular invitation was underscored by the venue and the means of getting there: I was whisked to our meeting in a sleek black Ford Foundation limo (a Lincoln, of course) that collected me at the Waldorf and deposited me at the Friendly residence in suburban Riverdale. There, over scrambled eggs and toast, I learned the purpose of the trip.
"It's time," Friendly said, "that you thought about moving up in the world." Quickly reading between the lines, I realized that I was being sounded out as a possible candidate for the NET presidency. But why, I wondered, was the approach being made by the Foundation? The NET Board had a search committee to do precisely what Friendly seemed to be doing. Visibly annoyed at my innocence of the ways of New York power politics, Friendly ex-
plained that he wanted to spare the NET board the embarrassment of a turndown should a more formal tender of the position be made.
I shared with Friendly my strong misgivings about coming to New York. It was more than a reluctance to leave my native city, difficult as that would be. I was also unwilling to exchange the management of a station for that of a network, explaining that stations, which act more or less as retailers, deal directly with the customer. Networks, on the other hand, act as wholesalers; their only path to the customer leads through the hundreds of cautious gatekeepers at the stations. The networking process, I pointed out, is more akin to politics than broadcasting. Friendly's response was a disingenuous proposal to put the local stations in New York and Washington under the NET aegis, giving the network, in effect, two stations of its own. The Foundation, of course, had no legal power to transfer the licenses. Moreover, the transfer would have been vigorously opposed, not only by the two stations affected, but also by virtually every other station in the system. They wanted NET's wings clipped, not extended.
I cannot believe my response to Friendly satisfied him, so the formal offer of the presidency, which came a week later from Norman Cousins, chair of NET's search committee, was totally unexpected. Cousins, having been told of my reservations, urged me to talk with the newly appointed president of the Corporation for Public Broadcasting before making my decision. The Corporation's addition to the public-television structure had altered the equation; the post I was considering was not the post White had vacated.
My first meeting with John Macy dispelled all doubts about taking the NET offer. I was ready to move to New York and for reasons that would have surprised Macy. Our talk revealed the readiness of the system's new leadership to yield some measure of public television's independence to the exigencies of federal funding. I found Macy's response to one of my questions particularly disquieting. After reminding him that Congress had admonished the CPB "to assure the maximum freedom" of the system "from interference with or control of program content," a caution partic-
ularly relevant to the dangers of interference by government itself, I asked if he thought that our public television should be kept as free of government interference as the BBC.[2] (This was before the BBC's freedom suffered erosion at the hands of Prime Minister Thatcher's Conservative government.) He thought a moment, said "no," then added "and I don't know why."
It was not the answer that I had hoped for from the man now responsible for defining our goals and articulating to the world what we were about. It gave me an uneasy feeling, a fear that the medium I had known for the past fifteen years was about to be smothered beneath a blanket of government bureaucracy. Without knowing it, Macy had resolved my lingering doubts. I didn't relish becoming the CPB's "right hand for programming"—Macy's description of the "new" NET presidency—for someone who felt so little need to guarantee the independence of the medium. But the NET post offered the best, if not the only, base from which to wage the battle for the freedom the public medium had enjoyed before it jumped into bed with government. It should have been clear even then that John Macy and I perceived "public" in quite different terms. Macy saw it as the "public" of public utility—accountable to government, free to act only within the rules set by federal regulation, which carried an implied message of "don't rock the boat, keep the lid on, play it cool." My perception was the "public" of the free public library, an encouragement if not a provocation to provide the broadest possible range of ideas and intellectual engagement.
New York in August can try the forbearance of the sainted, much less the tender tolerances of a reluctant immigrant from the West. Everything about my move into NET's New York headquarters in the late summer of 1969 was disorienting: Manhattan's dark, rainy afternoons; new colleagues whose cautious guardedness contrasted with the openness of my California colleagues; even the decor of my offices at 10 Columbus Circle—faux-colonial with brass pitchers and hunting prints. For a time, I felt as though I, like Alice, had fallen down a rabbit hole. I was later to discover
that in one sense I had. The institutional ground on which I stood was about to give way.
Not surprisingly, my personal misgivings about the structural changes were shared by others, especially by the men and women whose creative energies produced public television's major programming. The NET staff was virtually paralyzed with a paranoia that had been ignited by the infamous purloined PBL memo suggesting that the network should be phased out. Now their fears centered on rumblings of imminent change, the most threatening of which was the rumored plan to remove program distribution from NET and to place it with a subsidiary of the Corporation's own making. Realizing that the Corporation's funding came directly from Congress, veteran producers feared that the plan would encourage the government to take a stronger hand in programming.
NET's creative staff was determined to make its voice heard through collective action. Together with the vestiges of PBL 's production staff and a handful of producers from the larger stations, they formed the Association of Public Television Producers. Through their spokesperson, Alvin H. Perlmutter, the producers warned that "events of the next several months . . . may determine once and forever whether this fledgling medium goes on to become a truly 'public' network without government control or the influence of special interests, or whether . . . it degenerates into 'a domestic USIA.'"[3] Testifying before Senator Pastore's communications subcommittee, Perlmutter and fellow producer Jack Willis voiced the producers' collective concern that annual Congressional funding would result in political control of programming; that "people appointed to control public television under the Corporation for Public Broadcasting do not now fully represent the pluralistic society they are charged to serve." The producers also feared direct censorship by "the vetoes of the new panel," a reference to the yet-to-be-organized system of program distribution. Producers of public television's national programs were also concerned that the selection and distribution of their programs would fall into the hands of the same "unrepresentative" types that the
president had appointed to the CPB Board, who would have the power to kill what they didn't like.[4]
The producer's fears were not unfounded. NET's fifteen-year lock on the distribution of national programming was under threat. The terms of the 1967 Act directed the CPB to "assist in the establishment and development of one or more systems of interconnection." Interconnection—linking the stations together by leased telephone company lines—was the next big step in bringing the public system into the modern world. It would replace NET's outmoded postal system with the mode of distribution used by the three commercial networks until that technology was superseded by the newer satellite technology. Pace and Chamberlin did not wait for the appointment of the Corporation's chief executive before starting work on implementing Congress's call for interconnecting the public system. Neither man, of course, had any previous experience with broadcasting. Nor did they discuss their plans with NET or seek its counsel.
The first step toward interconnection involved the Corporation in negotiations with AT&T. Congress, using its regulatory power over telephone rates, had authorized AT&T to provide public television with interconnection service at either a "free or reduced rate."[5] The giant communications monopoly rejected free access outright and balked on reduced rates. Eight months of tough negotiations produced an agreement in January 1970 for a "trial tariff" covering limited interconnection service. The arrangement—two hours a night for five nights a week—barely served public television's minimal needs. Worse, the service was second-class, including occasions when the network lines were co-opted to feed a basketball game to a sports network, leaving more than one public station high and dry without its announced network programming.
Erratic as the interconnection was, a larger issue loomed from NET's perspective: the questions of who would manage it and who would decide which programs would be fed to the stations, in what order, and at what hours. NET alone had experience with managing a network, and for a brief time the Corporation gave it the responsibility. But the new leadership was caught up in a decen-
tralization frenzy whose aim was to give power to the local stations. That meant removing NET from its dominant role in national program production and distribution. Even in the early stages, when NET was given responsibility for managing the interconnection, Chamberlin made certain that NET did not have responsibility for deciding which programs were to be carried on the network lines. That fell to an unwieldy and temporary committee, the Interim Interconnection Management Group. Its members—representatives from NET, the Corporation, and program executives from a select group of stations—were scattered about the country. Instant decisions on schedule changes were handled by conference calls, producing an awkwardness that verged on the bureaucratically absurd, particularly when an immediate consensus was needed to preempt regular programming for an unanticipated special event and most of the committee's members could not be reached.
The importance of the IIMG's brief reign as the network's programmer lies only in what it reveals of the pattern of thinking that was dominant in the late 1960s. The system's new leadership in Washington was following what they believed was the Congressional intent of the 1967 Act, accepting as scripture the need to separate program distribution from program production. Scott Fletcher had promoted the same idea fifteen years earlier when he created the Center and barred it from producing its own programs. But when the system failed to deliver quality programming, it was scrapped and NET was permitted to both produce and distribute programs. Programming quality soared and so did tempers. Many stations resented NET's monopoly over the production and distribution system and bristled at being asked to air programs produced by NET that, in their judgment, were unsuited for their audiences, whether "left-wing documentaries," contemporary dramas on delicate themes, black-oriented programs that included street language, or whatever. Their disaffection with NET gave force to a movement for a "user-managed" network under which no single organization would have a monopoly on national program production. Decisions about which programs would be chosen for interconnection would be made democratically: the "users," not the producers, would decide. By a curious bit of rea-
soning, the stations defined themselves, rather than their viewers, as the "users" of the programs.
Formulation of the "user-managed" concept, however, left unresolved the question of which of the several possibilities—a station, NET, or the Corporation—would operate the leased lines on behalf of its "users." The Corporation was eliminated; by law it is prohibited from owning or operating a network or an interconnection. NET was also deemed to be out of the running; if the doctrine of separation of production and distribution was to prevail, NET's role as the major producer of national programming would presumably bar it from doing both. The only acceptable alternative appeared to be the creation of a new organization. It fell to Chamberlin, first as Pace's assistant and later as Macy's executive vice president, to coordinate the planning. The stations, still uncertain of the Corporation's intentions and fearing another centralized system like NET, were quick to let Chamberlin know that they wanted a hand in the design. He agreed to accept the counsel of a small, representative group of six station managers, three of whom were from the NET Affiliates Council, and three of whom came from the elected board of the Educational Television Stations group. (The group was quickly dubbed "the Six Pack.")[6] The group found agreement elusive; their meetings stretched over more than a year before they produced an acceptable plan for an entity to operate the public-television distribution system.
I was unaware of how far Chamberlin's planning had progressed by August of 1969, the month of my arrival in New York. I took on my new duties believing I might still make a case for NET's managing the interconnection; within the system, it was the only organization with sufficient experience, the human resources, and the administrative structure for the task. But the decision had already been made in Washington; it was not to be NET. Nevertheless, John Macy, with characteristic fairness, postponed the final decision for sixty days to allow me time to present NET's case. I was acutely aware that I was faced with the "sometimes irrational and emotional response of paranoia by the stations towards NET,"[7] but I was confident that the situation could be turned around with changes in NET's structure. My case for NET rested
on two basic arguments. The first was the importance of keeping production and distribution together. To separate them would have been "to divide the indivisible and [to] inevitably limit the potential effectiveness of public television as a national instrument of communications,"[8] reducing it to television's counterpart of the United Parcel Service. The second was the danger that I saw in a reliance on a consensus of "user" stations for the selection of what went on the interconnection. "Committees don't take risks," I argued; the result would be bland programming.
My proposal was dead on arrival. The sixty-day "moratorium" on decision-making had simply been a safety valve for the pent-up frustrations at NET. Several days later, the Corporation announced that it was ready to carry out its own plan. There was no debate, no discussion. The announcement came as an unwelcome surprise to the NET board; despite its fifteen-year leadership of the movement, the board had not been consulted at any stage in the Corporation's planning. Puzzled and angry, the board's chairman, Everett Case, promptly arranged a meeting with Ford president McGeorge Bundy. Case was certain the Foundation would understand the need to keep distribution in NET's hands; they had put it there in the first place. But he found no friends at Ford. Bundy and Friendly defended the Corporation plan and even argued for the wisdom of putting production in one place and distribution in another. Friendly, showing a greater gift for rhetoric than for geography, likened it to U.S. 1, "a national electronic turnpike with inputs and outputs throughout the land."[9] Far from going "throughout the land," U.S. 1 meanders down along the Eastern seaboard in an unending clutter of fast-food franchises and service stations. At one point, Case referred to NET as a "network." Bundy reacted testily. "NET is not a network, never has been a network, and if I have anything to say about it, will never be a network." Case was visibly shaken by the outburst: had Bundy forgotten it was the Foundation itself that first suggested that NET call itself "America's Fourth Network"? Case later wrote Bundy: "I was aware, of course, of some of your reservations about NET but I was wholly unprepared to find so wide a disparity in our basic concepts of its role and function."[10]
In November 1969, the Corporation's plan went into effect: a new entity, the Public Broadcasting Service, was incorporated and given responsibility for the interconnection. The term "service" rather than "system" or "network" was chosen with deliberate care. In a memorandum to all stations, CPB explained that "network" connoted "program production activities and station time-commitments . . . [and] 'system' was deemed to encompass PTV stations and organizations beyond the realm of interconnection services." To avoid suggesting more than was intended, the neutral-sounding "service" was chosen. PBS's purpose, it explained, was "to provide the stations with high quality programming from diverse sources." PBS itself was not to be one of those diverse sources: its function was "to allocate time on the network to producing agencies and suppliers," not to produce, acquire, or commission shows. As if to underscore PBS's limited responsibilities, the plan proposed "to keep programming decisions of the new organization to a minimum." Station response was overwhelmingly positive; Chamberlin had prepared the way by circulating a memo to the stations a month earlier. One provision, however, raised the hackles of the stations. NET, because of its "present basic responsibility for five hours of programming per week and for national news and public affairs," was to be given preferential treatment for access to the interconnection. Friendly had insisted on the stipulation, either to protect the public-affairs function that NET had traditionally performed or to assuage the injured feelings of the deposed network, or both. The stations, forced to accept the despised condition, did so under protest.[11]
