text:
(Sunset) -- The first thing Laura Slipak says when I drag my stressed self into the chill lobby of the Mod Resort, her Austin Powers-chic hotel in Palm Desert: "Oh, dear."
The mood is mod and the art is amazing. And you don't even need a car to enjoy it.
The second thing she says: "I think someone needs a Mod-tini."
Yeah, baby.
I've just suffered through two-plus hours of Inland Empire gridlock so that I can unwind in the desert, and I plan to ditch my car for the weekend (if not, alas, forever).
Which is why I've come to Palm Desert. Not only does it do the whole midcentury modern thing perfectly, but of all California's desert resorts, it's also probably the most pedestrian- and bike-friendly. Sunset.com: Top 10 dream towns
The Mod is just a three-minute walk to the glittery shopping and dining street El Paseo, and a short bike ride away from everything else I'm interested in checking out this weekend.
That includes galleries, a recently unveiled collection of California landscape paintings at the Living Desert museum, and the new Eric Johnson Memorial Gardens (named after the "desert landscape guru of the Coachella Valley," who was also a former garden editor for Sunset).
Then again, if Laura offers me one more of her mood-altering apple martinis, I might just park myself beside the salt-water pool and spend the rest of the afternoon meditating on the cerulean water.
Sculptures, cycles and cactus
Not to worry. After a mind-clearing dip in the pool, it's a sunset walk to downtown Palm Desert to scope out the town's public art, beginning with freshly installed sculptures rising out of the El Paseo median against a backdrop of rust-colored mountains. The air is as dry as chalk, the fading desert light gallery-perfect for pondering a 25-foot-long piece pairing an iridescent hummingbird with a damselfly.
In the morning, it's a five-minute stroll to Funseekers to rent a bike. Okay, it would have taken five minutes if I hadn't diverted up the block to take a look at the black-and-white midcentury modern house of William Boyd (better known as Hopalong Cassidy) and then dropped in at the Desert Art Collection & Sculpture Garden, a very cool gallery with a large courtyard set with sculptures amid palm trees, cactus and bougainvillea.
At Funseekers, I'm feeling conflicted. Not only does it have all sorts of bikes to rent, but it also offers Segways and mopeds. Still, I've pledged to be fume-free this weekend, so I opt for a hybrid bicycle and power a mile and a half up a bike lane along Portola Avenue to the Living Desert, where I'm just in time for the docent-led tour of paintings of woodlands, seascapes and deserts. My favorite: Granville Redmond's "Cloudy Day at Monterey," from the early 1900s.
Later, I ride the length of El Paseo to the Eric Johnson Memorial Gardens, an oasis of curving paths that take you past gurgling waterfalls, cactus-covered sand dunes and a shaded rock-wall canyon. If I could somehow get Laura to deliver one of her Mod-tinis here, I could just chill out all afternoon.
No matter. After dropping my bike off, I hoof it to Pacifica Seafood Restaurant, known for its fresh fish and its vodka bar -- 130 kinds from 19 countries -- where vodka martinis are $6 all night long. Perfect. Even better, it's a short walk back to the resort.
48 hours in Palm Desert
Friday: Check into the Mod Resort (from $169), owned by a fashion designer from Malibu. Enjoy a killer margarita on the patio at Armando's Dakota Bar & Grill (average entrées $13-$20; 73-260 El Paseo; 760/346-0744).
Saturday: Check out the Desert Art Collection & Sculpture Garden (free; 45350 San Luis Rey Ave.). Then rent a bike (from $25 per day) or a moped (from $62 per day) at Funseekers (73-865 State 111; 760/340-3861) and ride down El Paseo, making a stop at Imago Galleries (45-450 State 74; 760/776-9890), which, with its blue-chip artists, is practically the MOMA of the desert.
The nearby Palm Desert Visitor Center (72-567 State 111; 760/568-1441) is a good place to pick up bike-trail maps and explore the surrounding Eric Johnson Memorial Gardens (free), a multisensory setting of desert plantings.
The Gardens on El Paseo (73-545 El Paseo), an open-air shopping plaza, has a number of excellent dining spots, including Sullivan's Steakhouse (average entrées over $31; 760/341-3560), for steaks and jazz, and Pacifica Seafood Restaurant (average entrées $21-$30; 760/674-8666), for oysters on the half-shell and cheap martinis.
Sunday: At the Living Desert ($13; 47900 Portola Ave.; 760/346-5694), mornings are a good time to catch the young animals -- like Maliki, a giraffe calf born in May -- at their most active. But first check for the next docent-led tour (11--3; no set times) of 50 California landscape paintings.
Enter to win a monthly Room Makeover Giveaway from MyHomeIdeas.com
Copyright 2004-2008 Sunset magazine. All rights reserved.
All About Travel Destinations • Travel and Tourism


text:
The GCSE site has around 4000 pages of content aimed both foundation and higher levels.
Visit: mathsnetgcse.com
The A-Level site has well over 6000 pages of content with questions and examples arranged by exam board including Edexcel, AQA, CCEA and OCR.
Visit: mathsnetalevel.com and select your syllabus
The International Baccalaureate Diploma Programme, Mathematics is catered for at both Standard and Higher levels with over 7000 pages of content available.
Visit: www.mathsnetib.com
The Scottish Highers and Scottish Advanced Highers syllabus provides over 4000 pages of content.
Visit: www.mathsnetalevel.com and select your syllabus
The MathsNet AP Calculus site features nearly 5000 pages of content.
Visit: www.mathnetap.com

