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Telepathic communication is no longer exclusive to the Jedis: scientists successfully conducted one of the first instances of brain-to-brain communication on record, transmitting "hola" and "ciao" from one person in India to three people in France. Team members included Barcelona-based research institute Starlab, French firm Axilum Robotics, and Harvard Medical School, whose findings were published in PLOS One.
"We want to improve the ways people can communicate in the face of limitations—those who might not be able to speak or have sensory impairments," said study co-author Alvaro Pascual-Leone, director of the Berenson-Allen Center for Non-Invasive Brain Stimulation at Beth Israel Deaconess Medical Center and professor of neurology at Harvard Medical Center. "Can we work around those limitations and communicate with another person or computer?"
The experiment proved it's possible, indeed. The subjects didn't speak, type, or look at each other throughout the exercise. Pascual-Leone said that while the technique still has a long way to go, this breakthrough serves as a proof of concept. "It's still very, very early. [But] we can show that this is even possible with technology that's available. It's the difference between talking on the phone and Morse code. To get where you're going, you need certain steps to be taken first."
The process included turning letters into binary code, hand and feet movements conveying the code through electroencephalography sensors, transmitting it to email, and converting it into quick flashes through a transcranial magnetic stimulation system (attached to the blind-folded recipient's head). The flashes would then be translated back into binary, and then finally to text. The one-word message took approximately 70 minutes to relay.
The ultimate goal is to remove the computer as a middleman and allow brain-to-brain communication between people. "We're still a long way from that," Pascual-Leone told Smithsonian magazine, "but in the end, I think it's a pursuit worthy of the effort."
For more on the history of telepathic communication studies and how it works, watch this video, courtesy of BrainCraft:
LEGO makes strides and faces scrutiny over its toys.
Children's toys are an arena for play and learning – and they have also become a reflection of society. That's both good and bad news for LEGO. On a positive note, the company is becoming more gender aware. While a past attempt at marketing the product to girls caught flak for its overuse of pink and purple, the company is now developing a series of mini-figures that feature a female astronomer, paleontologist, and chemist. The sets were designed by Alatariel Elensar who says, "As a geochemist I started with designs close to my own profession, a geologist and a chemist, and then expanded the series to include other sciences and other professions. The motto of these Scientists is clear: explore the world and beyond." Elensar submitted her concept through LEGO CUUSOO which allows anyone to create LEGO ideas which are then considered by the company for possible production. The female scientist series is slated to hit shelves by August.
On the flipside, LEGO is coming under scrutiny for its partnership with the oil company Shell. The toy company has been producing Shell-branded sets and is selling them in 33 countries. Greenpeace is leading the campaign with a short video and petition that urges LEGO to drop Shell, citing the detriment that the company could cause to the Arctic region as well as concerns related to branding aimed at children. Despite the fact that LEGO's Brand Framework states the company has, "an opportunity to make a difference to the environment in the future by engaging with children on sustainability and responsibility issues as they will be the builders of tomorrow," the company is not budging on the partnership, releasing a statement that read, "We expect that Shell lives up to their responsibilities wherever they operate and take appropriate action to any potential claims should this not be the case. I would like to clarify that we intend to live up to the long term contract with Shell."
Photo by Michele Mazzoli, licensed under Creative Commons.
New and updated maps reflect global issues.
In How Maps Change Things author Ward Kaiser explains, "We all use maps as tool of exploration. But the most basic—and most surprising—discovery we can make with maps goes far beyond any factual information; it comes in that 'Aha!' moment when we perceive that maps are loaded not just with data but with meaning." That meaning can range from the highly political to a personal understanding of our place in the global scheme of things, and can interpret everything from history to languages to population. In fact, ODT Maps just released their 2015 population map in which each country's size is represented by its population. Whereas Canada appears as a tiny yellow sliver atop the purple mid-sized U.S., India is a hulking blue mass.
The cartographers charged with updating the map from its 2005 version were surprised at the changes that were visualized. They found that the Middle East is growing rapidly with Qatar, Bahrain, and Cyprus all surpassing the one million mark, and that the only countries with decreasing populations were in Eastern Europe. The map itself also features information charting population growth in the past 100,000 years and the percentages of countries with children under the age of 15, a strong indicator of what future maps may look like.
As the world rapidly changes, geographers and researchers are striving to map out a variety of issues. New maps have been developed to chart recent problems such as plastic in the ocean while older maps like the National Geographic Atlas of the World are being updated to show the affect of the dramatically decreasing Arctic ice sheet. In doing so, information can be tracked and communicated. However, maps, like most media that undergoes editorial decisions, must be looked at critically. In updating the population map, publisher Bob Abramms explains, "The challenge as a publishing company, was that the map had grown in size so much that it couldn't fit onto any reasonable size of paper … So in the end we needed to crop off all the map explanation material from our 2005 map." And on the updated National Geographic atlas, there was debate on what portion of ice to show since it shifts throughout the seasons. You'll be able to see the final outcome when it's released this September.
Image by Nicolas Raymond, licensed under Creative Commons.
Cell phone services are being developed to feel a bit safer.
Many people, especially women, have felt unease while coming home late after work or walking in an unfamiliar neighborhood. Kitestring is a new web-based and text messaging service that may help you feel a bit more secure. After signing up, you can ask the service to check up on you after a certain amount of time (via their website or a text message). If you don't reply, then it will automatically alert your emergency contact. The more practical aspect of Kitestring as opposed to similar apps, is that it's your inaction that prompts it to act, since in many emergency situations access to your phone may be impossible. The other advantage is that it will work on any phone with SMS capabilities, not just smart phones which makes it more accessible for those in developing countries.
Creator Stephan Boyer says, "The idea for Kitestring came to me in late January. My girlfriend, who lives in a dangerous neighborhood in San Francisco, called to ask me to check up on her as she was walking home from work one day. I wondered if there might be an app or service that could offer a little extra safety for her when she goes out at night." The service Boyer developed is free and each month you get 8 trips. An upgraded version is also available for an unlimited number of trip and additional emergency contacts.
Another resource is the so-called feminist phone intervention which allows women to give out a special phone number to someone she doesn't want to give her real number to. This may seem unnecessary or cheeky, but unfortunately there are situations when turning down someone can turn into an overly-aggressive confrontation. When the recipient calls the number they are greeted with a quote from feminist bell hooks. The phone number has proven to be popular and is now available in every U.S. time zone, and other countries such as Mexico and Israel. The original number is (669) 221-6251, so put that in your address book and hope that you don't have to use it.
Photo by Question Everything, licensed under Creative Commons.
Unmanned aerial vehicles can be utilized for social good.
Drones have deservedly earned a negative reputation as a tool for targeted killings and surveillance that infringes on privacy rights. However quite a few organizations and companies are developing more positive uses for this technology.
The applicability of unmanned aerial vehicles (UAVs) is far-reaching. One way in which UAVs are being utilized is in humanitarian aid and disaster relief. In many areas of the developing world, the road systems lack quick access from one point to another which can mean life or death. Matternet is one company that is aiming to address this challenge. By using drones, they can deliver medicine and other small packages to areas with limited access. The company has already conducted field trials in the Dominican Republic and Haiti.
Another application is in the environmental field. Convervationdrones.org is a non-profit started by a conservation ecologist and a primate biologist. They built their own UAV and in 2012, conducted a field test in Indonesia to look at the conditions of the rainforest. Since then, they have run a number of projects across the world that have gathered information on illegal poaching, habitat destruction, and endangered species. Serge Wich, one of the co-founders says, "The potential is huge to allow people to do very efficient data collection on a variety of issues that are important for conservation. We often struggle determining how many animals there are, where human encroachment is occurring. There are an enormous amount of ecological questions we can address with these systems." Their equipment allows them to capture photographs and video as well as 3D surface models. In addition, the organization provides instructions on building your own drone, and is planning on holding workshops to train people on how to use UAVs for their own conservation initiatives.
As the technology becomes less expensive and easier to operate, UAVs are likely to become more commonplace and their applicability for aid and information has much potential. However we'll probably also need regulations to catch up with the technology to avoid its misuse.
Photo by myfrozenlife, licensed under Creative Commons.
This high-tech diving suit will change the future of oceanography and medical science.
The Exosuit sounds and looks like something out of a science fiction movie, but thanks to scientist Phil Nuytten, this futuristic diving suit has become a reality. Measuring 6.5 feet long and weighing 530 pounds, the aluminum-alloy suit will allow oceanographers and deep sea divers to explore more than 1,000 feet underwater, a depth four times deeper than today's diving gear allows. The world of underwater exploration has not seen such an advance in diving technology since 1985, when Nuytten invented the Newtsuit. The Newtsuit was the first diving suit to use rotary joints for increased flexibility and became the preferred suit for salvage and drilling jobs, but the Exosuit is a new and improved version.
Nuytten calls his creation a "[suit] of armor for the ocean," and with its bulky exterior, the moniker seems apt. A team of four takes thirty minutes to strap a diver into the suit and connect them to the wire communicators. "It's a paradox," Nuytten explained to Mashable. "You need a suit that's rigid to withstand the outside pressure, but you also need to be able to move and walk. . . . The heart of an [Atmospheric Diving Suit] is the joint system." In that case, the Exosuit has a huge heart, boasting 18 rotary joints for increased mobility. The suit also has four jet thrusters that push divers through the water and multiple hand gadgets that can be attached and removed for specific missions, providing a dexterity that previous suits lacked.
Depths beyond several hundred feet were previously difficult for divers to reach with their limited air supplies and lengthy decompression times, but the Exosuit is equipped with multiple oxygen systems that support up to 50 hours of diving. The suit runs on an internal pressure of one technical atmosphere, the same pressure as sea level, which reduces the risk of decompression sickness by allowing divers to return to surface pressure without needing to decompress. These features, along with the advanced communication channels that allow divers to send instant feedback via live cameras to scientists above water, will allow pilots to collect and photograph marine life with newfound ease.
The Exosuit took 14 years and more than $1 million to design and construct, but its potential medical and biological benefits are immeasurable. In July, the suit will be used to explore the Canyons, an area 100 miles off the New England coast. Researchers plan to use the Exosuit to collect and photograph bioluminescent and biofluorescent organisms for use in medical research regarding cancer detection, spinal cord injuries, and neurophysiology.
Photo by Nuytco Research.
This article originally appeared on TomDispatch.
The Web is regularly hailed for its "openness" and that's where the confusion begins, since "open" in no way means "equal." While the Internet may create space for many voices, it also reflects and often amplifies real-world inequities in striking ways.
An elaborate system organized around hubs and links, the Web has a surprising degree of inequality built into its very architecture. Its traffic, for instance, tends to be distributed according to "power laws," which follow what's known as the 80/20 rule -- 80% of a desirable resource goes to 20% of the population.
In fact, as anyone knows who has followed the histories of Google, Apple, Amazon, and Facebook, now among the biggest companies in the world, the Web is increasingly a winner-take-all, rich-get-richer sort of place, which means the disparate percentages in those power laws are only likely to look uglier over time.
Powerful and exceedingly familiar hierarchies have come to define the digital realm, whether you're considering its economics or the social world it reflects and represents. Not surprisingly, then, well-off white men are wildly overrepresented both in the tech industry and online.
Just take a look at gender and the Web comes quickly into focus, leaving you with a vivid sense of which direction the Internet is heading in and -- small hint -- it's not toward equality or democracy.
As a start, in the perfectly real world women shoulder a disproportionate share of household and child-rearing responsibilities, leaving them substantially less leisure time to spend online. Though a handful of high-powered celebrity "mommy bloggers" have managed to attract massive audiences and ad revenue by documenting their daily travails, they are the exceptions not the rule. In professional fields like philosophy, law, and science, where blogging has become popular, women are notoriously underrepresented; by one count, for instance, only around 20% of science bloggers are women.
An otherwise optimistic white paper by the British think tank Demos touching on the rise of amateur creativity online reported that white males are far more likely to be "hobbyists with professional standards" than other social groups, while you won't be shocked to learn that low-income women with dependent children lag far behind. Even among the highly connected college-age set, research reveals a stark divergence in rates of online participation.
Socioeconomic status, race, and gender all play significant roles in a who's who of the online world, with men considerably more likely to participate than women. "These findings suggest that Internet access may not, in and of itself, level the playing field when it comes to potential pay-offs of being online," warns Eszter Hargittai, a sociologist at Northwestern University. Put simply, closing the so-called digital divide still leaves a noticeable gap; the more privileged your background, the more likely that you'll reap the additional benefits of new technologies.
Some of the obstacles to online engagement are psychological, unconscious, and invidious. In a revealing study conducted twice over a span of five years -- and yielding the same results both times -- Hargittai tested and interviewed 100 Internet users and found that there was no significant variation in their online competency. In terms of sheer ability, the sexes were equal. The difference was in their self-assessments.
It came down to this: The men were certain they did well, while the women were wracked by self-doubt. "Not a single woman among all our female study subjects called herself an 'expert' user," Hargittai noted, "while not a single male ranked himself as a complete novice or 'not at all skilled.'" As you might imagine, how you think of yourself as an online contributor deeply influences how much you're likely to contribute online.
The results of Hargittai's study hardly surprised me. I've seen endless female friends be passed over by less talented, more assertive men. I've had countless people -- older and male, always -- assume that someone else must have conducted the interviews for my documentary films, as though a young woman couldn't have managed such a thing without assistance. Research shows that people routinely underestimate women's abilities, not least women themselves.
When it comes to specialized technical know-how, women are assumed to be less competent unless they prove otherwise. In tech circles, for example, new gadgets and programs are often introduced as being "so easy your mother or grandmother could use them." A typical piece in the New York Times was titled "How to Explain Bitcoin to Your Mom." (Assumedly, dad already gets it.) This kind of sexism leapt directly from the offline world onto the Web and may only have intensified there.
And it gets worse. Racist, sexist, and homophobic harassment or "trolling" has become a depressingly routine aspect of online life.
Many prominent women have spoken up about their experiences being bullied and intimidated online -- scenarios that sometimes escalate into the release of private information, including home addresses, e-mail passwords, and social security numbers, or simply devolve into an Internet version of stalking. Esteemed classicist Mary Beard, for example, "received online death threats and menaces of sexual assault" after a television appearance last year, as did British activist Caroline Criado-Perez after she successfully campaigned to get more images of women onto British banknotes.
Young women musicians and writers often find themselves targeted online by men who want to silence them. "The people who were posting comments about me were speculating as to how many abortions I've had, and they talked about 'hate-fucking' me," blogger Jill Filipovic told the Guardian after photos of her were uploaded to a vitriolic online forum. Laurie Penny, a young political columnist who has faced similar persecution and recently published an ebook called Cybersexism, touched a nerve by calling a woman's opinion the "short skirt" of the Internet: "Having one and flaunting it is somehow asking an amorphous mass of almost-entirely male keyboard-bashers to tell you how they'd like to rape, kill, and urinate on you."
Alas, the trouble doesn't end there. Women who are increasingly speaking out against harassers are frequently accused of wanting to stifle free speech. Or they are told to "lighten up" and that the harassment, however stressful and upsetting, isn't real because it's only happening online, that it's just "harmless locker-room talk."
As things currently stand, each woman is left alone to devise a coping mechanism as if her situation were unique. Yet these are never isolated incidents, however venomously personal the insults may be. (One harasser called Beard -- and by online standards of hate speech this was mild -- "a vile, spiteful excuse for a woman, who eats too much cabbage and has cheese straws for teeth.")
Indeed, a University of Maryland study strongly suggests just how programmatic such abuse is. Those posting with female usernames, researchers were shocked to discover, received 25 times as many malicious messages as those whose designations were masculine or ambiguous. The findings were so alarming that the authors advised parents to instruct their daughters to use sex-neutral monikers online. "Kids can still exercise plenty of creativity and self-expression without divulging their gender," a well-meaning professor said, effectively accepting that young girls must hide who they are to participate in digital life.
Over the last few months, a number of black women with substantial social media presences conducted an informal experiment of their own. Fed up with the fire hose of animosity aimed at them, Jamie Nesbitt Golden and others adopted masculine Twitter avatars. Golden replaced her photo with that of a hip, bearded, young white man, though she kept her bio and continued to communicate in her own voice. "The number of snarky, condescending tweets dropped off considerably, and discussions on race and gender were less volatile," Golden wrote, marveling at how simply changing a photo transformed reactions to her. "Once I went back to Black, it was back to business as usual."
Not all discrimination is so overt. A study summarized on the Harvard Business Review website analyzed social patterns on Twitter, where female users actually outnumbered males by 10%. The researchers reported "that an average man is almost twice [as] likely to follow another man [as] a woman" while "an average woman is 25% more likely to follow a man than a woman." The results could not be explained by varying usage since both genders tweeted at the same rate.
Online as off, men are assumed to be more authoritative and credible, and thus deserving of recognition and support. In this way, long-standing disparities are reflected or even magnified on the Internet.
In his 2008 book The Myth of Digital Democracy, Matthew Hindman, a professor of media and public affairs at George Washington University, reports that of the top 10 blogs, only one belonged to a female writer. A wider census of every political blog with an average of over 2,000 visitors a week, or a total of 87 sites, found that only five were run by women, nor were there "identifiable African Americans among the top 30 bloggers," though there was "one Asian blogger, and one of mixed Latino heritage." In 2008, Hindman surveyed the blogosphere and found it less diverse than the notoriously whitewashed op-ed pages of print newspapers. Nothing suggests that, in the intervening six years, things have changed for the better.