If a symbol was needed to mark the changed direction of the system after the 1967 Act, it could be found in the makeup of the governing board of the Public Broadcasting Service.[12] Only two of its nine-member board represented the public. The remaining seven were "insiders," including five elected station managers and the presidents of NET and CPB, the latter two as ex-officio members without a vote. (Later, the ex-officio members were dropped and the number of station executives was increased.) The board's composition was a clear reflection of the stations' determination to control the input by exerting control over the
sources of national programming as well as by exercising their statutory power to decide which of the programs their stations would air. At least as serious, however, was the way the composition of the board reflected the public broadcasters' deep-seated distrust of public control, a distrust that was evident earlier in their attitude toward the group of distinguished citizens that composed NET's board. They were entirely public and entirely beyond the control of the stations.
Hartford N. Gunn, Jr., president and general manager of WGBH / Boston, headed a search committee of PBS board members to find an executive to head the interconnection service. Their task proved more difficult than they had anticipated, partly because the position was posted with the uninviting title of "PBS general manager." Experienced broadcasters saw little challenge and less satisfaction in a post that had no power to create, commission, or even acquire programming, only the power to schedule the delivery of programs supplied from sources over which they had no control. As the search for a manager dragged on without result, I teasingly suggested to Gunn that he draft himself for the post; no executive in the system was better qualified. He brushed aside the notion: "You and I both know that I would make more of the job than it deserves." Shortly thereafter, Gunn was named to the post not as the general manager, but with the more prestigious title of PBS president, and with a seat on the board. Those of us who knew Gunn as the man who had effectively brought Boston's public station into a position of national leadership also knew he was not one to be satisfied with simply presiding over a delivery service. If he did in fact make more of the job than the planners of PBS had in mind, the question of whether it was more than the position warranted has been effectively rendered moot by his years of leadership.
One of Gunn's first acts in the new job was his decision to locate PBS in Washington, cheek-by-jowl with the government and with the Corporation for Public Broadcasting.[13] The decision may have reflected his hope of fostering a more harmonious working relationship between the two rivals—for rivals they were destined to be. Or it may have been a gesture to ease the concern of the system's new
partners in the government over the negative image of New York "liberalism" that had become attached to NET's years of dominance. Whatever its value, some of us feared that positioning the public system's sensitive programming arm so near the seat of government would create more problems than it would solve.
PBS was a masterpiece of corporate compromise, and was in effect a political solution to a programming problem. As a membership organization—every station was eligible to join—PBS accommodated the fears and aspirations of the system's many and disparate elements, empowering them to bar forever the return of centralized programming authority. To further protect against the rise of centralized authority, the members of PBS denied their own organization the power to make, buy, or contract for programming. PBS, as it was conceived in 1969, embodied the spirit of dispersed authority, its proudest boast not that it was the best but that it was the "most democratic."
The same spirit was embodied in the Corporation for Public Broadcasting; John Macy and his troops were equally passionate in their dedication to the principle of decentralized production. They found their text in the gospel according to Carnegie. The Commission had recommended "that the Corporation support at least two national production centers." If one was intended to be NET, the other, it was assumed, would be similar but located elsewhere, possibly on the West Coast to balance or offset NET's so-called Eastern bias. But Macy, with a fundamentalist's approach to the Carnegie study, read the message differently. If two production centers was a good idea, three was a better idea, and four better still. With this logic, he named the seven largest stations—New York, Boston, Washington, Pittsburgh, Chicago, Los Angeles, and San Francisco—as national production centers. Each of the seven was invited to submit proposals for programs to PBS. PBS would then decide which of the proposed programs it wanted produced for its future schedule. The list of desired programs was submitted to CPB, which would grant production funds directly to the producing stations for the designated programs. Production centers were free, of course, to circumvent the process by looking elsewhere for funding. The virtue of the process lay in CPB's
peripheral role in programming: application for its program funds was decided not by a bureaucracy removed from the daily demands of broadcasting, but by PBS acting on behalf of its member stations.
The plan, however, fell apart. Macy failed to take into account the tide of egalitarianism that his own policies had let loose within the system. His announcement designating the seven largest stations as the exclusive producers of national programming was met with howls of protest from some among the two hundred or so stations excluded from the favored circle. The Corporation was charged with favoring "the fat cats" and with ignoring the everyone-is-equal ethos on which PBS was founded. Macy, true to his egalitarian principles, announced a new plan: the privilege of producing national programming was opened to every station with the will and wherewithal to supply an acceptable program or program series, whatever its size. Except for changes in the method of funding, Macy's open-door policy remains in effect today, and though national production tends still to be concentrated in the system's half-dozen largest stations, the reasons are practical and not related to policy.
Even before Macy announced his new open-door policy, he was challenged by the seven "fat cat" stations that he had named as production centers. Instead of purring with contentment, the seven, in a joint letter to the presidents of CPB and PBS, vented their anger at what they saw as the growing concentration of decision-making power in Washington.[14] Our concern (for I was one of the seven) was that the CPB, by doling out its money "piecemeal" only for programs approved "in general" beforehand, was exercising undue influence on what the production centers produced. And PBS, by asserting an illegitimate right to rule "in detail" on the content of the programs it distributed, was contributing to a trend that, if continued, would reduce the production centers to "no more than field facilities for the central office." The result would be less diversity and more uniformity, not what the Carnegie Commission had in mind. Our self-righteous outburst echoed the general malaise bred by change and by a policy of broadened participation. More players in the game meant ad-
ditional challenges to one's turf and the need to take added measures to protect it. We were a bit like the five blind men and the elephant. Without strong central leadership to define the whole, each of us defined the whole by the part we touched.
The Aspen Document—so-called for the place where our individual concerns became collective—set off a firestorm of reaction. Gunn rebuked us for leaking our internal squabbles to the press, thus bringing discredit to the stations. John Macy, showing his usual restraint, reminded us "once more that a rapidly evolving system has more than the usual number of uncertainties, ambiguities, and imperfections."[15] Fred Friendly, however, was considerably less restrained and branded the Aspen Document as another example of public television's predilection for "self-inflicted wounds." Fearing the consequences for the medium's image in Washington, Friendly hopped a plane and met with the chairpersons of each of our stations, warning them of the divisive consequences of their managers' fractious behavior. But the "Aspen seven" were not alone in their fractiousness. It was pandemic throughout the swiftly evolving system, not because it was in the nature of public broadcasters to be difficult, but because the nature of the system made it difficult not to be. An institutional environment in which everyone is equal is, under the best of circumstances, difficult to manage (a lesson we have long since learned from two hundred years of democratic self-rule). The fact that democracy has worked, although at times creakily and haltingly, can be credited to strong and effective leadership: someone in charge setting our national agenda, articulating our goals, and bringing us together to resolve our common problems. Public television, however, has in its determination to remain "democratic" denied itself strong leadership, favoring instead scores of fractional "leaders," some in Washington, some scattered around the country, each with a different agenda and a personal set of goals. The situation was ripe for conflict and provided fertile soil for the exercise of self interest. To no one's surprise, it also produced a bumper crop of fractious behavior.
If any among us thought that the Ford Foundation's eighteen-year hegemony over public television ended when the two Washington-
based entities, PBS and CPB, entered the picture, we soon learned otherwise. The Foundation simply achieved its aims through more subtle methods. The shaping of PBS provides an instructive example. Conventional wisdom at the time credited its creation to the committee of station executives, the so-called Six Pack. The result was hailed as a model of democratic planning. However, in his brief history of the process, Robert Pepper concluded after examining the records of the period that "the Ford Foundation was intimately involved in creating PBS and, in fact, was with the CPB, one of PBS'S two major architects."[16] He detailed the close collaboration between Chamberlin and David Davis, head of Ford's Office of Public Communications, crediting the two with being "more than any others . . . responsible for creating PBS as it finally emerged." Chamberlin, a master of corporate stratagems, knew that Ford's part in the planning of PBS, if advertised, would be the kiss of death not only among the stations whose suspicions of Ford's intentions were always verging toward paranoia, but also in the Nixon White House. With Ford's tacit agreement, its role was kept quiet. Chamberlin's success in convincing the stations that they were the authors of PBS, wrote Pepper, was a sleight of hand worthy of a master.
Such was the nature of the new order that changes in the system were generally made in the name of CPB, the seat of public broadcasting's purported leadership, whether or not the Corporation authored the idea. Macy, with little or no experience in the artful politics of public broadcasting, welcomed Friendly's counsel and drew heavily on his broadcasting experience. Whenever an idea's paternity was in doubt, fingers generally pointed to the brass-and-glass headquarters of the Ford Foundation—if not to its resident expert Fred Friendly, then to one of his colleagues in the Office of Communications, David Davis or Stuart Sucherman. The Foundation tried to play its part in key decisions with quiet discretion. Occasionally, however, decisions announced in the name of the Corporation had Ford's fingerprints all over them. Such was the case with the birth of an organization called NPACT.
During the latter half of the 1960s, the responsibility for covering national affairs out of Washington fell to NET. Over the half-
dozen years, James Karayn and a small team of producers working out of NET's Washington bureau managed to build an impressive record of public-affairs programming. Acting as the public system's news presence in the nation's capital, they covered special events, arranged postmortem analysis of presidential speeches, produced occasional documentaries, and more. But in the spring of 1971 that changed, abruptly, and in a manner that told something of the Foundation's continued involvement in reshaping the structure of public television.
The first indication came with a summons to meet with John Macy, not in his office, but in the offices of the Ford Foundation, where Fred Friendly was present with his two associates, Davis and Sucherman. I had no forewarning of the meeting's purpose, but the grim looks on the faces in the room sent a clear signal that I would be leaving the meeting with less than I came with. I was not mistaken. NET's national programming functions, already trimmed by the creation of the multiple production centers, were to be trimmed still further. "It has been decided," Macy explained, with studied ambiguity as to the source of the decision that responsibility for public-affairs programming would be better placed outside NET and its Washington bureau. The plan was to create a new Washington-based organization. The new organization would, in fact, be NET's Washington bureau, divorced from NET and independently administered. While the loss to NET of a successful programming operation was unwelcome news, I found the decision to place public television's sensitive public-affairs operations cheek-by-jowl with the sources of its government funding much more worrisome. All three commercial networks, I argued, found it prudent to headquarter their news divisions in New York and not in Washington. And without federal funding they had less to fear from the government's interfering hand than we did. Any thought that Friendly, once chief of CBS News, would be responsive to that argument vanished with his insistence the plan go forward. A week later, Macy notified me of the formation of the new organization in a letter that made clear the Foundation's complicity in the planning. The CPB'S position, it said, "has the concurrence of our colleagues at the Ford Foundation."[17] Macy
also made an attempt to cushion the blow to NET's badly battered self-esteem by assuring me that the change "will give you and your staff the opportunity to pursue new areas in which to exert your proven programming leadership." The flattering words did nothing to relieve my sinking feeling.
The outcome of the Ford-CPB machinations was an ill-starred and short-lived organization known familiarly as NPACT (rhymes with "impact"). Its unwieldy proper name—the National Public Affairs Center for Television—led to speculation that the acronym must have preceded the name. (Television critic Ron Powers thought that NPACT sounded like one of those global conspiracies that The Man from U.N.C.L.E. ferreted out and destroyed in the weekly TV series popular at the time.) To meet its need for a corporate base, NPACT was loosely attached to WETA/Washington by one of those equivocal phrases ("institutional ties") that create more problems than they solve. The two organizations shared not only production studios but a board chairman, former Time executive Sidney L. James. Because NPACT took over NET's Washington offices as well as its staff, the volatile Jim Karayn became NPACT's vice president and general manager without rising from his swivel chair.
Friendly, acutely aware of the pressing need for a strong public-television presence in the nation's capital and conscious of the fragility of WETA's public support, clearly hoped its marriage with NPACT would give the Washington station additional strength and stability. Unfortunately, good intentions and interlocking directorates did not prevent the inevitable struggle for turf. For its part, WETA had counted on the "institutional ties" with NPACT to bolster its faltering finances by bringing more national production to the station. Instead, those "institutional ties" cost WETA the only two national productions it had: Washington Week in Review and a weekly interview program with correspondent Elizabeth Drew, Thirty Minutes With . . . NPACT took over production of both.
The intentionally fuzzy ties between WETA and NPACT mirrored the vague and self-destructive relationship between PBL and NET two years earlier. Ironically, the seeds of both arrangements were planted in the corridors of the Ford Foundation. Fred Bohen,
in his infamous purloined memo to Friendly, first proposed a Washington-based public-affairs center as a means of using the PBL experience, and perhaps even of rescuing the PBL organization. The rescue mission never materialized, but the idea remained alive, and by late 1970, both Friendly and Macy had reason to believe that the time had arrived to translate it into action. For more than a decade, NET had been the system's dominant symbol, and though it was now in decline, its alleged "Eastern liberalism" undermined public television's support from the more conservative of its patrons. Because the most obvious evidence of Eastern liberalism was presumed to be in NET's public-affairs programs, it was an easy step to conclude that, by removing responsibility for public affairs from the politically contaminated precincts of Manhattan, the system could exorcise its troublesome image. By placing this key element of its operations in Washington the system could, at the same time, strengthen its presence in the city where with congressional funding it now mattered most.
Whether 1971 was the right time, and Washington the right place, was soon open to serious question. Events were waiting to happen that would challenge the wisdom of placing NPACT in the shadow of the White House. A president who was generally hostile to the notion of a freewheeling, publicly supported television system was preparing to roll his big guns into place. And in the cross-hairs of his sights would be public television's most visible and vulnerable target, NPACT.


