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Pebble Hunting column archives.
June 11, 2012
by Sam Miller
Can Jason Heyward still be a star if he can't hit or lay off an inside fastball?
June 8, 2012
Francisco Liriano breaks the game of baseball, Ernesto Frieri learns to dance and Bob Gibson whoa whoa holy whoa.
June 6, 2012
Did Bryce Harper see reason, or has he misplaced his magic necklace? With an update on the DiSars!
June 4, 2012
Bryce Harper, at 19, has faced four of the best strikeout pitchers in history. Here's how he has done.
June 1, 2012
Does anyone actually believe Albert Pujols isn't the Angels' best player?
May 30, 2012
The Rangers are great, but some day, the Rangers are going to be terrible. How will the end come?
May 23, 2012
Does the Pirates' Josh Harrison have a historically troubled relationship to the strike zone?
May 21, 2012
Thirteen reasons why the national pastime isn't always rated PG.
May 18, 2012
Andrew Miller makes Jose Molina look like a worse hitter than usual, David Price makes Nick Swisher's head explode, Chris Davis makes baseball look easy (or hard), and more.
May 16, 2012
Bryce Harper is just the latest player to earn the most overused nickname in sports.
May 14, 2012
How does a player go from being undrafted to having a 1.60 ERA in the big leagues?
May 11, 2012
If Emilio Bonifacio can't hit for power, why are pitchers walking him so often?
May 9, 2012
Is Kenley Jansen ready to close? Sam analyzes his incipient save celebration's suitability for the ninth inning.
May 7, 2012
Which players are the most likely to go the longest before their first walk of 2012?
May 4, 2012
Brandon Wood is in the midst of yet another disappointing season at age 27. What other players have bottomed out when they were supposed to be peaking?
May 2, 2012
The Padres pitching staff pools its knowledge about offense in an attempt to snap a hitless streak.
April 30, 2012
What numbers do we look at when no number is large enough?
April 27, 2012
The best pitches of the past two weeks, narrated by a guy who's trying to impress his date.
April 24, 2012
Did the Angels sign the player they thought they were signing?
April 23, 2012
It's too early to look at statistical leaderboards, but sometimes we have to anyway.
Major League Baseball trademarks and copyrights are used with permission of MLB Advanced Media, L.P. All rights reserved.Copyright © 1996-2017 Baseball Prospectus, LLC.


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If you are a BettyCrocker.com member, check your e-mail for a free sample of Mott's Medleys fruit flavored snacks!
The free sample is only available while supplies last so don't wait to request your sample.
Look for an e-mail that was sent today, 1/28 with the subject line, "Slow-Cooker Creamy Bacon-Ranch Chicken and Pasta + FREE Mott's Medleys Sample." Scroll down in the e-mail until you see the link for the free sample. Fill out the form and the sample will arrive in 6 - 8 weeks.
You can only get this sample through the link in your e-mail.
If you have not already signed up for the BettyCrocker.com e-mails you can sign up at their website. Once a month they offer a new free sample to their members, while supplies last.

subset: commoncrawl


text: A girl's going out gear isn't complete without a little black dress. But we're taking a tip from Rihanna and Jourdan Dunn and giving the LBD a vaca while we embrace some winter white. RiRi stepped out in LA yesterday decked out in a white midi which she amped up with gold galore—from her Balmain matching cuffs to her flatform sandals. Simple and pretty but with her trademark edge (PS we dig her Anna Wintour bang-bob combo), this was a win. Want something a bit more badass? Say hello to Jourdan's head-to-toe ivory moment, topped off with a leather bomber. White hot is an understatement.


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Hangover [Import]
- (United Kingdom - Import)
- Artist: Starboy Nathan
- Format: CDsngl
- Release Date:9/19/2011
|your cart is empty
UK six track CD pressing of this single from the British R&B star, a collaboration with rapper Wretch 32. 'Hangover' is lifted from Starboy Nathan's 2011 album 3D-Determination, Dedication and Desire. Features five versions of 'Hangover' plus 'Caught Me Slippin' (Featuring Flo Rida).


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Brainstorm Exchanging Mind Maps with Evernote
Mind Map Brainstorm
ConceptDraw MINDMAP with the new Note Exchange solution allows to distribute and use mind maps from anywhere using powerful Evernote technology.
With the launch of Evernote Business in December 2012 you will be able to use our Note Exchange solution to share mindmaps and mindmap data across your entire organization.
It has never been easier to run brainstorm ideas for building strategies.
Sample 1. Weekend To-Do List
This mindmap was created in ConceptDraw MINDMAP mind mapping software by experienced user for 30 minutes as a sample for solution Note Exchange from ConceptDraw Solution Park.
The Note Exchange solution extends ConceptDraw MINDMAP with the ability to exchange with Evernote, and access mind maps anywhere, on any computer or mobile device via Evernote.
Use ConceptDraw MINDMAP enhanced with Note Exchange solution as a brainstorm tool, sending brainstorm maps from your mind map to Evernote.
Use Product:
Use Solution:
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See also Samples:


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Over the past nine months Creative Commons has evolved from a brilliant idea full of possibility into a brilliant idea that now must address a number of practical questions before becoming operational. Our goal for the May 7 meeting is to resolve as many of these practical questions as possible. Since our teleconference last January, a number of us have been working on these questions and will try to present the issues to you fully and fairly. We all recognize that Creative Commons still needs a lot of work, and our meeting may resemble less the last 10 yards of a kick-off return, and more the first 90. That said, with a good hard day of work we should be able to resolve the tough issues facing this organization.
This meeting is meant to lead to concrete decisions for Creative Commons. As you will notice, the structure of this memo roughly parallels the itinerary for the meeting. We expect the process of systematically going through the relevant issues confronting the Commons to be useful, both procedurally and substantively. We hope that it will sharpen our focus and allow us to finally decide what the Commons will become and how it will get there. With that in mind, please be ready to discuss the relevant issues and - above all - ready to decide how the Commons should proceed.
At the teleconference in January, we came to the consensus that the primary function of the Commons is "to facilitate free/low-cost public use of original works." How will we measure our success in reaching this goal? Do we measure success by the number of donations or the number of downloads, the quantity or the quality of our content, the breadth of our offerings or our depth in a given field, the derivative use we enable or the comprehensive archive we create, the degree of interaction among our users or the ease of one-stop shopping, the organization we build or the statement we make -- or some other criteria not yet mentioned? This list is hardly exhaustive, and the choices are not meant to be concrete, but we must decide on our conception of a successful venture in order to focus our efforts.
Our conception of success will shape the structure and needs of the Commons. For example, a Commons defined by quantity of content available (or number of donations) will require more storage space and less screening of content, while one focused on quality will require expert content-selection, but perhaps correspondingly less storage capacity. Servers, storage, and salaried editors all cost money, and as a not-for-profit entity, we must choose our expenses carefully. There are other practical considerations: in choosing breadth of offerings we sacrifice the depth of a specialized niche, and a Commons with a little bit of everything may not be as useful as a site devoted to one type of content. Conversely, by specializing in literature or academic work, for example, we sacrifice spreading our message to a wider audience. The Commons may very well be successful along any number of measures, but it is unlikely to be successful on all of them. Choosing our measures and structuring the Commons accordingly should be one of the outcomes of this meeting.
Is there a known demand that we can satisfy rather than invent? Possibilities span both sides of the producer/user transaction, and may exist in any number of markets: academic journals, scientific databases, out-of-print books, and struggling artists of all kinds, to name just a few. If we can identify a demand that is not currently being met – either because of restrictive IP laws or because of the absence of anyone filling the particular niche – then it makes sense to target that demand. Focusing on a known demand will spare us the effort of trying to create demand out of whole cloth and will allow us to hone our model on the pre-existing needs of an already established donor/user base.
There are two components to this demand. First, we must identify a group of people or institutions in need of a commons. Second, we must identify the specific needs of that group. On the donor side, our target group comprises those artists who would like an affirmative means to contribute their work to the Commons either under the terms of an open-source license or by abandoning the work to the public domain. On the user side, this is the group of people who would use more IP, but for their inability to obtain legal permission. Broadly defined, this is our target audience. But can we be more specific? Will the Commons work better for scientific data than for film, better for film out-takes than for musical recordings, better for literature than for visual art…?
Secondly, we should be sure that the Commons provides a service that people actually want. If what users really want is digital access to out-of-print books or hard-to-find journals, then a digital library may be the best model, and the open-source license a mere superfluity. Alternately, if what users want is legal permission to create derivative works from original material that is not yet in the public domain, then the Commons should be a rights clearinghouse, offering useful material to creative people on terms which are attractive to both producers and users of creative works. Many of these (and similar) interests are already being served both commercially and non-commercially, so the Commons must be careful to neither step on the toes of our open-source friends nor get into a losing battle with a commercial competitor. (You can find a brief summary of our competition in Part C of this section below.)
For the Commons to succeed, it must offer something of value to both producers and consumers of intellectual property. As we have imagined the Commons up until now, the value we offer is as a matchmaker – bringing content to an audience, and an audience to the content. But the terms on which this match occurs will affect each side of the transaction differently. For example, a more restrictive license would favor the donor over the consumer, while screening the content for quality and relevance might benefit the consumer at the expense of a disappointed artist. Lest we alienate one of the two indispensable parties to this transaction, we must strike the appropriate balance between features directed at donors and those directed at users. And as our polling of authors and artists reveals, there are a number of potentially deal-breaking concerns with the open source license. (See Report from the Creative Community for details.)
We must offer donors of intellectual property something of value. Because the tax considerations provide only a minimal incentive to most classes of donors, there must be something more to motivate donations. There are a number of possibilities, both non-economic and economic. The non-economic motivations include the 'warm feeling in your soul' attendant to contributing to the public good, respect among one's peers in the open source community, and the flattery embedded in wide circulation of one's work. The economic motivations include increased circulation of donated work, potential increase in demand for an artist's other work, and the potential for undiscovered artists to be discovered and 'signed' by the major labels or publishing houses. Most of these motivations require something more than just a website that hosts a lot of donated content – they require some degree of content and artist promotion, as well as some degree of assurance that a first-rate Robert Frost poem is not buried under hundreds of third-rate limericks from an army of adolescent 'humorists' with too much spare time.
Likewise, we must offer consumers something of value. The most fundamental source of value is our content: good content will attract more donors and more users. Conversely, if there isn't anything good in the Commons, no one will use it. Realistically, with so many commercial actors in the field, it is unlikely that we will ever draw content from the most popular artists – Madonna and the Rolling Stones will always pick a commercial site over ours. This shouldn't stop us, but we shouldn't fool ourselves either. We just need to offer something that the commercial sites don't – or target a community that the commercial sites overlook. Once we have a collection of quality content, it is essential that the collection be well indexed and easily searchable. Easy-to-understand, generous licenses will also be valuable to users, though we must be sure to calibrate the licenses to reflect their needs.
B. Will the Commons Have an Institutional or Individual Focus?
The structure, functionality, and range of services offered by the Commons will vary according to the community we target. One important breakdown is between institutional and individual users/producers of intellectual property. Will the Commons have the capacity to bargain with large institutional holders of IP, so that we might digitize and host the backlog of National Geographic or create a digital image bank for the Smithsonian? Or will the Commons focus on helping individuals upload their own photographs, poetry, and e-books onto the Web? An institutional focus would require a larger organization with more resources, but it could also lead to more publicity and possible sources of revenue. An individual focus might be easier to manage, but it may deprive of some of the best content and overlook some natural allies at the institutional level.
C. How Will We Distinguish Ourselves from the Competition?
Our field is becoming increasingly crowded with both commercial and not-for-profit players. Some, like the Knowledge Conservancy and Corbis.com, function as digital archives or libraries. Others, like Previewport.com or Garageband.com serve as distribution outlets for artists. Still others, like Qpass or Icopyright.com, serve as permissions clearing services for users. We must either distinguish ourselves from our 'competitors' or ally with them for mutual advantage and a greater good. We should also keep in mind that with the presence of commercial sites in our field, the need for the Commons to offer an identifiable value to artists and users becomes all the more acute. Though no one has proposed anything identical to the models we've discussed, the sites below are close enough to merit attention, either as inspiration or for contradistinction.
Commercial sites
D. What Is Our Comparative Advantage?
We should exploit whatever comparative advantage we have over our competitors. There are a number of possible areas in which we have a comparative advantage. First, we have legal expertise that our competitors lack. We can write innovative, easy-to-understand, generous licenses to govern work in the Commons, and (using our pro bono legal resources) we can selectively assist in the litigation of disputes arising out of their use. Second, through MIT and the Berkman Center, we have the staff and technical expertise to create and disseminate a workable platform on which to create the Commons, to assist in the digitization of material, and to help in the construction of websites; perhaps we could come up with a comprehensive package to give/sell to members/users of the Commons. Third, our board members have prominence within key communities (including the open source community), which can be leveraged into increased visibility for the Commons and further publicity for the public domain. Fourth, we have direct access to the academic world – a community that already has an ethic of cooperation, making it an ideal audience for this type of organization. Fifth, although the Commons will not have any direct affiliation with our respective universities, we nevertheless have the credibility of those universities working in our favor. If there are others, we should identify them and decide how they can be used for the Commons.
At this point, we should briefly recognize that we are also at a comparative disadvantage relative to a number of commercial players in the field. For instance, it is unlikely that we will ever have more popular music than the commercial labels or a more comprehensive database than Lexis, and we should be make sure not to get into a losing battle with our commercial competitors.
The overarching structural question is whether the Commons should be centralized around a particular website or distributed over the Internet. The answer to this question will have profound impacts on the structure of the Commons, leading to vastly different responsibilities and expenditures for the organization. Under a centralized approach, we would commit ourselves to hosting, editing, monitoring, and attracting content to the site, and then maintaining the site as the Commons. This centralized Commons could either be broad in scope – offering everything from poetry to patents, Hollywood movies to digitized finger painting – or instead it could focus on a particular niche, specializing, in out-of-print books or poetry. Under the distributed approach, we could develop an open-source licensing protocol to allow for a distributed network of member sites, each of which is responsible for its own content, linked together and searchable through our central server. The Commons might 'seed' an initial site or two, and assist in the development of member sites, but would otherwise remain a meta-structure. See Table in Part D of this section for summary.
You may recall the three-zoned structure for Creative Commons that was discussed over email earlier this year, and which forms the basis of the Memorandum on Liability under the DMCA (page 20 of this booklet). Under that structure, Zone A is reserved for high-quality content owned by the Commons, which we would digitize and host on our own site. Zone B is to be structured along the lines of
, with individual sites hosted by the Commons and donors retaining ownership of the material. Zone C is to be a search engine providing links to open-source content on the Web. This zoning structure is as much a means of reducing our liability, as it is a way to ensure that we not spend our limited resources on content that is better left to end-users (or outside the Commons altogether). But because the features of the three-zoned structure are modular, and are easily incorporated into the structures set out below, we have left discussion of the three-zoned model to the Memo on Liability, focusing this discussion on broader structural issues. Once we decide on a basic structure for the Commons, we can then reintegrate desired features of the three-zoned approach, as liability and viability concerns dictate.
A. Centralized Commons: Broad in Scope
Under this model, the Commons would be a place where users can access all kinds of intellectual property, brought together on one site and unified under one open-source licensing regime. This is the approach that was discussed at our previous meetings, leading to the idea that each school could specialize in a particular kind of content. The upside to such an approach is that the Commons could be huge – like an eBay for open-source IP. Though there may be a fairly slow ramp-up before we get a critical mass of content, once we gather enough good material, the Commons may develop a gravitational force of its own, attracting more and more content, eventually providing something for everyone.
But a broad, horizontal Commons could quickly become a victim of its own success – either a junkyard or a bazaar that is only marginally distinct from the Web itself. Moreover, by trying to do so much all at once, we risk diluting our service such that we are vulnerable to 'competitors,' each one picking off a niche until we are left with nothing but junk. Or, if the competitors don't materialize, we risk our own "tragedy of the Commons," in which the Commons simply becomes too unwieldy to be useful to anyone.
We must also keep in mind the costs of running a large Commons. Digitizing, storing, and providing server capacity for terabytes of information can quickly become prohibitively expensive. And if we wish to do any screening of content (either to promote a work as a Feature of the Week or to decide that so-and-so's graduation videos don't merit space in the Commons), then we must employ a staff of editors. This too can get expensive. (Four editors x $40,000/year = $160,000.) Obviously, the more successful we are, the more it costs to run the Commons. But the consensus among our consultants from McKinsey & Co. is that the increase in costs will outpace our increase in use, leading to a cost/benefit differential that will most likely be fatal to a large Commons.
B. Centralized Commons: A Niche Player
On this model, the Commons would specialize in one particular type of IP – literature or poetry, for example. There are a number of benefits to vertical specialization. First, concentrating on one type of IP is likely to be a more manageable endeavor than trying to cast a wide net early on. A smaller scale project will allow us to gauge donor/user response and adjust our model accordingly. We can use this adjusted model, together with any credibility we establish in the initial field, to expand into other fields, growing the Commons one field at a time. Second, if we tackle only one type of IP at a time, we can ensure better content quality, hiring specialists in the particular field we choose and striving for meaningful depth in that field. Third, by offering only one type of IP, the material on the site remains coherent, so users don't jump from first-rate poems to third-rate snapshots to second-rate textile designs, all on the same page. Fourth, the open-source model may not work as well in every field, and we may want to steer clear of those fields in which a failed open-source attempt could dilute the overall strength of our message.
There are two drawbacks unique to a narrowly focused commons. First, by focusing on one type of IP, we limit our message to that field – poets, out-of-print-book lovers, or film fanatics – rather than spreading it as broadly as possible. Second, a vertically specialized Commons will be a smaller project than what has been discussed prior to this meeting, and it is not clear that a niche commons will merit the sustained interest and energy of this group. Neither of these is insurmountable – especially since the prospect of expansion is always on the table – but we should address both of these drawbacks to see if we can agree on one or two fields in which to begin the Commons.
C. A Distributed Commons
On this model, the Commons might resemble the Chicago Mercantile Exchange or the New York Stock Exchange, serving as a trusted matchmaker to facilitate the transaction of securing rights. Just as corporations or commodities producers must meet certain criteria before they are listed on the Exchange, we could condition 'listing' in the Commons on similar criteria, albeit reflecting open source rather than financial values. For example, we could require that in order for a site to be listed in the Commons, the operators of that site must prove that any content on their site is non-infringing and agree that it can be licensed out on whatever license (or menu of licenses) we offer through the Commons. In addition, member sites could be required to index their content in such a way as to increase the search functionality of the Commons. Any site that doesn't meet these criteria could be 'de-listed' from the Commons until it meets the open-source and indexing requirements.
A distributed structure for the Commons offers a number of benefits. First, a distributed structure allows the collection and editing of material by those with expertise in given fields – poets creating sites for poets, and film-makers for film-makers – using the marketplace of expertise, rather than putting the burden on us to ensure the quality of the content. Second, because the content would be hosted by these member sites, we could avoid the significant expenditures associated with hosting terabytes of material, focusing instead on search functionality, public relations to establish the credibility and visibility of the Commons, technical and legal assistance to our member sites, and securing funding to defray the costs of the members. Third, as a facilitator, the Commons can develop packages/platforms to help members (or even non-members) digitize and archive their old audio/visual collections. Finally, there is a certain rhetorical appeal to having the Commons embedded within the Internet as a whole, rather than located on one particular site.
There are also some drawbacks to a distributed Commons, though none appears insurmountable. First, by not having everything on our own site, we potentially give up some of the cache attendant to having our own site with its own content. However, this can be remedied by building the brand of the Commons/Exchange platform, just like Yahoo or the NYSE. Second, as in any distributed structure, we give up a degree of control over the Commons. Likewise, we can address this by requiring that member sites meet certain stringent criteria – especially with respect to infringing material. Third, there is no guarantee that 'if we build it, they will come.' This is a concern generally applicable to the Commons, whatever its structure. Poets, filmmakers, and other artists/editors may be reluctant to get involved until there is a critical mass of participants. Perhaps the best way to address this is to 'seed' one or two member sites early in the process so that we can begin with a critical mass in place. If we succeed, we can use that template to help others develop similar sites in the future.
Possible Features
Centralized Common, Broad in
Site would include all
kinds of IP
User-generated reviews
to aid searching and quality control
Zoned for ease of use
Commons would pay for
'Zone A' material
like an eBay for IP –
something for everyone
spreads open-source
message broadly
comprehensive archive
an enormous undertaking
– would require a huge organization to keep from being unwieldy
expenses likely to
outpace use
potential to become
Centralized Commons, Niche
site would focus on one
type of IP, with depth in that field
would consult with
experts in field to ensure quality
could expand to other
fields after initial success
targets specific needs
of specific community – a tailor-made commons
satisfies a known
easier to control
manageable size
allows us hone our model
doesn't spread open
source message very widely
less rhetorical force
than broad commons
may require a
blue-ribbon panel of experts
Distributed Commons, IP
Commons would be
meta-organization, like NYSE, facilitating transactions among listed members
Anyone 'listed' in the
Commons agrees to our open-source license terms
Experts in each field
build own mini-commons
Uses market for
expertise, rather than our own top-down content selection
We don't shoulder as
many of the expenses
Allows us to focus on
Commons platform, rather than content
Sacrifice some control
Requires monitoring to
ensure members continue to meet criteria
Possible loss in cache
of Commons brand
Requires first-rate
search functionality
Our brief poll of authors and artists indicated a general interest in donating works to the Commons and enthusiasm for the concept of an artistic GPL. However, as would be expected, artists were concerned about losing control over their work. There were both economic and non-economic considerations. On one hand, authors were turned off by the idea that Disney could make a movie out of their work without compensating them. On the other, artists were uncomfortable with the thought of Hustler, Phillip Morris, or a political candidate with whom they disagreed using their work in a manner or for purposes they found objectionable. The question is whether the self-selection of artists should occur at the gate of the Commons (with some artists choosing not to participate at all) or within the Commons (with artists choosing from a menu of licenses, some more restrictive than others). Striking the right balance is crucial: too little protection for the donor's interests and no one will donate; too little room for the users to use the work, and the service is useless.
Offering a range of licenses may be the best way to provide needed flexibility to the Commons licensing regime. We must decide whether such a range is acceptable, and if so, what terms the Commons will allow. Apart from a standard open-source/GPL license, please consider the following options:
We should decide on general terms of use for the Commons and a general policy with respect to removal of content. Will we only evaluate content with respect to whether it is infringing, or will we also screen/remove content on the basis of other factors, such as quality, popularity, or (non-)obscenity? This question goes straight to the heart of the openness of Creative Commons, and is likely to draw rather principled responses at the meeting. But this is a necessary discussion. It is too easy to imagine a scenario in which a completely unregulated Commons turns into either a junkyard for worthless content, or alternately, a repository of Internet pornography.
There are a number of ways to curb this possibility, some quite restrictive, others less so. (This list is not exhaustive, and is intended only to spark discussion.) First, as a way to ensure quality of content, we could condition listing in the Commons on the continued popularity of a work. For instance, anything that was viewed or downloaded more than 10 times a year could remain, while anything that went untouched for more than 12 months would be deleted from the site. Second, we could institute a user review feature, such that only material that received two or more 'stars' from reviewers would remain. Third, we could have an editorial board on the staff of the Commons that would vote on whether to remove content, based either on lack of quality, or obscenity. This option is likely to be the most contentious, since it necessarily involves censoring the Commons, something which many of us may oppose on principle. Nevertheless, we should not blind ourselves to the possibility that the Commons could be overrun with material to which many of us might not want to attach our names (as board members).
Creative Commons must find a way to cover its expenses. In order for this organization to be sustainable over the long haul, it must have a reliable source of revenue to pay for staff, equipment, digitizing and hosting material, and maintaining the site. Will we rely solely on grant money from foundations, or will the Commons meet some of its costs by other means? Two possible sources of funding we should discuss are (1) users of the Commons, and (2) companies that stand to benefit from use of the Commons. We should discuss whether we are prepared to draw on these sources or whether doing so would dilute the message of the Commons.
Extracting money from users is a dicey proposition. First, some of us may be opposed to the idea as a matter of principle. Second, without highly sought-after content, it is difficult to imagine that users would pay for using the Commons as such. Third, charging users could expose the Commons to claims of vicarious copyright infringement. Nevertheless, if charging users is an acceptable option, we should assess the viability of either a pay-per-use or subscription-based billing structure, keeping in mind that our answers may vary depending on whether we target individual or institutional users of IP. We may very well decide that charging users of the Commons is either not worth the effort or potential liability, or would dilute the message of the Commons so much as to be completely unacceptable. If that is the case, then we need to find other sources of revenue.
One option is to ally the Commons with corporate partners. A company like Kodak might be interested in sponsoring our photography site, supporting the Commons in exchange for recognition as a benefactor, or paying royalties anytime a user ordered a glossy print of an image on the Commons. (We might even have a thumbnail Kodak icon on this section of the site.) The same could hold true for a company like Kinko's, if we had a coursepack section, or a bindery for our out-of-print book section, allowing users to create hard-bound custom anthologies or inscribed copies of their favorite old books. We should discuss whether such corporate partnerships are anathema to the Commons, and whether the small royalties we might receive outweigh the transaction costs of maintaining such a funding regime.
So that we don't lose any momentum, we should be prepared to build on the decisions we make at the May 7 meeting. Our short-term goals should include the following:
Once we have a Board in place and a CEO to begin with the day-to-day operations of Creative Commons, we will be able to make decisions for the Commons without relying solely on a distributed email list. That will allow for speedier, more authoritative, and more accountable decision-making, and should allow this organization to get off the ground. Perhaps our last item of the day should be deciding who will serve on this search committee and how we will nominate and vote for a Board of Directors.