Welcome to the age of what Julia Carrie Wong has called "old problems in new media," as the latest well-funded online journalism start-ups continue to be helmed by brand-name bloggers like Ezra Klein and Nate Silver. It is "impossible not to notice that in the Bitcoin rush to revolutionize journalism, the protagonists are almost exclusively -- and increasingly -- male and white," Emily Bell lamented in awidely circulated op-ed. It's not that women and people of color aren't doinginnovative work in reporting and cultural criticism; it's just that they get passed over by investors and financiers in favor of the familiar.
As Deanna Zandt and others have pointed out, such real-world lack of diversity is also regularly seen on the rosters of technology conferences, even as speakers take the stage to hail a democratic revolution on the Web, while audiences that look just like them cheer. In early 2013, in reaction to the announcement of yet another all-male lineup at a prominent Web gathering, a pledge was posted on the website of the Atlantic asking men to refrain from speaking at events where women are not represented. The list of signatories was almost immediately removed "due to a flood of spam/trolls." The conference organizer, a successful developer, dismissed the uproar over Twitter. "I don't feel [the] need to defend this, but am happy with our process," he stated. Instituting quotas, he insisted, would be a "discriminatory" way of creating diversity.
This sort of rationalization means technology companies look remarkably like the old ones they aspire to replace: male, pale, and privileged. Consider Instagram, the massively popular photo-sharing and social networking service, which was founded in 2010 but only hired its first female engineer last year. While the percentage of computer and information sciences degrees women earned rose from 14% to 37% between 1970 and 1985, that share had depressingly declined to 18% by 2008.
Those women who do fight their way into the industry often end up leaving -- their attrition rate is 56%, or double that of men -- and sexism is a big part of whatpushes them out. "I no longer touch code because I couldn't deal with the constant dismissing and undermining of even my most basic work by the 'brogramming' gulag I worked for," wrote one woman in a roundup of answers to the question: Why there are so few female engineers?
In Silicon Valley, Facebook's Sheryl Sandberg and Yahoo's Marissa Mayer excepted, the notion of the boy genius prevails. More than 85% of venture capitalists are men generally looking to invest in other men, and women make 49 cents for every dollar their male counterparts rake in -- enough to make a woman long for the wage inequities of the non-digital world, where on average they take home a whopping 77 cents on the male dollar. Though 40% of private businesses are women-owned nationwide, only 8% of the venture-backed tech start-ups are.
Established companies are equally segregated. The National Center for Women and Information Technology reports that in the top 100 tech companies, only 6% of chief executives are women. The numbers of Asians who get to the top are comparable, despite the fact that they make up one-third of all Silicon Valley software engineers. In 2010, not even 1% of the founders of Silicon Valley companies were black.
What about the online communities that are routinely held up as exemplars of a new, networked, open culture? One might assume from all the "revolutionary" and "disruptive" rhetoric that they, at least, are better than the tech goliaths. Sadly, the data doesn't reflect the hype. Consider Wikipedia. A survey revealed that women make up less than 15% of the contributors to the site, despite the fact that they use the resource in equal numbers to men.
In a similar vein, collaborative filtering sites like Reddit and Slashdot, heralded by the digerati as the cultural curating mechanisms of the future, cater to users who are up to 87% male and overwhelmingly young, wealthy, and white. Reddit, in particular, has achieved notoriety for its misogynist culture, with threads where rapists have recounted their exploits and photos of underage girls got posted under headings like "Chokeabitch," "Niggerjailbait," and "Creepshots."
Despite being held up as a paragon of political virtue, evidence suggests that as few as 1.5% of open source programmers are women, a number far lower than the computing profession as a whole. In response, analysts have blamed everything from chauvinism, assumptions of inferiority, and outrageous examples of impropriety (including sexual harassment at conferences where programmers gather) to a lack of women mentors and role models. Yet the advocates of open-source production continue to insist that their culture exemplifies a new and ethical social order ruled by principles of equality, inclusivity, freedom, and democracy.
Unfortunately, it turns out that openness, when taken as an absolute, actually aggravates the gender gap. The peculiar brand of libertarianism in vogue within technology circles means a minority of members -- a couple of outspoken misogynists, for example -- can disproportionately affect the behavior and mood of the group under the cover of free speech. As Joseph Reagle, author of Good Faith Collaboration: The Culture of Wikipedia, points out, women are not supposed to complain about their treatment, but if they leave -- that is, essentially are driven from -- the community, that's a decision they alone are responsible for.
The digital is not some realm distinct from "real" life, which means that the marginalization of women and minorities online cannot be separated from the obstacles they confront offline. Comparatively low rates of digital participation and the discrimination faced by women and minorities within the tech industry matter -- and not just because they give the lie to the egalitarian claims of techno-utopians. Such facts and figures underscore the relatively limited experiences and assumptions of the people who design the systems we depend on to use the Internet -- a medium that has, after all, become central to nearly every facet of our lives.
In a powerful sense, programmers and the corporate officers who employ them are the new urban planners, shaping the virtual frontier into the spaces we occupy, building the boxes into which we fit our lives, and carving out the routes we travel. The choices they make can segregate us further or create new connections; the algorithms they devise can exclude voices or bring more people into the fold; the interfaces they invent can expand our sense of human possibility or limit it to the already familiar.
What vision of a vibrant, thriving city informs their view? Is it a place that fosters chance encounters or does it favor the predictable? Are the communities they create mixed or gated? Are they full of privately owned shopping malls and sponsored billboards or are there truly public squares? Is privacy respected? Is civic engagement encouraged? What kinds of people live in these places and how are they invited to express themselves? (For example, is trolling encouraged, tolerated, or actively discouraged or blocked?)
No doubt, some will find the idea of engineering online platforms to promote diversity unsettling and -- a word with some irony embedded in it -- paternalistic, but such criticism ignores the ways online spaces are already contrived with specific outcomes in mind. They are, as a start, designed to serve Silicon Valley venture capitalists, who want a return on investment, as well as advertisers, who want to sell us things. The term "platform," which implies a smooth surface, misleads us, obscuring the ways technology companies shape our online lives, prioritizing certain purposes over others, certain creators over others, and certain audiences over others.
If equity is something we value, we have to build it into the system, developing structures that encourage fairness, serendipity, deliberation, and diversity through a process of trial and error. The question of how we encourage, or even enforce, diversity in so-called open networks is not easy to answer, and there is no obvious and uncomplicated solution to the problem of online harassment. As a philosophy, openness can easily rationalize its own failure, chalking people's inability to participate up to choice, and keeping with the myth of the meritocracy, blaming any disparities in audience on a lack of talent or will.
That's what the techno-optimists would have us believe, dismissing potential solutions as threats to Internet freedom and as forceful interference in a "natural" distribution pattern. The word "natural" is, of course, a mystification, given that technological and social systems are not found growing in a field, nurtured by dirt and sun. They are made by human beings and so can always be changed and improved.
Astra Taylor is a writer, documentary filmmaker (including Zizek! andExamined Life), and activist. Her new book, The People's Platform: Taking Back Power and Culture in the Digital Age (Metropolitan Books), has just been published. This essay is adapted from it. She also helped launch the Occupy offshoot Strike Debt and its Rolling Jubilee campaign.
Follow TomDispatch on Twitter @TomDispatch and join us on Facebook. Original article copyright 2014 Astra Taylor.
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The house that Beth and Michael Jones bought in Weston, Massachusetts was built in the 1880s as a carriage house and barn, a common beginning for what are now some of Weston's prettiest abodes. Through the years and various remodelings, the structure has retained its original peaked entry dormer, stone pilasters, and cupola.
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Architect: Patrick J. Ahearn, Ahearn/Schopfer and Associates, 160 Commonwealth Ave., Suite L5, Boston, MA 02116; 617/266-1710, ahearnschopfer.com.
Interior designer: Gary McBournie, Gary McBournie Inc. Interior Design and Decoration, 71 Newbury St., Suite 300, Boston, MA 02116; 617/542-5700, gmcbinc.com.
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text: Kicker Solo-Baric® L3 Series 11S15L34 15" subwoofer with dual 4-ohm voice coils Zoom Front Back Photos Videos My vehicle's homepage We don't check this item for fit or compatibility. Item #: 2061S15L34 Be the first to write a review DISCONTINUED This item is no longer available to purchase. Contact us for other options Call Email Original price $199.99 Shop all Component Subwoofers Shop all Component Subwoofers x By buying this product you'll earn up to 200 Rewards points. When you sign up for a Crutchfield account, you'll be enrolled in Crutchfield Rewards. You'll earn one point for every dollar you spend on gear from us. You can turn your points into Rewards Cards that you can use toward future purchases. You can sign up for an account now, or after you complete your purchase (you'll get credit for the points either way). Sign up for a Crutchfield account Overview Details Customer Reviews Articles & Videos Accessories Our take on the Kicker Solo-Baric® L3 Series 11S15L34 by Jo Greene What's a component sub and why would I want one? A component sub is simply a speaker that's designed to reproduce bass once it's installed in a compatible enclosure. Think about the impact of a movie soundtrack in a big theater or even in your own home HDTV setup. A component sub can add the same kind of power to the music in your car. And a car sub is not all about the boom that you hear on a street corner (although that's cool too) - you can pair a component sub with your choice of enclosure to get bass just the way you like it, from tight and punchy to fat and loose. And once you experience music in your car with a well-tuned subwoofer, you'll never go back. Kicker revolutionized the world of bass with their Solo-Baric square subwoofers back in 1992. Since then, engineers at Kicker have fine-tuned this design to perfection, so you can count on powerful, accurate, and reliable performance. The L3 Series subs are the latest to join the Solo-Baric line, and they definitely uphold the family name. Square woofer means more woofer The L3 Series 11S15L34 15" sub features the trademark square cone, offering up to 20% more surface area than a round 15" woofer. This added cone surface allows the sub to push more air, and more air movement means louder, more powerful bass. The SoloKon™ polypropylene cone employs a spoked design for extra rigidity without adding extra weight, while the hand-stitched Santoprene surround is reinforced at the corners to help keep cone movement accurate for clean low end. Extra venting in the stamped steel basket keeps the voice coils cool for consistent, hard-hitting bass over the long haul. DVC versatility Dual 4-ohm voice coils give you a little more flexibility in fitting this sub into your system as it grows, as well as getting maximum performance from your amplifier. This L3 sub works well in sealed or ported enclosures. Note: If you are wiring this DVC sub for lower impedance, make sure that your amp is compatible. See more info on this item Highlights:15" subwoofer with dual 4-ohm voice coilssquare SoloKon™ polypropylene cone with Santoprene rubber surroundstamped steel basketpower range: 250-500 watts RMS (250 watts per voice coil)peak power: 1000 wattsfrequency response: 25-500 Hzsensitivity: 90.3 dBmounting depth: 8-1/8"sealed box volume: 1.8-5.2 cubic feetported box volume: 3.0-5.0 cu. ft.warranty: 1 yearOur 60-day money-back guarantee Hands-on research from the Crutchfield Labs (what are the Labs?) Features and specs chart | What's in the box? | In-depth notes Features and Specs Size 15 -inch Impedance 4 ohms Cone Material SoloKon polypropylene Surround Material Santoprene rubber Ideal Sealed Box Volume (cubic feet) N/A Ideal Ported Box Volume (cubic feet) N/A Port diameter (inches) N/A Port length (inches) N/A Free-Air No Dual Voice Coil Yes Sensitivity 90.3 dB at 1 watt Frequency Response 25 - 500 Hz RMS Power Range (Watts) 250-500 Peak Power Handling (Watts) 1000 Top Mount Depth (inches) 8 1/8 Bottom Mount Depth (inches) N/A Cutout Diameter or Length (inches) 13 5/8 Vas (liters) 204.94 Fs (Hz) 24.57 Qts 0.419 Xmax (millimeters) 0 Parts Warranty 1 Year Labor Warranty 1 Year Product Research What's in the box? Download owner's manual One 15" Square dual 4-ohm voice coil woofer Cutout template (attached to carton) Owner's manual (English/ Spanish/ German/ French) Our Product Research Team At Crutchfield, you'll get detailed, accurate information that's hard to find elsewhere. That's because we have our own in-house Product Research team — they open the box, verify contents, check the owner's manual, and record dimensions, features and specs. We stay on top of new products and technologies to help people make informed choices. Features Enclosure Compatibility Features Dual Voice Coils: For increased system flexibility, the woofer has two 4Ω voice coils. When the voice coils are wired in parallel the woofer presents a 2Ω load; when wired in series the woofer presents an 8Ω load. Square Design: By making the Solo-Baric square, Kicker is maximizing the cone area (Sd) for a given size, 16% to 20% more area than a conventional round subwoofer. More cone area means the Solo-Baric L3 moves more air, resulting in louder, deeper bass. Cone Material: The square SoloKon design is a unique one-piece construction, using polypropylene material that moves as a lightweight piston for improved control. The cone remains rigid, minimizing cone flex and distortion. A rear cone brace integrates into the cone to resist deformation under pressure. Surround: The tough, flexible Santoprene rubber surround has a long-throw, positive-roll design, which controls extreme cone excursion and is highly tear-resistant. The corners of the surround are ribbed to ensure linear cone motion. The surround is stitched to the reinforced cone edge, making separation between them virtually impossible, even in the harshest conditions. Spider: The woofer is equipped with a progressive roll, vented poly-cotton spider to ensure linearity at high volume. Rubber Magnet Boot: A black rubber boot covers the outside edge of the magnet structure to improve the cosmetics of the woofer and protect the magnet from chipping or breaking during installation. Speaker Terminals: The terminals are spring loaded and nickel plated for solid connections with speaker wire up to 10 gauge. Break-in Period: Due to the complex nature of Kicker Solo-Baric L3 woofers, they require a break-in period in order to produce optimum low-bass response. The high-performance suspension system makes the speakers very stiff initially. Approximately 2 weeks of daily playing will allow the suspension to break-in and reach its optimum equilibrium. A broken-in subwoofer will exhibit stronger bass performance, smoother response, and greater low-bass extension. Enclosure Compatibility Power Handling: The power handling specifications differ according to the type and size of the enclosure. The power handling specifications assume that both voice coils are in use (Both voice coils in a dual voice coil speaker should always be connected). Sealed Box: Two recommended sealed box volumes are given in the manual, Compact and SQ (ultra sound quality). Any enclosure size between the two recommendations is also acceptable: Compact (minimum enclosure volume): 1.8 cubic feet; power handling up to 500 watts RMS (250 watts per voice coil) SQ (maximum enclosure volume): 5.2 cubic feet; power handling up to 500 watts RMS (250 watts per voice coil) Vented Box: The manual also lists two vented enclosure recommendations using slot ports: Compact: 3.0 cubic feet; 2.75" x 15.5" port opening; 25.75" port length; power handling up to 500 watts RMS (250 watts per voice coil) SQ: 5.0 cubic feet; 3" x 15.5" port opening; 22" port length; power handling up to 500 watts RMS (250 watts per voice coil) Cutout: The woofer will not mount in a standard enclosure with a round cutout; instead the required opening is square, 13-5/8" x 13-5/8" (approximately). A cutout template is integrated into the box lid. Be the first to review this product Submit a review and then enter to win a $500 rewards card Review this product: Thanks for taking the time to share your experiences about this product. Please be sure to focus your comments on the product itself. Read our Review Guidelines for more information. Review title * Email Your email won't be visible. Please use the email address that is associated with your order. Display name (e.g., JohnD) Your review will be signed using the display name and location * Your location (e.g., Charlottesville, VA) * Your rating Click on a star to rate the overall product on a scale of 1-5 Rate the following specific attributes Value Sound Quality Ease of Use "Coolness Factor" Build Quality 1500 characters left * Your review Attach a YouTube Review Crutchfield Video Review Guidelines Only submit videos that you made or are authorized to use. Do not submit videos that contain music, video or visuals that are copyrighted and belong to someone else. Please see our Review Guidelines for more information. Submit the URL of your YouTube™ video review or product demonstration. e.g., "http://www.youtube.com/v/o79TWHh598U" 500 characters left Pros 500 characters left Cons * Agree to Terms By checking this box you agree your review becomes the property of Crutchfield, that you are over 18 years of age, that you own or have owned this product, and that you are located within the United States or its territories. Please see our Review Guidelines for more information. We reserve the right (but are not obligated to) review all submissions and edit or remove any review in any manner which we deem necessary. Your review should be posted within seven days. Add accessories for the Kicker Solo-Baric® L3 Series 11S15L34 Add Accessories Add a Warranty It's critical to have good wire, and none is included with the sub. See all categories & accessories It's critical to have good wire, and none is included with the sub. Speaker Wire Reduce ambient road noise and your vehicle's "rattles," for better sound inside your car. Sound Deadening Add a grille and keep your sub safe. Subwoofer Grilles These can be useful if you are building a custom box. Build Your Own Subwoofer Box T-Spec 16-gauge Speaker Wire Black/white jacket priced per foot 13 people say Your Price: $0.69 Add to Cart T-Spec 12-gauge Speaker Wire Black/white jacket priced per foot 29 people say Your Price: $1.99 Add to Cart Stinger PRO Series Speaker Wire Priced per foot (16 Gauge) Options 16 Gauge-$0.39 14 Gauge-$0.65 Priced per foot (16 Gauge) Priced per foot (14 Gauge) 50 people say Your Price: $0.39 Add to Cart Dynamat Xtreme Trunk Kit 5 sheets, 20 square feet 13 people say Your Price: $169.99 Add to Cart Dynamat SuperLite Tri-Pak Triple package 3 sheets, 12 square feet (Model #10612) 17 people say Your Price: $69.99 Add to Cart Dynamat Dynaliner One 54" x 32" sheet (1/8" thick) 6 people say Your Price: $69.99 Add to Cart Dynamat 19100 License Frame Kit 15 people say Your Price: $14.99 Add to Cart Dynamat Xtreme Wedge Pack 1 sheet, 4 square feet 7 people say Your Price: $39.99 Add to Cart Kicker 08GL715 15" grille for Solo-Baric L5 and L7 subwoofers Your Price: $39.99 Add to Cart Polyester Fiber Stuffing Make your subwoofer think it's in a bigger box (1-pound pack) 35 people say Your Price: $12.99 Add to Cart Metra Speaker Terminal Round terminal cup with binding post connectors (for do-it-yourself box builders) 13 people say Your Price: $9.99 Add to Cart Metra Box Carpet Carpet roll (54" x 5 yards) available in 3 colors (Black) Options Black-$39.99 Charcoal-$39.99 Silver-$39.99 Carpet roll (54" x 5 yards) available in 3 colors (Black) Carpet roll (54" x 5 yards) available in 3 colors (Charcoal) Carpet roll (54" x 5 yards) available in 3 colors (Silver) 24 people say Your Price: $39.99 Add to Cart Corner Protectors 5 people say Your Price: $9.99 Add to Cart Metra Speaker Terminal Square terminal cup with binding post connectors (for do-it-yourself box builders) 7 people say Your Price: $9.99 Add to Cart Rubber Feet 4 people say Your Price: $5.99 Add to Cart Metra Speaker Terminal Round terminal cup with spring clip connectors (for do-it-yourself box builders) 6 people say Your Price: $3.99 Add to Cart Springback Handle 2 people say Your Price: $9.99 Add to Cart Metra Speaker Terminal Square terminal cup with spring clip connectors (for do-it-yourself box builders) 7 people say Your Price: $3.99 Add to Cart Why choose SquareTrade? The #1-Rated Protection Plan Thousands of people have reviewed SquareTrade Protection Plans — and made us #1. 5-Day Service Guarantee & Free Shipping We'll repair or replace your item in five business days or less after we've received it, or your plan is free. And, as always, we pay for all shipping. Protection from Normal, Everyday Use Repairing your average mechanical or electrical failure can cost as much as buying a new device. With SquareTrade, you're covered — including parts and labor. 3 Year Protection Plan Your Price: $29.99 Add to Cart For a more in-depth review and enhanced detailed information on the Kicker Solo-Baric® L3 Series 11S15L34, please visit the Crutchfield website product page (/ISEO-rccbcspd/p_2061S15L34/Kicker-Solo-Baric-L3-Series-11S15L34.html ). x Sorry, the Kicker Solo-Baric® L3 Series 11S15L34 is no longer available for purchase. Looking for a similar item? Shop Component Subwoofers Or, you can still... Write a review Purchase product accessories Download product manual Go × Front Back


