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The Alameda County Water District, which provides water to Fremont, Union City and Newark, has proposed to raise our water rates again. For single-family residences, there will be surcharges on water use over 16 units (1 unit equals 748 gallons). For everyone else, including apartments and businesses, water rates will increase 13.6 percent, regardless of water use.
ACWD has raised our water rates for at least 15 consecutive years, and the last rate increase of 7 percent was implemented less than six months ago in February. The average residential customer's water rate has more than doubled in nine years. It is long past time for the public to hold this government agency accountable for its actions.
ACWD says it needs to increase water rates because of the drought, but this is not a one-time rate increase. In fact, just four months from now, ACWD will propose another rate increase as it does every November, and its financial models project 8 percent rate increases into perpetuity.
To be clear, this drought has difficult financial implications for ACWD, but when there's an emergency, government agencies must put everything on the table to share the burden with the public. However, ACWD continues wasteful spending and is unwilling to consider reforming employee compensation, which represents about 60 percent of operating expenses.
Last November, ACWD's five-member, publicly-elected board of directors unanimously voted to spend $280,000 to write history books to celebrate its 100 year history. At a recent April meeting to discuss raising rates, one of the directors continued to justify this spending, even after ACWD declared a water shortage emergency. History books are not essential operations and should not be funded during an emergency.
During the Great Recession, many government agencies froze employee pay, including teachers' pay, as many people lost jobs. These employees shared in the sacrifice with the public. ACWD employees, on the other hand, received a combined 20 percent raise during 2008-2012. The Alameda County Grand Jury noted that this was the highest raise given among 30 government agencies in Alameda County.
In addition, ACWD employees received a bonus and raise in 2013 and will continue receiving raises through 2017. There has not been any shared sacrifice by ACWD employees during the recession and these dry seasons.
ACWD has also overpromised and underfunded retirement benefits for employees to the tune of $80 million, which the public is on the hook for. ACWD will continue to rely heavily on rate increases on the public, including seniors on fixed income, the unemployed, families struggling to pay rent, etc., to maintain its spending on history books and raises for employees who are well compensated (more than half of employees earn more than $150,000 in total compensation).
If you oppose the rate increase or believe ACWD should share in the sacrifice, please take one minute to send a protest email to email@example.com. Include your name, address and phone number. ACWD legally cannot impose the rate increase if there is a majority protest.
ACWD will vote on the rate increase at a public hearing at 6 p.m. on July 17 at its headquarters at 43885 Grimmer Blvd., in Fremont. I encourage the public to attend and voice their opinions. If you feel the directors do not listen to your concerns, you can elect new directors in the November election.
Eric Tsai is a Fremont resident.


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SNOOKER: Owley on title march
3:50pm Wednesday 5th February 2014
By Andrew Simpson
3:50pm Wednesday 5th February 2014
By Andrew Simpson
OWLEY Wood A's march to the Mid Cheshire League's Premier Division title continued with a 6-1 thrashing of Castle Private A.
Closest rivals Pockets C enjoyed a comfortable win too, over bottom-placed Middlewich Legion A, while champions Middlewich Legion D remain in third place after beating Riley's.
Winsford Cons A moved clear of the drop zone after bettering Middlewich Legion A.
Leaders Castle Private B suffered only a second defeat of the season in Division One, this time against promotion-hopefuls Cygnet.
Wharton Cons D edged Winsford Cons to stay second, but Owley Wood D remain as back-markers despite beating their clubmates.
Winnington A's third reverse of the campaign, against Victoria B, was not enough to cede top spot in Division Two.
Cosey Club won at Victoria D, while Wharton Cons B were victors in a battle of the bottom two teams after trumping Winnington D by the odd frame.
Pockets D squeezed past Moulton in the other game.
Pacesetting Wharton Cons C established a 10-point lead in Division Three after whitewashing Castle Private D, while the Winsford club's A team topped Meadowbank B.
Elsewhere Meadowbank A beat Victoria C.
© Copyright 2001-2017 Newsquest Media Group