text:
Higher Education Audio & podcast
December 5, 2013
In today's Academic Minute, the University of Michigan's David Hsu examines how the brain deals with the pain of social rejection.
Editorial Webinars (order here)
Register for our upcoming conference, or purchase recordings of past conferences. -
Conversations with interesting people in higher ed -
Academic Minute
The Academic Minute features professors from top institutions around the country, delving into topics from the serious to the light-hearted, keeping listeners abreast of what's new and exciting in the academy. -
The Pulse
Rodney B. Murray, executive director of academic technology at the University of the Sciences, is charged with advancing all aspects of educational technology on campus. -
The Exhibit Hall -- content from our advertisers
Free webinars from our advertisers
August 15, 2011
In today's Academic Minute, Rensselaer Polytechnic Institute's David Hess describes green jobs and the best methods for creating them. Hess is a professor of sociology at Vanderbilt University and member of the Vanderbilt Institute for Energy and Environment. Before assuming his post at Vanderbilt, Hess was a professor in RPI's Department of Science and Technology Studies. Find out more about him here.
August 12, 2011
In today's Academic Minute, Purchase College's Matthew Immergut reveals that charisma is not an attribute that can be possessed, but a sociological relationship to be cultivated. Immergut is an assistant professor of sociology at Purchase, part of the State University of New York. Find out more about him here.
August 11, 2011
In today's Academic Minute, the University of Reading's Bhismadev Chakrabarti discusses research that is uncovering how our social interactions are influenced by our genes. Chakrabarti is an assistant professor of neuroscience in the School of Psychology and Clinical Language Sciences at the University of Reading and a senior researcher at the Autism Research Center at the University of Cambridge. Find out more about him here.
August 10, 2011
In today's Academic Minute, Paul Smith's College's Curt Stager describes how the climate change we feel today will shape the Earth for the next 100,000 years. Stager is a professor at Paul Smith's and a research associate at the University of Maine's Climate Change Institute, and author of Deep Future: The Next 100,000 Years of Life On Earth (Thomas Dunne Books, March 2011). Find out more about him here.
August 9, 2011
In today's Academic Minute, Katharine Brooks of the University of Texas at Austin answers "the question" faced by many college students. Brooks is director of liberal arts career services at UT-Austin and author of You Majored in What? Mapping Your Path from Chaos to Career. She maintains a career issues blog for Psychology Today. Find out more about her here.
Search Careers
- Viewed
- Commented
- Past:
- Day
- Week
- Month
- Year
Loading results...