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Celerant Provides Development and Retail Software Integration for www.Smallflower.com
Staten Island, NY (April 19, 2011) – Celerant Technology, a leader in the retail software industry, completed the web development and retail software integration of its client, Merz Apothecary. The E-Commerce site, www.smallflower.com, is an extension of the brick and mortar location and presents an online store that integrates their diverse inventory with advanced search capabilities and staff reviews.
"The development of www.smallflower.com included various innovative features for the custom design and functionality of the project", said Ian Goldman, President and CEO of Celerant Technology. "Our E-Commerce programmers created a sophisticated site that is highly optimized for search engines and includes advanced technology such as a robust search functionality, dynamic filtering, custom checkout options and detailed product reviews. These features enable new and recurring customers to quickly find products and make informed decisions on purchases."
Celerant Technology, www.celerant.com, provides a complete multi-channel solution for retail organizations; from point of sale, inventory management, warehousing, E-Commerce, mail order and more. Celerant offers advanced E-Commerce features, including a smart search and dynamic filtering for enhanced site navigation, customized product URLs for search engine optimization, a custom checkout to assign multiple billing addresses and credit card information, specialized blogs for customer and staff product reviews, as well as standardized gift notes and a module for including a gift with a purchase.
"We are extremely pleased with the outcome of smallflower.com and feel that the technical advancements we have added to the site will help to bring our online sales to another level", stated Anthony Qaiyum, President of Merz Apothecary. "Our business has been family owned for 136 years, and when we were initially looking to extend our online presence, we wanted to find a partner that would help us bring our personalized store shopping experience to our web site. We believe the new site is a major step in that direction. We anticipate continuing our work with Celerant to further enhance both the retail and online sides of our business."
Merz Apothecary is one of the country's oldest pharmacies and natural health apothecaries. Merz has two locations in Chicago, IL selling an international variety of health and beauty products, ranging from vitamins, supplements and herbal teas to soaps, skin care products and fragrance. Merz Apothecary and Smallflower.com have been featured in many national and international publications. Most recently, Merz Apothecary was named one of the "World's 12 Best Boutiques" by United Airlines Hemispheres Magazine. For more information, visit www.smallflower.com.
About Celerant Technology
Celerant's Command Retail is an advanced real-time retail management system, which manages all areas of retail including POS, Inventory Management, Warehouse, Distribution Center, Allocation, Multi-Channel/E-Commerce/Kiosk, Data Mining, and