subset: commoncrawl


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Making Music With McCreary on "Human Target"
When you're watching your favorite television show, you likely don't think about the many different moving parts of the production that must come together to create the finished product. Sure, you recognize on some level that a lot goes in to the craft of making a one-hour television program, but you're not thinking about the specifics of how the script came together, the long shooting days, when visual effects were completed for a scene or how the music for an episode was recorded. Of course, that's exactly the way it should be, but there is a lot of hard work put in to each and every aspect of your favorite television show.
While we here at CBR have often taken you behind the scenes into the making of television shows and films, talking with the writing staff or supplying you a report of a visit to the set, one area we've never explored – and one often neglected in the press as a whole – is the musical score, one of the most important pieces for setting the tone of show.
This past Saturday afternoon, CBR was given a chance to look at the musical side of a television show's production when I went on an exclusive visit to the Eastwood Scoring Stage on the Warner Bros. lot in Burbank, a legendary sound stage that's large enough to hold a full orchestra and has been the scoring site for hundreds of movies and television shows including classics such as "Casablanca" and "Rebel Without A Cause," not to mention "The Bridges of Madison County," directed by Clint Eastwood, whom the stage is named after.
On this day, we were there to visit with Bear McCreary, the composer behind such series as "Battlestar Galactica" and "Terminator: The Sarah Connor Chronicles." Now, Bear has focused his attention on his latest series, the January debuting Fox television series "Human Target" based on the DC Comics character and brought to the small screen by Executive Producer Jon Steinberg. Over that four-hour stay, I saw just how the music comes together for a television show and got a chance to sit down with Bear to talk about his craft.
Upon entering the building, I was escorted through a series of doors with signs outside noting that if the red light was on you were not to enter. As I made my way in, I found myself in the main recording studio where engineers were talking with Bear through an intercom system about the part of the score that they had just been working on. In the center of the room was a massive multi-track mixing board with numerous computers and monitors. An engineer sat at the center of the console, with orchestrators and other support staff to his left and write. Behind the mixing board was a long desk, where other engineers and support staff sat with additional computers. Behind this was a series of couches and chairs for onlookers like myself to sit, with additional chairs in front of the mixing console for observers to watch Bear McCreary conduct the orchestra through a massive double-paned window. Think of it like the bridge of the Starship Enterprise – the recording engineer is Captain Kirk, but instead of looking through a massive view screen in to space, it's a giant window that looks onto the main scoring stage where Bear and the musicians were. Throughout the recording studio were numerous flat screen monitors where the scenes from "Human Target" they were recording for could be seen.
|The view from the rear, right corner of the recording studio. The scoring stage can be seen in the distance. The recording engineer is center, in black. Bear's orchestrator's are sitting to the far right.
I took a seat in the back of the room. On the other side of the glass was a massive scoring stage, the size of a large high school gymnasium, complete with wood flooring. At the far end of the stage was Bear, his back to us, standing in front of a lectern, a massive standing desk with the show's sheet music laid out in front of him. In front of Bear, at the far end of the scoring stage, a group of 10 musicians sat with french horns, trombones and trumpets. Above them was a massive projection screen, showing the scene they were scoring. I was told that earlier in the day they had recorded tracks with the string instruments and the remainder of the day would be spent working with the brass instruments.
As I settled in, they began recording music for a scene from the second episode. In this scene our hero Christopher Chance, played by actor Mark Valley, is in the open wheel well of an airplane. Another actress is in there with him, holding a gun toward Chance. Though all of this, I'm not hearing any audio from their discussion, just the music mix which included the previously recorded percussion and strings, while Bear conducted the horns in the room in front of me. As the scene went on, a hand-to-hand fight breaks out, and that's when the music really amps up. Early on in the scene, the brass instruments were quieter, but as the action built, so did the action from the scoring stage, as the brass instruments really picked up. Suddenly, the scene goes to black and the only sounds left are a reverb sustain – we're in commercial. I instantly got a sense of high adventure from the music, which would only become more prevalent as the day went on.
|Directly behind the recording console. Bear can be seen, wand held high, conducting the musicians on the Scoring Stage.
Bear came over the intercom, talking with the engineers and staff in the recording studio. Despite the words being spoken in English, it was a language that I was certainly not familiar with. "Hey, did it sound weird at 37," Bear asked, while his engineer responded, "No, it was fine, but the ending is still off." And that's how the conversation continued all day in between takes – there would be intense discussion and dissection of specific measures of music, even on down to single notes or sounds overheard. The engineers and orchestrators, who followed the sheet music closely as Bear conducted, would provide feedback, showing an intense attention to detail. "Bear, I think one of the french horns was too bright on that take," or, "I think it should be a bit bouncier in the beginning, and more accented and sharp at 11." Bear would ask additional questions about specific measures or sounds he was hearing, then relay to the musicians how he'd like things changed for the next take.
There was an incredible attention to detail in every take, most of it being completely missed by myself. A note was out of tune here, a trumpet was behind on this measure, Bear would indicate this should be Mezzo-Forte versus something else – seriously, it almost sounded like they were talking about pasta, not music.
And the score for the scene would be recorded again and again and over time, as I focused on the feedback Bear would give his musicians, I began to notice the subtle changes they discussed.
After spending about 45 minutes working on that single scene, it was time to do the final recording on the main title sequence. The best way to describe it would be that it has a "Sin City"-esque feel, with a collage of watercolor style images, including all the elements you'd expect from an action series – images of our hero walking, running, jumping, followed by a cityscape, helicopter shot or other places and situations Chance finds himself in. The names of the actors floated by, first Mark Valley then Chi McBride and Jackie Earle Haley, as well as that of series creator Jonathan Steinberg. The music begins relatively quietly, mostly with strings and percussion, but as the action in the title sequence ramps up, so does the sound of the drums and the brass instruments in the adjoining room. It has a very swashbuckling style at first, transitioning into high energy, ramping up the tension at the end as Chance walks toward the audience and the "Human Target" logo comes on screen.
As they finished with the main title sequence and moved on to scoring another scene, I walked onto the scoring stage to hear the musicians live. It was like entering an entirely different world. In this massive room, all you can hear is the instruments and the click-track of a metronome. Bear and the musicians all have headphones on, so they can hear the percussion and strings recorded earlier. A second engineer sits behind another mixing board, still massive, but about half the size of the one in the recording studio. This engineer oversees the music mix the musicians hear in their headphones. Interestingly, the discussion with the engineers and orchestrators in the studio can only be heard by Bear, who gives instructions to his musicians in between takes.
At one point a musician asked Bear to tell him a bit more about the show and who this character was. Bear explained just that this was an action-adventure series based on a DC Comics character who in the comics wore a costume and mask, but didn't in the show. It was clear from his description that Bear knew more about the character of Christopher Chance than just what he read in the script – was he a comics fan, too? I made a mental note to ask him about that when we spoke later.
Being in that room was rather amazing – it was as though a private concert was taking place in front of me. Absent were the percussion and strings, just the warmth and strength of the brass instruments sans any processing.
During one of their breaks, Bear made his way to the recording studio where he looked over his music with his engineer and orchestrators, getting feedback and poring over every measure of music. At one point Bear asked of his compatriots, "How's this going? I can't tell when I'm in there, and I start thinking this just sounds lame." He was assured by everyone in the studio it sounded excellent. Is Bear a perfectionist? Is he a bit too hard on himself? Both are fairly typical aspects of anyone working in a creative capacity and something I'd have to talk with him about later in the day.
Following the short break, everyone was back to work on additional scenes, with more intense scrutiny of every recorded second. The click-track could be heard that time, so the scene was re-recorded. "I thought I heard an errant noise. I'm probably being paranoid, but let's do it again," Bear said after one session. "Horn #2, you can come out a bit more at 7," after another. They even discovered a small error in the sheet music as they day went on. The littlest details did not go unnoticed.
The day began for the Bear and his crew early in the morning and wrapped around 5:00, at which point I had a chance to sit down with Bear to discuss what I had just witnessed and talk about his approach to scoring the "Human Target."
|Looking to your left as you enter the scoring stage, you see the second engineer and a look back at the recording studio itself.
Jonah Weiland: Bear, I want to start with something I heard you say while you were conducting. When you described the show to one of the musicians, you knew details about the character that aren't part of the show, such as his costume and mask. That could only be known by someone who's actually read the comics. Are you a comic fan?
Bear McCreary: Yeah. I've read comics my whole life, and for me it's really exciting to be able to contribute something to the DC Universe, even if what we're doing is a bit different. I have a feeling that really hardcore comic fans will be upset that we're changing what is sort of the core thing about the Human Target, but I think what we're doing is updating it and making it something that will translate better for the mainstream.
Well, one of the luxuries Jon Steinberg and you have is that the Human Target is not as well established a character in the mainstream compared to, say, a character like Wolverine, so the audience will likely be more forgiving. Tell me a bit about your early fascination with comics.
It started when I was a kid. The first comics I got in to were those French comics, "Asterix." I got into those big time. That was my gateway drug in to X-Men and especially Batman. It was in college that I got in to some of the longer form graphic novels like "Watchmen" and stuff like that. I wasn't in to weekly comics as much as I was into the collections.
Starting with "Asterix" is an unusual starting place for most people in America. Did you happen to grow up in Europe?
No, I grew up here, but those books were in my elementary school, which is how I was exposed to them. I did go to Europe as a kid and lived in Italy for a short while, and when I was there I did pick up some "Asterix" books. I couldn't really read Italian, but I could basically understand what was happening. I was super thrilled because I was able to get stories that weren't yet available in the States. So, I was a big nerd even back then.
When I spoke with Jon Steinberg earlier today, I asked him about finding the musical tone for the show and he said that in your discussions you brought up the soundtrack for "Start Trek II: The Wrath of Khan" by James Horner. He said that was the moment he knew he found the right composer for "Human Target." Tell me about some of those early discussions you had with Jon.
We hit it off right away. We liked all the same things and recognized [that] the tone of the show draws from a lot of works from the late '70s and '80s. It draws heavily from "Indiana Jones" and "Lethal Weapon." We talked about "Star Trek II" and even "The Goonies." There was this great sense of adventure that could be fun, with a serious side. "Indiana Jones" and "Lethal Weapon" are great examples of that. They can be fun and funny and you'd laugh, but the action was great – they weren't winking at you in the action sequences, these were serious, kick ass action movies. We wanted to capture some of that.
I must confess, we hit it off musically, but I was still skeptical that we could not only make a show that worked with this approach, but that Warner Bros. and FOX would let him, because it's just not something that's done anymore. There are a few other shows that use orchestras, but they don't usually have scores like this or in this language. I'm trying to be contemporary, I don't want to sound retro, but I'm also trying to acknowledge the fun in it, and I think that's the thing missing from a lot of action shows on TV right now and even in the movies. That fun factor can get lost.
This is the first time I've watched a scoring session like this, and I was listening to you talk during one of your breaks about how challenging this work will be for you with only a seven day turnaround. Is this a crazier schedule than you've ever had to deal with before?
Absolutely. The scale of what we're accomplishing is tough. Other shows that have seven day turnarounds do not require one of those days spent being here [on the scording stage], and to write this music just takes longer. I'm not able to write as many minutes a day. It's just more difficult, but ultimately so rewarding, and I'm really excited about stepping up to that challenge. It will be a real challenge, but I'm not the only one facing that. The writers, actors, production staff – they're keeping this up week-to-week, from script-to-script and making sure the action stays intense and feels like a movie every week, which is not easy.
Well, you're making a 42-minute action movie every week and that has to be exhausting.
So far it has been, yes, and we're just getting started! [laughs]
Is this the most challenging thing you've worked on?
Well, I don't mean to suggest it's difficult to write, but it's time consuming. I find it's very inspiring and the ideas come very quickly, it's just that there are not as many hours in the day as I'd like, but we'll get it done.
I was listening to you record the theme song earlier, and I noticed that a number of elements found in the theme song made it into two of the action sequence scores I heard you record as well. I'm guessing this is Chance's theme. Are there themes developed for other characters like Guerrero, played by Jackie Earle Haley, or Winston, played by Chi McBride?
Chi has a theme, but Jackie does not – yet! He will soon. There are several other themes weaving their way in to the show. Jon has been good about letting me know about the bigger mythology, so there are certain themes I'm writing because he's let me know in advance that certain things to the casual viewer may appear to only pertain to that one episode, but are actually part of building a bigger mythology to Chance's past – what happened to him and how he became who he is. So, we're planting these seeds that can become bigger, almost operatic themes in the future, but that's only because Jon's given me that feedback.
Help me understand a bit the language you were using, because this is very foreign to me. There was a guy sitting at the center of the mixing board …
That's Steve. He's my engineer and co-producer, so he's the one that's making sure all the mics are in the right place, records all the tracks and is the one who does the ultimate mixing. As my co-producer, he also makes a lot of creative decisions, and I have discussions with him at the beginning of a show about what it's going to sound like. Usually my ideas are the really creative ones and, as I sit down with him, he helps me figures out how to do those things given what we have available to us and the time constraints we're working under. I've been working with him for 10 or 11 years now, since I did my first student film score when I was 18.
There were another two guys to the right of Steve who were following along with the sheet music very intently, giving you a lot of very specific feedback in between sessions.
They are my orchestrator's and orchestration supervisors. These are the guys who take my very detailed sketches and put them on paper for everyone to read, but they're also excellent musicians and are familiar with my style, so when I'm out there conducting, they're in here concentrating on listening to all the fine details I may miss. I think of it like if you're on a film. The Director knows what it's all going to look like, but the Director of Photography is the guy who makes sure all the light is balanced and is the last line of defense to make sure the picture looks good. My orchestrators are like that, the last line of defense to make sure all the little details in the orchestration get covered.
You made an interesting comment during one of your breaks when you sat down with those three guys, you asked them what I think is a fairly typical question someone will ask who's working in a creative capacity, "Does any of this sound good? I can't tell when I'm in there and I start thinking this sounds lame." Are you a perfectionist? Are you hard on yourself?
Too an extreme, on both counts. One of the best things I've found about my career lately is the time pressures and delivery schedules don't give me time to second guess myself, to do rewrites and stuff like that. There are times where I'll be in a mood – and even today this happened – to say, "This sucks! Throw it out! This is garbage! Let's delete it and start over!" [Laughs] But then I realize, no, this has to be done today and we have to find a way to make it work. I find with a score like this – I had to write 33 minutes of music in six days – if I had two weeks or a month to write it, I don't know that it would have been markedly better. I might have felt better about it because I had a chance to fine tune and tweak it, but I have found that my first instincts are usually the best ones. It would always be nice to have more time to fill out the details, but yeah, I'm very self-conscious as an artist. When I put out a soundtrack album, I usually go back and tweak a lot of stuff, but I generally don't have that chance when we're working on this quick a delivery schedule.
I'm most familiar with your work from "Battlestar Galactica," and the tone and sound of that work compared to "Human Target" is markedly different, but I heard a few touches from "Battlestar" – that ramping up sound that was often used as the show went in to commercial – that snuck in here or there with today's recordings.
You know what's the missing link between my work on "Battlestar" and "Human Target" that you haven't heard yet? I have a game coming out next month from Capcom called "Dark Void." The soundtrack to "Dark Void" is the Darwinian missing link between my work on "Battlestar" and "Human Target." In fact, when I first sat down with Jon, he said he wanted something that sounded like "Battlestar," with percussion and energy, but he wanted a big traditional, awesome orchestra on top of it. So I played him "Dark Void," he loved it, and the temp score for the first two episodes came from "Dark Void." [The score for "Human Target"] is even more swashbuckling and high adventure, while "Dark Void" has more ethnic and science fiction elements to it. I would imagine going from "Battlestar" to this is a pretty dramatic difference.
But there are some signature sounds that can be found in both.
Yes, there is a heavy percussion element in this and, if anything, I've had to make a conscious effort to thin out my percussion to make room for the orchestra, because the orchestra was never this big on "Battlestar" and it was never written in such a way that it would draw that much attention to itself. "Battlestar" was always about the drums and the orchestra was a background element. This is the exact opposite – there are drums, but the orchestra is the foreground element for "Human Target."
What are the biggest influences on your music?
It varies from project to project. For this project, I was able to pull from the scores of Jerry Goldsmith, Elmer Bernstein, John Williams and Bernard Herman. Those are guys whose music I've always liked. Especially in this case, Goldsmith and Bernstein. They've always been a big influence on me. On all my other projects, I've had to hide that a bit, but this is a very different project and I can go back to that more orchestral language and play around with it. That's really fun for me because that's the kind of music that made me want to be a film composer in the first place.
Last Question – we're heading in to the Christmas break here, and I can tell you're the kind of guy who works constantly. So, will you be working on the score for "Human Target" on Christmas Day?
I put my foot down – I told myself, "No, don't work on this on Christmas Day." The day after, well, that's another story. [Laughs]
Thanks for your time, Bear. Happy Holidays.
"Human Target," starring Mark Valley, Chi McBride and Jackie Earle Haley, debuts on Fox January 17th, 2009 at 8:00 PM.
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O'Malley orders study to improve state's electric distribution system
ANNAPOLIS, Md. (AP) - Maryland Gov. Martin O'Malley has ordered a study to find ways of improving the state's electric distribution system.
O'Malley issued an executive order on Wednesday to pool the resources of state agencies to gather input and recommendations to strengthen the state's utility infrastructure.
The governor has directed his energy advisor, Abigail Hopper, to mobilize the effort. Participants have been asked to report back to the governor within 60 days with recommended legislative changes, regulatory reforms and other actions that could be taken by the executive branch.
O'Malley is citing economic and health concerns that have resulted from repeated and prolonged electricity outages. Many Maryland residents went days without power from a powerful storm that hit the state late last month.