subset: commoncrawl


text:
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text:
from Vogue / by Plum Sykes
What actress doesn't dream of reliving Fellini's magic? Here, a head-spinning lineup of A-list stars join forces in Rob Marshall's movie-musical Nine. Plum Sykes visits them on set. Photographed by Annie Leibovitz.
Shepperton Studios, London, on a bleak December day. Shrouded in a freezing fog, the lot seems faintly neglected, as though abandoned. The various buildings—prop shops, costume houses—look like little more than sheds. A car drops me off at a side door to a soundstage, where a harried but friendly publicist meets me.
Inside, it's as though a magician has waved his wand. Suddenly I am transported half a century back in time to the Italy of La Dolce Vita. To my left is an empty set-within-a-set of a Roman piazza, and to my right is a bustling re-creation of a 1960s movie studio. An intricate scaffolding of iron balconies and stairwells has been built in front of the corrugated walls of the soundstage. Nowhere, it turns out, could be more perfect for Rob Marshall to direct the song-and-dance numbers for Nine, his latest movie, because the bones of Shepperton have an uncanny resemblance to the Cinecittà of Fellini's 8½, the inspiration for Maury Yeston's 1982 Broadway musical Nine, on which this film is based.
Bang ahead of me, Daniel Day-Lewis, playing the lead, Guido, is dressed in a forties-style waistcoat, a white shirt, and beige pants. Nine is Guido's story—the tale of a legendary director who can't find a subject for his next film or a way to control the many women in his life. Day-Lewis is seated on a crane, "directing" a scene.
I stand and watch for a while. Well, actually, I stare in a fanlike manner, rather than a professional-Vogue-journalist kind of manner. Day-Lewis's cheekbones are as mesmerizing as his acting, and his performance is so intense he literally is his character. Suddenly an arm appears and gently repositions me about two yards to the left. "Could you please move out of Daniel's eye line, Miss Sykes?" asks a crew member. I am politely informed that since Day-Lewis is a Method actor, he doesn't like to see anyone besides cast and crew while he is working. Nor would I, if I were taking on a role originally played by the iconic Marcello Mastroianni. (On Broadway, Guido was played by Raúl Juliá in 1982 and Antonio Banderas in 2003.)
No matter; there is plenty else to look at—and what a show it is! Behind Day-Lewis, the scaffolding is peopled with 100 extras and 24 dancers, immaculately choreographed and dressed in glittering gradations of white: Dancers in flapper dresses preen on the stairwells; girls in corsets flirtatiously drape themselves over the balconies; buxom ladies in bustiers and hot pants twirl giant fluffy ostrich-feather fans. This is the spectacular, over-the-top ensemble number "Folies Bergeres": Guido's imagination come alive.
One by one, six of the seven leading ladies in Guido's life appear through a doorway high up in the rafters and slink down the stairs, positioning themselves languorously around the set. First, to the grand orchestral music of the "Overture Delle Donne," the singer Fergie, who plays Saraghina, a prostitute, appears in a gray, corseted frock, all cleavage and russet hair, her eyes kohled into a smudgy, sexy mess. She is followed by Kate Hudson, perky as ever, in a white fringed sixties minidress and go-go boots, her blonde tresses teased into tumbling curls. The outfit perfectly suits her character, Stephanie, a Vogue journalist. Next, Judi Dench, playing costume designer Lily, appears clad in black and smoking a cigarette. Then comes a saucy Penélope Cruz, as Guido's mistress, Carla, in a polka-dot cocktail dress that gives her the silhouette of a fifties pinup. Nicole Kidman follows, striking a powerful pose in a nude-colored strapless, sparkling gown as movie star Claudia, Guido's inspiration and obsession. Finally, an astoundingly well-preserved Sophia Loren, playing Guido's mother, makes her entrance, leaning over the balcony and shooting a stern but loving look toward Guido far below. (Marion Cotillard, who plays Guido's long-suffering wife, Luisa, is not in this scene.)
"You could call it an iconfest," I scribble in my notes. Then, rather unimaginatively, I add "razzle-dazzle-pizzazz musical great antidote to misery-gloom-doom of credit crunch" before, thankfully for the reader, I am diverted by the whisper "Ciao! Plume!" from behind me. I turn to see a vision of toffee-colored Loro Piana cashmere before me—Mr. Valentino and his partner, Giancarlo Giammetti.
"We're here to see Sophia," explains Giammetti. "She said to me, 'It's the best movie I've ever done.' " Mr. Valentino adds, "She said, 'It's the most expensive movie I've ever done.' " From the rear, producer Harvey Weinstein, dressed in a white shirt and black pants, booms, "Judi Dench said to me, 'I have to make Ten and Eleven!' " Just then, Pedro Almodóvar walks by, plus entourage, in search of Penélope Cruz's dressing room. I scrawl "icon overload" on my legal pad.
A few minutes later I find myself climbing a very steep ladder up to a small stage where Rob Marshall has been perched for most of the last twelve weeks. Dressed in dark jeans and a navy sweatshirt, Marshall, 49, is good-looking—and dead serious. He has four screens to monitor and multiple cameras, and is shouting directions at the actors, who are repeating the scene over and over. The only line in the scene comes at the end, when Day-Lewis says, "Action!"
The pressure doesn't faze Marshall, who is thoroughly enjoying himself. "I was born in the wrong time," he says, sighing. "I wish I'd lived in the MGM era, when they churned out musical films one after another." An ex-dancer and choreographer whose exhaustive résumé includes codirecting, with Sam Mendes, a revival of Cabaret that won four Tonys, and directing the movie Chicago, which won six Oscars, Marshall is in his element. "One of the joys of working on a musical is that you rehearse for two months. You actually get to create a company, which you never do usually in film," he says.
Still, even a multiple-Oscar-winner cannot escape the provenance of Nine and the expectations that it brings. Fellini's 8½—so called because it was, literally, Fellini's eight-and-a-halfth film—which was released in 1963, is extraordinarily iconic to moviemakers because of the surreal and beautiful way it dealt with the subject of creative procrastination. To the fashion crowd, 8½ is simply a diabolically stylish movie that defines 1960s European chic. The curvaceous women of 8½ are clad in shockingly sharp shift dresses, demure gloves, and enormous, veiled hats from under which their immaculately lined eyes gaze blankly out. Shot in cool, grainy black-and-white, 8½ starred the sexiest actresses of the day, including Anouk Aimée and Claudia Cardinale. "This movie is not a remake of 8½!" exclaims Marshall nervously. "I could never remake that movie in half a million years. I could never touch Fellini and the brilliant, genius masterpiece of all time."