subset: commoncrawl


text:
You're bound to spend a lot of time in the kitchen this season, so why not minimize mess and maximize style? Graced with an original angela adams design, this hand-printed apron adjusts at the waist for a comfy, feast-friendly fit.
55% linen/45% cotton. One front pocket. One size. Hand printed in the U.S. Sewn in Maine.


text:
Tavis Smiley - Actor David Harewood
Writer Nikki Giovanni
The world-renowned poet, writer and activist dissects her latest collection of poetry and prose, "Chasing Utopia: A Hybrid."
Air date: 11/18/2013
Writer Stanley Crouch
The noted jazz historian unpacks his text, "Kansas City Lightning"?part one of his biography of jazz giant Charlie Parker.
Air date: 11/15/2013
Singer-songwriter-actress Mary J. Blige
The multifaceted Grammy winner discusses her first-ever holiday CD and her new film, "Black Nativity."
Air date: 11/14/2013
Director Oliver Stone
As the U.S. marks the 50th anniversary of President Kennedy's assassination, Stone looks back at his 1991 blockbuster film, "JFK," and forward to new projects
Air date: 11/13/2013


text:
Reminder: European ILC informal discussion
Last week's issue of NewsLine announced a wrong date for the "Informal Discussion" to take place in conjunction with the French Linear Collider days. The meeting will take place on Friday, 29 November from 14:00 to 18:00 h at LAL Orsay. A special Indico page has been set up for this event.
View complete calendar


text:
- Musician's Friend Best Selection, Price & Service. Guaranteed.
Need Help? Ask our Experts or call 800-449-9128
Asistencia en Español 866-226-2919
Need Help? Ask our Experts or call 800-449-9128
Fast powerful, and easy on the eyes.
The Ultra Swede Guitar is one of Hagstrom's most cherished models. This model features a beautiful flame maple top that looks so good you may get caught playing in front of a mirror just so you don't have to take your eyes off of it.
The UltraLux model features the amazing UltraLux maple set neck, an innovative construction thinner and faster playing than ever before. Basswood body, flame maple top, bound Resinator fretboard, and 2 Hagstrom Custom '58 humbuckers for the classic tone that made Hagstrom electric guitars famous. Hagstrom's patented H-Expander truss rod prevents twisting as well as warpage. Case sold separately.
Check the drop-down menu to the right to select colors and/or other options.
Got a need for speed? Get the Ultra Swede! Order now.
Our product catalog varies by country due to manufacturer restrictions. If you change the Ship-To country, some or all of the items in your cart may not ship to the new destination.


text:
[Beowulf] Racing kernels
Many of your questions may have already been answered in earlier discussions or in the FAQ. The search results page will indicate current discussions as well as past list serves, articles, and papers.
Robert G. Brown rgb at phy.duke.eduTue Apr 5 03:06:17 PDT 2005
- Previous message: [Beowulf] Racing kernels
- Next message: [Beowulf] Racing kernels
- Messages sorted by: [ date ] [ thread ] [ subject ] [ author ]
On Mon, 4 Apr 2005, Fringe Dweller wrote: > G'day all. > > Is anyone out there running a "racing" kernel on their nodes? > > By "racing" I mean removing all unnecessary components (SCSI, USB et > al), tweaked buffer values, pre-empting, stripped, helium filled, > brushed aluminum etc? > > Yes, it's a loaded question. I'm contemplating performance tweaking when > I realized that there's a bucket load of stuff in the default kernel > config I don't need. > > Now anyone that's ever been exposed to that strange subspecies known as > "overclockers" knows you can go to ridiculous lengths ("Duuude, it's > fully sick, I can get another 2.3MHz if I take the box outside and hit > it with a hose"). > > I'd like to think we're giving priority to stability. But still... I > think there's scope for "safe" improvement? > > Also need to include the type of target app(s) I s'pose. My Nbody apps > are smokin' math stuff but the IO is quite light. So there'd be a fair > range of variation in "optimal" config I'd imagine. The kernel is already pretty modular (depending on how it was built) so it is likely that only those drivers actually needed are loaded at runtime. I tend to think of most kernel bloat as being unused branches outside a relatively small core -- not a lot saved by trimming them as most of what the kernel actually does is run the scheduler. In numerical code the kernel can be pretty much irrelevant, as long as it isn't openly inefficient. Like 99%+ of your CPU goes to the computation, no matter what you do tweaking the kernel. Where kernel optimization helps is if the application USES parts of the kernel a LOT. Then making small changes in that branch that make it run more efficient can really matter. rgb > > Thoughts appreciated. > > Cheers > Steve > _______________________________________________ > Beowulf mailing list, Beowulf at beowulf.org > To change your subscription (digest mode or unsubscribe) visit http://www.beowulf.org/mailman/listinfo/beowulf > -- Robert G. Brown http://www.phy.duke.edu/~rgb/ Duke University Dept. of Physics, Box 90305 Durham, N.C. 27708-0305 Phone: 1-919-660-2567 Fax: 919-660-2525 email:rgb at phy.duke.edu
- Previous message: [Beowulf] Racing kernels
- Next message: [Beowulf] Racing kernels
- Messages sorted by: [ date ] [ thread ] [ subject ] [ author ]
More information about the Beowulf mailing list


text:
This essay is based on five years of work and residence in the Arab community of Dearborn, Michigan. Warren David, Jackie Kaiser, Abe al-Masri, Nabeel Hamoud, Ahmad Berry, Sally Howell, Ahmed Chebbani, and Ish Ahmad shaped my arguments during numerous conversations, though none of them would necessarily endorse my conclusions. Lila Abu-Lughod commented on an earlier draft of this paper, which was presented at the 1995 meeting of the American Anthropological Association. Nabeel Abraham, Roger Rouse, and Paul Dresch offered insightful criticisms of later drafts. The essay was written at the Institute for Advanced Study, where I found the intellectual detachment I needed to make sense of my experiences in Arab Detroit.
1. There are notable exceptions to the transnationalizing trend. Lila Abu-Lughod's special issue of Public Culture, "Screening Politics in a World of Nations," explores the nationalist dimensions of television production in postcolonial states. Yet in 1993, when the issue appeared, theoretical trends were already headed elsewhere, and Abu-Lughod offered a mildly apologetic foreword to the issue. "It might seem surprising," she notes, "to privilege the national when the transnational character of television programming has been so frequently commented on" (1993a, 465). As I write this in 1996, Abu-Lughod's rather modest fallback position—that "the nation-state remains crucial for the deployment of mass media" (1993a, 466)—can easily be read as a critique of "postnational" approaches to popular culture. For a sketch of recent trends in transnationalism and anthropological theory, see Blanc, Basch, and Glick-Schiller 1995. [BACK]
2. The figure, which debuted in Abraham and Abraham 1983, is probably much too high. It is lower, however, than the 250,000 estimate commonly cited in the press, by social service agencies, and in academic circles. The latter figure has become a "social fact" of sorts, but its refusal to change (up or downward) during the last ten years of steady immigration suggests that 250,000 is a quantitative symbol of Arab Detroit's immense size. [BACK]
3. This claim circulates widely in Detroit. It originated (I am often told) in the Michigan Department of Social Services. Hassan Jaber, assistant director of the Arab Community Center (ACCESS) in Dearborn, vouched for the claim's accuracy. Anyone familiar with the ethnic/racial demography of Detroit would find little reason to question his judgment. [BACK]
4. This figure was provided by Ahmed Chebbani, owner of Omnex, an accounting firm that balances the books for almost all the Lebanese-owned businesses on Warren Avenue. [BACK]
5. For critical takes on celebratory transnationalism, see Asad 1993, Harvey 1989, and Hannerz 1992, all carefully attuned to the oppressive potential of metropolitan cultural forms. For critiques that identify themselves more explicitly with the concerns and interests of the new transnationalism literature yet resist a "celebratory" tone, see Basch, Glick-Schiller, and Blanc 1994; Rouse 1995, 1996. For an extended consideration of ethnography's role in constructing global and local knowledge, the reader should consult the 1993 ASA Decennial Conference Series, especially the volumes edited by Strathern (1995), Fardon (1995), and Miller (1995b). [BACK]
6. This figure was provided by Abe Osta, executive director of the American Arab Chamber of Commerce–Michigan. [BACK]
7. The six networks are TV Orient, Arabic Time TV, Sada al-'Arab, United TV Network, Arab World TV, and Middle East TV. The sixteen public access programs are Islamic Message, Islamic Center of America, Islamic Council, Islamic Speeches, Voice of Unity, Abundant Life, Islamic Teaching, The Secret Place, Lebanese-American Club Program, Lebanese Cultural Center Program, Islamic Mosque of America, Sundays Journal, Insights from the Holy Quran, Association of Islamic Charitable Projects, Education and Life, and Islamic Institute of Knowledge. [BACK]
8. I use the phrase "Arab culture" because people in the community use it. I do not think it describes a uniform, bounded object. Neither do most Arab-Americans. Instead, it is shorthand for "manners," "customs," "traditions," "heritage," "way of life," and any number of related concepts. [BACK]
9. The predicament of the Arab-American Media Society was shared by many Arab-American organizations in the 1970s and 1980s, when the public space available for Arab self-representation in the United States was minuscule. Funding was hard to generate, and reliance on money from the Arab Gulf kept many Arab-American organizations from developing practical, grassroots coalitions that would enable them to engage effectively in domestic politics. For an intriguing discussion of marginality and its effects on Arab-American political culture during this period, see Abraham 1989. Because it provided social services to America's largest population of Arab immigrants—a task of considerable benefit to the "host society"—ACCESS was brought into local (and national) political structures almost from its inception. [BACK]
10. For detailed analyses of the corporate, political, and class interests underlying American multiculturalism, see Rouse 1995; Dresch 1995. [BACK]


text:
- Knewtube
- uploaded: Jul 13, 2012
- Hits: 540
Max Keiser and co-host, Stacy Herbert, discuss the naked crime wave resulting from an overdose of synthetic stimulants like quantitative easing, bailouts and low interest rates. In the second half of the show Max talks to Ian Fraser of IanFraser.org about the Li(e)bor scandal and other banking crime waves emerging from the City of London.
0 comments
No comments yet.