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The attached patch adds a notice processor to DBD::Pg. While it doesn't do much (just pass the mesage on to warn()), it allows Perl scripts to intercept notices with the usual $SIG{__WARN__} mechanism. DES -- Dag-Erling Smørgrav - des(at)des(dot)no
Next: From: =?iso-8859-1?q?Dag-Erling_Sm=F8rgrav?= Date: 2004-09-13 21:26:05 Subject: Re: [PATCH] add notice processor to DBD::Pg Previous: From: Adrian Chew Date: 2004-09-13 08:55:00 Subject: having problem connecting to postgreSQL v7.5.


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Skechers denies using entrepreneur's 'Yoga-Pants-For-Feet' slogan
Global shoe retailer Skechers U.S.A. faces legal action from a flip flop entrepreneur over the use of the slogan, 'Yoga Pants for your Feet.'
Three worlds: Domain names, trademarks and trade names
Legally, there are significant differences between trademarks, domain names and trade names. Understanding those differences can help you to avoid mistakes and properly protect your intellectual property.
Rentmeester v. Nike, Inc.: 'Jumpman' may be falling down to Earth
The thrust of Nike's argument is simply that Rentmeester cannot claim to have a monopoly on Michael Jordan, his appearance, his athletic prowess or images of him dunking a basketball.
Arent Fox's Deese helps secure $69 million fraud and trademark infringement win
Arent Fox intellectual property partner Pamela M. Deese served on the team that recently secured a summary judgment of more than $69 million for SD-3C LLC.
3 things you must get right when you first register your brand
While there are many issues to consider in properly preparing a trademark application, the three things below merit particular attention because they cannot be changed after a trademark application is filed.
Halting a Mother's progress
Respondent Mother's bore the burden of proof for asserting laches as a defense; petitioner Ava Ruha needed to plausibly defend its own delay to a court that had agreed that laches did apply.
Trade-Mark Madness, Part 2
Douglas Masters, the NCAA's primary outside counsel for IP matters, discusses how the job description has changed in the past 15 years.
Trade-Mark Madness, Part 1
Masters is the managing partner of the Chicago office of Loeb & Loeb and co-chair of intellectual property protection for the firm. In this capacity, he has been working as the NCAA's primary outside counsel for IP matters for 15 years.
Legal search firms Lateral.ly and Lateral Link battle over trademark
San-Francisco-based startup Lateral.ly is disrupting the traditional headhunter legal recruiting model and competitors are jealous
Why new media should care about 'Innocence of Muslims'
The question remains: What can new media do despite the uncertainty created by Garcia to avoid landing a starring role in their own copyright drama?


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Hi Suds Buds!
The events for the 27th Annual Daytime Emmys are heating up on both coasts. First of all, let me formerly invite all of you to vote in the Second Annual Daytime Cybby Awards here at Turtle Run, where you get to pick your favorites for the winners of the Emmy Award. It's always interesting to see if the TRO cyber judges pick the same winners as the Emmy committee. Last year, Susan Lucci won the Emmy for Outstanding Actress in a Daytime Drama with her 19th nomination, but TRO's voters chose Kim Zimmer! Interesting, no? What will TRO voters say this year? Plus, we have some fun categories, like "Most Devious Doctor," "Best Performance from a Hospital Bed," "Favorite Super Couple of All Time," and more! I hope you will take a few minutes to cast your votes. Then, check back with us about a week after the Emmy's to see TRO's Cybby results. You be the TRO cyber judge and may the best persons win!
The Technical and Creative categories for the 27th Annual Daytime Emmys were held on Saturday, May 13, 2000 at the Century Plaza Hotel in Los Angeles, and the Marriott Marquis Hotel in New York City. TRO will have full coverage of these events this week, so stay tuned. For now, I will say that many of daytime's celebrities turned out to bestow their thanks and gratitude to the many people behind the scenes who make their jobs in front of the camera seem effortless.
As you know, the Daytime Emmys are being held at Radio City Music Hall in New York City, Friday, May 19, 2000. (As of this writing, tickets are still available for fans via Ticketmaster. Call 212 307-7171 or go to http://www.ticketmaster.com. Ticket prices are $60.00, $85.00, $110.00 and $175.00, and black tie is optional.)
There are several EMMY-related fan events planned in New York City, so if you are going to the Awards show, you may want to get to New York a few days early to meet and greet some of your favorite stars.
As of Thursday, May 11th, abc.com offers daytime audiences enhanced coverage of the Emmy Awards as they kickoff a host of related activities from Linda Dano and Emmy fashions to video clips of some of the nominees.
Wednesday, May 17th, 4 PM, The NBC Experience, Rockefeller Center, Passions star Josh Ryan Evans (Timmy).
Wednesday, May 17th, 5-7 PM, The China Club, 268 West 47th Street. This has got to be the most off-beat event of the Emmy activities. Soap stars meet pro wrestlers for pets! Say what? LOL Soapcity presents the The SoapCity Games: Daytime Rumbles, a two-fold event that unexpectedly unites the biggest stars in daytime drama with the biggest names (and buffest bods!) in Pro Wrestling for the benefit of The Humane Society of New York.
*Part 1: Daytime Rumbles, where stars of the WCW host and coach some of soapdom's biggest stars, and many of this years nominees and presenters for the Daytime Emmys, as they face off in a competition. The contests range from arm wrestling to dramatic readings (not of soap dialogue, but the "brag and putdown"-filled scripts from WCW) and judged by the wrestlers. This must-see event of Emmy Week will have the shows competing as teams to raise funds for the Humane Society of New York, a favorite charity of soap and wrestling communities. WCW hosts include Sting, Kimberly Page, and Mike Awesome. Soap stars include Patrika Darbo, Jensen Ackles, Austin Peck, Matt Cedeno and Alison Sweeney from Days of Our Lives, Jeanne Cooper, Christian LeBlanc, David Tom, David Lago, Bryant Jones, and Camryn Grimes of Y&R, and Juliet Mills of Passions. More stars are expected to participate.
*Part 2: Debut of Celebrity-Painted Doggie Bows for Online Auction at Soapcity.com and Yahoo.com. The collection includes bowls painted by Robert S. Woods (Bo, OLTL), Shemar Moore (Malcolm, Y&R), Jonathan Jackson (ex Lucky, GH), Susan Flannery (Stephanie, B&B), WCW stars Kevin Nash, Scott "Poppa Pump" Steiner, Diamond Dallas Page, and even reknown pop artist, Peter Max!
*SoapCity will make a donation in the name of the winning daytime drama team that scores the most points during the competitions to the Humane Society of New York. All proceeds from the online auction will go to the pets! Information about pet adoption will likewise be available at the event.
Thursday, May 18th, 4 PM, The NBC Experience, Rockefeller Center, Passions stars Juliet Mills (Tabitha), Travis Schuldt (Ethan), Liza Huber (Gwen).
Thursday May 18th, Blondies, 212 W. 79th Street (between Broadway and Amsterdam), NBC will be hosting a party for fans of Passions and Days of Our Lives. Proceeds will benefit STRANG Cancer Prevention Center, a non-profit institute affiliated with The New York Hospital-Cornell Medical Center. Stars from both shows will be in attendance to meet and greet the fans. Admission is $20.00 at the door, payable in cash or by check. No credit cards. Admission will be first come first served, but if some fans are unable to get in, NBC will make every effort for a few of the stars to come outside and greet those who are unable to gain entrance. Most of the stars of both shows are expected to attend.
Friday, May 19th, 1 PM, The NBC Experience, Rockefeller Center, Days of Our Lives stars Kristian Alfonso (Hope), Peter Reckell. (Bo), Drake Hogestyn (John) and Joe Mascolo (Stefano). The DOOL stars will also hold a press conference to officially announce a major internet promotion that begins at the end of May! (Check back to Turtle-Run for more info on the internet promotion.)
Friday, May 19th, visit abc.com where daytime fans will have the chance to view a photo gallery of arrivals on the red carpet, exclusive streaming video of the event, including clips of nominated performances, interviews with the winners from backstage and video clips of the Daytime Emmy Awards immediately following the broadcast. Abc.com will also have exclusive post-award show coverage!
Saturday, May 20th, 10 AM, NBC Experience, Rockefeller Center, Days of Our Lives star Patrika Darbo (Nancy) and Passions star Galen Gering (Luis).
Casting News & Soap Notes
Emmy Award Winning Actor Roger Howarth returns to the role of Todd Manning on One Life to Live! Viewers last saw the tormented Todd Manning leaving town with the woman to whom he had pledged his heart and tortured soul. He returns alone, having previously deceived his few loyal supporters, including compassionate half-sister Viki Buchanan (Erika Slezak) and trusted mentor, Sam Rappaport (Kale Browne). Todd's mysterious agenda threatens to impact the lives of many Llanview residents, who were certain they had seen the last of this vengeful multi-millionaire. Howarth's compelling portrayal of Todd Manning earned him the 1994 Daytime Emmy for Outstanding Younger Actor, and a 1995 Emmy nomination for Outstanding Supporting Actor. He was also presented with the 1998 Soap Opera Award for Outstanding Villian. Howarth starred on the primetime television series Prey, and appeared on Broadway in The Lion in Winter, opposite Laurence Fishburne and Stockard Channing. And now it's Llanview's turn once again. Howarth's first airdate is Friday, June 16, 2000.
Marcus Ashley plays Hank, Jeremy Fitzgerald is Dale and Alix Elias is the diner waitress when Eric and Greta encounter trouble while on a date on Days of Our Lives on Tuesday, May 23, 2000.
Sheraton Kalouria, a veteran daytime television executive from ABC, has been named Senior Vice President, Daytime Programs for NBC Entertainment. Kalouria will oversee and supervise the daytime dramas Days of Our Lives and Passions, as well as spearhead development and strategic planning for daytime dramas.
After 17 years with NBC, Susan D. Lee has decided to leave her post as Senior Vice President, Daytime Programs.
Congratulations to Deidre Hall (Marlena, DOOL). She is being honored with the Family Support Award at the P.A.T.H. Spring Luncheon held Tuesday, May 16 at the Century Plaza Hotel in Los Angeles. Pat Boone is the Master of Ceremonies. A Spring Shopping Boutique begins at 10:30 AM and the luncheon begins at 12 noon.
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Logitech M325 Wireless Mouse - 2.4GHz, Optical Tracking, Unifying Receiver, On/Off Switch, Black - MOS-M325BItem#: L23-5015 | Model#: MOS-M325B
Currently Out Of Stock!
You May Consider This Alternative
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Logitech M325 Wireless Mouse - MOS-M325B Product Details
Additional Resources: Product Manuals
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UPC No: 097855086457
Mfg Part No: MOS-M325B
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text:
This page shows details and results of our analysis on the malware ALS/Bursted.gen.b
Threat Detail
- Malware Type: Virus
- Malware Sub-type: AutoLisp
- Protection Added: 2012-09-27
This page shows details and results of our analysis on the malware ALS/Bursted.gen.b
This is virus detection. Viruses are programs that self-replicate recursively, meaning that infected systems spread the virus to other systems, which then propagate the virus further. While many viruses contain a destructive payload, it's quite common for viruses to do nothing more than spread from one system to another.
Emsisoft - Trojan.ACAD.Bursted.N (B)
F-Secure - Trojan.ACAD.Bursted.N
Kaspersky - Virus.Acad.Bursted.a
Sophos - AL/Bursted-AJ
Microsoft - Virus:ALisp/Bursted.CC
Minimum Engine
5600.1067File Length
Description Added
2012-09-27Description Modified
Viruses are self-replicating.
It automatically infects "acad.lsp" and "acad.mnl" files in the compromised machine.
All Users:
Use current engine and DAT files for detection and removal.
Modifications made to the system Registry and/or INI files for the purposes of hooking system startup, will be successfully removed if cleaning with the recommended engine and DAT combination (or higher).