A break is announced, and Weinstein escorts me back down to the set to meet the actresses, who are chatting while they wait for the next take, Penélope and Kate dwarfed by the ethereal-looking Nicole in her glittering gown. Her hair, colored a beautiful shade of palomino, is curled and immaculately pulled back from her forehead, and her clear blue eyes and pillar-box-red lips are like exclamation points against her alabaster skin, showing off the enormous Chopard diamonds around her neck to perfection. I tell her I cannot believe she had her baby, Sunday Rose, only six months ago. "My baby gives me energy. I don't feel tired," says Nicole. Claudia was played by Claudia Cardinale in 8½. I can't resist asking Nicole how she feels about being a movie icon playing a movie icon who was once played by an Italian movie icon. "No!" she insists. "I'm not playing Claudia Cardinale. Even when I played Virginia Woolf I didn't take the real woman into account." Nevertheless, Marshall says he picked Kidman for the role because "when Claudia comes on, she has to be the iconic film star, and Nicole has really attained that in her life."
Nicole turns to Kate, who has covered her costume with a white terry robe. Her feet are now clad in a pair of UGG boots. "Kate should be on Broadway," says Nicole. "She should be the lead." Kate's eyes sparkle with excitement when she talks about her number "Cinema Italiano," which was written especially for her by Yeston. "I spent most of my childhood singing and dancing and just never had the chance to do it professionally. So when I got the chance to work with Rob, I was so excited, I was out of my mind."
Hudson tells me that rehearsals felt like "being at summer camp," although she adds, "I don't think there is any actress who looks forward to missing those days with her kids. But at the same time there is no one who wants to stop acting." Nicole admits, "I had no desire to work after I had my daughter, but to lure me back, this movie was the only way."
Penélope also plans to work less in the future. She says that she is so often cast in tortured-female parts that she needs to put in more and more energy and time to play them. "Luckily I don't have to identify with my roles, because if I did I would be dead by now!" she says with a laugh. "I've been working since the age of seventeen, and I really haven't stopped. I want to balance it a little more. Instead of making three or four movies a year, I will do one."
Still, it isn't as though the girls haven't had fun. Penélope loved living in the same apartment building as Kate and Fergie. "I've had some very long dinners with Kate, because she loves eating," she says. "I mean four-hour dinners. We are exercising so much we don't feel guilty at all." Fergie then walks over and adds that because she had to gain weight for her part, she stopped working out and "started eating crap. I ate everything fried."
Later I visit the wardrobe department, which turns out to be an entire floor of another building. There are so many racks of forties frocks, sequined gowns, and beaded dresses that I literally can't see where they end. Costume designer Colleen Atwood, who won an Oscar for Memoirs of a Geisha (directed by Marshall), had a fashion challenge on her hands with Nine: The film is set in the sixties, but the women in Guido's life go back to the mid-twenties, so the costumes had to reflect all the different eras. Colleen used vintage clothes for the extras but created all the period looks for the principals because they had to sing and dance in them—350 costumes and 200 pairs of shoes in all. She sewed couture-like corsets for Nicole Kidman to give her the silhouette of a goddess and was inspired by a print from a sixties Pucci purse to make a blouse for Kate Hudson. "We have given you a major fashion moment," says Marshall. Even the period lingerie for the women was handmade, whether it was frilly garter belts or satin-and-lace bras.
In the makeup studio, I meet Peter Swords King, Oscar-winning hair and makeup designer, who has a team of 28 working with him. The walls are covered in inspirational black-and-white photos of sixties stars like Monica Vitti, Brigitte Bardot, and Julie Christie. "Those girls always looked like they just got out of bed—in a good way," says Peter, confiding that authentic bedroom hair is achieved by running your fingers through your hair instead of brushing it, after you curl it. "I was completely inspired by the Italian New Wave-film look—Sophia Loren and Claudia Cardinale." As for the makeup, think false eyelashes, eyeliner, and pancake foundation. "There's something incredibly sexy about the dark eyes and the pale lips," says Marshall. "That era worshipped the beauty of women."
A few minutes later Weinstein picks me up in a chauffeur-driven car. En route, he tells me, "I've made more than 100 movies, but I've never, ever made a movie like this. I've been working on Nine for nearly five years," he says. "It's been a real passion of mine since I saw the original with Raúl Juliá." When we arrive at the office the first clip I see is Penélope performing "A Call from the Vatican," which she sings wearing a white satin-and-black lace teddy and fishnets. It's sexy and fun. Kate Hudson's go-go-dancing turn is more than a little reminiscent of her mother, Goldie Hawn, in the sixties comedy-sketch show Rowan & Martin's Laugh-In. Finally, I see Marion Cotillard singing "My Husband Makes Movies" while performing a dazzlingly chic striptease. When I talk to her by phone a few weeks later, Marion, who speaks with a delightful French accent, tells me, "It's been my dream to do an American musical. When I was a child, Annie was my favorite. I just never thought I would get to do it." Of playing opposite Daniel Day-Lewis, Cotillard says, "It's easy to work with such an amazing artist." Because he was always in character, "it gives an energy to the crew. He creates this desire in everyone to be at their best."
At five o'clock, I go back to the set, where it's a wrap. The soundstage is littered with the debris of moviemaking—giant wind machines, a double-decker bus, bunches of cables, a child's bed, lampshades. Actors rush for their coats and bags. A troupe of good-looking extras dressed as priests in white cassocks say goodbye to one another, looking slightly deflated now that it's all over. Sophia Loren walks alone to her dressing room, a fat mink coat draped over her costume against the cold. A dancing girl covers herself in a dull green mackintosh and heads home. The spell is broken—I am reminded of the bleak London day outside, and venture out into the mist.