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FOTW beschäftigt sich mit der Wissenschaft der Vexillologie (Flaggenkunde).
Alle auf dieser Website dargebotenen Abbildungen dienen ausschließlich der Informationsvermittlung im Sinne der Flaggenkunde.
Wir distanziert uns ausdrücklich von allen hierauf dargestellten Symbolen verfassungsfeindlicher Organisationen.
Last modified: 2011-03-19 by andrew weeks
Keywords: kirovs'ke | kirovs'kyi rayon | crimea | krym | krim |
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image from the site of Ukrainian Heraldry
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From the site of Ukrainian
"It was confirmed in March, 21st, 2008 by the decision #214 of XIX region council session. The rectangular panel with ratio 2:3 consists of red, green, white, green and dark blue horizontal strips with a parity 3:1:10:1:3. In the centre of a white strip is the small region emblem".
Dov Gutterman, 28 September 2008
image from the site of Ukrainian Heraldry
From the site of Ukrainian
"It was confirmed in March, 21st, 2008 by the decision #214 of XIX region council session. Argent fillet pall. In the centre is argent Mercury's staff in pale twined by two or snakes. In the first gules part is flying argent eagle. In the second vert is or jug with or cone. In the third azure is or bowl from which beat argent streams of water in shape of letter "M". The shield enframed by or cartouche, crowned by argent urban crown with three prongs and framed by a wreath from oak leaves. On azure-whire-red tape is or inscription "KIROVS'KYI REGION 1935". The authors are O.Maskevich and S.Konovalov".
Dov Gutterman, 28 September 2008
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They say everything is bigger in Texas, and it looks as though that includes the points lead.
Allow me to do my job for a moment and put this in perspective. I am a researcher, after all. I might even take a break from my usual early-column goofiness
Well, maybe just one real quick.
Who's got two thumbs and is going to break down the points situation? This guy (points at self).
Johnson is up 183 in the points with three races remaining, and can clinch by just averaging a ninth-place finish down the stretch. Well, Johnson hasn't finished worse than ninth in his past eight races period, let alone just averaging a ninth.
A ninth? Jimmie Johnson laughs in the face of a ninth. Over the past five seasons, Jimmie Johnson's average finish in the season's final three races is sixth. In those 15 races, Johnson's won three times, finished second five more and has finished worse than ninth only once. That was a 40th in the 2005 season finale.
What about that 183-point lead? Well, Johnson actually tacked an extra 34 points onto his lead with his championship-caliber runner-up run at Atlanta. Before this season, the biggest lead any driver had in the Chase at this point was a 96-point cushion for Kurt Busch in 2004. He followed that up with a 42nd in his next race and went on to win the championship by just eight points.
Well, let's play the what-if game here for a second. (Then, who wants to play Parcheesi, or possibly even a round in EA Sports "NASCAR '09"? CHEAP PLUG!!!)
If Johnson were to finish 42nd this weekend at Texas, and Carl Edwards did just what he did in the fall, win and lead the most laps, Johnson's lead would be down to 37. That sounds much more manageable, and clearly isn't out of the question. It was just last year at Texas that Johnson crashed and failed to finish, limping out of Texas with a 38th in the spring race.
The biggest lead ever made up with three races to go (under the modern points system) was 49 by Dale Earnhardt in 1990. But points are fickle, belts come loose and drivers like ______________ are still out there running laps. I left the name blank to elude those pesky lawsuits (ESPN lawyers want to avoid them), but go ahead, print out the column, and fill in the driver you think is most likely to cause issues.
Improbable, yes. Impossible, no.
But I digress. You came here for the Eliminator, and eliminate I shall!
Trivia break! This is the fourth fall race at Texas, and it comes fresh off another race at a 1.5-mile track, at the tri-oval in Atlanta. My question is, what has been the worst Atlanta finish by a driver who went on to win the next week at Texas?
There are 48 drivers in Texas this week, including Brad Keselowski, attempting his Sprint Cup debut, but only one will go home happy. It's been awhile since I've predicted a winner, so let's start with a twist.
Eleven of the past 12 winners at Texas finished worse than 19th in their last Texas race. Picking drivers who excel just wasn't working for me, so let's get rid of the top 19 drivers from the spring race. It seems like the reasonable thing to do.
OK, enough with messing around with drivers who weren't good. Every fall winner at Texas, and the past four Texas winners overall, finished in the top 15 in the last Charlotte race. That race is still fresh in our minds, and still on the minds of the 23 drivers who are eliminated. Didn't take us long to get down to six.
Now we'll cut that in half. This is the streak that keeps on giving. The past 12 Sprint Cup winners this season finished no worse than 13th in that race last season. Another three are gone, including former Texas winners Greg Biffle and Kasey Kahne.
Time to get you people a winner. Texas results seem to sync up pretty well with those at Kansas. In fact, every fall winner at Texas finished in the top four in that season's Kansas race. That takes out Martin Truex Jr. and Kurt Busch, leaving just one.
Trivia break! I pulled a little sneakery on you there. In the three years the series has been running a fall race at Texas, the Atlanta winner also won the next week at Texas. Carl Edwards in 2005, Tony Stewart in 2006 and Jimmie Johnson last year. Good news for Carl Edwards, but he's not the official Eliminator pick this week.
Just getting in under the deadline, look for Jeff Gordon to get into Victory Lane this year, his 15th consecutive year with a Cup Series win. Remember, the numbers don't lie.
Eliminator breakdown
Eleven of the past 12 Texas winners finished 20th or worse in their last Texas race (19 drivers eliminated, 29 remaining).
Drivers eliminated: Clint Bowyer, Jeff Burton, Kyle Busch, Dale Earnhardt Jr., Carl Edwards, David Gilliland, Denny Hamlin, Kevin Harvick, Jimmie Johnson, Matt Kenseth, Travis Kvapil, Mark Martin, Jamie McMurray, Paul Menard, Juan Pablo Montoya, Ryan Newman, David Ragan, Tony Stewart and Brian Vickers.
The past four Texas winners finished in the top 15 in the last Charlotte race (23 drivers eliminated, 6 remaining).
Drivers eliminated: AJ Allmendinger, Marcos Ambrose, Dave Blaney, Bryan Clauson, Bill Elliott, Robby Gordon, Sam Hornish Jr., Brad Keselowski, Bobby Labonte, Joey Logano, Chad McCumbee, Casey Mears, Joe Nemechek, Max Papis, Tony Raines, David Reutimann, Scott Riggs, Johnny Sauter, Elliott Sadler, Ken Schrader, Regan Smith, Scott Speed and Michael Waltrip.
The past 12 NSCS winners finished in the top 13 in last year's race (three drivers eliminated, three remaining).
Drivers eliminated: Greg Biffle, Kasey Kahne and Reed Sorenson.
All fall Texas winners finished in the top four in the last Kansas race (two drivers eliminated, one remaining).
Drivers eliminated: Kurt Busch and Martin Truex Jr.
And your winner is: Jeff Gordon.
Matt Willis is a studio researcher at ESPN.


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After what seems like an eternal Indian Summer, it is winter again in the San Juan Mountains of Colorado. Our typical mid-October snow provided a short-lived treat and then proceeded to spend the next month rotting under sunny days and cold nights to become our infamous buried layer of facets. However, the last 10 days have been kind, depositing 3+ feet of snow across the zone.
Early last week, when the avalanche danger was high, I spent time touring around Durango Mountain Resort getting my skinning legs back in shape. As conditions stabilized after Thanksgiving, I started venturing out in the backcountry. Snow pits revealed the normal San Juan surprise, 2 to 3 inches of facets on the ground covered with multiple feet of new snow. It appeared that most of the steeps had already run naturally during the most recent storm. The backcountry was very good, especially given that it is not yet December. Hopefully, we will continue to get good snow and build a solid safe base for the upcoming winter. Get out, play and be safe!


