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Midfielder Mikel Arteta has issued a public apology on behalf of the Arsenal players for the "unacceptable" and "embarrassing" 6-0 humiliation at Chelsea on Saturday - and vowed they will get things right when Swansea come to the Emirates Stadium on Tuesday night.
The heavy defeat on Saturday lunchtime ruined manager Arsene Wenger's 1,000th match in charge and severely dented any Premier Legue title ambitions, with the Gunners now down in fourth place, albeit still with a match in hand on the leaders.
Wenger, who cancelled Monday morning's scheduled pre-match press conference, has been left puzzled by his side once again failing to turn up in a big game; Arsenal found themselves 3-0 down by 17 minutes, and played out the rest of the match with 10 men following the sending-off of defender Kieran Gibbs in a case of mistaken identity, which is expected to be overturned by the Football Association.
Arteta accepts the Gunners were "just not good enough" and have no option but to raise performance levels against the Swans, with the squad having held a debrief session at their London Colney training base on Sunday.
"We paid for our own mistakes. We have to take it on the chin because it is unacceptable to lose another big game like this," the Spaniard said.
"You cannot only just move on, you have to analyse what you have done and react. I am expecting a big reaction on Tuesday. Saturday was not good enough for this football club
"The good thing is we have a lot of things to play for and we have always reacted to disappointments and difficult moments, but this one is a really hard one to take, it was a massive game for us and for me it is unacceptable.
"The pressure we put on ourselves by losing games like that is massive and there is no need for it.
"We just disrupted the good season we were having. I don't know what else to say apart from sorry to everyone at the club, the fans, and we promise that we will try hard to put that right."
Arteta stressed none of the players wanted to produce another shocking display like they did at Stamford Bridge - which had followed on from heavy defeats at both Manchester City and Liverpool earlier in the season.
"It hurts deeply inside. It is embarrassing to be on a football pitch in that situation," he said.
"Psychologically it is really hard, and when you go through that you analyse it and you know you don't want to be in that situation again.
"I promise everyone that we have that hunger to put it right. On Tuesday, we have an opportunity again at home and we just need to bounce back."
The club are understood to be set to appeal against Gibbs' dismissal by referee Andre Marriner, for which the official quickly apologised on Saturday after the match.
The suspension would instead be transferred to Alex Oxlade-Chamberlain, who had committed the handball and indeed admitted his guilt at the time but was waved away.
However, Arsenal may then also move to have that red card downgraded, claiming the midfielder had not in fact technically prevented a clear goalscoring opportunity as the shot from Chelsea's Eden Hazard looked to be going just wide.
Wenger confirmed that defender Laurent Koscielny would miss out on Tuesday night.
Captain Thomas Vermaelen is likely to play at centre-half alongside Per Mertesacker, while 19-year-old Spaniard Hector Bellerin, who was on loan at Watford, has been drafted into the squad as cover.
"We have lost Laurent Koscielny for Tuesday's game with a calf problem. I don't know how long he will be out for. He has a scan today [Monday]. Everyone else should be available," Wenger said.
He was also hopeful of having both Gibbs and Oxlade-Chamberlain available against Swansea.
"There is a question mark about Chamberlain. The situation over his suspension will be decided today. After that I will make a decision. At the moment he is in the squad. We expected Kieran Gibbs' suspension to be overturned."


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Here we have J.R. Smith turning Cavs rookie Anthony Bennett from player to spectator. First, he blows by Bennett with a pretty gnarly crossover and then continues on to the rim where he finishes it off with a windmill dunk. Clean, quick and decisive. All in all, it's a pretty nifty little bit of hustle-bustle.
Here's a GIF, because it's fun. The little hop flourish at the end is great.