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Historic Salisbury Foundation has long list of saved properties
Periodically over recent weeks and months, Historic Salisbury Foundation has listed some of the properties saved by the foundation over its 40 years.
These are the remaining properties preserved and protected in the North Long Street-Park Avenue, Kesler Manufacturing and Salisbury Railroad Corridor and within some non-designated historic district areas.
Today's list includes two properties outside the city.
Properties designated with one asterisk are those on which the foundation spent considerable funds, and two asterisks designate the properties were donated to HSF.
North Long Street-Park Avenue Historic District:
525 N. Long St. - Turner-Putnam House
424 Park Ave. - McCanless-McCubbins House*
429 Park Ave. - Kesler-Rufty House
Kesler Manufacturing Historic District:
631 N. Boundary St. - D. L. Arey House
Salisbury Railroad Corridor Historic District:
230 E. Kerr St. - Overman-Frick Building
200 Block of Depot St. - Salisbury Railroad Station*
600 Block of N. Lee St. - Thomas and Howard Warehouse**
Other Areas of Salisbury:
114 S. Caldwell St.- Tarlton-Cleaver House**
210 S. Caldwell St. - Kluttz-Bass House**
516 W. Bank St. - John Knox Cottage
520 W. Bank St. - Knox Cottage
600 N. Church St. - Grimes Mill*
125 N. Fulton St. - Marsh-Ward House
711 N. Fulton St. - Thomas Conrad House
903 S. Fulton St. - Barnhardt House (commercial)*
907 S. Fulton St. - Lentz House*
920 S. Fulton St. - Nussman House
305 E. Innes St. - Bernhardt House*
501 E. Lafayette St. - Thomas House
530 W. Monroe St. - Lash House**
205 E. Miller St. - Kesler House
Outside of City:
Kern Carlton Road - Peter Kern House
3850 E. Ridge Road - Fisher-Cruse House