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Colin Cieszynski, market analyst with CMC Markets Canada, does a good job each day of explaining the inexplicable in the markets.
Wednesday's markets have been stronger than expected after Moody's Investors Service's downgrade of French banks Société Générale and Crédit Agricole.
The selloff in stocks on Monday had priced in much deeper rating cuts than the one notch that Moody's actually delivered, he says.
Signs Wednesday point to a possible buying opportunity for the shrewd trader, Mr. Cieszynski notes:
"The failure of markets to respond to bad news this morning suggests that recent selling pressure has been exhausted for now and that we could see some bargain hunting in the near term. As we have seen in energy markets though, the bulls may only be able to take markets so far while the global economy remains in a tenuous situation. While general uncertainty remains, we may see more reversals of fortune in the coming days and weeks which may continue to create opportunities for active traders."


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Princeton High School awarded diplomas to 217 seniors Friday, June 7 in the school auditorium, and the audience backing the room heard a number of speeches with advice, humor and reflection.
Giving the speeches were co-valedictorians Sydney Arens, Claire Barthel, Nathaniel Hoffer and Isaiah Mayerchak; co-salutatorians Suzanne Voce and Dan Voce; class member Dalton Mattson and guest speaker Jim Baxter.
The Symphonic Winds played "Xerxes," and the Concert Choir performed "Papa Loko."
Superintendent Julia Espe, Principal Pete Olson, Assistant Principal/Activities Director Darin Laabs, and school board members Craig Johnson, Jeremy Miller, Chuck Nagle, Howard Vaillancourt and Deb Ulm handed out the diplomas.
The speeches
Music teacher and band director Jim Baxter, himself a tuba player, challenged the graduation class to "shoot for the moon, dream big, take chances, play tuba and be alive!"
Baxter then quoted president Theodore Roosevelt in saying: "The best thing you can do is the right thing , the next best thing is the wrong thing,and the worst thing you can do is nothing."
Baxter encouraged the graduating seniors to "get offline," and experience the world first hand. "Experience is what makes life's journey worthwhile," he said.
Sydney Arens relived the experience of when her parents brought her to school on the first day of kindergarten.
"My mom frantically tried to unbuckle me as I screamed and held onto the seat belt as tight as I possibly could," she recalled. "I was sure that if I held on long enough, they would give up and wouldn't make me go."
Arens described her father grabbing her feet while her mother was working to pry Arens' hands off the seat belt before the two pulled her out of the van. Arens likened the scene to a "shrieking little five-year-old girl, hanging out the door of the conversion van, suspended horizontally between a crazy mother and her father tugging at her feet."
Arens expressed gratefulness for her parents in their effort to take her to school that first day, and for the kindergarten teacher who Arens remembers having to pry her hands from her parents.
"Thank you for putting up with us, even when we were kicking and screaming," Arens said. "We are who we are because of all of you." Arens thanked all who supported her and her classmates and for teaching them respect, "for letting us find our own way…for listening… and acknowledging how hard we worked…" She also thanked all who "have instilled values in us" and a "strong passion for learning."
Arens asked each classmate to thank "one special person who has helped you get to where you are today."
Isaiah Mayerchak called the members of his class the "luckiest people in the entire world" because of living in America and being guaranteed an education. American students don't realize the value of the education they have been given because "we're so used to being handed things like education," Mayerchak said.
Mayerchak said that while everyone has a right to either "use or waste our time and education, that doesn't seem right…We need to remember that there are countless more people in the world who don't enjoy the things we do…who are deprived of basic human liberties…and aren't able to receive an education like the one we were lucky enough to receive."
Mayerchak stated the graduates have a "responsibility to these deprived people," and said his class must "embrace the responsibility that comes with education."
Claire Barthel said her class has come a long way in 13 years. She called it a group of "incredibly talented, passionate, ambitious individuals who may or may not still wet the bed, who hopefully appreciate what their parents and teachers have done for them, and who are no longer selfish, but instead realize the importance of friendship and community."
"No matter what your high school experience has been, every one of us has had an impact on at least one of our classmates. We have made friends to laugh with, cry with, and to trust. And as we leave high school and continue into the future, we must remember the friends that got us where we are today, " Barthel said.Barthel said she thinks she can speak for her classmates in saying "none of us are quite sure how to feel today. We don't know if we should feel happy to start the next chapter in our lives, scared to be thrown into the real world, or sad to leave behind the school, teachers, and classmates who have helped shape who we are today. Our journey has been a great one, which is what makes our graduation today so bittersweet, but what is to come in every one of our futures has even more potential for greatness."
Nathaniel Hoffer said that as adults, people can make choices to affect their future.
"We can decide to go out every weekend and get wasted…can decide if we want broken families, and we can even decide to look at the future as a bleak stretch of time that is only just better than nothing at all," he said.
Hoffer called those courses of action "taking the easy way out," including "not taking a stance on anything…"
"Doing the tough things in life is what separates us from the animals," Hoffer continued. Hoffer suggested his classmates try to choose a life path where they don't, in old age, regret having wasted their life.
Hoffer encouraged his classmates to rise to the challenge to "imbue every moment with purpose, to find a reason and a joy deep inside ourselves to make this world beautiful, and if we can't find that purpose in ourselves, to reach out to a higher power."
"I had a dream," Mattson declared. "I had a dream that little white milks and little chocolate milks would be joined together every day in that cooler there in the cafeteria."
While that had strains of Martin Luther King Jr.'s "I Have a Dream" speech, it also referred to a new meal restriction at the high school starting last fall. This past year the school went from offering chocolate milk all week long, to just allowing it one day per week, as part of meeting new federal nutrition rules for schools.
Mattson tied his overcoming not getting as much chocolate milk at school to "overcoming all the small daily obstacles."
Mattson encourged his classmates to "make every year your best year," to "set goals…and strive to achieve those goals… and make some awesome memories on your journeys…"
Mattson urged his class to "go out and change the world," and to remember, "Your present circumstances don't determine where you can go. They merely determine where you start…"
The Voces
Dan and Suzanne Voce, cousins who became the two salutatorians, had one speech together that they took turns delivering. The speech began with acknowledging "all of the people who taught and inspired us throughout our lives…parents, friends, family members, coaches, teachers, and others around the community…"
The Class of 2013 has achieved excellence these past four years, "but we owe the majority of our accomplishments to the individuals who have guided us on our journey to success," the Voces said.
The Voces listed a number of PHS achievements in the arts and sports this past school year and added: "We hope you will carry on the right path and continue the success achieved during high school. In doing so, we trust that all of you will keep growing as individuals and representing the class of 2013 with pride."
PHS graduates 217 in Class of 2013
Princeton High School awarded diplomas to 217 seniors Friday, June 7 in the school auditorium, and the audience backing the room heard a number of speeches with advice, humor and reflection.