subset: commoncrawl


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We seem to be on a roll with sneak peeks right now! This week we're interviewing Jim McPherson, from Gentle Giant Studios. He's been in the motion picture industry for a good many years now, but his most current work (that he can talk about) is the upcoming "Golden Axe" title from SEGA. Canny readers will spot several early glimpses of characters from the game, which are provided for this interview courtesy of SEGA. (And are naturally copyright 2008 by SEGA. The characters shown here are early digital concepts and do not necessarily represent the final versions that will be in the game.)
I look at your movie credits list, which goes back 18 years, and almost feel like I know you already! I must have seen about 3/4 of the films you've been involved with. But that's still really just a list. Could you go into more detail about your professional background?
Well, let's see. I mostly have worked on character sculpting and design for a bunch of movie-related studios. Visual effects, traditional effects, puppetry, makeup -- a lot of different things, but a lot of them involving character. Basically designing characters, sculpting characters that would be used for a variety of different things.
How did you break into the movie industry to begin with?
I'd been working in New York, and the first movie I worked on was "Desperately Seeking Susan", where I was basically working in a prop shop and somebody brought in a hat box to be lined with a removeable lining and a bunch of shopping bags to spray paint a logo on. So I did that in about three hours, and that was the first movie that I worked on. You can see that stuff in the movie.
I came out to California and looked around for work. People in New York told me that was impossible, but I actually figured out when I got here that when a project was starting it was sort of a warm-body kind of thing. They would hire a lot of different people and give them a shot; do some training. If there weren't any shows, it was kind of difficult. You know; you could be out of work for a long time. But I initially got work on "Howard the Duck" at the Burman Studios. They did makeup on Jeffrey Jones. I guess there were like four stages, and I did some padding for it. I did a whole bunch of lab work. I think they sent over a design that they had me do a sculpture of to sort of show why it wasn't going to work. So that was one of the first things that I did here in California.
I worked for the McCracken Studio, for Mike McCracken who was a Disneyland sculptor. He worked a lot for John Chambers from the "Planet of the Apes" films. He also sculpted a lot of the makeups for "The Island of Dr. Moreau". That was very valuable. You know, I got to see a real sculptor who sculpted for the movies and for a variety of different things. He handled most of the sculpture for the films that we worked on in that period. I did a few creatures for "The Kindred" which was a movie that I guess is coming out on DVD fairly soon.
At some point soon after that I worked at Stan Winston Studios on "Alien Nation" and "Leviathan", just kind of sculpting and molding different things. We worked on a big monster which I did pieces of for "Leviathan".
Soon after that I worked on "Gremlins 2" for Rick Baker at Cinovation Studios. At a certain point a lot of us were doing maquettes. I did maquettes for basically all of the characters; all the gremlins in the film and a lot of other people did, too. We did them fairly quickly. I think they were done in about two days each. So we'd have a lot of different things to show Rick and see what he liked. He would show things to the production. It ended up that they liked this character I did: "George". I made him to look like Edward G. Robinson. We'd gotten a description that said "We're doing Lennie and George from 'Of Mice and Men'." They were supposedly doing Warner Brothers-type gremlins. So I thought of the little gangster guy that they had; the big, dumb guy specifically that they had in Warner Brothers cartoons. It wasn't exactly Lennie and George but that was what I went with. I ended up doing a lot gremlin assembly. There were a lot of robots and puppets, so I ended up working on that for quite a long time.
Let's see -- other big highlights were like "Matinee" with the "Half Man, Half Ant -- All Terror". I sculpted and designed the main mant; the main creature for that. That was done through Rick Baker's shop. We employed a bunch of people from the shop there. Bruce Fuller and myself came in. Bruce sculpted the puppet that was seen up on the buildings.
Another big, big makeup film that I worked on for Rick was "The Nutty Professor", and I did the big oversized Eddie Murphy makeup. The headpiece, the gloves. The suit was done by our costume team.
Previously to Gentle Giant, I was appointed to join the Visual Development Team at Walt Disney Feature Animation to work with the director Sam Levine and character designer Joe Moshier on a film called Joe Jump. All the characters were developed in collaboration of drawing and modeling done in ZBrush 2. We translated a more graphic character style into 3D, slightly leaning towards "Toot, Whistle, Plunk and Boom" or UPA cartoons, but with a heavy influence of Milt Kahl and Tom Oreb's work. Unfortunately, the movie was cancelled after 4 years in development. I hope to eventually get permission to show some of the characters. There were cyborg lizards, heavily armored heroes and amazon women designed in a new style. A lot of projects I've worked on in my career haven't been completed.
What has been your favorite project to date, and why?
I like watching "Army of Darkness". I really like Bruce Campbell's performance in it. I did these stretch faces for him, among other things. I did a couple different stages. The first stage looked like Fred Gwynne, who's one of my favorite, favorite actors. Not that anybody noticed, but now you know. I just really like the way he (Bruce) sold everything, and I enjoy watching that movie a lot.
"Matinee" -- We were just on set for a few days, but I really vividly remember doing that. It was pretty tough, with us doing twelve or fourteen hour days pretty much every day straight through for about two months. But, you know it was nice when it was all done.
What did you do prior to movies? And of course, what is your background like in general? What led you to become an artist?
Let's see -- I read a lot of comics when I was a kid, and I guess for my very first art job I worked at a place called The Puppet Workshop in Rhode Island. We designed and sculpted puppets; did some kind of Muppet-style rip-offs. We worked on some little local commercials. I did a lot of costume characters like the ones with the big heads.
I moved to New York and worked on commercials. And I also worked on some Broadway shows. I did some talking trees, which somehow I went on set and got paid SAG for being inside a tree for a day. That gave me enough money to move to California. I basically was starving in New York, but they dropped about eighteen grand on one day of work so I was able to get out of New York forever.
I largely learned what I know about sculpture on the job, observing -- particularly from Rick Baker. Other big influences on me were Mitch DeVane, Steve Wang, Matt Rose, Aaron Sims, and Myles Teves.
Now you work with Gentle Giant Studios, right? How did that come about?
Well, I saw on ZBrushCentral the note from Scott Spencer saying that he was looking to interview somebody to help. I sent my website over, then came in and did interviews. I had learned ZBrush previously working with Rich Diamant on the "Fight Club" video game, which was all done with normal maps, and that was the first time I used ZBrush. I basically learned it on the job; pretty much in the first day I was sculpting with it.
I guess I worked on about ten characters, all in ZBrush. I worked right next to Rich Diamant, and we kind of learned ZBrush together. He really absorbed it quickly.
I had been using Maya to try and do organic models and characters for several years before that. We were doing high poly models in Maya and transferring the detail down. I did one model of Meat Loaf, done in Maya. Fairly soon after that we started doing completely ZBrush models, and that worked out well. I really enjoyed it. Just much, much more like sculpting. As soon as I touched ZBrush I could really see that it was what I had been looking for, and it really had huge applications in terms of manufacturing. So the opportunity to use ZBrush and have stuff printed out to use as product was something I really had been wanting to do for quite a few years but hadn't really been able to do.
What is your job title, and what are your primary duties? What is an average work day like?
I guess that for the last couple of years I've been the lead digital modeler. I worked a lot on the different characters for video games, and a certain amount of product that we do at Gentle Giant. There's both licensed product and then product from other clients that we do. So there's always a lot of different things to work on here.
I'm going to be the 3D Art Director. What that means is I'm going to be kind of supervising the 3D aspects. Specifically, the character aspects, and I'm going to be basically looking at characters and sculpting. Working with the artists and making suggestions.
For an average work day, it pretty much consists of seeing if we've gotten notes back for particular jobs, talking to the different producers here, seeing what the next thing is that we need to do or continuing with what we've been doing. We have a forum where we post all our images, and we can kind of look at that to see if a client has notes for us or basically whatever we need to do. It's all systemized at to what different people are going to move on to when they've completed their work.
We're doing a large amount of Digital Maquette work for 3D animated films now at Gentle Giant. Because of the amazing sculpting speed of ZBrush we can work directly with the directors and also make sculptural suggestions to the process.
I also teach artists at Gentle Giant. I think one of the most misunderstood concepts in digital sculpture is "form". Rick Baker would talk about form and its relation to character. You could see what he was talking about immediately in his work. I think we all see that form conveys beauty or handsomeness versus deformity; as in a video game with humans and creatures. Combination of forms can be happy or sad. Form can convey alertness, laziness, weakness, strength, nobility, or wickedness.
I have some anecdotes from Gentle Giant that will show what I mean. One of our artists modeled a skeleton. I was asked to comment on it. I said, "You need to model a scary skeleton. You need to put sharp edges on the bones and model twists in the arm and leg bones. You need to make the joints complex forms, not simplified. You can accentuate the diagonals in the ribs and skull." Not understanding initially, the artist said, "Isn't a rib cage a rib cage?" and I had to say, "No. Your ribcage looks like a plastic fork."
I think we know intuitively that a plastic fork has forms that are not skeleton-like. Therefore, we carve away the improper forms as we sculpt.
How would you say your use of ZBrush has evolved since your start with it?
I use a lot more of the tools. It's been real gradual for me. I treat ZBrush as kind of a box of sculpting tools, and mainly use the ones that I'm familiar with. I've been gradually learning how the different smoothing curves and stuff work. But initially I just was using the tools with standard settings. I'm really starting to understand more of the program after having used it for four or five years now.
Could you tell us about your use of ZBrush on a typical project? What roles does it play, and how important would you say that ZBrush is for your work?
Well, that's basically what we use here at Gentle Giant. All the digital people are using ZBrush. We have several people that are taking Scott Spencer's class at Gnomon. Our traditional guys are also learning ZBrush. We've got several traditional people here already that have switched over from working in clay and wax to just doing ZBrush and basically outputting everything.
So yeah; I use ZBrush throughout the day. I even work on stuff at my computer in the morning before I come in. It's been really convenient for me because it's very flexible.
We are starting to do digital ZBrush character development at Gentle Giant. I've been working with directors and character designers to figure out how the 2D drawing should look as a 3D character. I paint the figure immediately to see if the proportions of the colors on the character look good. The idea is to design the forms that make up the character.
As an example, let's say the head is an egg and the body is a rectangular solid. That would be a simple one. What I'm designing is a combination of forms: egg shapes, cube shapes and cylinder shapes blended together to make an effect. This kind of work has been done as sculpture in the past. ZBrush can really speed up the process. Plus, we can print the digital files out to look at.
What is your favorite ZBrush feature, and why?
Being able to work on multiple levels of subdivisions; being able to actually detail the sculpture at any point and then change your mind to go back and maybe move the lower res parts of the mesh in order to move all the detail around. That's amazing for me. In clay, if you change your mind (which I did constantly) you'd have to cut parts off and then build them back up completely and re-detail. But we don't have to do that in ZBrush. So I look at like you can basically see what it's going to look like when it's done, pretty much at the beginning.
I also like that I can paint the model as I sculpt and actually see what the final piece is going to look like. Not just work with green or gray clay and then have to "sell" that to a client or director and kind of go, "Well, it's going to look like this when it goes through our paint shop." I paint everything now, regardless of whether people want me to or not. Sometimes I just don't show them. But we've had projects where people have said, "We have to do stuff in a specific order, and we'll tell you when to go on to the next step." After a while, they stop telling us and their art directors would then start telling us to make changes to the object AND the paint based on what they were seeing. That worked out really good for us. We can really cut out a lot of time and steps by working on all the artistic parts of the project all at once.
Do you have any ZBrush tips or tricks that you'd like to share?
I'm thinking about recording something for Gnomonology about doing likenesses. I've been using some of the features in ZBrush -- specifically ZAppLink -- in terms of lining the models up to photos and drawings. At Gentle Giant we specialize in doing likenesses. We have people who do wax sculpture, all different sized heads. I've seen people do tiny heads of maybe one or two centimeters that look just like the people they're of. One of the advantages in ZBrush is that you can print something out whatever size, but blow it up on your screen so that you don't wreck your eyes quite as much. It's easier to figure stuff out. So yeah, I'm thinking about doing something about how I do it. A lot of what I do in terms of likenesses is kind of intuitive, so it might be a little bit tough.
It seems that most of your work today is for 3D printing, which is turning into all the rage for 3D modeling these days. What special challenges does that format impose on your CG work?
It doesn't really affect the CG work that much. Basically, what I see on the screen is what we get in 3D printing. We really haven't had to adjust that much. I kind of thought things might look different, but they really don't. We have some guys here that decimate the actual OBJ's to try and hold the angles and take polygons out of the flat areas, which will reduce the OBJ's for our printers so that they'll fit better. There is a limit. But we can cut the OBJ's into pieces and boolean them to make a perfect fit. You just cut the OBJ's into the number of objects that'll fit on our printers, and it can basically be anything.
I've seen where we've printed some larger than life-sized heads on our printer. We did them hollow, but it was pretty amazing. They made small pieces like of an eggshell and glued them all together. It sort of looked like the sphinx or something -- all block shapes that have been glued together.
But most of my work isn't really for 3D printing. Most of what we've been doing here has been video game characters and film characters. Maybe it's even with 3D printing. But I guess people haven't really seen so much of the character work. It hasn't been released to the public yet, but hopefully people will get to see it soon.
What has been your most challenging project so far? Did ZBrush help with that, and in what way if so?
That's probably "Golden Axe", the video game which is coming out in fall 2008. I think we've worked on about 10-15 characters on it. It's all painted and normal mapped, and we worked in tandem with a company called Secret Level from northern CA. It was a lot of work. A lot of sculpting. We had people painting, and people making armor for characters; characters with huge amounts of pieces. It was very tricky. Much more difficult than "Fight Club" which was basically men with pants or sleeveless t-shirts on and bare feet. It was much more difficult doing "Golden Axe".
Could you tell us more about "Golden Axe"?
The Gentle Giant Team on "Golden Axe" was Art Directed by Scott Spencer. Supervision and support from our Pres and Vice Pres at GG, Karl Meyer and Brian Sunderlin. The Art team consisted of Mark Dedecker, Hector DeLaTorre, Nobu Sasagawa, Stefano Dubay, Brandon Lawless, Brian Wynia, Rodrigo Carrasco, Ronnie Cleland, Cesar Dacol and Alex Olivier. We now have Heather Lawless, Max Dayan, and Gabrielle Garcia on our ZBrush team. Several more sculptors are learning the program now.
On 2D Art we had Christian Gossett, Dave Igo, Scott Spencer and myself. Much of the character design was produced at Secret Level by Sivio Aebischer and Matt Butler. We also did design work with polypainted ZBrush models on which changes were done on paintovers from Secret Level.
The "Golden Axe" characters I am showing are mainly our Digital Maquettes for approval and are not the final models in the game. Plus our team spent a lot of time cleaning them up.
What can we expect to see from you in the near future?
We have been doing concept work, both drawing and painting but a really sizeable amount of work in ZBrush for a big feature film -- that I can't tell you about.
I just did a comic book-related figure -- that I can't tell you what it is.
And (laughing) we did some characters for a motion picture, and I can't tell you what that is either.
I've been doing a lot of different stuff. I've been doing some test video game characters... which I can't tell you about.
So that's four things that hopefully I'll be able to tell you about at some point in the future.
Of course, we all need to escape work now and then. How do you like to spend your free time?
I read, and watch movies and stuff with my wife, Frances. We're coming up on our 8th anniversary, and she's been very supportive of my artwork and working on the computer. So that's kind of how I spend my free time.
Is there anything else that you'd like to share with the ZBC community?
It's been really nice at Gentle Giant because the modelers -- a lot of them have come from doing traditional sculpture. I've found that at some studios that modelers tend to work in sort of a system where they're required to trace drawings and not really impart much of their artistic thought into the work. At Gentle Giant we're trying to do quality sculpture AND modeling. The work we're doing is for 3D. Whether it's 3D movies, visual effects or the actual sculpture of toys, we're working in 3D and we think the 3D is the most valuable part of our process. At some studios it's more a craft sort of job where you're trying to do the simplest version of something that's acceptable and will work in a system.
One thing that I've noticed, finding some of my lost artwork on eBay -- I've realized that the best work I've ever done has been done recently in ZBrush. I have a lot more control, and I don't have the problems of dealing with clay, making sure everything sticks together. It's just much faster and easier, and I can get my thoughts out.
Many thanks to Jim for all the time and effort he put into this interview, and the HUGE number of images he was able to provide. It will be great to see some of these models in action when the game is released, and I can't wait to learn more about the various upcoming projects that he's hinted at.
Be sure to also check out our many past interviews, which can be found in the ZBrush Artist Interviews forum.