text:
A tumblr dedicated to the band Matt & Kim. It's run by Miss Em. I have one of those pesky Adult Jobs, so some days I may not be able to update, but I'll do the best that I can. Also, I don't know Matt & Kim, nor am I affiliated with them, though I did see them in concert in Cleveland this past September and I totally rocked out to them.
All pictures/interviews are found through random Internets searches. Credit is given as best as possible (and as a click through photo link), but sometimes it's forgotten or unknown. In that case, just drop a line and it will be fixed. And if you really don't want me sharing your pictures/articles with the world here, just drop a note about that too. Either way, all I ask is you be nice and courteous, which will get you the exact same in return from me.
Feel free to submit a post or ask a question. Just keep it clean! And remotely about Matt & Kim.
And to the people who keep asking me if they are married, see here.


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Photo Flash: Robert Wagner & Jill St. John Visit TG's THE BOYS IN THE BAND High Res Photos
Actors Robert Wagner and Jill St. John were in attendance at a recent performance of Transport Group's THE BOYS IN THE BAND. The production is currently running through March 28 at 37 West 26th Street, Penthouse (b/w Sixth Ave. & Broadway).
BWW TV: Chatting with the Cast of THE REAL THING on Opening Night- McGregor, Gyllenhaal & More!BWW TV Exclusive: CHEWING THE SCENERY- Randy Gets a Spooky Halloween Phone Call!BWW TV: On the Red Carpet for THE REAL THING with Rosie O'Donnell, Peter Gallagher & More!But, Wait! What? Halloween Edition: BroadwayWorld's Sally Henry Counts Down Top-10 Scariest Movie MusicalsVIDEO: Idina Menzel Talks New Holiday Album, Return to Broadway & MoreVIDEO: PAN-Demonium! Allison Williams, Sandy Duncan & Cathy Rigby Talk PETER PAN on 'Today'VIDEO: Jake Gyllenhaal Plays Water Wars; Talks Broadway's CONSTELLATIONS on 'Tonight'VIDEO: Alan Cumming Talks Return to CABARET, New Book, 'Good Wife' & More on LARRY KING NOWBWW TV: Chatting with Sting and the Cast of THE LAST SHIP on Opening Night!BWW TV Exclusive: In the Recording Studio for Joe Kinosian and Kellen Blair's THE MORE THINGS CHANGE- 'More to Me'VIDEO: Ian McKellen Makes Guest Appearance in George Ezra's 'Listen to The Man' Music VideoBWW TV Exclusive: Watch New Trailer for DISGRACED on Broadway!STAGE TUBE: THE BAND WAGON's Brian Stokes Mitchell, Tracey Ullman & More Reveal Worst Onstage DisastersVIDEO: Tom Hanks LUCKY GUY Cabbie Surprises NBC's 'Today' ShowSTAGE TUBE: Iain Gives HEDWIG AND THE ANGRY INCH a Double Thumbs Up!