text:
2.0 cu.ft., 1200w Full-size Countertop MicrowaveR-530ES$319.99Full-size 2.0 cu. ft. Microwave with 1200 watt powerLarge 16" Carousel® turntable holds almost any dishEasy-to-use 16-digit 2-color display13 Sensor Cook, Sensor Reheat, Sensor Popcorn, 8 DefrostKeep Warm Plus24" W x 13-3/8" H x 19-1/8" DStainless Steel
Overview Well-designed full-size microwave with a new glass window combines a stunning appearance with smart time-saving features that eliminate cooking and programming guesswork. Also available in Black: R-530EK and White: R-530EW.Browse the Countertop »


text:
Be of service to all Comic Book readers and sign: http://www.petitionspot.com/petition...tBlackPanther/
BBeetle|Conan|Hellboy|StarWars|EastOfWest|Fatale|L azarus|Prophet|Saga|XFiles|A&A|Harbinger|Unity|XOManowar
_ N U Avengers|Cap|DD|Thor|XX
whats the point of fan based list especially with the people who actually go to IGN as a credible source
all we're going to get are mainstream characters that are in our faces all the time. never mind some sacrifices or tragic stories of lesser Avengers and also no females as well
A Happy supporter of Indie comics and B-list heroes
Check out the Death to Comics Podcast...if you dare
Well, Cap, Iron Man, and Thor are considered the "Big Three" when it comes the Avengers, but I can understand your point, considering how Pym is one of the founding members. And I do agree that when it comes to the Avengers overall, Hank Pym and Vision could easily be in the top 5, at least.
Blog: Yes, I Am STILL a Nerd!
Don't ever take a fence down until you know the reason why it was put up.--G.K. Chesterton
I almost said it's a list voted by people that only have read Bendis' stuff but there's no Sentry.
Legato - Frank, Calm Down Your Nerd Rage!
The thing about the "Big Three" is, or rather was, that the Avengers writers didn't have much leeway to do much with them character-wise because they had their own comics with their own writers. Because of this, Avengers-only characters like Hank Pym or the Vision (who for a number of years was the figure in the cover-box) got development time and plot threads - the Big Three were often more like special guest stars when they did appear. Goliath's hulking form towering over the other super-heroes was always the visual trademark of the Avengers for me, it's what separated them from the look of other super-teams - no one else had a giant as their mainstay. Plus, until he went Yellowjacket, Pym was usually the leader, insofar as the Avengers had a leader - and when you look at classic stories like The Kree/Skrull War, there isn't really any leader. Marvel's love-affair with Cap as the ultimate leader didn't start until Secret Wars, and as someone who valued Marvel's lack of super-hero hierarchy I can't say I welcomed it. A revolving leadership position gave more characters a chance to shine and stopped the group from centering on one character.
Originally Posted by Dan_Slott
A quick "eyeball" suggests that you need to get a new eyeball
Mainstream characters??? Im going to guess you never bothered to look at the voting when the polls were open. There were at least 3 characters on tha tlist id never heard of, so your mainstream arguement is lost.
And there were plenty of female characters. No one voted for them though as much apparently.
Maybe you should educate yourself before yougo bashing and complaining because youre way off base.
Read Comics. Be Happy.
I was hoping Captain America would be #1.
But again, this is due to voting so anybody can win.
Ororo Munroe: I have no powers, my body cannot fly. But I no longer mind, for in my heart and soul -- where it truly matters -- I soar higher than the stars!
IGN's lists are usually awfull, but this one is bad even by their standarts. I don't care if it's fan voted. If the fans vote Wolverine as #5 in the list of greatest avengers, don't count those votes. If you vote for Wolverine in a greatest avengers list, you just lost the right to vote. After that, your opinion doesn't matter on any subject, anywhere, ever.
Agree completely. Thor has actually spent relatively little time with the team over the years and the big three were rarely together all at the same time except for the "big" stories.
A few years ago I read the whole Avengers run including WCA and was surprised at how much of the story was the Scarlet Witch and the Vision. Before the last few years when they disappeared from the team, I think there was a fair argument that the you could have argued Wanda and Vision above anyone on the team.
My top 10 Avengers would look something like this:
1.) Cap
2.) Iron Man
3.) Scarlet Witch
4.) Wasp
5.) Hawkeye
6.) Thor
7.) Hank Pym
8.) Vision
9.) Black Widow
10.) Wonder Man


text:
I started out secretly following lots of blogs when Blogger first introduced their new widget. Then it occured to me that I should be proud of the fact that I make the effort to visit these blogs and leave comments. So the other day I changed all of my anonymous links to public.
I have now taken the plunge and added my followers to my side bar all 5 of you!! hehe *blush*
I am going to do a blog giveaway next month. It is my birthday on the 5th of Febuary and I would love to have achieved 10,00 hits by then. I know its a big ask but you have to admit this blogging is fun and adddictive!!! So following in the footsteps of the famous Ingvild Bolme scrapbooker extraordinaire, who had a fabulous idea to do a giveaway to one of her followers. I hereby urge you to stop lurking and start making the blogging world a friendlier place!!
You never know you could be the winner of some blog candy................all will be revealed soon so watch this space!!
Have a great weekend Love Ruth
Saturday, 17 January 2009
Are you a follower or a lurker?
18 comments:
- Toni said...
- 17 January 2009 03:27
- paulien710 said...
Hi Ruth,
I'm always, following along.
You know, you have the same DOB as my oldest daughter Kelly. ( I thought it was funny)
I always LOVE the projects, you are doing, but not always have the time to leave a comment. (bad!!! I know) - 17 January 2009 09:14
- Caroline said...
Okay I admit I am a lurker, but I am out of the closet and following your blog now!!
Come visit me at my blog sometime.
Caroline - 17 January 2009 10:36
- Helena said...
I have always been public and try to leave comments every time I visit anyone's blog, cause if they have taken the time to take pictures, post them up, do a write up, then they deserve the time it takes me to comment!
Great idea about the blog candy, When I do my next one (10,000 hits as well, lol), I will be giving it to a person that has taken the time to comment!!!
BTW there is an award on my blog for you!
xxxx - 17 January 2009 21:51
- Nikki Love said...
Awesome idea!!! My birthday is Feb. 2nd so I may have to follow in your footsteps and do a little Give-Away myself ;)
- 17 January 2009 22:02
- LazyKay said...
Eh, lass, I've never knowingly lurked you will always know when I've been around!
xxxxx - 17 January 2009 23:50
- sam21ski said...
Always leave a comment Ruth, otherwise no-one knows I've been xxxx
- 18 January 2009 12:07
- Micayla said...
What a good idea Ruth, I always leave comments on the blogs I visit like Helena said, if they take the time to blog then we should take the time to comment.
I was nearly crying when I read your comment on my blog. It was so sweet. I sometimes feel a little sad as Emily is growing so fast and I dont wont her to grow, but I cannot stop that can I!!! So I guess I kinda know how you feel, bless you. Just enjoy the time you have and document as much as you can, sweetie.
Loving all the pretties as usual, the detail is just stunning.
Take care xx - 18 January 2009 18:52
- carol Thompson said...
I do visit your blog regularly, but I too am a lurker.....I do not
yet have my own blog, but am thinking about starting one, as i looove seeing all the beautiful work people create.....I shall have to find out how to start up my own....but until then I have vowed to leave messages to let people know how admired and drooled over, their work really is.....
And Happy Birthday for the 5th Feb....it's my 14th wedding Anniversary that day !!!!
LOve your blog...
Carol - 19 January 2009 00:26
- carol Thompson said...
I do visit your blog regularly, but I too am a lurker.....I do not
yet have my own blog, but am thinking about starting one, as i looove seeing all the beautiful work people create.....I shall have to find out how to start up my own....but until then I have vowed to leave messages to let people know how admired and drooled over, their work really is.....
And Happy Birthday for the 5th Feb....it's my 14th wedding Anniversary that day !!!!
LOve your blog...
Carol - 19 January 2009 00:26
- courtneyannb said...
Ive been "lurking" for a little while lol ever since the altered challenge on scrapbook.com! Im new to following blogs but whenever im stuck for creativity I always come look at my favorite blogs for inspiration!
- 19 January 2009 01:42
- Just a little bit Crafty said...
Hi Ruth, I try to leave a comment when I visit blogs but sometimes I just get carried away by what I am looking at and forget. I know how much I love getting comments so I suppose its the same for others. I check your blog at least once a week so next time, I will say HI.
Cheers, Irene :) - 19 January 2009 12:38
- Sue Abbott said...
I visit often but due to minimal computer skills try to leave a message ,but fail, as I did last night. I'll try again, and promise when I 'retire', I will try harder!!!!!!!!!!!(I AM getting better, honest, lol) x
- 19 January 2009 15:21
- Scrappy Happy said...
Hi Ruth,
I love following your blog and many more, I have just started a blog of my own (although I am still trying to get to grips with it) I have added you on my blog ( I think!!) I will make sure I say hello more often.xx - 19 January 2009 22:31
- Scrappy Happy said...
- This comment has been removed by the author.
- 19 January 2009 22:31
- Amykins said...
Hi Ruth. Well, I'm a follower, not a lurker. I was one of the original 5 and I'm darn proud of it! Love your blog. Don't always have time to leave comments, but I do love reading.
Thanks for sharing! - 20 January 2009 04:20
- Kay2 said...
Hi Ruth, I usually check in around once a week, just to keep an eye on you! I'll try to leave a comment each time now - didn't mean to be a lurker :)
- 21 January 2009 19:42
- Leone said...
I loved your work (seen your gallery on CIS) and found your blog. Your pages are amazing. Thanks for sharing.
- 30 January 2009 21:56


text:
LG TVs 2012: Thin bezels, motion remotes and lots of LEDs
Massive numbers of new 2012 TVs were announced at CES 2012 earlier this month, and digesting them all is easier with a table than umpteen blog posts.
Hewing close to hoary CES tradition of yore, LG was the first major TV maker to hold its CES press conference. The company also gave CNET the most information prior to the show about its TV models (and probably other stuff; don't ask me about LG phones or kimchi refrigerators please). It also took home Best of Show.
You won't find these TVs described in detail on LG's Web site … Read more


text:
CAD - The greatest advance in construction history
After months of nominations from top industry figures and voting in our online poll, CAD has been named the greatest advance in construction
Subscribe to the AJ from £3 per week
For less than the cost of a pint you can have the magazine, iPad edition, full access to TheAJ.co.uk and the amazing AJBuildingsLibrary.co.uk. Subscribe now and experience architecture from a British perspective. The AJ - it's your journal.