text:
⚖ ⚖ ⚖ ⚖ ⚖ ⚖ ⚖ ⚖
Assume that there is a 100 liter tank.
It is initially filled with just distilled water.
It is continuously drained at R liters per minute.
This tank is always maintained full and homogeneous by continuously adding and stirring R liters per minute of an unknown acid (or some fancy oil if it helps you solving this problem).
How many liters W of water will be in the tank after M minutes?
Neglect any expansion or contraction when the acid is mixed with water.
It makes no sense to speak of the mixture being part acid and part water. In fact the quantity of water is always 100, and the acid has a certain strength. It would have been better to get us to calculate the acid strength
Needs more test cases to disqualify the non-solutions that simply exploit the test-case space.
More test cases in the Test Suite is generally welcome, and also the threat of potentially adding (even) more cases in the future can deter hard-coded "non-solutions".
Most the leading solutions are just overfit the test cases, and meaningless.
Test 1 fails if the value is equal to result.
@Creator - Check the test suite
Find the peak 3n+1 sequence value
1092 Solvers
Get the length of a given vector
2196 Solvers
Get the elements of diagonal and antidiagonal for any m-by-n matrix
282 Solvers
358 Solvers
Is this triangle right-angled?
1855 Solvers


text:
With roots in the hotel business, Classic Residence by Hyatt continues to expand its seniors housing holdings as its new $150 million continuing care project near Denver gets under way.
Expected to open in 2008, Classic Residence by Hyatt in Highlands Ranch will include 252 units for independent seniors, 14 units for assisted living, 12 for memory support and 28 for skilled nursing.
With its luxury apartments, fancy restaurants and upscale amenities, the project is typical of Classic Residence developments that cater to wealthy seniors. "Classic Residence by Hyatt has really translated the quality of the Hyatt brand into luxury senior living," says Randal Richardson, president at Classic Residence by Hyatt, a sister company of hotelier Hyatt Corp.
Classic Residence owns and operates 10 rental properties and eight continuing care projects. The company currently has 5,800 units nationwide and another 1,150 units under development at four projects, all continuing-care communities. Besides Denver, the other new projects are in Texas, California and Arizona.
The projects include many of the same features as a luxury hotel, such as a concierge, valet parking and fine-dining restaurants. "We want to have the dominant position providing luxury living to older adults," says Meg Ostrum, senior vice president of sales and marketing at Classic Residence, a private company held by Chicago's billionaire Pritzker family. An outside source pegs annual revenues at about $260 million.
Seniors housing seems like a natural fit for a hotel company because both are service-rich businesses. But few hotel operators have ventured into the space. Marriott International exited the seniors housing business in 2002 when it sold its 126 assisted living buildings to Sunrise Senior Living. At the time, Marriott said that it wanted to focus on its hotel management and time-share properties. Sunrise paid $89 million for the portfolio.
In some ways hospitality and seniors housing are similar, observes David Schless, president of the American Seniors Housing Association based in Washington, D.C. In Marriott's case, Schless thinks it was too demanding for a hotel company to develop and lease up so many assisted living buildings quickly.
In contrast, Classic Residence has taken a methodical approach. Though the company started by developing luxury apartments for seniors, it now focuses on continuing care communities.
Hyatt doesn't mix its hotel and seniors housing operations. Each is run as a separate company. "While we do share the hospitality heritage that Hyatt is famous for, our businesses are really quite different," says Richardson of Classic Residence.
The average construction cost of a Classic Residence continuing care project is about $150 million. Unit prices are targeted at the median home value in the local community. In pricey locations, like Palo Alto, Calif., the entry fee is as much as $4 million. Ostrum indicates that the continuing care developments generate better returns than the rental buildings.
Continuing care projects can be risky ventures, observers say, and Classic Residence is one of only a handful of for-profit companies developing these projects. Classic Residence will continue to seek out development opportunities, Ostrum says. "We like the niche we're in."


text:
Active objects offer an important abstraction above raw threads. In a previous article, we saw how active objects let us hide the private thread, deterministically organize the thread's work, isolate its private data, express asynchronous messages as ordinary method calls, and express thread/task lifetimes as object lifetimes so that we can manage both using the same normal language features. [1]
What we didn't cover, however, was how to handle methods' return values and/or "out" parameters, and other kinds of communication back to the caller. This time, we'll answer the following questions:
- How should we express return values and out parameters from an asynchronous function, including an active object method?
- How should we give back multiple partial results, such as partial computations or even just "percent done" progress information?
- Which mechanisms are suited to callers that want to "pull" results, as opposed to having the callee "push" the results back proactively? And how can "pull" be converted to "push" when we need it?
Let's dig in.
Getting Results: Return Values and "Out" Parameters
First, let's recall the active object example we introduced last time.
We have a GUI thread that must stay responsive, and to keep it ready to handle new messages we have to move "save this document," "print this document," and any other significant work off the responsive thread to run asynchronously somewhere else. One way to do that is to have a background worker thread that handles the saving and print rendering work. We feed the work to the background thread by sending it asynchronous messages that contain the work to be performed; the messages are queued up if the worker thread is already busy, and then executed sequentially on the background worker thread.
The following code expresses the background worker using a
Backgrounder class that follows the active object pattern. The code we'll show uses C++0x syntax, but can be translated directly into other popular threading environments such as those provided by Java, .NET, and Pthreads (see [1] for a discussion of the pattern and translating the code to other environments).
Active helper member encapsulates a private thread and message queue, and each
Backgrounder method call simply captures its parameters and its body (both conveniently automated by using lambda function syntax) and Send that as an asynchronous message that's fired off to be enqueued and later executed on the private thread:
// Baseline example class Backgrounder { public: void Save( string filename ) { a.Send( [=] { // … do the saving work … } ); } void Print( Data& data ) { a.Send( [=, &data] { do { // … do the printing work for another piece of the data … } while( /* not done formatting the data */ ); } ); } private: PrivateData somePrivateStateAcrossCalls; Active a; // encapsulates a private thread, and }; // pumps method calls as messages
The GUI thread instantiates a single
Backgrounder object (and therefore a single background worker thread), which might be used from the GUI thread as follows:
class MyGUI { public: // When the user clicks [Save] void OnSaveClick() { // … // … turn on saving icon, etc. … // … backgrounder.Save( filename ); // this fires off an asynchronous message } // and then we return immediately to the caller // … private: Backgrounder backgrounder; };
This illustrates the ability to treat asynchronous messages like normal method calls and everything is all very nice, but you might have noticed that the
Save and


text:
- Horizontal Repeat:
- 13.5"
- Vertical Repeat:
- 24.65"
- Collection:
- Spring 2016
- yard
- Sample:
- tobago-sample
- Designer:
- The Textile District
- Yard:
- Yes
Image shown for Tobago tropical floral design represents a 27" repeat of fabric. Price per yard (or sample) adjusts based on the ground fabric you choose. All fabrics print to order in the U.S.A.
- Select a ground fabric option
- Choose a colorway
- Select measure and enter quantity (yards or sample)
- Add to cart
For best results, we recommend ordering the full yardage required for your project plus any extra buffer you may need to ensure success. Please note that colors may vary in appearance when printed on different base fabric types due to the change in how light reflects off smooth or course textures or substrates.
SPECIAL ORDERS: Please contact The Textile District directly to discuss custom colors or special project needs. Minimum quantities are required for custom printing of proprietary designs.
Additional substrates and custom finishing options for hospitality and commercial needs are available.
For more information, visit our FAQ page or give us a call.


text:
I have a Sony VAIO Duo 11 (SVD112...) which features both multi-touch and stylus input. However, booting up Ubuntu 12.10 gives me
- no stylus reaction
- touch input works very strange: when I touch with 1-3 fingers, usually nothing happens but sometimes there is some reaction
- when I tap the screen with 4 fingers, the dash shows up, consistently
Where can I start to find out the underlying issue and how to fix it?
EDIT: On Ubuntu 12.04.1 the touchscreen isn't recognized at all.
EDIT2: On Fedora 18, the touchscreen works a little bit better. I have found out that the USB ID of the touchscreen is not contained in the hid-ntrig module, so that's probably why some of the quirks needed for it are not appplied.


text:
The Wu-Tang Clan's Method Man has been busted for holding onto his dollar, dollar bills, y'all.
The Grammy Award-winning rapper from Staten Island was arrested Monday morning for allegedly bilking New York out of $32,799 in taxes, officials said. He is accused of failing to file state income tax returns from the years 2004-2007 and failing to pay taxes in that time.
Method Man -- whose real name is Clifford Smith -- is accused of failing to pay New York state income tax between 2004 and 2007.
U.S. & World
Smith, one of the founding members of Wu-Tang, walked into the office of the Staten Island District Attorney around 8 a.m. to face the music on the felony charge -- a mistake that could land him in prison for up to four years, federal tax officials said.
"Taxes are a burden that all citizens share in a civil society, whether you are an 'Average Joe' on the street or a high-profile rap artist," Staten Island District Attorney Daniel Donovan said.
"Because of the alleged action of people like Mr. Smith, law abiding citizens face higher taxes and reduced government services. Failure to properly report and pay your taxes is a crime against all citizens and will be aggressively investigated and prosecuted," he said.
Smith won a Grammy with Mary J. Blige in 1995 for the single "I'll Be There for You/You're All I Need to Get By" and appeared as Melvin "Cheese" Wagstaff on the HBO series "The Wire."