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Last edited by Speedykills; 06-13-2012 at 07:24 AM.
doesn't go anywhere but the general section ??
2014 Lithium :: 2007 Cheetah :: Jaguar Take-down
REAL AVID Field Staff / Bucks and Beards Scents Field Staff
Kinda funny how 2 of the biggest whiners about Martin pop up with the same old crybaby attitude every time Martin is mentioned on AT.
A little common sense goes a long way, unfortunately it's in short supply!
BTW, thanks for the link, that is pure entertainment right there. Wish I could have read the original link they were refering to.
A little common sense goes a long way, unfortunately it's in short supply!
Ya i always see that Sunnythomas guy,sounds like he's got a major chip on his shoulder towards martin,dang near every time a martin post is made he there,and it's not good..........
I dont even go over to AT anymore, have no reason to..........AT is like going to Walmart, once you get inside you ask yourself. " Why did I do this" ?
............."You'll have that on those big jobs!!"..............
2011 Hoyt Maxxis 35
2012 Hoyt CRX 35
Last edited by Arrow Splitter; 06-18-2012 at 09:07 PM.
Martin 06 Slayer, Nitrous C, shoot thru, 63lb, Quiktune 3000, HAA OL 5519, Beman ICS Hunter
Martin 06 Slayer, Nitrous C, Shoot thru, 55lb, Quiktune 3000, HHA OL 5519 2X, Easton A/C/C
Ben Pearson 1968 'Cougar' 62" 45#s @ 28" recurve, parallel shaft POC, Zwickey 'Eskimo' 2 blade