text:
From OESF
There are several aspects to Zaurus security.
Firstly, keeping someone with physical access to it from easily getting control. Secondly, ensuring that when it's on a network, an outsider can't break into it!
The Zaurus is a very flexible device when it comes to networking, not just 802.11 wireless networks but also bluetooth, GSM/GPRS/EDGE (and probably, soon 3G).
Securing bluetooth require several things, setting a good PIN (preferably more than 4 digits), hiding the device, and turning off services you don't need!
Securing Bluetooth - notes about making your Zaurus less visible. Note that just because a device is not discoverable doesn't protect it - a brute-force scan is possible to discover "hidden" bluetooth devices!
IP Firewalls
This is a big subject by itself. Most Zaurus operating systems have iptables built in (or are packaged nicely in a feed), which allows you to control inbound, outbound and forwarding of packets. Most people only really need to control inbound packets and allow everything out. A very simple script to do this looks like:


text:
Global Navigation
On Demand
TV Shows
New Releases
Featured Lists
Disc Only
Disc and Case
How On Demand Works
On Demand Devices
My Library
Find a Store
Michael Corrente Movies
Results per page:
Some Velvet Morning
Misanthropic indie auteur Neil LaBute wades the treacherous waters of male/female relationships yet again with this story of a man named Fred (Stanley Tucci) who reappears in the life of young and beautiful Velvet (Alice Eve) unannounced following a four-year absence. Subsequently, the more Fred reveals about his reasons for leaving in the first place, the greater the tensions between he and Velvet grow until exploding into a thermonuclear game of he said/she said. ~ Jason Buchanan, Rovi
Read More
Last Kind Words
Add Last Kind Words to Queue
Add Last Kind Words to top of Queue
A teenager adjusting to his new life in the backwoods of Kentucky discovers a terrifying supernatural secret in the forest near the farm of a mysterious local hermit. Eli (Spencer Daniels) is a typical 17-year-old who's just arrived in Kentucky with his parents when he begins working on a secluded farm owned by eccentric Waylon (Brad Dourif). Upon encountering the ethereal Amanda (Alexia Frost), Eli is completely mesmerized. Little does Eli realize the mysterious girl harbors a grim secret that is somehow tied to the rotting corpses hung from trees in the woods near Waylon's farm. Now the more Eli learns about the history of this cursed place, the more clear it becomes that for the damned, death is just the beginning. ~ Jason Buchanan, Rovi
Read More
Add Loosies to Queue
Add Loosies to top of Queue
A New York pickpocket begins to reexamine his shady career path after learning he will soon become a father. Bobby (Peter Facinelli) has always been the kind of thief who can lift your wallet while looking you in the eyes. Three months ago he had a one-night-stand with a beautiful woman (Jamie Alexander). But that brief encounter leads to an unexpected complication when the woman tracks Bobby down and reveals that she's pregnant. Now, as the police close in on Bobby, the expectant father prepares to make the most important decision of his life. Michael Madsen, Vincent Gallo, and William Forsythe co-star. ~ Jason Buchanan, Rovi
Read More
Peter Facinelli
Jaimie Alexander
, (
The Education of Charlie Banks
Add The Education of Charlie Banks to Queue
Add The Education of Charlie Banks to top of Queue
A young man is faced with a dilemma when a threatening figure from his past returns in this drama, the directorial debut from Limp Bizkit frontman Fred Durst. Charlie Banks (Jesse Eisenberg) and his best friend, Danny (Chris Marquette), grew up in a rough section of New York, where they both knew Mick (Jason Ritter), a kid whose was much admired for his cool and equally feared for his talent for violence. When Mick got into a fight that left two teens nearly dead, Charlie was a witness, and when he was approached by the police, Charlie told them what he saw, though he later refused to testify against Mick in court for fear of his own safety. Several years later, Charlie and Danny have left the old neighborhood behind and are students at a prestigious private university when Mick pays them an unexpected visit. Charlie has no idea if Mick knows that he informed on him to the police, and is afraid to find out, but in the meantime, Mick aggressively reintroduces himself into Charlie and Danny's lives. As Mick starts dressing like a wealthy college boy, reading F. Scott Fitzgerald, and dating a girl Charlie has a crush on, he seems to be transforming himself into someone who can be all Charlie is and more, but in time Mick learns he can't completely turn his back on his past. The Education of Charlie Banks had its world premiere at the 2007 Tribeca Film Festival. ~ Mark Deming, Rovi
Read More
Jesse Eisenberg
Jason Ritter
, (
Brooklyn Rules
Add Brooklyn Rules to Queue
Add Brooklyn Rules to top of Queue
Director Michael Corrente's coming-of-age comedy drama Brooklyn Rules unfurls in 1985, coincident with the early rise of John Gotti. Three young Brooklyn men of Italian-American heritage -- Michael Turner (Freddie Prinze Jr.), Carmine Mancuso (Scott Caan), and Bobby Canzoneri (Jerry Ferrara) -- make the pivotal, potentially irreversible choices that will determine their directions in life. The boys' periodic run-ins with a sadistic mobster type who rules the neighborhood, Caesar Manganaro (Alec Baldwin), suggest the ever-present option of drifting into a career of crime. On the surface, Michael courageously and doggedly bucks this choice, opting instead for the pre-law program at Columbia and a straight-laced romance with blonde-haired, blue-eyed coed Ellen (Mena Suvari), yet this path is not as antiseptic as it may seem, for he actually scammed his way into the law program. Meanwhile, Carmine idolizes Caesar, and his desire to emulate this thug not only compromises his own moral integrity, but threatens to jeopardize the stability of Michael's life as well by drawing him into a sticky web of criminal activity. While the first two men navigate these treacherous paths, the third friend, Bobby, stakes out safer ground with a low-key job at the post office and married life with his intended. Over the course of it all, the boys' bonds of friendship become stressed and strained given the divergence of their paths. ~ Nathan Southern, Rovi
Read More
Alec Baldwin
Freddie Prinze, Jr.
, (
Add Corn to Queue
Add Corn to top of Queue
A young mother-to-be attempts to come to terms with her own biology while exploring a potentially deadly environmental accident in this cautionary tale of terror from filmmaker Dave Silver. When a young woman returns to her hometown to give birth to an illegitimate child, she witnesses a shocking environmental accident involving a crop of genetically modified corn. When the community dismisses the young girl's concerns about the corn, she takes a journey deeper and deeper into the food chain to track a byproduct that could spell death for countless unassuming consumers. As she tracks the elusive crop from the cornfield to the supermarket, the young girl's greatest fears are confirmed. Will she be able to stop tragedy from occurring while simultaneously making sense of the developments taking place within her own rapidly changing body? ~ Jason Buchanan, Rovi
Read More
Jena Malone
Don Harvey
, (
The Door in the Floor
Add The Door in the Floor to Queue
Add The Door in the Floor to top of Queue
Tod Williams served as both director and screenwriter for this drama, adapted from a portion of John Irving's novel A Widow for One Year. Ted and Marion Cole (Jeff Bridges and Kim Basinger) are a couple whose marriage is on the verge of collapse. After their two teenage sons died in an auto accident, Marion fell into a deep depression from which she has never fully emerged. Meanwhile, Ted has drifted into repeated infidelity, his most recent mistress being the sexually ravenous Mrs. Vaughn (Mimi Rogers), and neither Ted nor Marion are willing or able to devote their full attention to their surviving daughter, Ruth (Elle Fanning). Ted, a successful author of books for children, hires Eddie (Jon Foster), a bright 16-year-old prep-school student, to help him edit his latest manuscript. But Ted is fully aware that Eddie bears a striking resemblance to one of his late sons -- and that this would have a powerful effect on Marion. Eddie quickly develops a strong attraction to his employer's beautiful wife, and Marion, torn between grief and desire, draws him into a sexual relationship that brings the family's many emotional crises to the breaking point. The Door in the Floor also features Bijou Phillips and Louis Arcella. ~ Mark Deming, Rovi
Read More
Jeff Bridges
Kim Basinger
, (
When Zachary Beaver Came to Town
Add When Zachary Beaver Came to Town to Queue
Add When Zachary Beaver Came to Town to top of Queue
When a one man sideshow rolls into Granger, TX claiming to showcase "the fattest boy in the world," the lives of two small-town teens are changed forever in this touching coming-of-age tale based on the National Book Award-winning novel by Kimberly Willis Holt. Zachary Beaver (Sasha Joseph Neulinger) is a morbidly obese teen who travels from town to town with his best friend and business partner Paulie Rankin, earning money off of his unusual appearance. When curiosity gets the best of Granger kids Toby (Jonathan Lipnicki) and Cal (Cody Linley) and they decide to check out the show, the unlikely bond that forms between Zachary, Toby, and Cal marks the beginning of an unforgettable summer of fun, growth, and friendship. ~ Jason Buchanan, Rovi
Read More
Jonathan Lipnicki
Cody Linley
, (
I'll Sleep When I'm Dead
Add I'll Sleep When I'm Dead to Queue
Add I'll Sleep When I'm Dead to top of Queue
For I'll Sleep When I'm Dead, director Mike Hodges re-teams with Trevor Preston, the respected British television writer with whom he made a series of documentaries for ITV back in the 1960s. The film also brings the director together again with actor Clive Owen, the star of his previous film, Croupier, which signaled Hodges' resurgence. Owen plays Will Graham, a former London gangster who moved out to the country after suffering a breakdown of some sort. Will works clearing forests, and lives out of his van, until he loses his job over a lack of proper documentation. Meanwhile, Will's younger brother, Davey, is enjoying his life as a womanizing man about town, and dabbling in drug dealing, until one night, when an older man, Boad (Malcolm McDowell), has him followed and brutally assaults him. The traumatized Davey returns home and takes his own life. Will, uncertain as to where to go, finds himself drawn back to London, where he learns of Davey's death from Mrs. Barz (Sylvia Syms), his landlady. Will investigates what happened that night with his old friend, Mickser (Jamie Foreman). As Will tries to piece together what happened, he goes to visit Helen (Charlotte Rampling), his former lover, who is less than thrilled to see him after he abandoned her years earlier and eventually cut off all contact. The current neighborhood crime boss, Turner (Ken Stott), knows what Will is capable of, and sees him as a threat. Eventually, Will uncovers the truth, and is faced with the unpleasant prospect of avenging Davey's death. Screenwriter Preston took the title for the film from a sardonic song by the late Warren Zevon. ~ Josh Ralske, Rovi
Read More
Clive Owen
Charlotte Rampling
, (
Assassination Tango
Add Assassination Tango to Queue
Add Assassination Tango to top of Queue
Leading man Robert Duvall writes and directs his third feature, the romantic thriller Assassination Tango. John J. (Duvall) is an aging hit man who has settled down into family life in New York with teacher Maggie (Kathy Baker). After he is offered a good sum of money, he accepts a job to kill an Argentinean General in Buenos Aires. When he gets there, he finds out he has to wait three weeks to finish the job, so he stays in Argentina and studies the tango. He meets young dancer Manuela (real-life girlfriend Luciana Pedraza making her film debut) and the two become dance partners and begin to flirt with one another. Meanwhile, the assignment lingers. ~ Andrea LeVasseur, Rovi
Read More
Robert Duvall
Rubén Blades
, (
A Shot at Glory
Add A Shot at Glory to Queue
Add A Shot at Glory to top of Queue
Robert Duvall dons tartan and a thick brogue to star as Gordon McLeod, the manager of a failing Scottish football club. The second-division club -- dubbed Kilnockie after the fishing town it calls home -- has a new owner, an American named Pete Cameron (Michael Keaton), who pressures McLeod to spruce up the faltering club and, against McLeod's wishes, hires first-division star Jackie McQuillan (real-life footy luminary Ally McCoist). McQuillan's past days of glory came with a price, as his flashy lifestyle and volatile temperament cost him both his career and wife Kate (Kirsty Mitchell), who is none other than McLeod's own daughter. In the tradition of sports dramas from Hoosiers to Major League, A Shot at Glory sees the rag-tag team -- which also includes a talented American goalkeeper (Cole Hauser) -- put aside their differences for the love of the game, ultimately leading Kilnockie to a climactic match against the legendary Glasgow Rangers . ~ Rebecca Flint Marx, Rovi
Read More
Robert Duvall
Michael Keaton
, (
Say You'll Be Mine
A group of big-city twentysomethings are either looking for love or trying to get love to stick around in the romantic comedy Say You'll Be Mine. Ben (Nicky Katt) is an aspiring writer who for years has had a ferocious crush on his friend Julia (Libby Langdon). But Julia is more interested in his best friend Josh (Daniel Lapaine) -- in fact, they're getting married. Julia, meanwhile, is trying to fix Ben up with Melanie (Megan Ward), who's studying acting; Ben likes Melanie well enough, but is still trying to adjust himself to the fact she just isn't Julia. Ben is looking for advice, but has trouble finding a sympathetic ear -- his sister Chelsea (Justine Bateman) is a divorce lawyer who mistakenly shot her husband and went in to work the next morning. Meanwhile, Melanie has to deal with her roommates, Mason and Catherine (Gil Bellows and Rya Kihlstedt), a married couple who have furiously loud arguments when they're not having furiously louder sex. Say You'll Be Mine was the debut feature for writer/director Brad Kane; he originally wrote the script when he was only 21. ~ Mark Deming, Rovi
Read More
Nicky Katt
Libby Langdon
, (
Outside Providence
Add Outside Providence to Queue
Add Outside Providence to top of Queue
Based on a novel by Peter Farrelly, published in 1988 before he became famous as a writer and director of such films as Dumb and Dumber, Kingpin, and There's Something About Mary, Outside Providence is a coming-of-age story set in the 1970s. Timothy Dunphy (Shawn Hatosy), known as Dunph to his friends and Dildo to others, is a high school burn-out with a gift for getting into trouble; it doesn't help that his best friend is named Drugs Delaney (Jon Abrahams), and it somehow makes sense that Dunph's pet would be a three-legged dog with one eye. Dunph's father (Alec Baldwin) is convinced his son is on the fast track to Palookaville, so when Timothy gets in a wreck with a police car, his dad pulls a few strings and enrolls him in a private prep school. Dunph quickly learns the biggest difference between his old friends at home and his new classmates: rich kids have money, and money buys privilege. They can buy drugs from expensive dealers who won't fink on them, and pay for abortions when their girlfriends get unexpectedly pregnant, instead of having to get married. Dunph doesn't entirely fit into a school full of rich kids, but when he falls in love with Jane Weston (Amy Smart), he's determined to win her heart. Peter Farrelly adapted his novel with the help of his brother and screenwriting partner Bobby Farrelly and director Michael Corrente, whose previous credits include the film version of David Mamet's American Buffalo. ~ Mark Deming, Rovi
Read More
Shawn Hatosy
Jon Abrahams
, (
Add Kingpin to Queue
Add Kingpin to top of Queue
In the '70s, Roy Munsen (Woody Harrelson) was a bowling phenomenon. He was none too sharp about picking friends, though, and the champion he had to beat, "Big Ern," takes him under his supposedly friendly wing. Big Ern (Bill Murray) shows him the high-living lifestyle, and induces him to go on the road with him, hustling small-town bowlers. A couple of the men he bilks take exception to the scam, and show their displeasure with Roy by mangling his hand. Twenty years later, Roy (who now has a hook in place of his hand), earns his living as a salesman. On a visit to a bowling alley, he cannot help but notice the incredible talents of an Amish boy, Ishmael (Randy Quaid). Bowling is not part of the Amish lifestyle, but Ishmael occasionally sneaks into the bowling alley and plays a frame or two. Roy takes Ishmael under his wing, and together they begin a quest for bowling success. This comedy is directed by Peter and Robert Farrelly, who also directed Dumb and Dumber. Like those comedies, it contains a lot of gross-out jokes and bathroom humor. ~ Clarke Fountain, All Movie Guide
Read More
Woody Harrelson
Randy Quaid
, (
American Buffalo
Add American Buffalo to Queue
Add American Buffalo to top of Queue
David Mamet's play about three losers planning a robbery is brought to the screen in an admirably simple, straightforward manner. Don (Dennis Franz) is the owner of an "antique store" (read: junk shop) who discovers that the buffalo head nickel he recently sold to a coin collector was a lot more valuable than he imagined. Don hatches a scheme in which he and Bobby (Sean Nelson), a teenage kid who works at the shop, will steal the nickel back and sell it for a much higher price. Teach (Dustin Hoffman), Don's down-on-his-luck buddy, insists on coming in on the job, but Don isn't sure he wants Teach's help -- or that the robbery is a good idea at all. While director Michael Corrente occasionally moves the action out of the shop (unlike the original play), American Buffalo maintains nearly all the dialogue of the original play and its three-man cast. ~ Mark Deming, Rovi
Read More
Dustin Hoffman
Dennis Franz
, (
Federal Hill
Add Federal Hill to Queue
Add Federal Hill to top of Queue
A group of friends from a rough, predominantly Italian-American neighborhood consider their future in surroundings dominated by petty crime in this drama. Nicky (Anthony DeSando) and his pals grew up together in the Federal Hill section of Providence, Rhode Island, where Nicky makes ends meet by dealing cocaine and stealing cars. His best friend Ralphie (Nicholas Turturro), who works in construction, is prone to wild mood swings and has a dangerous penchant for breaking into the homes of local wise guys, including mob boss Sal (Frank Vincent). He also has a barely sublimated sexual attraction to Nicky which he tries to camoflage with outbursts of anti-gay violence. Nicky falls for Wendy (Libby Langdon), an archeology student at nearby Brown University, when she buys some coke from him for a sorority party; while Wendy treats their affair casually, Nicky thinks that they have a future together, and he considers travelling with her to Italy for an upcoming archeological dig. Ralphie, however, resents Nicky for spending so much time with his new girlfriend, which makes his reckless streak even more pronounced. While Federal Hill was shot and released theatrically in black and white, a colorized version was distributed on home video over the objections of director Michael Corrente; the original monochrome version was later released on tape as well. ~ Mark Deming, Rovi
Read More
Nicholas Turturro
Anthony de Sando
, (
Results per page:
Rating Systems
Film Ratings(MPAA)
Television Ratings
Game Ratings(ESRB)