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Rule #1 - Be Patient - Rule #2 - Don't ask when, if you don't contribute - Rule #3 - You have coding skills - LinuxMCE's small brother is available: http://www.agocontrol.com
Hi, The remote buttons are checked against the sql db (pluto_main ; RemoteMapping). It often happend that the remote buttons are slightly different than the once used in the sql table. However i would recommend to rename the buttons in the remote config rather that the db There is a thread on this topic where i have been helped by totallymaxed Hope this helps,Rafik
Can you give more information? Homebrew Reciever? remote control Model? do you have a working copy of lircd.conf for this remote?You are in the right place on the MD page. First select the IR Reciever and then select the remote.If your Remote is not listed then your are going to need to create a new template for the new remote.
You need to add the volume up / volume down command in the db ( pluto_main RemoteMappings) as said earlier.Rafik


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January 3, 1921 - December 12, 2012
Howells, NY
Stella May Higby, of Howells, NY, passed away Wednesday, December 12, peacefully, at her residence. She was 91.
Stella was born in the Town of Deerpark, NY on January 3, 1921, a daughter of the late Harry G. and Myrtle Hoffman Perry.
She was a lady of many talents as a homemaker, and also worked many years as a waitress, with over twenty years of service for Kuhl's Highland House. A noted Orange County genealogist whose extensive research on Orange County Cemeteries was documented in the book, "Greenville: The Land and Its People." She also wrote many poems about things that were important in her life. She was always there for everyone. She was a member of St. Paul's United Methodist Church, Middletown, NY.
She is survived by her husband of seventy years, Philip P. Higby at home; her children: Philip G. Higby and his wife, Barbara of Otisville; Marie L. and her husband, Frank Maraday, of Middletown; Joan L. and her husband, John Sullivan of Greenville; eight grandchildren: Paul Higby, and his wife, Julie of Otisville; Erin Higby, of Liberty; Gerald Bronner and his wife, Pamela of Deltona, FL; Amy and her husband, James Barbuti of Palm Coast, FL; Sally and her husband, Jason Mankoo of Mt. Hope; Jennifer and her husband, Scott Weber of Westtown; Jonathan Clemmons and his wife, Joan of Greenville; Jason Clemmons and his wife, Cynthia of Glens Spey; her brother, Donald R. Perry and his wife, Leah of Greenville; and great aunt, Gertrude Beach of Pocatello. She is also survived by 13 great-grandchildren.
Friends are invited to call on Friday, December 15, from 2 to 4 and 7 to 9 p.m. at Morse Funeral Home Inc., 33 Railroad Ave., Middletown, NY. Funeral Services will be on Saturday, December 15, at 10 a.m. at Morse Funeral Home, Inc. Burial will follow in Howells Cemetery, Howells, NY.
Arrangements are under the guidance of Morse Funeral Home, Inc., Middletown, NY. 845-343-6918 www.morsefuneralhome.com