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The True Christmas Story, DVD
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Zondervan / 2002 / DVD
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The True Christmas Story, DVD
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Product Description▼▲
Tiny Bethlehem lay in the shadow of the Herodion, the magnificent home of Herod the Great. In this remarkable program, Ray Vander Laan leads a tour through the palace ruins, the modest dwellings of Bethlehem, and other historical sites in Israel. The contrast between the grandeur of Palestine's king and the King of kings will astound you! Includes a 28-minute faith lesson. Approx. 60 minutes.
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|Format: DVD
Vendor: Zondervan
Publication Date: 2002
Series: That The World May Know
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A video exploration of two kings--the ruthless and wealthy Herod, and Jesus, creator of the universe. Teacher and historian Ray Vander Laan travels to the land of Israel to discover fascinating truths--biblical, archeological, and historical--about the events surrounding the birth of Jesus.
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Ray Vander Laan is the founder of That the World May Know Ministries and creator of the Faith Lessons video series with Focus on the Family. An ordained minister, he holds the chair of biblical cultural studies as a religion instructor at Holland Christian Schools in Holland, Michigan. He and his wife, Esther, have four children and fifteen grandchildren.
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of customers would recommend this product to a friend.
Ron2 Stars Out Of 5The true Christmas Story DVDJanuary 21, 2015RonThere really was not much to it. Not as long as the cover indicates. Don't think I will use it again.
Ken Reed2 Stars Out Of 5Disappointing for a Vander Laan productionDecember 16, 2014Ken ReedQuality: 4Value: 1Meets Expectations: 1Although the DVD claims 62 minutes running time, the title episode is only 18 minutes long. Even at that, it doesn't really describe the Christmas story at all; it is basically a comparison of the wealth and power of Herod vs. the meanness of the Savior's birth. The rest of the DVD is advertising for other Focus on the Family products, and a bonus video of the springs at En Gedi. Could have been much better if Ray had actually fulfilled what the title of the DVD claims.
LaurieMOGender: Female1 Stars Out Of 5Probably the worst Christmas Story ever toldDecember 15, 2014LaurieMOGender: FemaleQuality: 4Value: 1Meets Expectations: 1This is the story: Herod was wealthy and powerful at the time of the birth of Jesus. You can see the ruins of what he created. Look at the ruins and imagine how wonderful they were. See some caves, Jesus was probably born in something like that. Imagine how Mary and Joseph felt passing Herod's beautiful palaces.
We have a small group bible study and at the end everyone was speechless because there was nothing to say about this. It was a waste of money. Very disappointing. I will avoid Ray Vander Laan in the future.
Breezy2 Stars Out Of 5January 5, 2012BreezyQuality: 3Value: 1Meets Expectations: 1I was very disappointed when I received this DVD. I respect RVL very much and always enjoy listening to him. I bought this DVD with high expectations to show my students. My students also enjoy hearing RVL and were very excited about it. When I paid $20.00 and received around 15 minutes of usable information and a ton of advertising that made up the rest of the DVD, I have to say I was disappointed.
RVL's information was great as usual, but the price of the DVD does not reflect the amount of usable product received.
GillAge: Over 65Gender: male3 Stars Out Of 5The Story of Christmas was very short!December 27, 2011GillAge: Over 65Gender: maleQuality: 4Value: 3Meets Expectations: 2I have several DVD's from Ray Vander Laan and would recommend them to anyone. He is an excellent teacher. However, this DVD is only 20 minutes in length and I feel could have had a lot more to share about the birth of Jesus.
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Get an overview of this hotelLuxury St. Petersburg hotel in Admiralteyskiy, near State Hermitage Museum and Winter Palace
Popular property highlights
Located in Admiralteyskiy, this luxury hotel is within a 15-minute walk of Alexander Garden and State Hermitage Museum and Winter Palace. Palace Square and Kazan Cathedral are also within 1 mi (2 km).
Hotel Features
This smoke-free hotel features a full-service spa, a restaurant, and an indoor pool. Self parking is free. Additionally, a 24-hour fitness center, a bar/lounge, and a sauna are onsite.
Room Amenities
All 137 soundproofed rooms feature WiFi and iPod docks. Conveniences include washers/dryers and sitting areas, and guests will appreciate thoughtful touches like espresso makers and pillow menus.
Guest Highlights
- Good location
- Helpful staff
- Nice bathrooms
W St. Petersburg
Hotel Amenities
Hotel Amenities
In addition to a full-service spa, W St. Petersburg features an indoor pool and a sauna. The hotel offers a restaurant. A bar/lounge is on site where guests can unwind with a drink. Wired and wireless Internet access is available for a surcharge.
This 5-star property offers access to a business center, limo/town car service, and meeting rooms. Event facilities measuring 133 square feet (12 square meters) include a conference center. This Art Deco hotel also offers a 24-hour fitness center, a rooftop terrace, and spa services. For a surcharge, the property provides a roundtrip airport shuttle (available 24 hours) and an area shuttle. Limited complimentary onsite parking is available on a first-come, first-served basis.
W St. Petersburg is a smoke-free property.
- 24-hour front desk
- Airport transportation (surcharge)
- Total number of rooms - 137
- Number of floors - 8
- ATM/banking
- Bar/lounge
- Business center
- Free newspapers in lobby
- Concierge services
- Conference space
- Dry cleaning/laundry service
- Elevator/lift
- Fireplace in lobby
- 24-hour fitness facilities
- Full-service spa
- Tours/ticket assistance
- WiFi (surcharge)
- Wired Internet access - surcharge
- Laundry facilities
- Library
- Limo or Town Car service available
- Spa treatment room(s)
- Meeting rooms 4
- Multilingual staff
- Parking (limited spaces)
- Rooftop terrace
- Porter/bellhop
- Luggage storage
- Restaurant
- Safe-deposit box at front desk
- Year Built 2010
- Area shuttle (surcharge)
- Conference center
- Free self parking
- Conference space size (feet) - 133
- Conference space size (meters) - 12
- Number of meeting rooms - 3
- Sauna
- Number of buildings/towers - 1
- Spa services on site
- Steam room
- Breakfast available (surcharge)
- Television in common areas
- Smoke-free property
- Indoor pool
Available in all rooms: Wired high-speed internet ( RUB 750 per 24-hour period ), Wired high-speed internet ( RUB 750 per 24-hour period )
Available in some public areas: Wired high-speed internet ( RUB 750 per 24-hour period ), Wired high-speed internet ( RUB 750 per 24-hour period )
Free self parking, Parking (limited spaces)
Room Amenities
- Pay movies
- DVD player
- Separate sitting area
- Soundproofed rooms
- Free newspaper
- Air conditioning
- In-room climate control (air conditioning)
- Phone
- Minibar
- Free bottled water
- Daily housekeeping
- Turndown service
- Designer toiletries
- Bathrobes
- Free toiletries
- Hair dryer
- In-room massage available
- Slippers
- Rainfall showerhead
- Iron/ironing board (on request)
- Desk
- Washer/dryer
- Blackout drapes/curtains
- In-room safe (laptop compatible)
- Cable TV service
- WiFi (surcharge)
- Wired Internet access (surcharge)
- Dial-up Internet access (surcharge)
- iPod docking station
- Room service (24 hours)
- Separate bedroom
- Connecting/adjoining rooms available
- Pillow menu
- Espresso maker
Where to Eat
Buffet breakfasts are available for a surcharge and are served each morning between 7 AM and 10:30 AM.
W Terrace - Onsite restaurant.
24-hour room service is available.
Nearby Things to Do
Recreational amenities at the hotel include an indoor pool, a sauna, and a 24-hour fitness center.
Children under 15 years old are not allowed in the swimming pool without adult supervision.
Spa Services
Guests can pamper themselves with a trip to the onsite spa, which has 5 treatment rooms. Services include massages, facials, body scrubs, and body treatments.
- Body treatments
- Manicures and pedicures
- Massages
- Body scrubs
- Number of treatment rooms 5
- Facial treatments
If you have requests for specific accessibility needs, please note them at check-out when you book your room.
- Accessible bathroom
- In-room accessibility
Hotel Policies
Minimum check-in age is 18
Check-in time ends at midnight
Check-in time starts at 3 PM
Special check-in instructions:
Check-out time is 1 PM
Payment types
Children and extra beds
- Children 18 and younger are not allowed at this property. All guests older than 18 are welcome.
- Kids stay free! Up to 2 children 11 years old and younger stay free when using existing bedding.
- Rollaway/extra beds are available for RUB 2300 per night.
- Cribs (infant beds) are not available.
- Pets allowed for an extra charge of RUB 3000 per pet, per night, plus a one-time cleaning fee of RUB 3000
- 1 per room (up to 40 lb)
- Restrictions apply
- For more information contact the property at the number on the booking confirmation
You need to know
Extra-person charges may apply and vary depending on property policy.
- Deposit: RUB 6000 per night
- Tourism fee: RUB 450 per person, per stay A mandatory registration fee for foreign citizens is charged at this property.
Optional extras
- Fee for buffet breakfast: RUB 2000 for adults and RUB 1000 for children (approximately)
- Fee for in-room wireless Internet: RUB 750 per 24-hour period (rates may vary)
- Fee for in-room wired Internet: RUB 750 per 24-hour period (rates may vary)
- Fee for wireless Internet in public areas: RUB 750 per 24-hour period (rates may vary)
- Fee for wired Internet in public areas: RUB 750 per 24-hour period (rates may vary)
- Airport shuttle fee: RUB 1100 per vehicle (one way)
- Pet fee: RUB 3000 per pet, per night plus RUB 3000 one-time cleaning fee
- Rollaway bed fee: RUB 2300 per night
Hotel Name
- St. Petersburg W
- W Hotel St. Petersburg
- W St. Petersburg
- w St. Petersburg Hotel St. Petersburg
We should mention
If you require a visa to enter the country, your property may be able to help with the supporting documents needed to obtain one. To learn more, you can reach out to the property via the contact details included on your booking confirmation. The property may charge for this assistance, even if you end up cancelling your reservation. All arrangements are solely between the property and yourself. Reservations are required for massage services and spa treatments. Reservations can be made by contacting the hotel prior to arrival, using the contact information on the booking confirmation. Children 18 years old and younger are not permitted at this property. Up to 2 children 11 years old and younger stay free when occupying the parent or guardian's room, using existing bedding. Only registered guests are allowed in the guestrooms. The property has connecting/adjoining rooms, which are subject to availability and can be requested by contacting the property using the number on the booking confirmation. Some facilities may have restricted access. Guests can contact the property for details using the contact information on the booking confirmation. Guests can arrange to bring pets by contacting the property directly, using the contact information on the booking confirmation (surcharges apply and can be found in the Fees section).


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Aveiro, PT
I'm a Portuguese architect looking for a job within the project/construction process.
I graduated in the year 2000 and have been acting as un architect since then. Started my own company in 2002 - Green Trace Architecture, Ltd. Since its foundation I have leaded one to two teams of colleagues in project and construction management along the years. We've developed projects in many areas as architecture, interior design, landscape, furniture, etc.