text:
UDI-RC Dual Rotor Helicopter With Video & Still Camera – 2.4GHz
RC Cars
A passion for everything radio control has led Hobby People to offer a great selection of surface vehicles. Whether you want that off-road buggy that will handle almost any terrain, a rock crawler designed to climb even the toughest walls, or an on-road car that will zoom down your street in a scale version of your favorite sports car we have everything you need at Hobby People. Lots of replacement parts and hop-up items are available to keep you bashing, cruising and racing.
Items 1 to 10 of 41 total | Page: | Show per page |
View as: List Grid | Sort by |
Powermaster Power Wash R/C Formula
This is a bottle of PowerMaster PowerWash R/C Forumula by VP Racing Fuels. PowerWash is a powerful cleaner specifically formulated for the unique demands of R/C hobby vehicles, aircraft and helicopters.
Learn MoreEmerald Nitro Clean Precision Cleaner
This is a can of Emerald Nitro Clean Precision Cleaner. Nitro Clean is the ideal product for cleaning nitro-powered on-road and off-road vehicles. It is specifically formulated to effectively remove nitro oil residue, grease, grime, dirt and other contaminants in helping to achieve the optimum level of surface cleanliness.
Learn MoreNovak Speed Lube Bearing Oil 10 ml
This is a 10ml bottle of Novak Speed Lube. Novak's Speed Lube is a premium quality, American-made bearing oil that is perfect for lubricating the high-speed ball bearings used in R/C brushless motors and vehicles.
Learn MoreAKA Tire Prep Cloth (10)
This is an AKA Tire Prep Cloth (10-Pack). AKA Tire Prep Cloths have been designed to remove oil, dirt and debris from the tire bead to help obtain maximum bond when gluing tires to the wheels.
Learn MoreAssociated Foam Filter Treatment 1 oz
Associated's pre-filter treatment should work well with any foam type air cleaner that requires oil. It is thinner in viscosity than other filter treatments.
Learn MoreGreat Planes Bearing Oil - Parma TQ
This is a bottle of Parma TQ Bearing Oil. This premium oil is designed specifically for ball bearings to reduce friction and ensure long bearing life. Bottle features a needle point applicator.
Learn MoreGreat Planes Parma TQ Bushing Oil
This is a bottle of Parma TQ Bushing Oil. This premium oil is designed specifically for bushings to reduce friction and ensure increased bushing life. Bottle features a needle point applicator.
Learn MoreItems 1 to 10 of 41 total | Page: | Show per page |
View as: List Grid | Sort by |


text:
Medical Malpractice (West's Encyclopedia of American Law)
Improper, unskilled, or negligent treatment of a patient by a physician, dentist, nurse, pharmacist, or other HEALTH CARE professional.
NEGLIGENCE is the predominant theory of liability concerning allegations of medical malpractice, making this type of litigation part of TORT LAW. Since the 1970s, medical malpractice has been a controversial social issue. Physicians have complained about the large number of malpractice suits and have urged legal reforms to curb large damage awards, whereas tort attorneys have argued that negligence suits are an effective way of compensating victims of negligence and of policing the medical profession.
A person who alleges negligent medical malpractice must prove four elements: (1) a duty of care was owed by the physician; (2) the physician violated the applicable standard of care; (3) the person suffered a compensable injury; and (4) the injury was caused in fact and proximately caused by the substandard conduct. The burden of proving these elements is on the plaintiff in a malpractice lawsuit.
Physicians, as professionals, owe a duty of care to those who seek their treatment. This element is rarely an issue in malpractice litigation, because once a doctor agrees to treat a patient, he or she has a...
(The entire section is 1200 words.)
Want to Read More?
Subscribe now to read the rest of this article. Plus get complete access to 30,000+ study guides!
Source: West's Encyclopedia of American Law, ©2005 Gale Cengage. All Rights Reserved. Full copyright.