text:
What Uses Do I Have for Court Records?
If you have ever been to court, you know how traumatic and confusing it can be. It doesn't matter if you have simply declared bankruptcy or if you have gone through something far worse like a divorce or a criminal or civil proceeding, the process can be dizzying and the impact can last a lifetime. If you have recently discovered that you need fresh copies of your public court records, there are ways to go about getting them. Court records are considered public records and you have a right to have a copy. Let's take a look at just a few uses for court records.
If you have declared bankruptcy in recent years, the impact can be financially devastating, but it doesn't have to be devastating forever. According to federal law, a bankruptcy can only be present on your credit report for 10 years after it was granted, but it is up to you to make sure that your credit bureau erases that bankruptcy from your credit report once that 10 years goes by. Since we all move around so much, losing the original court records that show when your bankruptcy was granted is not uncommon. You can always order replacement copies if you need to.
The same is true for divorce records. Some divorces are extremely complicated and come with dozens of conditions and clauses that can be enforced as long as you and your ex are still alive. As careful as we may try to be, we all lose things now and then and it is good to know that there is someone we can call to replace these records should they be lost or stolen.
If you have been sued or if you sued another person, you may need additional copies of the court records that show the judges decision. You may have lost the originals or maybe they became damaged during a move. Simply knowing that those documents are replaceable and that there are websites such as RecordsProject.com that can help you replace them helps people sleep easy at night.
The Internet is a great resource when it comes to replacing court records that have been lost, damaged or stolen. In rare cases, you may need to prove that you were a party mentioned in the court records to have a copy of them, but most states have complete open public court records laws that allows anyone to see copies of official court records.


text: Everybody knew last summer that Wall was probably going to be the #1 pick this year. I have not heard about anyone for next year. Could someone out there enlighten me on the top college prospects out there and if there is a clear cut #1 going into the college year? Thanks!


text:
Wanted to share a few promotions that are currently going on titles from Bethesda Game Studios…
Gamestop has some crazy deals on popular titles, including Fallout 3: Game of the Year Edition (PS3/360) for $39.99. For more details head here.
Elsewhere, if you're trying to save on Fallout 3 GOTY on PC — there's notable deals at both Direct2Drive and Steam. Through Friday, D2D is selling the game at $24.95 (that's half off). Meanwhile Steam has announced the Bethesda Pack –featuring Fallout 3: GOTY, Morrowind GOTY, and Oblivion GOTY Deluxe for a package price of $69.99 (that's a total savings of $24.98).
As always, if we see any noteworthy deals, we'll keep you in the know.


text:
Motorola Calgary Is Verizon's Other Android Phone: Cheap and Blur(r)y
Motorola's other Android phone for Verizon ain't no Droid, but it's gonna be cheaper (targeted at fickle teenagers) and run Motorola's Blur interface from the Cliq. It's also a QWERTY slider, with a 3MP camera and oh yes, Wi-Fi. [BGR]


text:
EMX is an upcoming artist/song writer/ producer and an entertainer based in BOSTON ma who grew up in LAGOS NIGERIA SURULERE BOY making waves to get into the NIGERIAN music industry and as have been in the music industry for almost 5 years and has worked with fellow artist like KENTRO WORLD, SEXY STEEL,SAGA AP ivory coast finest,I.Z, SAMKLEF and many more this song KPURUKUTU ft SAGA AP ivory coast finest was produced by EMX with the help of SAMKLEF NONI on some instruments, and the song BAD GIRL was written and produced by EMX.
He is an artist full with so many energy and creativity and he is more of an AFRO-POP with so many talents to show the fans out there that he got what it takes to rock and control the stage my mentor is TIMBERLAND when you get to listen to most of my production u will get to feel the vibe of TIMBERLANDS & EMX combination of ultimate unique natural hand-made sounds and drums that will make u vibe ur brain to my rhythm i love music, i know music, i hear inner sounds of instrumentals that most people who listen to music cant even hear i have trained my ears very well and with music one can never stop learning because with music i learn different things everyday about wave sounds and music i think i am gifted and i thank Baba God for that cos he has given me a unique talent. Enjoy!