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Just wanted to do a little recap of all the great things Chevy Malibu has been doing lately. For those of you just joining, you can read all about my adventure with Helena here and here, where we drove a brand new, red Malibu upstate for a weekend getaway. Then there was the fashion show and meet and greet with Isaac in LA, that sadly I couldn't attend, but my good friend Helena did – view her cute photos here. And now, the Isaac Mizrahi x Chevy Malibu collection, that I have been patiently waiting for, is available on Living Social, which you can view and purchase here! Lastly, I will be doing a giveaway next Friday with all the items, which will include the blouse, driving moccasins, red colored skinny jeans and a double handle tote bag. Helena is doing her giveaway today, so head on over and enter since there is even more of a chance for you all to win these great pieces!
P.S. Here is a cute video of Isaac and his muses to give you a better idea of what this great program is all about!
{ Disclaimer: I have been invited by Chevrolet to be a partner for the 2013 Malibu Style program. I have received compensation for my time and expertise. All opinions are my own and do not reflect the experience you may have. }
For those of us just joining us, my good friend and fellow blogger, Helena, and I teamed up with Chevrolet to test drive the new 2013 Chevy Malibu and headed up state for a little road trip (read all about it here!) to try out this cute little cherry-red car. You can read all about our trip here, but if you'd like to take a look, here is a little photo montage from our trip upstate!
Outfit 1: Ray-Ban Wayfarers / Urban Outfitters Sweater/ J.Crew Vest (thrifted via Beacon's Closet) / Zara Scarf / Rebecca Minkoff Bag (c/o) / 7FAM Cords (c/0) / Zara Boots
Outfit 2: Ray-Ban Sunglasses / J.Crew Shirt/ Zara Jeans and Jacket / Timberland Boots (c/o) / Coach Watch (c/o)


text:
The Nissan Altima V8 Supercar has taken to a circuit for the first time at Calder Park in Melbourne, Australia today.
The all-new, state-of-the-art Altima V8 Supercar completed a handful of laps to undertake system checks, before commencing aerodynamic testing in preparation for the V8 Supercars homologation process.
I jumped in and had the very first three laps in the car.
Team co-owner and driver Todd Kelly had the honour of becoming the first person to drive the Nissan Altima V8 Supercar. Kelly drove several sedate installation laps on the 2.28-kilometre circuit to kick-off the day's proceedings, not jeopardising his rehabilitation from shoulder surgery.
Nathan Pretty then took over driving duties in the Altima V8 Supercar, performing aerodynamic test runs on Calder's long front straight. James Brock drove one of the team's Holden Commodores to provide benchmark data for engineers and V8 Supercars officials.
The Nissan Altima V8 Supercar ran flawlessly in today's track running, conducted just three days after its official unveiling. The car's high-tech VK56DE engine continues to performed as planned, both today at Calder Park as well as in dynamometer testing since it was unveiled on September 4.
The Nissan Altima V8 Supercar is the first all-new V8 Supercar in over two decades. It was unveiled on Tuesday 30 October 2012 at a spectacular event in Docklands, Melbourne.
Q&A with Todd Kelly:
Todd, it's a great day in the Nissan Motorsport project, a day people have been waiting for. It's the first time that the Nissan Altima V8 Supercar has turned a wheel in anger, just three days after the car was unveiled. What are your feelings on how the day panned out? I haven't had a chance to get too emotional about the whole project. We've been so busy getting the car built, then we've been busy getting the car assembled and ready for the launch and then from the launch we've been flat out getting the car ready for the shakedown today. So I haven't had time to sit back and think 'gee, that's an awesome result'.
The Altima ran amazingly well today. I jumped in and had the very first three laps in the car. I went out onto the track, put my foot on the clutch and knocked it into gear and drove out, warmed the tyres up and then, after a lap, stood on the throttle. I felt and heard the engine come alive and leave two big black marks down the straight as it drove off. It was unreal.
That was the first point where I've thought 'this is a pretty impressive project' and ... yeah, I got a bit emotional driving the car around.
Today there were the early laps where everyone on the team was pretty pleased to see you get that first moment in the car. After that you moved quickly into aerodynamic work. You weren't really hanging around today shaking the car down, you went straight into the aero work. Because of the weather yesterday we had to move the shakedown to today. The conditions were really perfect here, but we could only get onto the circuit between 8:30am and 12pm, so we had to get a huge amount of work done and we actually got absolutely everything done that we needed to and we were finished at 11:58am. So it worked out spot on and we couldn't really afford to waste any time.
Luckily the car ran absolutely faultlessly. We didn't have to touch the car at all, which is amazing for it's first run. We just got through all of our testing items and stuck it back in the truck.
You have been driving Commodores your whole career. Is there any difference from inside the cockpit that you could see or feel? Some of those differences may also come through the new Car of The Future rules as well. A lot of people think the Altima looks a lot different to other V8 Supercars from the outside. Does it feel different on track? The car is in aero test trim, so there are no brake ducts and a lot of the specification that we would race with is not actually what is in the car. The suspension (for aerodynamic testing) is different as well. So I didn't really tip it into a corner to feel what the car would do. And I've only got one arm at the moment to steer the thing!
As far as what it feels like, it's just more about the look of the car, the transaxle and gearbox feels a lot different, the throttle throw and response feels different and obviously the Nissan engine.
It's good to jump in. It's really the most 'different' car I've driven since I raced open wheelers.
We actually have to hand the car over to V8 Supercars early next week so come next Tuesday that will be the last we see of the car until the aero test. So it will be full steam ahead on production of items that we have made so far that we can produce, to get a head start on that.
Nissan and Kelly Racing


text:
TWO of Blackburn's most recognised monuments are to be restored to their former glory.
The war memorial in the cathedral grounds is to be repaired and relocated as part of the centenary commemorations for the 1914-1918 conflict.
And the neighbouring Queen Victoria statue, created by Australian sculptor Sir Bertram McKennal out of white Sicilian marble, which stands on a grey granite plinth, will also undergo repairs on its hands after a number of fingers were damaged.
Many of the names on the stonework of the war memorial have been eroded by the weather since it was originally put in St Michael and All Angels' Church, in Bastwell.
When that place of worship was demolished in the 1980s, it was moved to its current position behind the statue of Queen Victoria, in the cathedral grounds.
Now Blackburn with Darwen Council bosses are trying to find the original list of names of the town's soldiers, sailors, and airmen, who lost their lives, and any others that were missed off.
They want to re-engrave the memorial with a complete list of Blackburn's fallen before it is moved to its new, more prominent home, near to a path to the cathedral, its new clergy court and cloister garden.
The memorial will be moved from its current site to ensure it does not get damaged during phase one of the £33m Cathedral Quarter Development, and repositioned when that work finishes in Autumn 2015.
Work on the Queen Victoria statue will be done on site.
Plans to move the statue are no longer going ahead.
Council regeneration boss Maureen Bateson said: "This will be an important addition to the town centre's Cathedral Quarter development, and it will be a timely reminder, and a great testament to the brave local people who lost their lives during the First World War.
"Some of the names on the memorial have, unfortunately, been eroded over the years, so we are very keen for anyone who has information about the names to come forward to help us pay a full, and proper tribute, to all the local people involved in the war."
Borough leader, Coun Kate Hollern, said: "I am delighted that this memorial will be renovated and placed in a better position to be seen, and honoured, by the community."


text:
"Recipe from St. Wenceslaus Church Cookbook in Tabor, South Dakota. It is so nice to have these in the freezer when you are hungry for cucumbers and the ones in the store aren't very good."
Freezer Pickles
0 recipe photos
READY IN:3hrs
YIELD:16 pints
Ingredients Nutrition
- 2 quarts sliced onions
- 2 quarts thinly sliced cucumbers
- 2 tablespoons salt
- 1 gallon water
- 1 1⁄2 cups sugar
- 1⁄2 cup white vinegar
- Put sliced cucumbers and onions in 5 quart ice cream pail.
- Dissolve salt in the gallon of water and pour over cucumbers and onion.
- Set in refrigerator for 2 hours.
- Drain well in colander but do not rinse.
- Return cucumbers and onions to ice cream pail.
- Pour sugar and vinegar over the cucumber mixture and stir well.
- Put into pint freezer containers and freeze.
- To use: thaw in refrigerator and serve.


text:
Daniel W. Doerksen eBooks
eBooks found: 1
Picturing Religious Experience
Daniel Doerksen & Daniel W. Doerksen
University of Delaware Press, November 2011
Format: ePub
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text:
Hi, Finally I've made Copy/Paste table(s) operations ! Usage is very simple and intuitive: on right mouse menu for selected connected table or schema select 'Copy table(s)' and than on other connected schema on right mouse menu select 'Paste table(s). Source target server-db might be different but always connected. Best regards, Vladimir Kokovic, DP senior, Belgrade, Serbia
Next: From: Dave Page Date: 2011-03-31 12:45:57 Subject: pgAdmin III commit: Fixup the Win64 build target for dynamic linking. Previous: From: Dave Page Date: 2011-03-31 10:36:29 Subject: pgAdmin III commit: Fix the *nix build.


text:
Tripp Lite 3ft Toslink Home Theater Digital Optical SPDIF Audio Cable 3' 1M 1 Meter - Digital audio cable (optical) - TOSLINK (M) to TOSLINK (M) - 3.3 ft - fiber (A102-01M)Item#: 7267325 | Model#: A102-01M
- List Price:
- $11.03
- Instant Savings:
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Tripp Lite 1m Toslink Digital Optical Audio Cable Product Details
Tripp Lite 1m Toslink Digital Optical Audio Cable
Support high-fidelity audio equipment with the Tripp-Lite A102-01M Toslink Digital Optical Audio Cable. This 3.3ft cable is made of premium-grade optical fiber and precision polished Toslink-Optical connectors on both ends, delivering smooth signal throughput. It also provides pure digital sound without distortion and quality degradation. Purchase the Tripp-Lite A102-01M Toslink Digital Optical Audio Cable now.)
What It Is And Why You Need It:
- 3.3ft Cable; extends connection up to 3.3ft or 1 meter
- Precision Polished Optical Connectors; provides pure digital sound without distortion or degradation
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UPC No: 0037332138194
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( Length:9, Width:7, Depth:0)
Shipping Weight: 0.2500 pound(s)
Click here for full warranty and support information
- Tripp Lite logos are registered trademarks of Tripp Lite. All others trademarks and copyrights mentioned herein are the property of their respective owners.