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By DAVID GREEN
Certain land contract purchases could become part of the city's rental inspection plan if city council members approve a proposed ordinance change.
The change would affect several residents, said mayor Keith Pennington, and he welcomes public comment about the plan.
The issue was discussed and tabled at the Feb. 13 meeting, but Pennington presented a proposal Monday that would include land contract purchases in the inspection plan if they are not registered with the county deeds office.
If the change were made, said city administrator/clerk Renée Schroeder, the city's building inspector would be allowed inside to make safety inspections.
Several properties are listed as available for rent or for sale and a land contract agreement is signed rather than paying monthly rent.
"It the change is approved," Pennington said, "it might bring a lot of land contracts back to rentals."
Every time the property changes ownership, another safety inspection would be required, where rental properties are inspected only once every five years.
"The owners might find there's more advantages as a rental," the mayor said.
TASER—Council approved a request by police chief Larry Weeks for the purchase of a Taser electroshock weapon. Money will come from the police department's equipment fund.
Weeks said he had some hesitation with making the purchase until legal issues were cleared and more training options available. He's glad he waited because technology has improved.
With the county sheriff's department cutting back and a state police office closing, Weeks said he wants his department to have the best tools available, including the Taser.
Continuing training is needed to operate the device.
UPGRADE—Council approved a motion to seek bids for an electrical upgrade at Wakefield Park. The city electrical inspector said the transformer near the old ball diamond should be twice the size of the existing unit.
City treasurer Crystal White, who is a member of the Town and Country Festival committee, said there were electrical problems at the last festival and some vendors have inquired whether improvements will be made.
Another electrical problem at the festival last year was related to equipment owned by Consumers and that was replaced.
PROPERTY—Council voted unanimously to approve a covenant deed for the transfer of the ProMedica property to the city. Pennington reminded council that the deed includes a 20-year restriction on using the property for an enterprise that ProMedica would consider competing with its operations in Morenci.
Pennington said his understanding is that the restriction would be removed if ProMedica's current use of adjacent property ends.
GRANTS—The city received a 50 percent match state grant to pay half the cost of a new dump truck through a clean diesel program. The truck is expected to cost about $130,000.
City supervisor Barney Vanderpool and assistant clerk Leasa Slocum attended a workshop about program. Schroeder was told that their grant application was considered among the best submitted.
A $3,000 grant for trees was given by Consumers Energy. The grant will be used to partially cover the cost of landscaping in the parking lot project.
JUDGMENT—Council voted 6-1 to accept a consent judgment regarding former employee Stephanie Mossing. Mossing is repaying the city about $9,500 in tuition money that was spent before she left for another job. The judgment calls for repayment over the next year.
Jell Bell opposed the motion, believing the money should be paid to the city immediately.


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Storm not savage, but still does damage
WEATHER Winds, rain trigger flooding, knock out power to thousands
It wasn't the soul-drenching disaster some had feared - but the combined storm wallop that finally finished rolling through the Bay Area on Sunday was no mild romp, either.
The latest weather system, which hit Saturday night and ended around noon the next day, dumped as much as 4 inches of rain on the region, triggering messy traffic accidents and knocking out power to tens of thousands of people.
At least one manhole was so overwhelmed by storm runoff in San Francisco that its cover exploded into the air atop an 8-foot geyser, and nearly a dozen cars in the city were crumpled by downed trees or limbs.
In all, the three storms that cycled in one after the other, beginning on Wednesday, dropped a whopping 15.7 inches of rain in the Santa Cruz Mountains, 3.4 inches in Oakland and 3.8 inches in San Francisco.
Winds hit as hard as 60 miles an hour at times - so powerful they toppled a big rig on the Richmond-San Rafael Bridge early Sunday morning. Three firefighters and a driver were seriously hurt in one Moraga-area, rain-triggered crash Sunday, and one woman died in another just before that in Daly City.
"We were pretty busy, and this storm caused a lot of spinouts and trouble everywhere," said California Highway Patrol Officer James Evans. "I think a lot of people were driving foolishly and too fast for the rain."
Winds and rain knocked down electrical lines and triggered power outages throughout the Bay Area. By Sunday evening, about 7,400 customers were still without power, including about 90 in San Francisco and 1,900 in the East Bay, according to PG&E.
In all, 315,200 customers throughout PG&E's Bay Area service area lost power between Thursday and Sunday, the utility reported.
Conditions were so bad that 183 flights in or out of San Francisco International Airport were canceled between Friday and Sunday, according to airport officials and FlightAware.com.
Rivers contained
None of the area's major rivers, including the Napa and the Russian, leaped their banks as had been feared, and National Weather Service forecasters attributed that largely to the significant breaks between the three weather fronts as they blew in.
The waterways did come within a few feet of spilling - the Napa crested to 3.5 feet below flood level Sunday. By evening, though, the service's flood warnings had been canceled for all the area's major waterways and blue skies prevailed.
"We were expecting some high winds and between 7 and 8 inches of rain, and we got that and more," said National Weather Service forecaster Diane Henderson. "It was blustery and wet."
Rain is expected to return on Tuesday or Wednesday, but it will be a spattering compared with last week, Henderson said.
Even though the rivers didn't swamp houses, there was plenty of fingernail-biting in Wine Country where most rainstorms hurt worst.
Sunday morning found Highway 121, the main throughway between Napa and Sonoma counties, flooded and closed. Businesses from Guerneville to Napa sandbagged their doorways, and water puddled enough to slow traffic to a crawl.
But by noon, sunshine reigned and the only indication that a storm had struck was sights like the fast-moving muddy mess that was the Napa River. Spectators cut past barricades with yellow "Flooded" signs to lazily watch it pulse through their city.
Courtney Petersen, an employee at the Napa Valley Coffee Roasting Company, said she felt like the bullet had been dodged - for now.
"It was supposed to be raining all day," she said, as the sun crept through the windows around lunchtime. "But it's OK. I like the sun better."
Muni Metro disruption
In San Francisco, Muni's Metro service was disrupted about 8:40 a.m. when the storm flooded the tracks at the Church Street station, said spokesman Paul Rose, but service was back to normal by the afternoon.
There were more than 50 reports of localized flooding around the city, mostly in usually vulnerable areas such as the Great Highway, said Rachel Gordon, spokeswoman for the Department of Public Works. One of the more notable locations was the intersection of 18th and Dolores streets, where an impromptu knee-high lake developed.
About 40 trees and big limbs were reported knocked down by the storm in the city, and though 10 cars were hit by tree limbs there were no reports of injuries.
"It got messy, especially early this morning, but from my understanding it's not as bad as the North Bay was hit," said Gordon. "We had ample warning, and we had people working overnight."
Floodwaters buried the courtyard of the Stable Cafe on Folsom Street near 17th Street, forcing its shutdown Sunday, and co-owner Thomas Lackey said he didn't know when he'd be able to reopen.
Lackey said the rain flow was so bad in his area that at 8:15 a.m. a manhole cover blew off the street near his doorway, and a geyser of water 8 feet high shot out of the combined sewer-storm drain for 15 minutes.
"Ground zero for flooding"
"They call my courtyard ground zero for flooding around here," Lackey said. "This storm I had 18 inches in my courtyard, in April it was over 2 feet, and it contains sewage coming in from the streets and city drain lines. I wish the city would come up with a way of keeping it out of my business."
The freeways were a mess.
Traffic was stopped Sunday around 9:25 a.m. on eastbound Highway 24 a little past the eastern end of the Caldecott Tunnel by a crash involving a fire engine and three other vehicles, including an SUV that wound up on its roof.
Three firefighters from the Moraga-Orinda Fire District had stopped to tend to a noninjury car crash when a second car skidded into their engine in the rain, according to a statement by the district. Then, while the firefighters were interviewing the second car's driver, the SUV rolled into them and the driver, injuring them all.
The injured were taken to a local hospital with non-life-threatening injuries, including broken bones and cuts. All eastbound lanes were reopened by 11 a.m.
Chronicle staff writer Benny Evangelista contributed to this report.
Kevin Fagan and Vivian Ho are San Francisco Chronicle staff writers. E-mail: email@example.com, firstname.lastname@example.com.