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Prices and availability are subject to change from the time and date that you print this page.
10/26/2014 5:38:13 AM. For Customer Service, please call 800.606.6252
Pickup Check store pickup options
reuse, reimagine. Upcycled yarn spins a new color story with green/grey stripes in a nubby texture that plays it earthy organic. Wide green stripe on one end keeps things unpredictable. 100% cotton square flips to solid grey. Do the math: CB2 low prices include a pillow insert in your choice of plush feather or lofty down-alternative (a rare thing indeed).
Details and Dimensions
division green 20" pillow with feather insert. 20"Wx20"D
- 100% cotton, upcycled
- Handwoven on traditional handlooms
- Back: solid grey
- Feather insert: 100% feather (made in USA and China)
- Down-alternative insert: 100% polyester fill (made in China)
- Dry clean
- Made in India
Overall DimensionsWidth: 20" Depth: 20"
Return/Exchange Policy
The short story is that you have 90 days within receipt of your purchase to make a return on most non-furniture items. For furniture returns or exchanges, please call us within 7 days of receipt at 800.606.6252 so we can advise you on how to make your return within 90 days of receipt. Our policy is simple. If you are not satisfied with your purchase, we promise an appropriate refund, credit or exchange.


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The Largest Selection of Martial Arts Products in the World!
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The 2012/2013 Kids Contract Killer Competitor Gi is here. The lapel of the Gi is made with ripstop cotton for extra life and durability. It has unique styling features details with 'We are the others" embroidery on the jacket. The pants are constructed from light and sturdy ripstop cotton. The top and bottom of the gi features contrast stitching.
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C: \ Desktop \ Icons \ Icons-Land Vista Style Love Icons Set 1.0
Icons-Land Vista Style Love Icons Set 1.0 - Detailed Description Page
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This icons set contains icons suitable for online dating websites. There are icons related to Love, Valentine's Day, Dating, Wedding, Gifts.
Keywords: love icons, date icons, dating icons, valentine icons, community icons, wedding icons, honeymoon icons, heart icon, broken heart icon, Demo, Desktop, Icons, Icons-Land, Icons-Land Vista Style Love Icons Set
Recent Changes: New Release
Install Support: No Install Support
Supported Languages: English
Additional Requirements: PNG Support
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INGLEWOOD, Calif. (December 11, 2010)—Favored Turbulent Descent remained undefeated and made a little history with her victory in the $412,250 Hollywood Starlet Saturday at Hollywood Park.
Becoming the first 2-year-old filly to win both the Moccasin Stakes and the Starlet, the daughter of Congrats had no trouble handling two turns in her first venture beyond seven furlongs.
Perfectly placed by jockey David Flores, Turbulent Descent saved ground in fourth while Nina Fever and May Day Rose argued the pace, swung out for room at the head of the stretch and inched clear with about an eighth of a mile to run in the Grade I.
At the finish, Turbulent Descent had 1 ¼ lengths on 37-1 shot Big Tiz. The fifth Florida bred winner of the Starlet ran the 1 1/16 miles over Cushion Track in 1:44.18. Owned by a partnership that includes Blinkers On Racing Stable and Bill Strauss and trained by Mike Puype, Turbulent Descent is 3-for-3 with earnings of $328,350.
Giving Flores his second Starlet win in five years – he clicked with Romance Is Diane in 2006 – Turbulent Descent paid $4.20, $3.20 and $2.20.
Third as 8-5 favorite in the Sharp Cat Stakes Nov. 7, Big Tiz finished 1 ¼ lengths in front of 2-1 second choice Tell a Kelly.
Ridden for the first time by Patrick Valenzuela, Big Tiz returned $17.60 and $5.40. The show price on Tell a Kelly was $2.60.
May Day Rose, who was trying to give trainer Bob Baffert his third victory in the Starlet, wound up three-quarters of a length behind Tell a Kelly. Zazu, True Way of Grace, Nina Fever and Luna Grande completed the order of finish.
An unraced maiden a little more than two months ago, Turbulent Descent, who is out of the Forestry mare Roger's Sue, has been a quick developer. Prior to her win in the seven-furlong Moccasin Nov. 21, she broke into the game with a handy score against maidens Oct. 3 during the inaugural Oak Tree/Hollywood Park meet.
"I wasn't going to take any chances and I would have hit her, but it was not needed,'' said Flores. "I just hand rode her all the way out. I just showed her the whip. It was a little more like a test today, but she won just the same. I am a little excited and a little relieved.
"I'm excited because I can tell what kind of a horse she is. The relief is she handled the two turns well. She was relaxed and was just great.''
Puype said Turbulent Descent, who was purchased for $160,000 at a 2-year-old sale in April in her home state, would be given a couple of months off before making her 2011 debut.
"I was never worried about this race,'' said Puype. "I never thought for a second she wouldn't handle two turns. She's just a real good filly and she's got a great, promising future ahead of her.
"She won just as easily as she did the other two times. No question about it. She's very impressive. It was another perfect ride. David's done real well with her.''
Earlier in the day, Cost of Freedom set a Cushion Track record, rolling to an easy victory in the $71,706 Miles Tyson Stakes.
Winning his third in a row over the Hollywood Park main track, the 7-year-old Cee's Tizzy gelding broke alertly under jockey Joe Talamo and was never menaced.
The 4 ¼ length score was the 11th in 21 starts for the California bred, who is owned by Gary and Cecil Barber and trained by John Sadler.
Out of the Moscow Ballet mare Freedom Dance, Cost of Freedom has earned $857,983. He ran the five furlongs in 56.14 seconds, eclipsing the former record of 56.68 set by the 2-year-old filly Necessary Evil May 31, 2009.
Cost of Freedom, who has won five of nine over Cushion Track, paid $2.80 and $2.10 as the 2-5 favorite. There was no show wagering. Quick Enough paid $2.40. Square Deal and El Scorpio completed the order of finish. Lt. Hopeful and Bamaha Breeze were scratched.
"That was unbelievable,'' said Talamo. "I thought he'd win, but not like that. He broke great today. It seems one race he does and another he doesn't. As long as he keeps winning, it doesn't matter.
"It seems every spot they pick is a winning one. I've been on a couple of horses who set track records, but not that easy.''
Sadler indicated Cost of Freedom will make his next start in either the $150,000 Palos Verdes Stakes Jan. 22 or the $200,000 Sunshine Millions Sprint Jan. 29. Both races will be run at six furlongs over the new dirt surface at Santa Anita.
The race was named in honor of a son of Miles Standish and the Radiotherapy mare X-Factor. Trained by Frank Childs for owners P.L. and C.T. Grissom, Miles Tyson won both the Premiere – now the Shoemaker Mile – and Lakes and Flowers – now the Triple Bend – Handicaps in 1972 at Hollywood Park. Additionally that year, the Kentucky bred was second in the Hollywood Express and third in the Californian, Meteor and Los Angeles Handicaps.
One race before the Miles Tyson, trainer Mel Stute picked up the 2,000th victory of his career when 25-1 shot Score for Fun went gate-to-wire at 25-1 while defeating six other 2-year-old maiden claimers.
Ridden by Edwin Maldonado-Alicea, who also won the eighth with 11-1 outsider Detroit Donnie, Score For Fun prevailed by 5 ¾ lengths. The Score Quick gelding is owned and was bred by Stute's wife Annabelle.
A native of Fort Wayne, Indiana, Stute, 83, saddled his first winner (Egg Nog) in 1947 at Portland Meadows. He won the Jersey Derby, Preakness and Santa Anita Derby with Snow Chief in 1986. He also owns two Breeders' Cup victories – Brave Raj (1986 Juvenile Fillies at Santa Anita) and Very Subtle (1987 Sprint at Hollywood Park. Both Snow Chief and Brave Raj won Eclipse Awards in 1986. Snow Chief was champion 3-year-old and Brave Raj was champion 2-year-old filly.
Racing continues Sunday. Post time is 12:30 p.m.
The feature attraction is the $75,000-added Cat's Cradle Handicap. Defending champion U R All That I Am will face five other California bred females in the contest at 7 ½ furlongs on Cushion Track. The Cat's Cradle is the second of nine races.
Copyright © 2009-2014, Hollywood Park. All rights reserved.