text:
Oct. 3, 1999
The sixth-ranked Notre Dame women's soccer team used a pair of goals from senior Jenny Heft for a 4-0 win over Villanova in battle of unbeaten teams in the BIG EAST Conference Mid-Atlantic division on Sunday at Alumni Field. Heft scored the game-winning goal in the 11th minute and again in the 51st minute to lead the Irish, who improve to 8-2-0 and 4-0-0 in Mid-Atlantic division games with the win. Villanova falls to 10-3-0, 3-1-0 with the loss, its seventh in seven games against the Irish. Irish goalkeepers LaKeysia Beene and Elizabeth Wagner combined to record Notre Dame?s third consecutive shutout and fifth consecutive against the Wildcats.
Notre Dame out shot Villanova 42-4 in the contest, marking the second consecutive game the Irish have taken at 40 shots after recording 44 on Friday night against Georgetown. Notre Dame had 10 corner kicks to Villanova?s one, while the Wildcats committed nine fouls to eight for the Irish. Notre Dame returns to action when it plays host to 15th-ranked Michigan at Alumni Field at 4:00 p.m. on Tuesday, October 5.
Heft scored her second consecutive game-winning goal at 10:02 when she received a pass from freshman Ashley Dryer and dribbled a pair of Villanova defenders. Heft fired a shot from 15 yards out into the lower right corner of the net. She had a chance to give Notre Dame a 2-0 lead in the 27th minute but her shot from the right wing bounced off the crossbar. The Irish took a 1-0 lead into halftime after out shooting the Wildcats 21-2 in the first half.
Heft made it 2-0 at 50:07 with a shot from 20 yards out on the right side that sailed into the upper right corner of the net beyond Villanova goalkeeper Janel Schillig. Junior Meotis Erikson made it 3-0 when she headed in a service from senior Kara Brown at 64:12. Erikson dribbled past midfield on the left side and reversed the ball to Brown on the right sideline. After Erikson?s run into the box, Brown served the ball from 30 yards on the right side, and Erikson headed the ball into the right corner from five yards out.
Brown closed out the scoring for the Irish when she took a pass from Mia Sarkesian and fired a shot from 25 yards out on the right wing toward the left side. The ball bounced in front of Schillig, slipped through her hands and trickled into the net at 80:26 for the 4-0 final score.


text:
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text: Hi, I tryed the options Francis gave to me but it doesn't work. Here is my linuxrc file: #!/bin/sh /sbin/modprobe lvm-mod /bin/mount -t tmpfs none /etc /bin/mount -t proc none /proc /bin/mount echo "Scanning for Volume Groups ..." /sbin/vgscan echo "Activating Volume Groups ..." /sbin/vgchange -a y /bin/umount /proc /bin/umount /etc What is wrong in this file. The thing that I see, is that the /bin/mount option doesn't show me any mounted file systems. So /etc is not mounted with a tmpfs file system. Jan -- With regards Jan H. van Gils Internet web-page http://www.VGNet.NL/ Internet e-mail address JanVG VGNet NL RIPE Whois JHG5-RIPE, 6BONE Whois JHG1-6BONE


text:
James Kelly
The Nebraska Signal
16 February 2000
James Donald Kelly was born to James Philip Kelly and Stella Becker Kelly on Dec.27, 1940, at Exeter. He passed away Feb. 9, 2000, at Community Care of Exeter, at the age of 59 years, 1 month and 9 days. He was one of ten children in the family.
Jimmy was the ninth child born in the family of ten. He was preceded in death by two brothers who died in infancy and by two sisters, Cleo Kelly Robare and Caroline Kelly Dyer.
Jimmy was baptized in the St. Stephens Catholic Church in infancy and received the sacraments of Holy Eucharist and confirmation during a Mass said by Father Kenneth Borowiak on Nov. 6, 1999, at the Community Care.
Jimmy had little formal education due to his inability to speak more than a few words. He was content living at home with his family. He had a special love for music and liked to draw and do things with his hands. He enjoyed watching television and looking at magazines and newspapers. While living in Lincoln he would often go to the neighborhood grocery store with a grocery list and carry home those items requested. With the declining health of his parents necessitated their moving to a nursing home, Jimmy went with them. He continued living there after his parents death and was a resident for 20 years. He had a very loving and easy-going nature and made many friends at Community Care. Jimmy's mother Stella often commented how he was such a blessing.
Jimmy is survived by brothers, Rex and wife Shirley of Holdrege, and E.D. and wife Arleda of Lincoln; by sisters, Marion and husband Arnold Geiger of Exeter, Colleen Blessing and Kathleen Rupert both of Lincoln; nieces, nephews, other relatives and friends.
Funeral services were held at 10:00 a.m., Saturday, Feb.12, 2000, from St. Stephens Catholic Church in Exeter with Father Kenneth Borowiak officiating.
Casket bearers were Dale Waldron, Jay Geiger, Ed Kelly, Thomas Kelly, Jim Kelly and Dan Kelly.
Interment was in the Exeter Cemetery with Farmer Funeral Home in charge of arrangements.


text:
Quick Details
- Product Type: Soy Sauce
- Place of Origin: Guangdong, China (Mainland)
- Brand Name: Desly Brand or buyer's brand
- Model Number: 150ml desly brand japanese soy sauce
- Packaging: Bottle
- Certification: BRC, FDA, HACCP, ISO, KOSHER, QS, Halal,BRC,Haccp,ISO,FDA
- Shelf Life: 2 Years
- Processing Type: Brewed
- Purity (%): 100 %
- Weight (kg): 0.15 kg
- Additives: Soy Bean
- Soy Sauce Type: Light Soy Sauce
- Type: Desly Brand Japanese soy sauce
- Colour: Dark red-brown color
- Appearance: Shiny surface,thick liquid
- Smell: Strong sauce & preserved bean flavours
- Taste: Strong,sweet and fresh taste
- Form: Liquid
- Packing: Glass bottle, pet bottle, jar, drum
- Country: China
- NON-GMO: Yes
Packaging & Delivery
|Packaging Details
|150ml,200ml, 300ml, 500ml,620ml,625ml, 630ml,640ml,750g 850ml,1000ml,5lbs(1.86L),8L(10kg),15kgs,25kgs, 200L.
|Delivery Time
|25-30 days
Premium japanese soy sauce brands
Brief description:
1.100% naturally brewed NON GMO.
3.OEM brand can be accepted.
4.About 25 days delivery.
Desly Products raw material:
Product Pictures:
Bright dark brown color with golden, clear and shiny surface after shaking.
Tastes stronger and savoury.
|This sauce is a helpful adjunct not only to Japanese cuisine, but to all kinds of dishes.Whether used in food preparation, during cooking or as the finishing touch to a dish, soy sauce significantly improves the flavor of food.
Water, Non-GMO extract of soya beans, Salt, Sugar, Wheat Flour.
Serving Suggestion
Our Japanese soy Sauce is used to heighten the flavor of sushi and sashimi pairs well with wasabi (Japanese horseradish paste), as well as a variety of other foods, such as grilled meat and chicken.
Nutrition information
typical values per 100g
Energy 206KJ
Protein 5.2g,
Carbohydrate 6.5g
Sodium 4708mg
Fat 0g
And Also suitable for westerm style cuisine and Chinese Cuisine.


text:
BATON ROUGE, La. — First-time claims for unemployment insurance in Louisiana for the week ending Feb. 6 increased 23 percent over the previous week because of a temporary shutdown in the transportation equipment sector.
The Louisiana Workforce Commission says there were 4,702 initial claims in the latest count. That's up from the previous week's total of 3,818.
For the comparable week that ended Feb. 7, 2009, there were 4,338 first-time claims for jobless benefits.
For the week ending Feb. 6, there were 62,670 additional weeks of benefits claimed by those still looking for work. That was a slight decrease from the previous week's total of 64,224.
A year ago, 39,257 additional weeks of payments were claimed by the jobless.


text:
Meet the FoxGame Developer
Why was FoxGame created?
I started this as a personal project to help with time calculations and login page, in that time I had a lot of spare time so rapidly the first GM scripts became an extension on its own and then Foxgame as you all know.
What's next for FoxGame
Foxgame 1.X develop is stopped, I am just doing some minor bugfixes and updagrading max versions from time to time, the latest versions can not be downloaded from here, you should do it from http://foxgame.mozdev.org
The next major step is Foxgame 2, almost complete rewrote to work with OGame NG (redesign).
About the Developer
|User since
|March 5, 2007
|Number of add-ons developed
|1 add-on
|Average rating of developer's add-ons
|Rated 5 out of 5 stars
To create your own collections, you must have a Mozilla Add-ons account.