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PECO and the Exelon Foundation, the independent, non-profit philanthropic organization funded by PECO parent company Exelon, have sponsored an exhibition of works by the influential African-American artist Henry Ossawa Tanner.
PHILADELPHIA -- PECO and the Exelon Foundation, the independent, non-profit philanthropic organization funded by PECO parent company Exelon, have sponsored an exhibition of works by the influential African-American artist Henry Ossawa Tanner. The exhibition will appear at the Pennsylvania Academy of the Fine Arts (PAFA) from Jan. 28 to Apr. 15, 2012.
Showcasing Tanner's paintings, photographs, prints, sculptures, watercolors, and drawings, Henry Ossawa Tanner: Modern Spirit has been organized by PAFA, where the artist studied from 1879 to 1885. After the show closes in Philadelphia, the exhibit will travel to the Cincinnati Art Museum and the Museum of Fine Arts, Houston.
In addition to the artwork, the exhibition delves into Tanner's life and career, from his upbringing in Philadelphia in the years after the Civil War, through the artist's training at PAFA, his success as an American artist at the highest levels of the international art world at the turn of the 20th century, and his modernist invigoration of religious painting deeply rooted in his faith.
"PECO and the Exelon Foundation are outstanding corporate citizens, committed to making educational and cultural opportunity accessible to the entire community. It is a great pleasure collaborating with them," said David R. Brigham, PAFA President & CEO.
The PECO and Exelon Foundation sponsorship allows PAFA to promote the Tanner exhibit through advertising, signage and targeted outreach to the community and to educators.
"We believe that this amazing collection of beautiful and spiritual paintings will not only revive interest in Tanner, but also inspire pride in our community that this is the masterwork of a Philadelphia native," said PECO President and CEO and Exelon Foundation Board Member Denis O'Brien. "Our support of this exhibition will broaden our efforts to increase access to the arts for people of all ages and backgrounds."
"Henry O. Tanner's contribution to American art since the late 20th century cannot be overstated," said Steven Solomon, president of the Exelon Foundation. "As part of our efforts to advance understanding of diversity and tolerance, the Exelon Foundation is pleased to help spotlight the work of this significant figure in African-American history."


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Oceanside residents and city officials, stunned by the Wednesday night shooting that left two teenagers dead and two wounded at Libby Lake Park — at the spot where a pair of teens were slain in 2011 — talked Thursday about how to stop the violence.
The Oceanside police chief, the city manager, neighbors and friends of the teenagers hiked up the hillside throughout the day to gaze at the crime scene, with its growing memorial of flowers, candles and notes, and offer their thoughts.
"I wanted to look at it from a public safety perspective," said Police Chief Frank McCoy, as he walked through the park with City Manager Peter Weiss in the morning.
"I want to see what we can do to prevent anything like this from happening in the future," McCoy said. "It's just hard to grasp. I feel for the families. They are kids. I don't even know if the parents knew where their kids were."
Melanie Virgen, 13, and Edgar Sanchez, 15, were killed in the 8:50 p.m. shooting, according to friends and a spokeswoman for Melanie's family.
Police said the two wounded boys were both under 18. They were taken to a hospital, where one lay in a coma with four gunshot wounds, a family member said Thursday.
Weiss said the four were sitting on a couch near a memorial for Fernando Solano, 16, and Sandra Salgado, 14, who were fatally gunned down in the park in May 2011.
Authorities made four arrests in that case and have said those slayings were gang-related, although the victims were not members of gangs.
Police said they do not have evidence to tie Wednesday's slayings to gangs but are continuing to investigate.
City Councilman Gary Felien called the shooting "a horrible tragedy."
"We're just all trying to absorb it. To the extent I speak for City Council, I think we're all going to be united to try to come up with a solution to get that park under control for the good guys and take it back from the bad guys," Felien said.
Felien said he's scheduling a meeting with the police chief to look at options for improving safety in the park, including installation of security cameras.
"I certainly would like to find out why we can't put up some kind of high-level cameras and have the park under surveillance of some kind," Felien said. "They'd have to be out of reach so they can't be vandalized, but I think they'd be a deterrent."
Wednesday's killings bring to three the number of homicides in Oceanside this year — and all three victims were teens. Javier Luna, 16, was fatally stabbed to death on Jan. 29 near Center Avenue and Division Street in the Crown Heights neighborhood. Five suspected gang members have pleaded not guilty to the slaying.
On Thursday, friends and classmates of Melanie, Edgar and their wounded friends poured into the park, which borders Libby Lake Elementary School.
"This park is bad luck," said 16-year-old Naomi Trevino. She said the spot is a popular hangout for kids.
"Melanie, she was always really happy, always cool to be around," Naomi said. She said Edgar "was cool too."
"They were both really happy people. I don't understand why this happened," she said, crying as she knelt near the memorial.
Another teen came by the site with his father, who told him, "This is why I don't let you come to this park at night."
The 17-year-old had tears rolling down his face as he described Edgar.
"He was never a gang member," the boy said. "He was just a young kid who lived in the hood." The teen's father did not want the boy to give his name for fear of retaliation.
Friends said Edgar was a sophomore at El Camino High School, and Melanie was an eighth-grader at Cesar Chavez Middle School. Grief counselors were at those schools Thursday and at Libby Lake Elementary.
City Councilman Jerry Kern said city leaders need to develop a long-term strategy to battle crime in the park area.
"The Police Department is doing an excellent job staying on top of it, but we're probably going to have to put in lights, put in cameras and have a greater presence and surveillance in that park," Kern said.
Weiss said 150-watt floodlights installed several years ago in the park were not working Wednesday night, so the area was dark. He said crews were sent out Thursday to make repairs, but he cautioned that it would not be possible to put lights everywhere.
"There are a lot of places to hide," Weiss said. "Similar to other parks, there is no reasonable way to provide lights throughout that entire park."
Yasley Sopenar, a sophomore at El Camino High, said she lives by Libby Lake Park. "I avoid it at night because it's scary," she said as she left school Thursday. "They should have cops go around more often."
El Camino freshman Gimmy Chaidez agreed. He lives near the park and heard multiple shots Wednesday night. "It's normal," he said of the gunfire.
Gimmy's mother, Luz Chaidez, was at the school Thursday to pick up her son and his friends. She said she wants to leave the neighborhood because of the violence.
Former Councilwoman Melba Bishop, a longtime community leader in Oceanside, said she was stunned by the shooting.
"It just makes me want to cry, the poor mothers and parents," Bishop said. She said she thought rival gangs had reached an agreement to keep the violence out of the parks.
Bishop, who was on the City Council from 1980 to 1981 and from 1988 to 1992, said Libby Lake Park has long been a problem area.
Police are asking the public's help to find those behind Wednesday's shooting. The suspects were described as two Latino men wearing dark clothing who left in a 2005 or 2006 gray or silver pickup with an extended cab, similar to a Toyota Tacoma or Toyota Tundra.
Anyone with information about the crime is asked to call police Detective Mark LaVake at (760) 435-4872.