text:
Prices and availability are subject to change from the time and date that you print this page.
12/13/2013 11:57:01 AM. For Customer Service, please call
Crate and Barrel Exclusive
The Story
Natural acorn caps top off faux nuts just ripe for scattering over the holiday table or clustering with dried botanicals and seasonal gourds in a vase or low bowl.
Details and Dimensions
Return/Exchange Policy
Customers Also Viewed
Customers Also Bought
Related Products


text:
Elbow Sleeve Blouse
Starting as a small t-shirt company in designer Akiko Yasuda's apartment in Hollywood, the line quickly grew into a major contemporary label. Akiko has become well known for her great fit, beautiful colors and prints, and feminine chic. Inspired by art, vintage prints, and embroideries, her designs always flatter the female form and are on the cutting edge of fashion.
- Self: 100% silk
Combo: 93% modal 7% lycra - Dry clean only
- Fully lined
- Neckline tie front closure
- Styled with Free People Dolphin Hem Cut Offs in True Blue.
- Styled with House of Harlow Crystal Orb Ring in 14k Gold with Hematite Crystal Pave.
- Styled with gorjana Blake Gem Cuff in Gold.
- Styled with House of Harlow Rif Rebble Cuff in Rose Gold.
- Styled with gorjana Lena Ring in Gold.
- Styled with CC Skye Double Header Pave Spike Bracelet.
- Modeled in size S. See fit guide for model's dimensions.
- Revolve Style No. AKIK-WS109
- Manufacturer Style No. V2T1557


text:
Reply to comment
Yeah, I'm switching to fios
Yeah, I'm switching to fios and tonight kissing goodbye my cable dvr performances from the stellar artists from around the world, I had most of the concert on there. Pity that the cd/dvd set is so dismal. I guess it is an environmentally sound setup. If they have too many varieties of performances think of all the discs that would have to be made, put on trucks and sold. Here's to going green! I agree, Pussycat Dolls, Sarah Brightman, the whole Madonna set, the whole Waters set, the historic reunion of SPINAL TAP!! Yeah, I think they need to either put out sets, volumes, the complete set or something. Keep it chronological and keep artists together.


text:
Redemption... or darkness?
Read More
Dishonored savings on Xbox LIVE
Looking for a little more out of your Xbox 360 before the launch of Xbox One? This week there's some big time savings on Dishonored and it's add-on content — including the VGX-nominated…
VGX Nominee: The Knife of Dunwall
2013 brings a new era to Spike's annual video game award show. Now known as VGX, we're excited to announce that Dishonored's The Knife of Dunwall has received a nomination in the Best…
Around the web: Other Places and Other Stuff
Thumbing through PC Gamer, I read about PC Gamer contributor Andy Kelly's video series "Other Places." The video series focuses on the visual eye candy of various game worlds. Among…
Dishonored items available in the Team Fortress…
Dishonored items for Team Fortress 2 — previously available with a pre-order of Dishonored — are now available for purchase within the game's store. Outfit any character with the Whale…
Will Dishonored win Best DLC for The Knife of Dunwall at #VGX? Find out tonight http://t.co/AfVTObKYdm http://t.co/hfzPX3r5En
Knife of Dunwall has been nominated for Best Visual Design from @IGN_AU. Vote #dishonored here http://t.co/ieD1Bpu7zd http://t.co/tKrpw5W35N
Dishonored wins Best Action/Adventure in 2012.. Will Knife of Dunwall win Best DLC Saturday? #VGX #ThrowbackThursday http://t.co/8otOGFfKxT
AtLeastThreeSketchBooks shows us the beauty of the heart with ink on cardstock http://t.co/PwXDXtOIPg http://t.co/lyu6oDjovw
The Knife of Dunwall
Available now on Xbox 360, PS3 and PC


text:
Le Royal hotel in Paris enjoys a great location in the very heart of this romantic city, between the Montparnasse and Saint-Germain districts and at just a few minutes from the Luxembourg gardens. This friendly hotel proposes its guests a relaxing atmosphere and cosy rooms where you'll immediately feel at home. This property offers beautiful and elegant guestrooms and public spaces to make feel its guests as comfortable as possible. Among the facilities you have a meeting room hosting up to 12 people, generally available from midday, a free Wi-Fi Internet connection and a welcoming reading lounge.
Show reviews
Internet: | Wired Internet, Wi-Fi Internet connection |
Parking: | Parking Nearby |
Rooms: | 48 |
Services: |
General facilities: |
Extra common areas: |
Business facilities: |
Cancellation policy: | You can change or cancel this deal free of charge up to 24 hours before your check-in date. Please take into account that the check-in date starts at 00:00 (local time). Free cancellation can be made up until 1 day before the check-in day. For cancellations made after this time a cancellation fee of 100% of the first night will be charged. All times refer to the local time at the property. For no-show, 100% of the first night will be charged. |
Please provide this reference number to our customer service center representative on request, so we can help you better


text:
McAfee Total Protection 2013 guards your computer from viruses, malware, hackers and nearly every imaginable online threat. With its advanced antivirus, anti-phishing and anti-spam software, this full-featured security suite ensures you can browse the internet safely. It also comes with innovative social networking utilities that let you safely share online content. This download includes a single licensed copy of McAfee Internet Security 2013, giving you the protection you need for your PC or laptop.
Featuring advanced security software, McAfee Antivirus Plus continuously scans emails and websites for threats, including malware, spyware and adware. If an email or website contains suspicious content, McAfee's Active Protection immediately intercepts it to keep your computer safe.
Quick, non-intrusive scanning.
McAfee Total Protection safeguards your personal data from hacking, phishing and cyber theft. McAfee's exclusive Anti-Theft software lets you place your sensitive documents in a password-protected vault, while McAfee SiteAdvisor blocks online phishing.
Find out more >
In the age of social networking, it's easier than ever for malicious content to spread from system to system. McAfee Total Protection warns your friends of potentially risky sites, so you can share content without worry of spam or malware. In addition, an integrated URL shortening service lets you shorten lengthy links for more convenient sharing.
Keep your email inbox safe with McAfee's anti-spam technology. McAfee's filters protect you from dangerous or offensive content, letting you access your email with peace of mind.
Protect Against viruses and malware
Block Spam and Dangerous Email
Protect Your Family
Protect Your Personal Data
Protect Against Hackers and Thieves
Protect Your Identity
McAfee's Total Protection software suite comes with Customizable parental controls that let you block sites and configure age-based web-browsing rules.
McAfee also gives you access to free online storage space. This cloud storage is protected by an encrypted password, ensuring your data is kept safe.
McAfee Total Security boasts a two-way firewall, which regulates traffic moving both in and out of your network. This helps lock intruders out while keeping sensitive information in.
When you conduct an online search, McAfee Total Protection identifies potential attack sites that may install malicious code, phish for information or send you spam. The software places color-coded icons next to each site, so you'll always know which pages are safe to visit.
McAfee Total Protection conducts its scans without distracting you from your online activities. You'll be able to surf the web and browse removable storage with minimal interruptions.
With the built-in digital data shredder, Total Protection lets you permanently destroy files. This prevents your personal data from being retrieved when you donate, recycle or lend your PC.
McAfee Total Protection also eradicates malicious programs that were present before installation. As it is being installed, the antivirus scans your hard drive for threats, helping you secure your system.
Dell offers a direct download of McAfee's software, giving you immediate access to antivirus protection. You won't be left waiting while your software is being mailed to you; simply download the program and install it on your computer.
McAfee Total Protection 2013 is compatible with Microsoft Windows XP Service Pack 3 or higher (32-bit), Microsoft Windows Vista Service Pack 1 or higher (32-bit and 64-bit), Microsoft Windows 7 Service Pack 1 (32-bit and 64-bit) and Microsoft Windows 8. It requires 512MB RAM for XP, 1GB RAM for Vista and Windows, 7,500MB free drive space, a minimum 1GHz processor and an internet connection.
© 2013 Dell | Terms & Conditions | Privacy | Ads & Emails | Dell Recycling | Contact | Site Map | FeedbackLaptops | Desktops | Laptops for Work | Desktops for Work | Workstations | Servers | Storage | Services | Monitors | Printers | LCD TVs | Electronics | Top Searches


text:
Decent hotel, but I have not stayed in others in SF, so cannot compare price-wise.The biggest short-coming is the desk staff are not particularly knowledgeable. They changed constantly, and could not advise on the most basic things, such as location of the nearest tourist office, public transport options, restaurants. Questions were either answered with mis-information or "I don't know." Travellers... More
- Also Known As:
- Boheme Hotel San Francisco
- Boheme San Francisco
- Reservation Options:
- TripAdvisor is proud to partner with Hotels.com, Booking.com, Expedia, Agoda, Travelocity, Priceline, EasyToBook, Asiatravel.com Holdings and Tingo so you can book your Hotel Boheme reservations with confidence. We help millions of travellers each month to find the perfect hotel for both holiday and business trips, always with the best discounts and special offers.