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KOFAVIV is one of 22 Haitian groups we have supported for nearly 20 years. In July, a Global Fund delegation traveled to Port-au-Prince to learn how we could better help strengthen the capacity of the women's rights movements to respond to the crisis. Our grantees reminded us that Haitians have long endured unresponsive governments, foreign intervention, and dependency on aid. The earthquake only compounded their already hard lives. Six months later, many were still living as if the earthquake had just struck.
"Men might have more resources, but women have the responsibility to nourish all life."
— Nadine Louis, GFW grantee Fondation TOYA
Grantee partners and advisors testified to the challenges of working under such difficult conditions. Most groups operate from camps or in temporary facilities. Despite the risk to their personal safety, they are determined to protect and empower Haitian women. Fondation TOYA, for instance, helps young women access credit for economic independence, a critical task in post-earthquake Haiti.
Long before the earthquake, local women's groups have helped empower individual women while also building a movement to transform the underlying conditions that oppress women and their families. Today, these organizations are building a new Haiti where all Haitians can enjoy full equality and freedom from violence.
Next in the Annual Report: Middle East & North Africa: Documenting Her-Stories »


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Wednesday, 05 January 2011 16:36
Lady Tigers Hang on For Second Top-25 Win in Past Week
Senior Kayla Smith protects the ball from a Scott County defender during Monday's win over the Lady Cardinals.
With just under four seconds remaining, hanging on to a one-point lead, junior Alisha Mitchell secured a rebound off a missed free throw to let time expire, as the #15 Clay County Lady Tigers held on for a 71-70 upset over visiting #10 Scott County Monday night.
Last Updated on Wednesday, 05 January 2011 16:39
Wednesday, 05 January 2011 16:34
Slipping Tigers to Face Off Against Knott Co/Wayne Co
Senior Adam Gay battles for position during the Tigers' game against North Laurel.
Having loss four of their last five games, including a disappointing loss to 49th district rival North Laurel, could Wednesday's game against Knott County Central be a must win for Coach Robert Marcum's Clay County Tigers?
Last Updated on Wednesday, 05 January 2011 16:36
Wednesday, 05 January 2011 16:33
After defeating two of the state's top-25 ranked teams in the last week, Coach James "Ivy" Burchell's Clay County Lady Tigers face their biggest challenge yet, playing host to #5 Rockcastle County Monday night.
Last Updated on Wednesday, 05 January 2011 16:34
Wednesday, 05 January 2011 16:27
Jags Hand Tigers First Loss to District Foe Since 2004
Sophomore Tiger Steven Wagers prepares to swat a North Laurel shot during Thursday night's loss to the Jags.
Corbin - Coach Robert Marcum's Clay County Tigers shot a dismal 35% Thursday night, falling to district foe North Laurel 68-56 during the third place game in the Cumberland Falls Invitational, arguably the Tigers' most disappointing performance of the season.
Last Updated on Wednesday, 05 January 2011 16:33
Wednesday, 05 January 2011 16:25
After defeating #13 Madison Central in the semi-finals, Coach James "Ivy" Burchell's Clay County Lady Tigers trounced Casey County in the finals of the Gateway Holiday Classic Thursday night 62-41.
Last Updated on Wednesday, 05 January 2011 16:27
Page 33 of 39


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Photo-Rapide: Francoise Deschamps and Malian Portrait Photography
These two exhibitions featuring portraits by François Deschamps and well-known Malian photographers Malick Sidibé and Seydou Keïta amongst many others provide a fascinating glimpse of the rich photographic tradition in the West African nation of Mali. Photo-Rapide features photographs by Deschamps made in collaboration with his Malian sitters. "Malian Portrait Photography" showcases historic and contemporary Malian portraits by Sidibé and Keïta.
The Dorsky Collects: Recent Acquisitions 2008-2012
Like all museums, the Samuel Dorsky Museum of Art depends on the generosity of others when it comes to expanding its permanent collection. This exhibition focuses on a representative selection of both two-and three-dimensional artworks created by artists from around the world which have come into the museum's collection from 2008 through 2012. A short list of artists includes W. Eugene Smith, Andy Warhol, Richard Hunt, Dorothy Dehner, Harold Edgerton, Mary Frank and Utagawa Hiroshige.
New Play Festival
A performance of staged readings of selected new plays from professional and up-and-coming playwrights, with a focus on women. " Stars"-Lydia Nightingale; "Green Sound" -John Patrick Bray; "Crazy, Crazy on You"-Lynn Elson; "Self-Portrait with Bandaged Ear"-Alex Oates; "White to a Wedding"-Brendan Quinn; "Clara Vox"-Raquel Steres; and 2 sets of review sketches called "Stand Alone Together"-Chelsea DeMott, Vincent Carnevale, Brenna Landerkin, Clark Slater, Aaron Tremper, Matt Hunter and "At the Gallery"-Samantha Mossman, Stacy Carter, Allison Leskowitz, Sara Troeller, Rachel Wong, Rachel E. Bailey.


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When you hear the phrase "Casting the First Stone," what comes to mind? Perhaps a pastor, or minister, preaching to not be the first person to cast a stone. Or, maybe a parent lecturing to their child? No matter where you hear it from, it's usually has a negative connotation, but why?
"Casting the First Stone" can be redefined into something that is not only positive, but also has the capacity to change the world. Casting the first stone is what separates the men from the boys, the strong from the weak, and the people that are referred to as the chosen few.
Casting the first stone is a mentality and attitude that develops leaders. Leadership is a common term; perhaps an overly used word. But what does it really mean? Leading is defined as taking the directing or principal part. On the other hand, anyone has the capacity to call them-self a leader and arrogantly step forward and demand control. However, that's not truly being a leader. A leader goes beyond the vague definitions given from a dictionary.
A Leader is someone who:
- Steps up to a task with humility
- Chooses to defy adversity and not allow it to define them
- Embraces diversity instead of letting prejudice cloud their judgment and actions
- Choses the high road in life versus the road that seems most popular at the time
- Takes on the burden of the weak and down trotted, not someone who defends the strong and ruthless
Within the culture of schools and education, a Leader:
- Doesn't have to be a person in a position of authority
- Stands up for the kid getting bullied
- Is the student that works harder than anyone else in school because they realize education is the only thing that will save them from the imperfect circumstances they were given in life
- Is a teacher that demands excellence from all of their students because they see the potential in each of them and will invest the same amount of energy into everyone not based on race, gender, or ability level
- Chooses to say yes to the life less popular and not to a life of partying, drugs, and alcohol
- Could be a security guard that takes three seconds to pull a student aside and stop them from making a reckless and careless mistake
Those details and character traits are what separates leaders from the pack – as many are called but few are chosen. We all have the ability to be leaders and we cannot make the decision to be less than that.
We must cast the first stone and be better than we are now. Whether it is one person standing up to their group of friends or a teacher that comes to school an hour earlier to help a student who is struggling – cast the first stone.
Don't be afraid to cast the first stone. Even the smallest stone thrown in a river still creates a ripple effect that will reach every inch of the water. The changes we start here could spark a revolution and shape this world into the change we wish to see. It all starts with you pushing yourself to be the leader you know you were meant to be.
Make the change and Cast the First Stone.
By Imani Roberson
Princeton High School – c/o 2014
Student Leader, Advocate and Viking – 24/7


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Municipal outdoor recreation areas are smoke-free!
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Get ready for Municipal Election 2014
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Tickets to headline performances at Sudbury Arena.
Easy come, Easy go
Greater Sudbury Transit schedules and more.
Feel Fit
Register today for Leisure and Sports programs.


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Showing off Broncos pride should be easy, but it should also be tasteful and classy. With the Ele-Gant 9FIFTY snapback from New Era, letting everyone know that you're a Denver fan with good taste is simple! This adjustable cap features a 3D embroidered team logo on the crown as well as a contrast-colored flat bill and adjustable plastic snap strap. The two side panels display a textured elephant skin-inspired print for a show of your sophisticated and uniqueDenver style. Sport this hat anytime for an attractive and prideful look!
- 100% Polyester fabric
- Adjustable plastic snap strap
- Contrast-colored bill and strap
- Flat bill
- Imported
- Officially licensed NFL product
- Quality embroidery
- Structured fit
- Textured print on side panels
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Manufacturer direct items are shipped directly from the manufacturer. These items are not available for international or expedited shipping.
Customized items can be personalized with options such as your name, your favorite number, and/or designs. Some options may be limited by league rules.


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Get a little down and dirty in the Clean & Mean Plus sandals from O'Neill. They feature a compression molded fusion foam footbed with arch support and a raised texture for outrageous comfort and style that allows you to get a little messy without losing your polished look.
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- Embossed O'Neill lettering on strap
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- Imported
- Laser etched O'Neill logo on heel
- Raised texture on footbed for comfort
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Special event items are produced by manufacturers only after the outcome of a game or event. These are advanced sale items and will ship immediately after they are received in our warehouse.
Manufacturer direct items are shipped directly from the manufacturer. These items are not available for international or expedited shipping.
Customized items can be personalized with options such as your name, your favorite number, and/or designs. Some options may be limited by league rules.