text:
Gov. Malloy has plan to fix deficit
Gov. Dannel P. Malloy said Tuesday that he expects to have a plan in place within two weeks to deal with Connecticut's projected $365 million budget deficit.
The governor told a group of more than 300 businessmen and women gathered at Fairfield University for a conference on the state of the state that he will reduce projected expenditures between now and July 1.
"We're going to close the year in balance," Malloy said. "We closed last year in balance. In fact, we deposited $7 million into the Rainy Day Fund after it appeared we would have a deficit then."
For nearly an hour, the governor spoke on several topics at the Charles F. Dolan School of Business, including gains he made during his first 22 months in office by changing the way state pensions are funded and his success addressing traffic bottlenecks with Interstate 95 improvements in Bridgeport and New Haven, as well as improvements in Norwalk and on Interstate 84 in Hartford.
On the state deficit, Malloy said two-thirds of it stems from a reduction in expected revenues, while the remaining third involves Medicaid expenditures resulting from long-term unemployment.
While Malloy repeatedly has said he will avoid new taxes, some fiscal experts believe the $365 million deficit could balloon to a $2.1 billion shortfall by 2015.
The governor also attempted to lighten the dire economic mood that fills daily news pages.
When asked what impact the recent retirement of the state's two senior U.S. senators (Chris Dodd and Joseph Lieberman) will have, Malloy said: "I'm going to see (Sen. Richard) Blumenthal at every single parade I go to."
And when questioned about the possibility of Congress and the president failing to reach an agreement on taxes, debt reduction and spending cuts -- the so-called "fiscal cliff" -- Malloy said, "If that happens, don't be standing anywhere near a fan."
More seriously, he said that if "the fiscal cliff plays itself out to include no debt ceiling adjustment ... with the weakness that Europe is currently demonstrating, we will see a worldwide depression. If we go off that cliff, honestly, it is unthinkable."
The problems in Europe further affect Connecticut because France is "our No. 1 trade partner," Malloy said.
But the governor expressed confidence that falling off the cliff won't happen.
"We get by the cliff, we have a rational policy with respect to cutting, on a short-term basis, $4 trillion out of our gap, and we add to some extent taxes on international profits as part of that -- you'll see 12 million jobs created in the United States over a four-year period of time," he said.
While the governor told the gathering that he saved and added jobs by enticing NBC Sports' move to Stamford, and by getting CIGNA to forego Texas for Bloomfield, he noted that Connecticut and Michigan are the only two states that have seen continual job losses for "20 years in a row."
"At a time when 23 million jobs were created ... 48 states shared in the creation," Malloy said.
He said the state must focus on its strengths, which include precision manufacturing, claiming those types of companies have 1,000 open positions they can't fill.
To fill that gap, Malloy said the state has replicated the Asnuntuck Community College precision manufacturing program at three other community colleges, including Bridgeport's Housatonic Community College and three technical high schools.
Pointing out that he took over a state in financial distress during a damaging recession, Malloy said he accepts the challenge to turn the economy around.
He said he wanted to "reshape my state -- I want to make it a better and stronger state."
"I have one hell of an exciting and interesting job," he said.


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ICSET to open fourth lab Aug. 5; founder, first director retiring
- Author: Friday, August 2nd, 2013
WKU's Institute for Combustion Science & Environmental Technology (ICSET) will unveil its fourth laboratory, the Thermophysical Properties of Materials Laboratory, on Monday (Aug. 5). In addition, the official retirement celebration for ICSET's founder and first director, Dr. Wei-Ping Pan, will follow later that evening.
The grand opening will begin at 5:15 p.m. at WKU's Center for Research & Development, 2413 Nashville Road. Guest speakers will include WKU President Gary Ransdell; Ron Bunch, president and CEO of the Bowling Green Area Chamber of Commerce; and Warren Bock, vice president of TA Instruments LLC. The event is open to the public.
The retirement of Dr. Pan is a pivotal moment for ICSET. His successor as director is Dr. Yan Cao, who was one of WKU's first research faculty members, alongside Dr. Quentin Lineberry. "My plan for the future is to continue developing our solid knowledge base of coal combustion technology, energy utilization and thermal analysis research," Dr. Cao said.
Dr. Pan has been instrumental with the development of ICSET dating back to 1986. The Thermal Analysis Laboratory was established in 1986, which focuses on the effect of heat on solids, gases and liquids. In 2001, the Emission and Control Laboratory was created, which focuses on the sample and measure of byproducts of combustion. Thus, in typical Dr. Pan fashion, as he exits, he is still developing and growing the institute. The Thermophysical Properties of Materials Laboratory is designed to measure the physical properties of materials' changes as a function of temperature.
ICSET has more than 20 years of research experience with fossil fuel combustion including high sulfur and high chlorine coals, MSW (RDF), and other fuels. ICSET has a multifunctional circulating fluidized bed combustion (0.6MW CFBC) system that is capable of making combustion runs with various fuels under varying conditions to analyze and monitor air pollutant emissions for industrial partners.
Under Dr. Pan's leadership, ICSET has received more than $17 million as project director for more than 70 projects supported by agencies, including National Science Foundation, U.S. Department of Defense, U.S. Department of Energy, NASA, Environmental Protection Agency, Illinois Clean Coal Institute, and several other private industries.
Dr. Pan has been a leader in innovative research and was named one of China's Top 1,000 professionals. During his tenure at WKU, he has published more than 170 peer-reviewed articles related to coal combustion, emission and thermal analysis. He has mentored more than 100 undergraduate students, 55 graduate students, and more than 150 visiting scholars over the past 27 years.
Dr. Pan officially retired from WKU on June 30, but a celebration will be held in his honor at an invitation-only dinner on Monday (Aug. 5).
From Aug. 4-7, Dr. Pan will serve as the 2013 Conference Chair for North American Thermal Analysis Society conference, which will be held at Holiday Inn University Plaza in Bowling Green. More than 200 participants from 19 countries will attend. Dr. Pan also chaired the NATAS Conference in 2006, which had more than 200 participants and was one of the most successful conferences for NATAS. For more information on the conference, visit www.natasinfo.org.
Contact: Terrill Martin, (270) 745-2220.
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Quetzalcoatlus was a pterosaur from the Late Cretaceous and the largest creature to ever take flight. It was so large, in fact, that scientists have long been puzzled about how these jet-sized behemoths were able to liftoff. Now new research out of Texas Tech University has blown the lid off of previous theories and postulated a stunning new proposal: that they would have used naturally formed ancient "airports," complete with runways conveniently located where headwinds were strong, according to Physorg.com.
To properly imagine this, it helps to know just how impressive these gargantuan flying dinosaurs really were. An adult would have had a 34-foot wingspan, roughly the size of an F-16 fighter jet. They would have weighed 155 pounds, but they were lighter than they would have looked, thanks to hollow bones. Standing on the ground, they would have towered at a height similar to that of a giraffe.
So just imagine a chimeric giraffe with a 34-foot wingspan flying overhead. That is one shadow you probably wouldn't ever want to have hovering over you.
Previous theories have suggested that Quetzalcoatlus might have lifted off by using its limbs to pole-vault into the sky, similar to how vampire bats fling themselves into flight. But there's one glaring problem with that theory: "A standing takeoff of flying of such a heavy animal violates the laws of physics," said Sankar Chatterjee, curator of paleontology at the Museum of Texas Tech University.
Chatterjee and his colleagues used computer simulations to test the theory but couldn't make it work. Basically, the animal's wings were so long that they would have slapped against the ground on the first downstroke, resulting in a crash landing. What works for a tiny animal like a bat simply isn't feasible for such a massive creature.
Chatterjee found that flight power systematically decreases with body size, so that once a creature grows to a certain size, a flapping liftoff would require more power than is possible. Just imagine how impossible it would seem for an airplane to take off by flapping its wings. (That would have to be one strong downstroke!) It's just not a power-efficient model.
The rational alternative for such a large animal would have been to take off much like airplanes do: by picking up speed while racing down a runway.
"It probably had to find a sloping area like a river bank, and then run quickly on four feet, then two to pick up enough power to get into the air. It needed an area to taxi," explained Chatterjee. "With a slight headwind and as little as a 10-degree downhill slope, an adult would be able to take off in a bipedal running start to pick up flying speed, just like a hang glider pilot. Once it got off the ground, the giant pterodactyl entered into thermal and soared like majestic masters of the air."
A better comparison might be how large birds like albatrosses take off. The only downside to such take offs is that what goes up, must come down — and landings probably would have been clumsy and embarrassing for these monsters much like they are for albatrosses. Quetzalcoatlus was significantly larger than an albatross, however, and as they say: the bigger they are, the harder they fall. In other words, it's possible that the most intimidating flyer to ever live might actually have been a big baffoon.
In the air, though, Quetzalcoatlus would have been a magnificant glider. It would have been a sight to see. Unless you were on the menu, that is.