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Members of Women of Vision, the Jewish Women's Foundation of Greater Philadelphia, honored their 100 founders and the current and future leadership who will continue their legacy during a special luncheon celebration at the Rittenhouse Hotel. The May 16 program marked the 16th anniversary of this generous group of 396 women who are committed to inspiring philanthropy to benefit the lives of Jewish women and girls.
Throughout its history, Women of Vision, a part of the Federation Endowments Corporation, has made grants totaling more than $400,000 to innovative, effective programs and projects benefitting more than 1,000 women and girls locally and in Israel.
Keynote speaker for the event was Dr. Sylvia Barack Fishman, department chair of the Near Eastern and Judaic Studies Department at Brandeis University. Fishman, who also serves as co-director of the Hadassah-Brandeis University, is the author of numerous articles and books on Jewish family and cultural themes. Her luncheon address focused on the changing depiction of Jewish women in film, television and popular culture through the past century.
Gladys Bernstein and Annabelle Fishman served as honorary chairs for the Women of Vision anniversary celebration. Other program participants were Women of Vision Chair Renée G. Sackey; Immediate Past Chair Donna Cooper Feinberg; Foundation Founder and Chair Emerita Sally Cooper Bleznak; and Federation President Leonard Barrack.
This event was underwritten in part by Blank Rome LLP. Women of Vision leadership is grateful for the support of Evantine Design, The Papery of Philadelphia and Saks Fifth Avenue.


text:
ISS X-Force reports that a remotely exploitable buffer overflow exists in the Netscape Security Services (NSS) library's implementation of SSLv2. From their advisory:
The NSS library contains a flaw in SSLv2 record parsing that may lead to remote compromise. When parsing the first record in an SSLv2 negotiation, the client hello message, the server fails to validate the length of a record field. As a result, it is possible for an attacker to trigger a heap-based overflow of arbitrary length.
Note that the vulnerable NSS library is also present in Mozilla-based browsers. However, it is not believed that browsers are affected, as the vulnerability is present only in code used by SSLv2 *servers*.
Disclaimer: The data contained on this page is derived from the VuXML document, please refer to the the original document for copyright information. The author of portaudit makes no claim of authorship or ownership of any of the information contained herein.
If you have found a vulnerability in a FreeBSD port not listed in the database, please contact the FreeBSD Security Officer. Refer to "FreeBSD Security Information" for more information.


text:
[SRS BUSINESS]Think of the Children! + New Neighbours?
No b00bs!
For b00bs, watch porn! Now enjoy the game, and sub for my quality articles! Tomorrow we will be talking about... our new neighbour!
Friends? Or enemies? We will see!
of course we have unsub - but with the correct two arguments we can sub!!!
What is this?You are reading an article written by a citizen of eRepublik, an immersive multiplayer strategy game based on real life countries. Create your own character and help your country achieve its glory while establishing yourself as a war hero, renowned publisher or finance guru.


text:
Data entry enters a new era for advisors stuck pushing paper. A big part of an advisor's day can be spent filling out numerous and often redundant forms for clients which takes valuable time away from managing relationships and growing the business. TD Ameritrade Institutional1 offers advisors relief and becomes the first custodian to offer Laser App® Anywhere, cloud-based technology that auto-fills forms and eliminates the need to enter and re-enter information such as client addresses and phone numbers. A move from the desktop to the cloud makes Laser App Anywhere accessible from any device connected to the Internet, including Mac and PC computers, iPhones ®, iPads ®, Android and Blackberry phones and tablets. Tech savvy to novice users benefit from easy access to client data which can be securely transmitted and imported directly from TD Ameritrade Institutional's Veo ® advisor platform or the advisor's customer relationship management (CRM) system. Advisors can save time by grouping the most frequently used forms for quick access and using built-in integrations such as account opening workflows. Laser App Anywhere is free to advisors who custody assets with TD Ameritrade Institutional. "I believe that all advisory businesses need easy access to efficient processes and technology in order to serve an increasingly sophisticated and demanding client base. Whether I'm in the office, at an event or meeting with a client, the expectation is that information should be readily available," said Dan Kiley, CFP ®, president and chief executive officer, Retirement Corporation of America an independent registered investment advisor. "Having the freedom to access any form, from anywhere, is key to creating efficiencies in my practice and streamlining the client account opening process, which will ultimately create a better experience for my clients." Advisors say good-bye to signing reams of paperwork in pen, using fax machines and overnight couriers TD Ameritrade Institutional also integrates DocuSign electronic signature and Laser App Anywhere with Veo to cut account opening time from days to minutes. Through this powerful combination, advisors can simplify the document sending and signing process, reduce contract cycle time and errors, trim costs and improve client service. Enabling electronic signatures in a digital, straight-through-processing system replaces manual pen-and-paper signing, faxing and overnight shipping with a one-click process advisors can now complete on any mobile device. "Advisors on our platform have benefited from Laser App software integration with Veo for several years, gaining greater efficiency and improved accuracy when creating new client account applications," said Jon Patullo, managing director of technology product management, TD Ameritrade Institutional. "The integration of Laser App Anywhere's web-based technology with DocuSign further enhances the account opening process and supports TD Ameritrade Institutional's larger effort to streamline workflows and provide better integrations between the technologies advisors use every day." "Using the valuable integrations TD Ameritrade Institutional has built with Laser App Anywhere and Veo, advisors can spend less time processing paperwork manually and realize cost savings and increased productivity," said Robert Powell, vice president of sales and marketing at Laser App. "This new offering further demonstrates TD Ameritrade Institutional's commitment to providing advisors with breakthrough technology integrations that can create efficiencies in a firm's day-to-day operations."
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text:
Published: 16:40, 16 February 2013 |
Updated: 16:09, 09 January 2014
Deon Burton's second half penalty clinched a home win for Gillingham and a place back at the top of League 2.
Leon Legge netted a first half opener for the Gills but it was all-square shortly after the interval as Femi Ilesanmi struck for Dagenham.
Substitute Burton restored the lead by scoring from the spot and his 11th goal of the season was enough to take all three points.
Defeat for Port Vale at home to Morecambe saw the Gills return to the top of the table.
Martin Allen made two changes to the team which started in midweek against York City.
Midfielder Charlie Allen missed out with a broken leg, while Deon Burton dropped to the bench, as Charlie Lee and Myles Weston returned to the starting line-up.
New arrivals Ryan Williams and Michael Richardson started the afternoon from the bench but neither came on.
Gillingham were looking to bounce back on home soil after suffering a 1-0 defeat to Wycombe last time they were playing at Priestfield. Allen's men returned having picked up four points on the road in their last two matches.
Dagenham had the better of the early exchanges and Luke Wilkinson almost smashed in an opener, only to see his close-range effort hit Andy Frampton and bounce clear.
Gillingham's worries were eased on 28 minutes as Legge pounced on a cross from Myles Weston to put the home side ahead. The linesman initially flagged for off-side but after a discussion with referee Iain Williamson the goal was given.
Just before the break Ilesanmi showed a bit of skill to create some space but put the subsequent shot wide. A cross from the same player moments later had too much pace on it for former Gills striker Ben Strevens to slide in on time.
Ilesanmi was quick to show his skills again in the second half, as he left Chris Whelpdale and Fish in his wake, played a fortunate one-two and then finished with the outside of his foot to beat keeper Stuart Nelson.
The Gills looked to make an immediate response from the 52nd minute equaliser but a header from Cody McDonald went wide and Charlie Lee's effort was cleared off the line by Luke Howell.
Burton had been on the pitch for just three minutes when he got the chance to put the Gills infront from the penalty spot. And the striker made no mistake, tucking the ball past keeper Chris Lewington, who had escaped with a yellow card, after downing Anton Robinson in the box.
Dagenham pressed late on as the Gills went more defensive, with McDonald leaving the field and being replaced by Steven Gregory. Dagenham had little joy infront of Gills' goal as the hosts defended in numbers to secure the points.
Burton had the chance to score his second but he headed Weston's injury-time cross wide.
Gillingham: Nelson, Fish (Dack 81mins), Martin, Barrett, Legge, Frampton (Burton 65mins), Whelpdale, Robinson, Lee, Weston, McDonald (Gregory 73mins). Subs not used: Forecast, Richardson, Williams, Birchall.
Dagenham: Lewington, Wilkinson, Hoyte (Reed 90mins), Ilesanmi, Doe, Elito (Caprice 75mins), Ogogo, Saunders (Green 79mins), Howell, Williams, Strevens. Subs not used: Maher, Woodall, Bingham, Seabright.
Attendance: 5,611
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text:
this is the art... OF ROLEPLAY!
Roleplay Central
iwuvcandy909 and autumnX3's ppgz roleplay!!! ( all we need is a bubles )
brute: ill get her....
butch: but ur 2 young ur still in training ...... and she ran away....
brute; aww come on u never let me do anything but boomer is 2 cautios and brick always lets me!!
butch: thats cuz brick doesnt care!!! and boomer is stupid!!!!!!!
this is the art... OF ROLEPLAY!
brute: yea my cuz here will never tell
########### were related but u need 2 just BE QUIET!!!!!
this is the art... OF ROLEPLAY!
brute: ok cuz
this is the art... OF ROLEPLAY!
?????: * gets pushes in and a sound or a door closing * oh its u...
blossom: hey who r u how do u know my name!!!!!
?????: u dont reconize me..... this will be verry fun.....
blossom: wat do u mean!!!!!
with butch and brute
brute: so we know he is watching blossom but wat about buttercup
butch: ill take care of her..
brute: wat do i do
butch: idk boomer is on a trip and we cant find bubbles 4 sum reason
brute: oh ill just get beserk brat is on a trip with boomer so i dont have 2 deal with her
butch: ok ill check on buttercup
brute: ok
butch: * comes in room * hello buttercup
this is the art... OF ROLEPLAY!