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- Artist
- Cindy Sherman born 1954
- Part of
- Bus Riders
- Medium
- Photograph, gelatin silver print on paper
- Dimensions
- Image: 189.5 × 127 mm
frame: 316 × 251 × 24 mm
- Collection
- Tate
- Acquisition
- Purchased with funds provided by the American Fund for the Tate Gallery 2001
- Reference
Bus Riders is a series of fifteen black and white photographs Sherman produced shortly after graduating from the State University College at Buffalo, New York, where she studied art (1972-6). They were not publically exhibited until the artist had them reprinted in late 2000 for an exhibition at Glen Horowitz Booksellers at East Hampton, New York, together with another series from the same period, Murder Mystery People (1976/2000). Both series were reprinted in editions of twenty. Bus Riders and Murder Mystery People provide an important bridge between a series Sherman created as a student, Untitled A, B, C and D 1975 (Tate P11437-40), and her first major work, the Untitled Film Stills 1977-80 (Tate P11516-9). Like these other early series, Bus Riders may be seen as an exploration of portraiture and the mechanics of its staging.
As is indicated by the title, the characters enacted by Sherman in Bus Riders were based on people she had observed on the bus. One of them is male; three are androgynous in appearance; five of them are black. While male characters also appear in Untitled A-D and Murder Mystery People (as well as in such later series as the History Portraits 1988-90), Sherman has not portrayed black characters in any other work. In each of the fifteen photographs the artist appears in a different outfit, wearing wigs, glasses and make-up according to the character being staged. Such props as a cigarette, a make-up mirror, a briefcase, a bulging paper bag or a book provide additional elements to the possible narratives evoked by each bus rider. All but one of the characters are seated, usually facing towards the camera, like people riding in a bus. In the last image Sherman stands, holding onto an imaginary rail above her. She used two different chairs and a high stool for variation. As in her earlier Untitled A-D series, the artist has allowed the theatricality of the characterisations to remain evident. The cable and sometimes the pump of her camera's shutter release, set off by the pressure of her foot, are plainly visible on the floor. In several of the images shoes from a previous characterisation have been left casually on the floor near the chair and appear at the edge of the frame. An anonymous leg and shoe protrude, unaccountably, into the frame of the second image, suggesting that the artist was not working alone. Two parallel lines of masking tape on the floor-boards, presumably marking the intended limits of the bus rider's position, provide further theatrical references. The photographs were clearly shot in a studio, against a white wall on which the shadow of each character reinforces the staged quality of the images. White toes peeping out of the front of open-toed shoes, below the blacked-out legs of one 'black' woman (number six in the series), add a comic edge to the pathos of this particular character.
The characters in Bus Riders, originating from an ordinary, everyday activity, have an ordinary, everyday appearance. After producing many series of portraits which are far more extreme in their theatricality, Sherman returned to a staging of 'everyday' characters with her 'West' and 'East coast'-type women in 2000.
Further reading:
Amanda Cruz, Elizabeth A.T. Smith, Amelia Jones, Cindy Sherman: Retrospective, exhibition catalogue, Museum of Contemporary Art, Chicago and The Museum of Contemporary Art, Los Angeles 1997
Monique Beudert, Sean Rainbird, Contemporary Art: The Janet Wolfson de Botton Gift, exhibition catalogue, Tate Gallery, London 1998
Early Work of Cindy Sherman, exhibition catalogue, Glenn Horowitz Bookseller, East Hampton, New York 2000, reproduced [pp.5-19]
Elizabeth Manchester
October 2001
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- emotions, concepts and ideas(16,875)
- formal qualities(12,932)
- photographic(5,090)
- clothing and personal items(5,986)
- briefcase(10)
- sunglasses(57)
- actions: postures and motions(9,219)
- legs crossed(156)
- sitting(3,371)
- Sherman, Cindy(28)
- self-portraits(757)
- dress: fantasy/fancy(407)
- bus(109)
- arts and entertainment(6,587)
- photographer(261)


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Figured I'd start my own thread for this, but Rob is now officially on the Ogletree bandwagon, and knowing him he'll have his heels dug in right up until April assuming Ogletree doesn't taper off or shoot anyone. And I've no problems with that.
But Seattle doesn't play three linebackers on nearly every down. They've played a lot of base defense lately, yeah, and Bradley's taking heat for it. This is a D that plays more nickel (our Bandit if the 5th guy is a safety) than almost any other team, and bringing Walter Thurmond back is only going to make it more prevalent. Any starting 3rd linebacker will see the field on limited snaps.
So, do we expect Pete to (once again) spend a 1st-rounder on a defensive stud who only sees the field part of the time? I know Scotte seems harsh on Wright, but it seems to me that our first-rounder would be better spent.


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created 2009 · complexity basic · author Sean Whitton · version 7.0
It is often useful to record a macro – a series of commands that can be re-executed. This tip shows how to use a macro to move blocks of text: record the commands to move the first block, then replay the commands to move further blocks.
Moving blocks of textEdit
One might have many blocks of text that are clearly delimited, but which need the order reversed, as in this example:

 ... html for first block, multiple lines ...

 ... html for second block, multiple lines ...

 ... html for third block, multiple lines ...

To solve this problem, observe that the first block does not need to be moved. Go to the last line of the first block (in this case the

) then record a macro by typing:
ma(set mark '
qa(start recording a macro to register
jV/<\/div><CR>(select the next block – these commands work for this example)
:m0<CR>(move the block to the beginning of the file)
'a(return to mark '
q(finish recording macro)
Now you should be able to run the macro with
@a (and then
@@ for each subsequent run) for each block you need to move.
For the impatient, move to the last line of your block and type
maqajV/<\/div><CR>:m0<CR>'aq@a@@@@@@@@; keep doing
@@ until the file is reordered appropriately.
Note that this won't work for nested

 tags (in this example). The matchit.vim extension may allow you to use
% instead.
See alsoEdit
- Macros overview


text:
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Home › Classroom Resources › Lesson Plans
Lesson Plan
Utilizing Visual Images for Creating and Conveying Setting in Written Text
|3 – 6
|Lesson Plan Type
|Recurring Lesson
|Estimated Time
|Two 50-minute sessions
|Lesson Author
New Hartford, Connecticut
Setting is an essential element of literature for both readers and writers. The aim of this lesson is to help young writers effectively communicate the concept of setting in narrative writing to their readers through the use of visual image prompts (photographs). The students are first asked to describe the setting of their photograph. Then, through the process of sharing, attempting to replicate the images through drawing after hearing their partner's description, and conferencing with a partner, students decide if their word choice, literal and inferential descriptions, and details accurately conveyed the setting to their audience. This lesson is meant to be an introduction to setting, which could be followed up with more intensive instruction through a literature unit or writing assignment.
Visual images for students selected from National Geographic Kids Photo Galleries: Students use images from this gallery to communicate the concept of setting.
Doodle Splash Student Interactive: Students use this interactive to recreate a preexisting image.
Our students live in a world where information comes to them in visual and auditory form much more frequently than in written form. Thus it is not surprising to see evidence that they sometimes have difficulty making the connection, via imagination, between written word and the experience that it represents. Students have difficulty telling about or drawing accurate pictures of the setting of stories they have read. They have even more difficulty creating their own description without lapsing into fuzzy abstractions and clichés. Photographs can become subject matter for talking about and writing as well as exemplars for writing. This lesson allows students to explore setting through photography and explain their reasoning and connections.
Further Reading
Lesesne, Teri. "Finding the Thread: Character, Setting, and Theme." Voices from the Middle 8.1 (September 2000):78-84.