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40×40 Waste – Waste Black Stool is handcrafted in Piet Hein Eek's studio using traditional woodworking technique. It brings his quintessential vocabulary of recycled wood collage to a design of exceptional grace. Each piece is completed with a characteristic high gloss finish.
40×40 Black Stool was created by meticulously gluing together 40 by 40 millimetre squares of scrap wood.
The Waste – Waste series is available in three general color options – light colors (tones of light grey, natural, ivory, white, light colors), dark colors (tones of brown, black, dark grey, dark navy, reds and greens) or multi-colored (Eek's choice).
Due to the nature of the material used in production, each piece is one-of-a-kind and the images are purely indicative.
Unique piece
Price on request


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Thus the week before NAB we got a sneak peak at Vegas 6, the full-step upgrade to Sony's popular pro/prosumer NLE. We also saw the latest and greatest new features of DVD Architect 3, Vegas' DVD authoring batterymate.
One of the first things we found out about Vegas and its developers is that they've finally sorted out what they're actually called, something that's seemed a bit murky since the media software division of Sonic Foundry was acquired by Sony Pictures two years ago. Even though the sign outside says Sony Pictures Digital Networks, the division that produces Vegas, the Reader's Choice-winning Sound Forge (also recently upgraded to version 8), and ACID will henceforth be known as Sony Media Software.
Not surprisingly, many of the most eye-catching features of the new Vegas relate to HD and HDV support, but Sony Media Software director of engineering Dave Hill is quick to point out that "this release is not just about HD and HDV." That said, Vegas 6 is the first version of the software to boast native HDV support without the help of plug-ins; it also offers support for Decklink and HD cards for 1080/60i, 1080/50i, NTSC, and PAL capture, monitoring, and print to tape via SDI.
Other key enhancements include full multiprocessor optimization, which enables Vegas users to take greater advantage of today's HT and dual-processor systems as well as forthcoming dualcore-enabled editing platforms. With this comes improved rendering and encoding speeds, according to Hill and VP of marketing Dave Chaimson, who both acknowledge this was one of the knocks on previous versions of the software. Foremost in the new and intriguing category are Vegas' ability to detect A/V sync problems and correct them automatically (user's choice), a versatile frame-rate conversion utility, and a media asset manager that allows users to add ample metadata and works across multiple projects, according to Chaimson. Enhancements to Vegas' ability to do preview on external monitors are a boon to color correction, says Hill. "If you're doing color correction for CRT delivery," previewing the project on an LCD monitor "is going to give you a different look." This approach, he says, is not so much aimed at doing the best-looking preview possible, which could be misleading in terms of what the end user/client will experience; rather, it's "delivery-focused."
Vegas 6 also introduces the ability to nest projects within the timelines of other projects; that is, without rendering, you can add a timeline (or a chunk of a timeline) from one project directly into another, and continue to work on it with all the transitions, effects, etc. still editable.
Vegas ships for $599, which is $100 less than the $699 that editors were paying for the product a year ago. Also available at a $100-lower price of $899 is the Vegas+DVD bundle, which incorporates DVD Architect 3, a significantly upgraded version of Sony's DVD authoring tool.
New in DVD Architect 3 are support for DVD+R DL authoring and burning, and the ability to recognize and use Photoshop layers in PSD documents that are tagged according to Vegas' basic naming conventions (background, button, button, button mask, etc.). "It's a really easy way to set up a complicated menu," Hill says. "It will handle all the layers with fairly simple naming conventions." Architect 3 features complete button-routing capability and end-action support. You can also apply button masks that don't require rendering. "The mask uses the DVD player's subpicture drawing capability as it would do subtitles," says Hill.
DVD Architect 3 also boasts a new Smart Reprepare feature that allows users to change, say, a misspelled word in a title or an improperly aligned button in a menu in a project they've already rendered, burned, and watched on their TV without having to re-render anything but the element they've changed.
Architect 3 also includes a new Theme Export feature that allows users to create new menu themes or templates and save them for later use; support for replication master formats like DLT, DDP, and CMF with the ability to add copy protection flags and CSS where appropriate; and a new MediaFX image editing utility that allows cropping and reframing and basic filter application to images used in DVD menus or slideshows without requiring the user to open a separate application like Photoshop or PhotoImpact to make those edits. Architect 3 also now supports multiangle selection for up to eight videos, and an "Extra" feature for adding ROM content to a disc that consumer DVD players will ignore but DVD-ROM drives will recognize. "Extra" folders can contain anything from ReadMe and Word docs to PDFs or even WMV HD files for viewing the disc's movie content on a PC monitor (or MediaCenter-attached HDTV) in full resolution—a nice feature for videographers who may be shooting in HDV but downconverting to SD for DVD delivery.
But again, Hill emphasizes that the enhancements to Vegas and DVD Architect aren't designed to benefit only those editors and authors who have made the jump to HD acquisition and/or delivery. Nor are the existing features optimized to work only on bleeding-edge editing systems. "What are you going to deliver? If you're willing to ask that question," he says, "you can work on a much lighter system," and get the most out of your existing gear.