text:
Dave Gilliard Defends Secret, Anti-Barbara Boxer Campaign
28th Amendment: Political donors deserve to operate in secrecy?
This morning I posted a brief story linking to Sacramento Bee coverage of a secretive, 2010 campaign effort against Sen. Barbara Boxer, and my post has been protested by a participant as inaccurate.
Here's the background: According to the Bee's Dan Morain, a group called Taxpayer Network raised and spent about $840,500 on TV ads that slammed Boxer for allegedly voting against military veteran benefits and supporting Viagra for child molesters.
Morain--an accomplished, veteran journalist--has called the ads "sleazy" and the Taxpayer Network "shady" after it hid the names of contributors from the public and didn't comply with IRS disclosure rules.
In the wake of my post, Dave Gilliard--the prominent California Republican political consultant tied to the group by Morain--has objected. Gilliard tells me the Taxpayer Network did in fact fully comply with IRS disclosure rules "but apparently not on Dan Morain's schedule."
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Additionally, he said the group's sensational claims about Boxer were, despite my assertion otherwise, "true and taken directly from the Congressional Record."
To support his case, he provided me detailed links to the senator's voting record. (I am certain that Boxer's staffers wouldn't agree with Gilliard's interpretation of the votes.)
Gilliard--who is a top adviser to Orange County Sheriff Sandra Hutchens, Congressman Ed Royce and state Assemblyman Jim Silva--also claimed that I mistakenly interpreted the intentions of the Taxpayer Network as an effort to remove Boxer from office.
"In fact, Taxpayer Network's TV ads were unrelated to any election and did not mention any election," wrote Gilliard. "Its goal is to educate the public about the policies and policy-makers involved in issues of taxation, spending and regulation of the economy."
Because the group claims it is not trying to influence any federal election, Gilliard notes that it has no legal requirement to disclose its contributors to the Federal Election Commission (FEC).
Never mind that the ads ran at the same time that Boxer was running for re-election and that the material was apparently designed and funded by people with a keen interest in removing her from office: California Republicans.
According to Gilliard, the secrecy involved in the operation is legitimate even if disturbing to journalists.
He wrote, "I understand the frustration you and Dan have with the law that protects the privacy and free speech rights of non-profits like the Taxpayer Network, but I hope you will consider updating and correcting your story."
Believing that the group was indeed attempting to defeat Boxer and cheat disclosure laws, the California Young Democrats filed a complaint with the FEC.
The case is pending.
--R. Scott Moxley / OC Weekly
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text:
I'd also like to remind you that under regulation FD, management may only address questions of a material nature from the investment community in a public forum. So please ask all such questions during this call.Now, I will turn the call over to Peter. Peter Kraus Thanks, Andrea and thank all of you for joining us for our second quarter earnings call. As Andrea noted, I'm joined today with our new CFO, John Weisenseel to review the results with you and of course, Jim Gingrich, our CO is here as well who will join us in addressing any questions you may have at the end. So let's start today with slide three. Strong sales momentum continued in the second quarter. Gross sales of $18 billion, up slightly from the first quarter and up 34% year-on-year. As gross redemptions were down as well, net outflows were about $3 billion, our best flow quarter since the first quarter of 2008. However, after a very strong first quarter, markets were tough. And they worked against us in the second. Hit my macro-economic concerns, nearly every major global equity market fell sharply. And our investment performance suffered. Investment performance drove $9 billion of the quarter's $12 billion AUM decline, with three-quarters of the performance driven decline coming from U.S. value and growth. As a result, we finished this second quarter of AUM of $407 billion, down 3% sequentially. Average AUM was down a little over 1% at $411 billion. In slide four, we give you a little more detail on our flows by channel. Once again, retail was a standout in the quarter. Gross sales were nearly $12 billion. Gross redemptions were $2.2 billion lower, down 21% sequentially. The net flows of $3.5 billion were not only positive for a second consecutive quarter. They were $1.2 billion higher than the first quarter.
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Sue PEPE JEANS Retro Mod Herringbon Pinafore Dress
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Brand: PEPE JEANS Womens
'Sue' Dress by Pepe Jeans. A cute Retro Sixties pinafore dress in elegant textured Vintage fabric. Featuring scoop neck to front and deep V to back, this sophisticated little number offers a distinctive Mod Herringbone Tweed pattern and is ideal for layering. 'Sue' Pepe Jeans Retro Mod Pinafore Dress.
Dark grey and silver tones come together to enhance a luxurious textured Vintage Herringbone fabric. The 'Sue' Sixties Mod pinafore dress by Pepe Jeans features elegant Retro pleats, zip back and sleeveless design. Scoop neck to front and deep V to back. A slight flare at the waist adds to the Retro charm. Finished with tonal floral polka dot lining and Pepe Jeans London metallic tab at hem. 'Sue' Sixties Mod Herringbone Tweed Pinafore Dress by Pepe Jeans.
PEPE JEANS 'SUE' RETRO SIXTIES MOD HERRINGBONE TWEED VINTAGE TEXTURED PINAFORE DRESS. 'SUE' RETRO SIXTIES MOD HERRINGBONE TWEED VINTAGE PINAFORE DRESS by PEPE JEANS - Vintage textured dark grey and silver fabric with Sixties Mod Herringbone Tweed pattern throughout. The 'Sue' Mod pinafore Dress features subtle fitted pleats, slight Retro flare and tonal floral polka dot lining. Zip back, scoop neck front and V-shape back neck. A delightfully elegant Mod pinafore dress by Pepe Jeans.
Brand: Pepe Jeans London.
Colour: Dark Grey.
Composition: 50% Wool, 30% Viscose, 20% Polyester.
Care: Dry clean only.
SKU: PL951233 'Sue' Pepe Jeans Pinafore Dress. PEPE JEANS 'Sue' Retro Sixties Herringbone Tweed Mod Pinafore Dress.
XS - UK size 8.
Small - UK size 10.
Medium - UK size 12.
Large - UK size 14.
Product ID: 12490
UK Standard: 2 - 4 working days – £3.50 or FREE* if you spend over £75.00
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Delivery typically between 3 - 20 working days depending on destination.
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Delivery typically between 7 - 25 working days depending on destination.
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Wednesday, May 2, 2007
Demand Media Launches ME.TV
Santa Monica-based Demand Media, the new media firm headed by ex-MySpace chairman Richard Rosenblatt, said today that it has rolled out a new site that allows anyone to create their own video-centric websites. The new service, at www.me.tv, allows anyone to purchase a .tv domain name and host videos and social networking features. The new service allows anyone to create their own website video "channels" and includes built in blog, message board, and social networking features.


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Top 10 Best States to be a Nurse
January 16, 2013
opportunities for nurses is expected to grow by 26 percent between the years of 2010 and 2020 according to the
Bureau of Labor Statistics
. What this means for
all over the U.S. -- competitive pay. It's no longer just about qualification and facility, it's about location. So, which location pays the most and offers the best opportunities for nurses? Read on to find out.
West Coast - California, Hawaii, Oregon, Nevada
The West coast seems to be the best place to practice medicine and to work as a practicing nurse. Not only is the pay higher, but there are more facilities to apply to including, continuing care communities, private or public hospitals and private practices. By far, the best place to practice as a nurse is California. According to the Bureau of Labor Statistics,
California nurses
make the most income. On average, a general nurse is paid $25.45 per hour and nurses with specialties are paid at a much higher rate.
The second highest paying place for nurses to practice is in Hawaii. (Not necessarily on the west coast, although it is to the west.) The sheer mention of living in Hawaii is enough to get most people packing and on the first plane out of here. However, for nurses there are more benefits than just soft sand, palm trees, and perfect weather. Nurses in Hawaii rake in $24.76 per hour and that's without a specialty.
The third highest paying West coast state for nurse practitioners is
. Oregon is home to many civilian and military hospitals and private practices. Nurses in Oregon rake in $22.91 per hour without specialty. The median pay for nurses in Oregon is listed as $71,250 annually.
The state of Nevada ranks fourth as the highest paying West coast state for nurse practitioners. When picturing Nevada, you may think that most of these nursing opportunities are in Las Vegas; however, the state of Nevada is peppered with long-term care facilities, hospitals and private practices. Nevada nurses are expected to make $22.83 per hour.
East Coast - Massachusetts, New Jersey, Maryland, Connecticut, Delaware
The East Coast comes in as the second highest paying region for nurses with Massachusetts topping the list. Nurses in Massachusetts are expected to make $23.38 per hour.
Most think that the second highest paying state for nurses on the East coast would be New York, but they'd be wrong. The second highest paying state is actually New Jersey, with the average nurse making $23.33 per hour. According to Jacksonville University School of Nursing, New Jersey has approximately 74,730
registered nurses
that earn salaries above the national average. In Newark alone, a nurse's salary often tops $77,970 annually.
The last three states to make the list for the highest paying east coast states are Maryland, Connecticut and Delaware. Nurses in Maryland can expect to make $22.79 per hour, whereas nurses in Connecticut break at $22.62 per hour. Registered Nurses in Delaware are expected to make $22.98 per hour. However, it is important to note that pursuing a Bachelors of Science in Nursing can help negotiate a higher salary.
Northern Coast - Alaska
For the north, there is only one contender and that is Alaska. Registered nurses in Alaska are expected to make $23.09 per hour without a specialty.
Notice someone missing? The South.
Seems that the lowest paid nurses work in the south. This is due to a combination of a lower cost of living and a smaller population. The two lowest paying states for nurses are Arkansas (paying their nurses $16.44 per hour) and Mississippi with the pay of $16.42 per hour.
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Sunday's balmy sunshine was terrific for tourists and London Marathon supporters but tough on those taking part in the capital's premier event.
Former Herald&Post reporter Steve Nolan, doing his second marathon – this time in aid of brave Luton burns survivor Shamiam Arif – said the combination of warm weather no breeze meant he was beginning to flag by mile 22: "I was also in a fair amount of pain.
"But the support of the crowd cheering me on was immense – it really gives tired legs a boost.
"I'm really proud to have finished. It was such an emotional experience and I'm delighted to have raised money for such a worthy cause."
Luton Borough Council press and communications officer Adam Kearney said his initial reaction was 'Never again.'
But the Kiwi, running his first marathon for mental health charity MIND, confessed: "On reflection, it was one of the best days of my life and part of me wants to see if I go under four hours." He added: "It was easily the hardest thing I've ever done, much more difficult than I imagined. My legs packed in about the 22 mile mark but I managed to stumble the last few miles."
Caddington dad Mike Morland, taking part for The Baby Snow Fairy Fund in memory of his premature triplets, also felt the burn.
He said: "I hit the wall around 18 miles but I dug deep, remembered my boys and the reasons why I was running and got through it.
"There was amazing crowd support and it was great to come round corners and see sights like the Cutty Sark, Tower Bridge and Big Ben.
"The next day I could hardly stand on my ankles. But it was totally worth it."