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MateraMatera, a village in the arch of the Italian boot founded by shepards 2500 years ago. Below find a list of our selection of boutique and luxury hotels in Matera.
Sextantio Le Grotte della CivitaMatera
, Italy
Imagine awaking in a stone cave in southern Italy that's been updated with modern amenities while maintaining its centuries-old aesthetic.


text:
Below are the transmitters in the ITV region. Please single click the transmitter icon to see the coverage area, and double click for full transmitter information.
On this map, bright green denotes the coverage area where the signal is strongest from the selected transmitter. The areas shown in cyan have coverage from the transmitter, but a stronger signal can be obtained from another transmitter.
map is loading, please wait...
What do the map symbols mean?4G-800 No multiplexes, 4G-800 1 multiplex, 4G-800 2 multiplexes, 4G-800 3 multiplexes, 4G-800 4 multiplexes, 4G-800 5 multiplexes, 4G-800 6 multiplexes, Locations within 1.5km of existing phone mast locations, Freeview retune required, EE, Multiple operators, Network Rail, O2, 3, Vodafone, location on line-of-sight, Empty, Location comment, Transmitter (grey), Selected location, l, lv, panelAB, panelAL, panelB, panelBA, panelBB, panelBD, panelBH, panelBL, panelBN, panelBR, panelBS, panelBT, panelCA, panelCB, panelCF, panelCH, panelCM, panelCO, panelCR, panelCT, panelCV, panelCW, panelDA, panelDD, panelDE, panelDG, panelDH, panelDL, panelDN, panelDT, panelDY, panelE, panelEC, panelEH, panelEN, panelEX, panelFK, panelFY, panelG, panelGL, panelGU, panelHA, panelHD, panelHG, panelHP, panelHR, panelHS, panelHU, panelHX, panelIG, panelIP, panelIV, panelKA, panelKT, panelKW, panelKY, panelL, panelLA, panelLD, panelLE, panelLL, panelLN, panelLS, panelLU, panelM, panelME, panelMK, panelML, panelN, panelNE, panelNG, panelNN, panelNP, panelNR, panelNW, panelOL, panelOX, panelPA, panelPE, panelPH, panelPL, panelPO, panelPR, panelRG, panelRH, panelRM, panelS, panelSA, panelSE, panelSG, panelSK, panelSL, panelSM, panelSN, panelSO, panelSP, panelSR, panelSS, panelST, panelSW, panelSY, panelTA, panelTD, panelTF, panelTN, panelTQ, panelTR, panelTS, panelTW, panelUB, panelW, panelWA, panelWC, panelWD, panelWF, panelWN, panelWR, panelWS, panelWV, panelYO, panelZE, Phase 2 locality, roundel-dlr, roundel-overground, roundel-tube, Transmitter, BBC One region, BBC TWO, ITV plc region, STV region, UTV region, Channel 4, Channel 5, S4C, tx_LB, tx_LBN, tx_LBNv, tx_LBS, tx_LBSv, tx_LBT, tx_LBTv, tx_LBv, tx_LCF, tx_LCFv, tx_LDN, tx_LDNv, tx_LEH, tx_LEHv, tx_LG, tx_LGv, tx_LL, tx_LLS, tx_LLSv, tx_LLv, tx_LM, tx_LMv, tx_LNE, tx_LNEv, tx_LNG, tx_LNGv, tx_LNR, tx_LNRv, tx_LOX, tx_LOXv, tx_LPR, tx_LPRv, tx_LS, tx_LSO, tx_LSOv, tx_LSv, tx_LW, tx_LWv, COM4/SDN multiplex, COM4/SDN multiplex, COM5/ArqivaA multiplex, COM5/ArqivaA multiplex, COM6/ArqivaB multiplex, COM6/ArqivaB multiplex, tx_com7, HD-com7 multiplex site, HD-com7 multiplex site, tx_com8, HD-com8 multiplex site, HD-com8 multiplex site, Multiplex 1, Multiplex 2, Multiplex A, tx_muxAcopy, Multiplex B, Multiplex C, Multiplex D, Northern Ireland Minimux, Northern Ireland Minimux, PSB1/BBCA multiplex, PSB1/BBCA multiplex, PSB2/Digital 3+4 multiplex, PSB2/Digital 3+4 multiplex, PSB3/BBCB/Freeview HD multiplex, PSB3/BBCB/Freeview HD multiplex, Saorview multiplex 1, Saorview multiplex 1, Saorview multiplex 2, Saorview multiplex 2, BBC VHF TV site, Joint BBC/IBA site, DAB radio transmitter, DAB transmitter coming, DAB coming (out of area), DAB transmitter (out of area), Freeview transmitter, txfv - Copy, IBA VHF TV site, Freeview light transmitter, Multiplex A, Multiplex B, Multiplex C, Multiplex D, txmuxa2, Not on air, FM/AM radio mast, txradio_amfm, FM/AM radio mast (out of area), Engineering/fault today, Engineering planned, Transmitter cleared fault, Engineering work (old icon), Transmitter group, Saorview.
Orange lines off-air feed, pink links fibreoptic feed (thanks to Digital UK).


text:
If your update does not appear to start, restart your iPad. The installation should begin automatically within a few seconds. This issue can occur when you're using the App Store, Apple Configurator, or Mobile Device Management (MDM) to update.
If you can't update to Classroom 2.1 on an iPad with iOS 11
Learn what to do if your installation of Classroom 2.1 never starts, and the previous version remains on your iPad.
Published Date:


text:
New Garmin PRO 550 Plus
All the training features of the Garmin PRO 550 with the added distance and directional tracking for up to three dogs out to 2 miles.
Dog Training Collars
Tri-Tronics, Garmin, SportDOG, Dogtra, DT Systems and more - if you need a remote trainer or no bark collar, we've got it in stock!
Training Supplies
From bumpers to whistles to blank pistols, choose from over 2,600 training and dog health products - all at the best prices!
Collars & Leads
We carry an incredible array of traditional and speciality collars and leads, and can customize name plates with your contact information.
Bird Supplies
We carry all the equipment and accessories you need to maintain a healthy population of training birds all season.
Hound Supplies
We offer hundreds of products for your beagles and hounds, from speciality leads and a wide array of dog health products.
Pet Medicine
We carry a variety of pet medicines ranging from vaccines, foot and eye care, supplements, and flea/tick products.
Predator Hunting Gear
Lion Country Supply is now carrying predator hunting equipment including Foxpro predator calls and Wicked Hunting Lights.
Kennels Supplies
Keep your dog's home in top shape with everything from cleaning equipment, heaters, feed and water bowls, as well as whelping supplies.
Hunting Dog Training Collars & Gun Dog Supplies
You have found the World's Best Source for dog training collars and gun dog supplies. LCSupply is the leader in dog training equipment and electronic dog training collars and is considered "the source" for amateurs and professionals. We offer the largest selection of hunting dog supplies . Experience our World Class Customer Service online or call 1-800-662-5202 for a gun dog training product expert.


text:
Would you like to get 5 ebooks for $10 (a $28.95 value)?
- Tell Your Time
- Create Your Perfect Cleaning Schedule
- Feast in 15
- The No Brainer Wardrobe
- Cupcakes! 12 Months of Happiness
I have 2 of these books and I love them. This is a great time to get a few extra ideas to make the transition to fall smoother!
Check out more details at Eat at Home.
Sale is from August 1-8.