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Government officials in Bahrain would like to make it clear to citizens that what happened in Tunisia and Egypt will not be taking place in their country. That's why a 20-year-old woman will be spending the next year in jail, simply for reading a poem at a rally.
Yesterday, a security tribunal sentenced Ayat al-Qurmezi for reciting poems that criticized Bahrain's king and prime minister during protests in the capital's Pearl Square, the Associated Press reports. The demonstrations against the Sunni monarchy, which were led by Shiite groups, started in February in response to the uprisings in other Arab nations. One section of Qurmezi's poem was addressed to King Hamad bin Isa al-Khalifa and read:
"We are the people who will kill humiliation and assassinate misery. Don't you hear their cries? Don't you hear their screams?"
In March, Qurmezi turned herself in after authorities raided her home and threatened to kill her brothers. She says that while she was in police custody she was beaten and given electric shocks.
Qurmezi was found guilty of several anti-state charges, including inciting hatred. Amnesty International condemned her conviction, and her mother says they plan to appeal. She added, "My daughter did nothing wrong. She didn't raise her hands in anger. She used words to express how they felt. She was only using her rights of free speech." The world may have been temporarily distracted by a persecuted Middle Eastern woman who doesn't really exist, but sadly there's no shortage of people who actually are demanding their rights, and paying the price for it.
Tribunal Sends Bahrain Protester To Prison [AP]
Earlier: "Gay Girl in Damascus" Actually An American Dude In Edinburgh


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To The Letter
This story appears in the January 1996 issue of Business Start-Ups magazine. Subscribe »
In the world of initial public offerings for emerging entrepreneurial companies, the six most beautiful words in the universe are "We want to do your deal." Wow, what a rush. But the thrill of bagging the quarry quickly fades as the enormity of the next task comes into view: negotiating the letter of intent.
By definition, the letter of intent is the first legal document sent to a company from its underwriter setting forth the parameters of the deal, according to Nicholas Moceri, vice president of investment banking in the Providence, Rhode Island, office of Schneider Securities Inc. Moceri's firm specializes in raising capital for fast-growing technology companies primarily in the New England area. With most venture capitalists pouring money into established businesses in their existing portfolios, Moceri says, there's a shortage of early-stage capital that presents huge opportunities for investment banking companies like Schneider Securities.
Still, no matter how big the opportunities, after the hand-shaking, the back-patting, the dinners, the breakfasts, the presentations and the facility tours, the letter of intent is where the rubber hits the road. "The letter spells out what each party will do," says Moceri, "and also acts as a blueprint or 'constitution' for the deal."
But just as the U.S. Constitution was hammered out at the Constitutional Convention over a period of weeks in 1787, so, too, is a letter of intent. And in this sense, the letter of intent is more than a document, says Moceri: "It's the process by which the deal is negotiated."
David R. Evanson, a writer and consultant, is a principal of Financial Communication Associates in Ardmore, Pennsylvania.
The Dead And The Dying
Truth be told, most deals, public or private, crash and burn before they even get off the runway. But if you did some financial forensics, you would find the cause of death in most cases could be traced to negotiations regarding the letter of intent.
It's not that entrepreneurs aren't good at negotiating letters of intent, says Moceri. "Every deal is so different, there are no hard and fast rules about how to do it." No, the letter of intent document (and the attendant process) kills deals because that is exactly what it's supposed to do.
"It's no good for the company, for the investors or for us if we bring out deals that aren't structured in a way that makes sense," explains Moceri. "When we negotiate the letter of intent, we're also weeding out the deals that won't work."
And parenthetically, this truth leads to a good rule to live by: Never tell people you are going public just because an underwriter says they are doing your deal. Much better to say you are "negotiating a public offering"-there will be far less egg on your face later on.
And while there's more than one way to tackle the letter of intent, there are some important things to know that will keep you from annoying your prospective underwriter into outright rejection of your company.
First, says Moceri, it takes some time for your investment banker to make the transition from a verbal commitment to a written one. The time frame to get the initial draft from the underwriter can be anywhere from three to eight weeks, according to Moceri. And unless you're Microsoft, there's little chance of speeding the process up.
"Entrepreneurs need to realize that a public offering represents a huge commitment for us in terms of resources and potential liability," Moceri says. As a result, your investment banker will spend considerable time conducting a due diligence review of your company and its operations. This kind of analysis, Moceri explains, is the only way the underwriter can find out enough to properly structure the deal.
Second, you'll likely get a bill with your unsigned (in most cases, anyway) letter of intent. Regional firms typically charge around $25,000 to underwrite promising upstarts. The fee is an advance against the underwriter's expense allowance, which is generally 3 percent of the total offering proceeds. For a $5 million deal, this expense allowance will be something like $150,000-so the initial bill may be just the beginning.
Best advice: Don't balk. This is the way the game is played. "The minute we start doing due diligence and drafting the letter of intent, we start committing resources to the project," Moceri says. "We want to know the entrepreneur is as serious as we are."
Don't have that kind of cash? You might not-after all, the objective here is to raise capital. If you don't, offer less, but document that what you are offering is putting you on the line in a big way.
Going Forward
The moment you have the underwriter's letter of intent in hand is, in effect, the start of negotiations, Moceri says. But before you load up for bear, make sure your attorney reads the letter of intent. (And if, for some unimaginable reason, you've gotten this far in the process without any legal counsel, it's time to get some.)
As for the issues at hand, there may be several of them, but, says Moceri, the ones sure to raise the most dust are the underwriter's compensation, the valuation of the business and the future share ownership or capitalization of the company. Valuation and future capital structure are the subjects of several hefty tomes, the life's work of many financial professionals and, therefore, beyond the scope of this article. But what is not-and what just as frequently scuttles the deal-is compensation.
"There are few, if any, underwriters who will negotiate their fees," says Moceri. The compensation investment bankers can receive on an initial public offering is regulated by the National Association of Securities Dealers Committee on Corporate Finance. According to Moceri, the maximum allowable compensation is often structured as a 10 percent commission, a 3 percent nonaccountable expense allowance, a consulting agreement with a monthly retainer, and warrants, which are options to buy additional shares of common stock. All this is spelled out in the letter of intent.
"It may seem like the underwriter gets paid an awful lot," says Moceri, "but in reality, it's hard for us to make money on fees." Aside from large costs of their own, a sleeping giant lurks in the underwriter's cost structure. If investors start selling your stock two months down the road, guess who's got to step up to the plate with millions of dollars and start buying? Of course, if the stock takes off, the underwriter's warrants will be worth millions. But by then everyone is rich, so who cares?
The moral of the story: Don't kvetch about fees because you will never win, you will always lose face, and you will very likely blow the deal.
The Ties That Bind
The big question most entrepreneurs have about a letter of intent is whether or not it binds the underwriter into doing the deal. Until the underwriting agreement is signed, the answer is no. Then, says Moceri, "the underwriter can't back out of the deal-unless there is cause."
Unfortunately, in the world of investment banking, "cause" comes in many forms. The ubiquitous catch-all that will cover almost any situation is market conditions. "If the market's not right for initial public offerings," says Moceri, "that's a perfectly valid reason not to do it."
Another reason that underwriters frequently cite is a deterioration of a company's basic business. "If a company shows meteoric sales and earnings," says Moceri, "and then starts going flat while we are negotiating, to the point where it shows a downward trend in its prospectus, that can cause very serious problems." The perception becomes that the underwriter and the company are trying to leave the public holding the bag when the bottom falls out.
And finally, there may be "material disclosures" that are made to or uncovered by the underwriter after the letter of intent is signed. "These are findings that, had we known them before we issued the letter, we might not have issued it," says Moceri. A typical example of a material disclosure might be the discovery that patents the company told the underwriter it had on products or processes were in fact never filed for or perhaps expired.
Many entrepreneurs, says Moceri, try to hide their warts. "That never works because we eventually find out everything," he says. "When we know something upfront, we can do something about it and save the deal. But when it creeps up from behind, that's a real deal-killer."
Contact Source
Schneider Securities Inc., 2 Charles St., Providence, RI 02904, (401) 861-0320.