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Don't Ruin Another Hat!
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Is this purchase a gift? Let us gift wrap it for you in a gift box, letting your purchase sit pretty while adding a nice personal touch. This quality gift box with a tie around the corners. This large gift box is a great fit for larger apparel and gift items. Let us give your gift that last touch of class before it is delivered!
This 60" x 80" Denver Broncos blanket is extremely warm and has superior durability. Taking care of your Denver Broncos blanket is easy. Machine Wash and Dry. This Denver Broncos blanket is made with 85% acrylic and 15% polyester by The Northwest Company.
Your Denver Broncos blanket comes in a zip vinyl bag with printed color insert. Get ready for the cold by buying an Denver Broncos blanket today!


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CSI: Miami - Season 1 DVD
$16.99Add to Wish list
You Save: $5.99 26% off
- Additional Details
- Format: DVD
- Rating: Not Rated
- Number of Discs: 7
- Run Time: 1093 Minutes
- Region: 1
- Aspect Ratio: Widescreen
- Language: English (Dolby Digital 5.1)
- Studio: Paramount
- DVD Release Date: June 29, 2004
- Audio:
ENGLISH: Dolby Digital 5.1 [CC]
SPANISH: Dolby Digital Surround
- Cast: Khandi Alexander, Emily Procter, Adam Rodriguez, David Caruso, Rory Cochran
- Genre: TV Series
- Color: Color
- Includes:
Behind-the-Scenes Featurettes
CSI: Miami Uncovered
Creating CSI: Miami
Procedures of Handling Evidence
The Autopsy Theater Tour
The Gun Lab Tour
Audio Commentaries:
Pilot Episode "Cross-Jurisdictions"
Episode 101 "Golden Parachute"
Episode 118 "Dispo Day"
Episode 123 "Freaks and Tweaks"
- Release Date: 2002
Like their CSI counterparts in Las Vegas, the CSI: Miami Season 1 team tackles the fascinating, compelling approach to crime known as forensic science. In these CSI Miami DVDs, behind the sun, surf and palm trees lurks a captivating, 25-episode premiere season of spellbinding mysteries and baffling clues all captured on DVD in the seven-disc collection for season one, including three hours of bonus features.
Behind-The-Scenes Featurettes:
CSI: Miami Uncovered
Creating CSI Miami
Procedures of Handling Evidence
The Autopsy Theater Tour
The Gun Lab Tour
CSI Miami Audio Commentaries:
Pilot Episode Cross-Jurisdictions
Episode 101 Golden Parachute
Episode 118 Dispo Day
Episode 123 Freaks and Tweaks
Widescreen Version
Enhanced for 16:9 TV
Dolby Digital
English 5.1 Surround
Spanish Dolby Surround
Buy CSI Miami Season 1 videos for a great season of baffling clues that must be solved with the latest high tech forensics.


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At this point "12 Years a Slave" has only its own publicity to conquer. Moviegoers reeling from "Gravity" may well approach director Steve McQueen's patient, clear-eyed and altogether extraordinary adaptation of the 1853 slave narrative with a combination of preconditioned shock and awe (given the subject matter) and misleading expectations of classy, eight-cylinder Hollywood melodrama.
But this is different. It is smaller in size and larger, deeper, more complicated in its reach. It is its own classically accomplished achievement. There are a few drawbacks but a few hundred more rewards to be found here in McQueen's third and finest feature, preceded by "Hunger" (2008) and "Shame" (2011), about Irish Republican Army hunger striker Bobby Sands and a fictional New York City sex addict, respectively.
McQueen's images have always had a self-conscious side; in his earlier pictures the staging, the lighting, the compositions had a way of turning the storytelling into picture-framing. Not here. Something else takes over in "12 Years a Slave." While this is very much a McQueen picture, with visual flourishes and motifs unmistakably his, the historical urgency and staggering injustice of the events keep McQueen and company utterly honest in their approach and in their collective act of imagining Solomon Northup's odyssey to hell and back.
That odyssey took the freeborn man of color from Saratoga, N.Y., to the swamps and whip cracks of pre-Civil War Louisiana. The film version of Northup's account, written by John Ridley, takes a great deal of the language from the original book while compressing the events and the chapters describing an abduction from freedom into chains. Already we're going in the opposite direction of virtually every other slave account in the movies. To say (rightly) that "12 Years a Slave" is the best so far says too little. To say we needed a movie like this, after the facetious spaghetti-Western-blaxploitation make-believe of Quentin Tarantino's "Django Unchained," says even less. Let's just say a film this good, and this quietly distinctive in its style, is always welcome.
In 1841 the middle-class Northup, married with young children, was hired as a violinist for a job in Washington, D.C., while his wife, a cook and a domestic, was away on temporary employment. In Washington, Northup was drugged, kidnapped, chained and sold, then transported to Louisiana. Thus began a life of raw survival as a Northerner who could not reveal his education or literacy without risking all.
The events of the film are stripped down to Northup's experiences on two plantations. The first belonged to a relatively kindly slave owner, played by Benedict Cumberbatch; the second, which accounted for nearly a decade of Northup's enslavement, was ruled by an unpredictable, raging drunk, described by Northup in his memoir as a sadistic creature "distinguished for his faculty of subduing the spirit of the slave."
McQueen has an actor of exceptional, complicated spirit at the center of "12 Years a Slave," Chiwetel Ejiofor. Like many of his on-screen and behind-the-camera colleagues, he is a London-based talent, and with McQueen being British, the film has garnered heat in some American quarters for not being "American" enough. It's hardly worth discussion; it's all in the results. With his skillfully sustained long shots, often revealing a half-dozen grievous facets of the plantation life in a single image, McQueen ensures our rapt attention without resorting to every vicious cliche and screw-tightening trick the movies have given us since D.W. Griffith (a great artist, but still).
On the Epps plantation, the psychosis of the "peculiar institution" reaches dizzying heights. Northup befriends Patsey, who has the miserable distinction of being the sexual chattel of the master. A remarkable newcomer, Lupita Nyong'o, plays Patsey; Michael Fassbender casts a formidable shadow as Edwin Epps, whose wife (a steely, effective Sarah Paulson) can barely process the indignity of being sidelined in her slovenly husband's affections by a piece of property.
Throughout the picture, Ejiofor's character is both participant and observer in his own nightmare. With a lesser actor Northup might seem a cipher. But McQueen uses him brilliantly. There are so many striking moments. After turning on a particularly venal workman (played by Paul Dano) on his first plantation, Northup survives a lynching, barely. For an excruciating length of time we see Northup dangling from the rope while stretching his toes in order to reach the muddy and treacherous ground. No music. No false dramatics. The sound of the cicadas is background music enough. (Elsewhere, the typically bombastic composer Hans Zimmer contributes one of his least intrusive scores.) Another inspired long take (probably the best thing McQueen has ever staged on film) features Paul Giamatti as a slave trader offering his fresh supplies for display. It's a whirligig of motion and action, all of it appalling and appallingly matter-of-fact.
"12 Years a Slave" comes from Brad Pitt's Plan B production company. Rather jarringly, Pitt takes on a key good-guy role near the end, that of a Canadian carpenter working on the Epps plantation — in many scenes, we see structures being built while an entire corrosive society metaphorically crashes down around them. The film cost between $20 million and $22 million to produce, according to various reports, and the physical production's modest scope is perfect for the story. One of the key one-two punches is a shot of a paddle wheel from inside the craft — the boat is transporting Northup and his fellow slaves from up North to down South — followed, a few minutes later, by a shot of a corpse bundled up and buried unceremoniously at sea, filmed from the same angle. There's no exterior shot of the ship. McQueen finds ways to visualize Northup's story without the usual peaks and valleys or throat-clearing transitional moments. It all flows naturally, like a tributary feeding a big, bad river.
One aspect of the film feels artificial, as opposed to carefully stylized. The gracious life of Northup and his family in Saratoga is depicted as a kind of placid fairy tale. It's treated as such for heightened contrast to the horrors around the bend, but it seems somewhat ahistorical, as if racism itself didn't exist north of the Mason-Dixon. A few of the casting strokes (Pitt and Dano especially) have a way of taking you out of the film, momentarily. But the scenes of real impact, and there are dozens, make hash of these small issues, such as Patsey's plea to Northup to help end her life. She has suffered too much, in too many ways, yet Northup cannot understand her fatalism. "How can you fall into such despair?" he asks. "How can you not know?" comes the reply.
In that scene, as with so much of this supple achievement, "12 Years a Slave" reminds us: Behind one person's story, there are others, millions more, whose stories demand equal time and films of their own."12 Years a Slave" - 4 stars
MPAA rating: R (for violence/cruelty, some nudity and brief sexuality)
Running time: 2:14
Opens: Friday