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Most Recently Rated
The Baby (1973)
A bizarre film that could only be made in the seventies
The Baby (1973) is a psychological horror/thriller directed by the late Ted "Magnum Force" Post and it stars Ruth Roman, Michael Pataki, Anjanette Comer and David Mooney as Baby. Ann Gentry is a social worker who is given a strange case dealing with a grown man named Baby whose overbearing mother Mrs. Wadsworth and two sister Germaine and Alba keep him in diapers and a giant crib. Getting a babysitter for Baby and trying to keep him happy can be a real trial for Mom and his hot-to-trot siblings. Will Miss Gentry be able to rescue the him from the wrath of his family or will she end up like the previous social worker?
A weird movie that was the inspiration for MadTv's character Stuart and it's just as twisted and bizarre. The movie has many underlying themes that would give a film lover a field day in trying to resolve. Ted Post's direction was often overlooked because of the films he's worked on but know's how to keep his audience in checked. The Baby's ending not only comes out of left field but it's a bitter sweet finale.
Fans of B-movies and psychological horror flicks will enjoy this one.
Endless Love (1981)
A sappy yet interesting look at love and true romance
Endless Love (1981) is a romantic drama directed by Franco "Romeo and Juliet" Zeffirelli, starring Brooke Shields and Martin Hewitt as the two young lovers Jade & David who go through thick and thin just to be with each other. The problem is that Jade's free love parents Ann and Hugh allow the young lovers to spend too much time together initially and when they try to act like disciplinarian parents, the cow has left the barn and there's no way it's going back in. Now forbidden to see each other, their love now knows no bounds as it reaches to a point where only something drastic and dramatic lies awaiting.
Based upon the novel "Endless Love" which was written by Scott Spencer and it's a much darker tale loosely based upon the writer's life. I found the movie to be a sweet and over-the-top melodramatic flick that's highly entertaining for all the wrong reasons. Brooke Shields demonstrates her acting abilities that were never quite truly harnessed to their fullest potential whilst director Franco Zeffirelli tries to recreate "Romeo and Juliet" all over again. Martin Hewitt is basically a cipher who goes through the motions, not horrible just there.
Carrie (2013)
Finally, a decent theatrical version of the classic Stephen King novel
Carrie (2013) is the third version of Stephen King's first published novel (under his real name) and is by far the best. Carrie White (Chloë Grace Moretz) is a teenage girl who along with her mother Margaret (Julianne Moore) have been mocked, ridiculed and shunned by the townsfolk. All this has been building up inside Carrie whose telekinetic powers have began to peak. It's only a matter of time before everything reaches a boiling point and explodes with a vengeful fury that will bring the high school and town to its knees.
The movie follows the book fairly closely with Chloë Grace Moretz doing an excellent job of capturing the character of Carrie. I also enjoyed Julianne Moore's interpretation of Carrie's mother Margaret White and her religious fanaticism whilst giving her an insight into why she is like that. I had no problems with the changes and updates to the storyline because not only I felt it was necessary, but it improved the overall source material. The most important change to this version of the book is that the actors were all played by people in their teens or close to it instead of their mid to late twenties.
I hope that the original cut of the film is release someday because I read that they removed over a half hour of footage due to a confused preview screening audience.
Walk Proud (1979)
Pay no attention to Robby Benson playing a Chicano because it's a good movie
Walk Proud (1979) is about the life of teenage Emilio Mendez who is of mixed heritage (ethnic Mexican and Caucasian) and struggles with his loyalty to his gang when the lovely Sarah Lassiter (Sarah Holcomb) enters his life. With no future in being a street gang member, learning the truth about his heritage and the love of Sarah brings Emilio to a crossroads to where his life is going. Being harassed by the police, rival gangs and his cohort Cesar (Pepe Serna) questioning his loyalty will lead Emilio to a fateful decision that he must make walking proud.
I was impressed by the movie because it's been knocked for have Robby Benson playing a Chicano. Once you learn about his true background, the story makes sense and is realistic because I have meet people like his character Emilio. Co- stars Trinidad Silva, Ji-Tu Cumbaka, Gary Cervantes and Panchito Gomez help Benson carry the movie and the underrated acting they provide make this movie a winner. Watch for character actor Brad Sullivan who has a small part as Jerry Kelsey, Emilio's estranged father.
A Million to Juan (1994)
Paul Rodriguez's "Jurassic Park"
A Million to Juan (1994) has been labeled by Paul Rodriguez himself his "Jurassic Park" due to the fact that he grossed over a million dollars in rentals from the movie's one hundred thousand dollar budget. The movie is a modern update of the Mark Twain story "The Million Pound Bank Note." Paul Rodriguez stars as Juan, a poor hardworking immigrant who lives in a rundown apartment complex with his son and cousins Jorge (Tony Plana) and Alvaro (Bert Rosario). He also has a mad crush on his social worker Olivia (Polly Draper) who's helping him with his case, one day he a stranger hands him a million dollar check that'll change his life forever.
I found the direction by first time director Paul Rodriguez to be adequate but the screenplay by Robert Grasmere and Francisca Matos to be too melodramatic and stereotypical. But the acting and charisma of Paul Rodriguez and his supporting cast manage to rise above the mediocre script. I enjoyed the movie and fans of Rodriguez's stand up comedy will enjoy the humor.
Back to the Future Part III (1990)
The third and final chapter of the Back to the Future trilogy
Back to the Future Part III (1990) is the final chapter of the Back to the Future trilogy which began in 1985. Due to the same freak lighting storm that sent Marty McFly (Michael J. Fox) from 1955 back to 1985, Doc Brown (Christopher Lloyd) was zapped by the same bolt sending him to 1885. With the fate of the space/time continuum and the lives of Marty and Doc weigh in the balance of the events that will transpire in the wild west version of the city of Hill Valley and their ancestors. Can Marty McFly and Doc Brown put everything back in balance or will the universe collapse from within itself?
The final chapter of the Back to the Future trilogy is a fun watch but a big drop off from part II. They were both shot back-to-back utilizing most of the cast from the previous films. The writing and direction of Robert Zemeckis along with the acting of Michael J. Fox hold this film together. Christopher Lloyd held his own as the eccentric Doc Brown along with the lovable and talented Mary Steenburgen as the new schoolmarm Clara Clayton.
Fans of the series will appreciate the ending of the film and storyline.
Hostel: Part III (2011)
The uncut version is the best way to watch it
Hostel: Part III (2011) is the third (and final?) chapter in the Hostel series. This time instead of taking place in a hostel, it's about a group of friends who are looking for a wild night in Las Vegas for there friends bachelor party. But everything turns egg shape when they run afoul of those lovely folks from the Elite Hunting Club decide to do a little business with their wealthy clients in Sin City. Can the party boys elude those bored rich customers of Elite or will they end up on somebody's wall?
The third chapter in the Hostel series is directed b Sami Raimi protégé Scott Spiegel and written by DTV scribe Michael Weiss. I thought the movie was a fun time waster that was entertaining but do not watch the R-Rated version because you'll miss out on makes the Hostel trilogy a cut above the rest.
Survival of the Dead (2009)
I really enjoyed this movie.
Survival of the Dead impressed me. I have been reading a lot of negative reviews about this movie. I ordered the movie from Amazon's video-on-demand and plunk down some money to check it out (since no theater within a hundred miles was showing it). After spending about 90 minutes watching the movie I thought the money was well spent. Too bad this movie didn't get a wider release because I felt that it deserved one. I was put off originally by the film's trailer because the action seemed very amateurish and the sound effects were sub-par. All that was corrected in the movie.
Sarge, the US National Guardsmen from "Diary of the Dead" (featured briefly in the beginning of the film) laments about having to become a highway robber and a brief internet superstar. After a violent encounter with some demented local yahoos, Sarge and his squad head off to find a place of safe refuge. A beacon of sorts has been sent out on the web by Patrick O'Flynn, an islander who is in a bloody feud with another family (the Muldoons headed by Seamus Muldoon) over what to do with the living dead),
O'Flynn AKA Captain Courageous (along with his fellow outcasts) have became pirates and have been robbing those unlucky or foolish enough to head out to the dock. But Sarge and company foil O'Flynn's scheme and sail off on an abandoned ferry boat. O'Flynn manages to jump on the boat (after a brief and violent clash dispatches his "crew"). Without a destination, Sarge turns to O'Flynn who suggests that they head back to his home island and reclaim it for the O'Flynns. Out of options, will Sarge team up with O'Flynn and get involved in a clan war or will he and his squad continue to look elsewhere?
The social commentary is not as heavy handed as it was in Diary of the Dead but the themes of religion, Catholicism and fundamentalism are present along with the clash of old and new ideals. Another concurrent theme that appears in the Dead Series is the lack of cooperation and communication. Many people have complained about the lack of danger from the living dead. As the movies in the series continues it seems that they have become more of a nuisance instead of a threat whilst the real danger comes from amongst ourselves.
Highly recommended.
Poh wai ji wong (1994)
Love on Delivery
Love on Delivery stars Stephen Chow as Ho, a wimpy delivery boy who falls in love with Lily (Christy Chung) a kung-fu student. But her instructor Black Bear (Joe Cheng) has been trying to court her and butts heads with Ho. Black Bear challenges Ho to a fight, but the cowardly Ho ducks when Black Bear tried to punch him, hitting Lily instead. Humiliated by such a display of cowardice, Ho turns to a broken down kung-fu master Tat (Ng Man Tat) to teach him the art of fighting, But Tat's unconventional methods of training may not be as effective as they seem.
A funny and violent film starring Stephen Chow (who also wrote the screenplay). The beautiful Christy Chung co-stars (who speaks her dialog phonetically). The always interesting Ben Lam co-stars as Tuen, an invincible Karate master who believes karate is better than kung-fu and will do whatever he has to do to prove it. Jacky Cheung, Philip Chan and Billy Chow make cameo appearances as well. The wild fight scenes were directed by Ching Siu-tung (who also co-directed the film).
The film parodies Rocky, Rocky III, The Terminator, Garfield (aka Ga Fei Miao) and the Karate Kid series. Tat wears a wife-beater just like Miyagi, Chow tries to master the "crane kick" as well. A funny and more realistic version of the film as well. A couple of music videos are worked into the film as well (which are pretty funny). Remember, being a good fighter is not all about how strong you are but how to out wit your opponent.
Highly recommended.
The Outsiders (1983)
Stay gold Ponyboy. The Outsiders (The complete novel) review.
Francis Ford Coppola's The Outsiders is a melodramatic film based upon the novel written by S. E. Hinton (who also as a small role as a nurse). Like many middle school students I was forced to read the novel (which I thought was sappy and cheesy). Coppola's version is pretty much the same as the novel and he did a very good job of capturing the spirit of the film (perhaps too much). Filmed on location in Oklahoma. The actors in this film were a cast of unknowns. But afterwords many of them would go on to become stars (Tom Cruise, Matt Dillon) others would find success in the later years (Diane Lane, Rob Lowe) and some would score some big roles early int their careers and fade away to straight-to-video obscurity (C. Thomas Howell, Ralph Macchio, Emilio Estevez and Patrick Swayze).
Ponyboy Curtis is a "Greaser" a kid from across the tracks. He's always has his head in the clouds and unlike the other "Greasers", he seems to have a bright future if he would stick in head in books instead of hanging out with his buddies Johnny (Ralph Macchio), Two-Bit (Emilio Estevez) and Dallas (Matt Dillon). Pony's brothers Sodapop dropped out of school to work at a local DX with fellow "Greaser" Steve (Tom Cruise) whilst older brother Darrel (Patrick Swayze) has to take care of the family since the tragic deaths of their parents. Darrel is under a lot of stress of having to take care of Darrel and Ponyboy that he takes it out on Pony by riding him like a donkey and always jumping on his case. One night after staying out late, Pony and Darrel get into a scuffle causing Pony to runaway from home with Johnny.
The "greasers" are always in a constant state of war with the rich kids called "The Socs". Two members of the group Bob (Leif Garrett) and Randy (Darren Dalton) nearly come to blows with Ponyboy, Two-Bit and Johnny earlier at the drive-in but their girlfriends Cherry (Diane Lane) and Marcia manage to calm down the situation. Hours have passed since the confrontation but their still angry about their tiff with "The Greasers" and drive around drinking all night looking for trouble. They spot the two runaways and decide to continue the spat with some additional extracurricular activities. Will Johnny and Ponyboy be able to get out of this pickle? Why do the "Socs and "Greasers" hate each other? Is their any way to end this dispute before things get really out of hand?
An entertaining film from Coppola. His daughter has a small part (credited as Domino) and his nephew Nicolas (Coppola) Cage has a role as an extra (his Uncle turned him down for the role of Dallas). If you enjoyed the book then you'll want to get a copy of the Complete Novel version. This cut has additional scenes, new music (Most of the sappy and over dramatic music composed by Carmine Coppola has been replaced with 50's and 60's pop music) and an ending that's more faithful to the novel. Is it melodramatic? Yes, Is it sappy? Yes, even though it's laid on real heavy at times but it's still a good movie that will entertain you.