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The world of Franco-Belgian comics or bandes dessinées would have seemed odd to most Americans 10-15 years ago, but now American adults are lapping up graphic novels like Maus, American Splendor, The Road to Perdition, Scott Pilgrim, and many others. There's a long tradition in France and Francophone Belgium of comics read by all ages, though some are targeted specifically at children or adults (Barbarella was originally a racy French comic from Jean-Claude Forest). And it's important to note that just because a comic is targeted at adults does not mean that it's pornographic or naughty; my beloved American Splendor is mostly about the late Harvey Pekar complaining about life in Cleveland and dealing with cancer and a dead-end job working as a file clerk. It's not the kind of thing that's going to inspire a little kid to draw grumpy old men in the margins of his schoolwork.
The Initiates: A Comic Artist and a Wine Artisan Exchange Jobs
Original Title: Les ignorants: Récit d'une initiation croisée
Étienne Davodeau
English Translation by Joe Johnson
NBM Publishing, 272 pp.
The French title is a little different, referring to ignorants and their story of a cross initiation. The book covers the story of a comic artist Étienne Davodeau befriending a Loire winemaker named Richard Leroy. A lot of the press about this book talks about the two switching roles, but that's not entirely true. Rather, they get to know a lot about each other's work, and while Davodeau is able to put in some real work in the vineyard and winery, Leroy is mostly a spectator to the world of art and printing. That's not a dig against the winemaker--a novice may not be the best grape picker, but it takes a lot of training to do watercolors or run a commercial printing press.
Throughout the course of the story, which covers most of a year, the two teach each other about their passions, and an appendix lists the books and wines that they swapped with each other. The artwork is gorgeous, though entirely grayscale. Yet even in shades of grays and blacks, the artist is able to convey sunshine and perfectly ripened grapes and the odd wine stain on a tablecloth. Likewise, Leroy does an admirable job of explaining complex wine terms and nuances to someone that's never thought a lot about the subject.
It makes for a pleasant afternoon read, and I enjoyed it with a few non-French wines. The translation is quite good and conveyed in easy, colloquial English (I've read many horrible translations throughout the years and can't stand them, but this was beautiful). Highly recommended if you get the opportunity to read it.
Note: This book was received as a sample.
30 August 2013
Book Review: The Initiates: A Comic Artist and a Wine Artisan Exchange Jobs
3 comments:
- Paul M. Jones said...
I love this. One's own discipline is enriched by learning about someone else's, and it widens the world for both.
- 29 August, 2013 19:20
- Unknown said...
Excellent point! Never hurts to step out of your own hobbies once in a while. Somewhere, a similar friendship is playing out between a Civil War Reenactor and a model train enthusiast.
- 29 August, 2013 19:41
- thulannguyen said...
Thanks for sharing, nice post! Post really provice useful information!
An Thái Sơn chia sẻ trẻ sơ sinh nằm nôi điện có tốt không hay võng điện có tốt không và giải đáp cục điện đưa võng giá bao nhiêu cũng như mua máy đưa võng ở tphcm địa chỉ ở đâu uy tín.
- 09 March, 2020 21:43
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One Direction Announce 'Where We Are' Limited Release Concert Film [VIDEO]by Thomas Chau | PopCrush
The boys of One Direction took to YouTube today to announce that a 'Where We Are' concert film will be hitting theaters for one weekend only on October 11 and 12.
"If you haven't had a chance to come see us at our 'Where We Are' stadium tour this year, or you simply just want to relive it again, we've got a very, very special announcement for you," Niall Horan opens in the video.
"The 'Where We Are' tour is coming to a cinema near you for one weekend only," adds Zayn Malik.
"You can see a concert plus an exclusive interview with us talking about what happens with us on tour on the big screen on the 11th and 12th of October. Check out our Facebook and our website for more details," Liam Payne concludes.
According to the movie's official website, the film will show the band's concert recorded at Milan's San Siro stadium. The film will not be in 3-D like their previous film, 'This is Us,' but will feature 75 minutes of concert footage in high definition, as well as 15 minutes of recorded interviews with the band.
After the movie's limited release in October, the film will be released on DVD and Blu-ray on December 1.
Directioners, are you looking forward to this?


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