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Science & Research
TB Public Workshop Meeting Information
To join the meeting Advancing Development Diagnostic Tests & Biomarkers TB, go to:
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text:
Air Date: Thursday 5/5
Us Rating: ***1/2
Amy Poehler and her cohorts shine in one of the sitcom's sharpest outings yet. Leslie (Poehler) is floored when she discovers a neighboring -- and much ritzier -- city has fenced off its playground just to keep Pawnee's less fancy residents out. The snoot behind the move is her former bestie (Parker Posey, a perfectly cast foil). Watching Leslie fight for good while swapping grade-A barbs is smart and feisty fun. (NBC, 9:30 P.M.)


text:
Genesis and Persistence of Trust in Banks
Against the background of the ongoing financial crisis the question of the genesis and persistence of trust in banks plays an important role not only for the prevention of bank runs and, related to this, for the regulation of banks, but also with respect to the perspective of customer loyalty of private investors towards their housebanks. Moreover, addressing issues of trust in banks will contribute to a better understanding of how private investors cope with the uncertainties and complexities prevailing in financial markets and will thus enrich the theory of decision-making. In every type of financial system trust has an important role. Due to the high and ever growing complexity of financial systems institutional trust meanwhile plays a more important role than personal trust. A set of institutions facilitate trust-building or trust-guarding and sometimes even trust-granting functions. Trust allows the trustor to transform fundamental uncertainty into risk. From an empirical point of view trust in banks has emerged over time as a process in which trust-guarding and trust-granting institutions played a crucial role. So it is no surprise that in a bank based financial system like Germany private households are still entrusting their money to banks today even after the financial crisis. However, since the late 1980s the institutional framework of the financial market and the governance of corporations have changed dramatically. Actors have common experiences and rely on similar sources of information and institutional knowledge and are also exposed to similar discursive models. This contributes to a social normalization or habituation of the perception of risk. We conclude that such normalization – in the sense of a conventionalization – also greatly influences the economic decision-making behavior of private households. We argue that the bank-oriented 'conservative' investment decisions of German savers are due to a 'cultural embedded framework of logics of actions' and are based on 'intergenerational inheritance'. The understanding of the embeddedness of economic actors in different cultures such as private households and the emergence of diverse institutional settings in a historic process enables us to understand from a micro-perspective their investment behavior in different economic systems.
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More information through EDIRC
References listed on IDEAS
Please report citation or reference errors to , or , if you are the registered author of the cited work, log in to your RePEc Author Service profile, click on "citations" and make appropriate adjustments.:
- Jeremy Edwards & Sheilagh Ogilvie, 1996.
"Universal banks and German industrialization: a reappraisal,"
Economic History Review,
Economic History Society, vol. 49(3), pages 427-446, 08.
- Edwards, Jeremy & Ogilvie, Sheilagh C., 1995. "Universal Banks and German Industrialization: A Reappraisal," CEPR Discussion Papers 1171, C.E.P.R. Discussion Papers.
- Knorr Cetina, Karin, 2007. "Economic sociology and the sociology of finance: Four distinctions, two developments, one field?," economic sociology_the european electronic newsletter, Max Planck Institute for the Study of Societies, vol. 8(3), pages 4-10.
- Bart Nooteboom, 2007. "Social capital, institutions and trust," Review of Social Economy, Taylor & Francis Journals, vol. 65(1), pages 29-53.
- Nooteboom, B., 2006. "Social Capital, Institutions and Trust," Discussion Paper 2006-35, Tilburg University, Center for Economic Research.
- Allen, Franklin & Gale, Douglas, 1997. "Financial Markets, Intermediaries, and Intertemporal Smoothing," Journal of Political Economy, University of Chicago Press, vol. 105(3), pages 523-546, June.
- Franklin Allen & Douglas Gale, 1995. "Financial Markets, Intermediaries, and Intertemporal Smoothing," Center for Financial Institutions Working Papers 95-02, Wharton School Center for Financial Institutions, University of Pennsylvania.
- Franklin Allen & Douglas Gale, 1996. "Financial Markets, Intermediaries and Intertemporal Smoothing," Center for Financial Institutions Working Papers 96-33, Wharton School Center for Financial Institutions, University of Pennsylvania.
- Franklin Allen & Douglas Gale, 1995. "Financial markets, intermediaries, and intertemporal smoothing," Working Papers 95-4, Federal Reserve Bank of Philadelphia.
- Mitchell A. Petersen & Raghuram G. Rajan, 1995. "The Effect of Credit Market Competition on Lending Relationships," The Quarterly Journal of Economics, Oxford University Press, vol. 110(2), pages 407-443.
- Mitchell A. Petersen & Raghuram G. Rajan, 1994. "The Effect of Credit Market Competition on Lending Relationships," NBER Working Papers 4921, National Bureau of Economic Research, Inc.
- Rin, Marco Da, 1996. "Understanding the development of the German Kreditbanken, 1850–1914: an approach from the economics of information," Financial History Review, Cambridge University Press, vol. 3(01), pages 29-47, April.
- Lazaric Nathalie & Lorenz Edward, 1998. "Trust and Economic Learning," Journal des Economistes et des Etudes Humaines, De Gruyter, vol. 8(2-3), pages 1-10, June.
- Timothy W. Guinnane, 2002. "Delegated Monitors, Large and Small: Germany's Banking System, 1800–1914," Journal of Economic Literature, American Economic Association, vol. 40(1), pages 73-124, March.
- Guinnane, Timothy W., 2001. "Cooperatives As Information Machines: German Rural Credit Cooperatives, 1883 1914," The Journal of Economic History, Cambridge University Press, vol. 61(02), pages 366-389, June.
- Timothy W. Guinnane, 1997. "Cooperatives as Information Machines: German Rural Credit Cooperatives, 1883-1914," Discussion Papers 97-20, University of Copenhagen. Department of Economics.
- Douglas W. Diamond, 1984. "Financial Intermediation and Delegated Monitoring," Review of Economic Studies, Oxford University Press, vol. 51(3), pages 393-414. Full references (including those not matched with items on IDEAS)This information is provided to you by IDEAS at the Research Division of the Federal Reserve Bank of St. Louis using RePEc data.