text:
COMMERCE CITY CO - The Colorado Rapids Academy has announced that their winter Center of Excellence program is slated to start January 10th 2010.
This program is now accepting applications and is open to boys born between August 1 1999 and July 31 2001.
The Rapids U10 Center of Excellence focuses on technical skills that develop players and prepares them for competitive soccer. Several players have already graduated from the Rapids U10 COE program to advance to the Rapids U11 youth team and the Academy looks forward to seeing this trend continue!
The program will ensure that more young players are exposed to quality coaching and made more aware of the technical requirements of an elite soccer player. The exclusive purpose of the U-10 COE is to introduce and promote player development through technical training and the importance of technique as it applies to the game. Although inclusive it is still designed to nurture the advancing serious player.
All sessions will be staffed by Rapids Academy coaches and players and will be supervised by Center of Excellence Director David Proctor. Rapids first team players that have coached the Center of Excellence include Colin Clark Greg Dalby Jordan Harvey Nick LaBrocca and Michael Holody.
The Rapids U10 Center of Excellence will include 6 sessions on consecutive Sundays starting January 10th from 11:30am to 12:45pm at Dick's Sporting Goods Park. The cost is $150 per player.
Registration for this program is extremely limited so prospective players should make sure to sign up as soon as possible to reserve a spot.
For more information and to register online click here.
For further questions or to register by phone contact the Rapids Academy at (303) 727-3575.


text:
I'm sure almost everyone has seen White Christmas with Bing Crosby, Danny Kaye, Rosemary Clooney, and Vera Ellen. In short, Bing Crosby and Danny Kaye are in the army serving under General Tom Waverly. General Waverly retires. After the war, Bing and Danny become a top song-and-dance act. At one point they find out that the General needs help and they put on a show for him with all their army buddies from before. One of the songs that is sung starts with:
What can you do with a general
When he stops being a general?
Oh, what can you do with a general who retires?
It may sound strange, but that is the song that kept playing over and over in my head the week I was released as bishop. Yes, after serving as bishop of my ward for 6 years, 2 months, 16 days, I was released. It happened a year ago today, but I'm just getting around to writing about it. I figured I'd share some of my thoughts and feelings about my time as bishop.
First off, let me tell you that I am still active, and I still love the Church. Hopefully no one is disappointed by this. There was nothing that I faced that made me question my faith. The ward is generally intact, and if anything might be a bit stronger than it was. I would have served for years less or years more if that is what was needed of me. However, with that being said, it was still very hard to be released. It had nothing to do with losing the authority and everything to do with losing the privilege of helping people one-on-one. Yes, I'm still a husband, father, friend and home teacher, but this is not what I'm talking about. Members generally love and respect their bishop. I felt this from week one. The week before I was just some guy was serving as the Elders Quorum President. The following week I was the bishop and the members immediately trusted me. They came in and confided some of their most difficult problems. They looked for counsel. They cried tears of sorrow and tears of joy. I felt like a better man literally every week I went to church. That's what I miss. I'm now just a guy again. I help when I can, but now another man has that privilege of those experiences. I have righteous envy.
I also miss how serving as bishop helped my family. It seems counter-intuitive, but during my time as bishop we had more order in our family, and possibly more time together. I know, I know… it seems backwards. However, when I was bishop our life seemed to have more structure, which allowed us to have more time together. I was busy for 9 hours or so each Sunday, every Wednesday night, and often another evening or two each week. Yet somehow through all of that, I don't feel that my time with my family suffered. Now that I am no longer bishop, my wife is the YW President, my responsibilities at work have increased, and the kids are getting busier. It seems that time is flying by way too quickly. We don't have the same structure and our time together is suffering. I know that we were blessed when I was bishop so that our time together didn't suffer. In a way, I think this is part of the Oath and Covenant of the Priesthood where it says that when priesthood holders are faithful in the priesthood and magnify our callings, they "are sanctified by the Spirit unto the renewing of their bodies"(D&C 84: 33).
Lastly, I miss just being involved. It isn't that no one cares about me, but things are happening and I don't know about it. It seems funny to write that. It sounds like I'm gossipy or nosey. That, of course, isn't it. When you are bishop, you'd get to see the big picture. You have a vision of what needs to be done, and you can plan for it. I'm the type of person that thinks the more you know, the more you can do. In a way, this ties in with my first point. If you don't know things, it is hard to help.
With all of these things (and more) that I miss, there are obviously things I don't miss. I'm quite happy to go to church at 9 am (instead of 6 am). I'm quite happy to attend limited meetings. There were obviously hard things to deal with, and in a way it is a relief to be free from some of those burdens.
So, it's been a year now. Shortly after being released I was called to be a Stake Institute Teacher. I teach a weekly Institute class to the college-aged young adults (18-30). The class is held every Wednesday in my home and we usually have 15-20 people attend. I love it! I haven't studied the scriptures so thoroughly in a long time. Hopefully I'm helping these young adults appreciate the scriptures more. I'm definitely learning a lot.
My wife was an unbelievable support while I was bishop. Due to my responsibilities and our young family, her church callings were a little "easier" that what she is capable of having. Now she's the YW President, and doing a great job with the small group of girls she has to work with.
All three of my kids are under 10. It seems that they've survived some of my absences. Now that I am no longer bishop, I can be more involved as they grow into pre-teen and teen years.
As I said in the beginning, I love the Church. There is a woman in our ward who likes to say, "It's a good life" I totally agree. With all of the frustrations I may have had wit the bureaucracy and other things. I still firmly believe that the church is led by good men and women who are trying to serve "with full purpose of heart" (2 Nephi 31: 13). I've found that any failings we may experiences are usually because we are not united. If we sustain one another and accept each other in our weaknesses, we'll be much better off. I was by no means perfect in my service, but I hope that I did something to help the work of the Lord move forward.


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6 p.m. Democrats do it differently. Toss out the ties and pearls for union tees and floral prints. Trade the handclaps for fist pumps. Lose the house band and bring the noise. Not an hour into the first night of the Democratic National Convention in Charlotte, N.C., and the clamor already eclipses the peak of Tampa, where Mitt Romney accepted the Republican nomination. The crowd cheers the least-read document in U.S. politics, the party platform. "It's not about partisanship. It's about pragmatism," Cory Booker, mayor of Newark, N.J., calls out. "It's not about left or about right."
6:03 p.m. Thousands are on their feet, celebrating a country where issues like abortion, gay marriage and income-tax increases are unifying, not divisive. This country does not exist. But it's their party. "This is our platform!" Booker shouts into the microphone. "This is our American mission!" He brings down the house. Los Angeles Mayor Antonio Villaraigosa comes out and gives Booker a bear hug. All in favor? "Aye!" All opposed? Not a peep. Nothing like the Republicans.
6:13 p.m. The governor of North Carolina, Bev Perdue, gives an entirely forgettable speech. She is followed by a video of a young man, Ryan Case, who chokes up as he tells the story of how his parents died without the health insurance they would've had if they had lived to see Obamacare. Then Case is onstage. "There's just no way I'd be able to pay for school without the Pell Grant funding that President Obama doubled," he says.
(PHOTOS: Democratic National Convention 2012)
6:24 p.m. Service Employees International Union president Mary Kay Henry talks about "working families." Representatives Charles Gonzalez and Nydia Velázquez talk about Latinos. Velázquez describes undocumented immigrants who arrived in the U.S. as children as "people who are Americans in every way except on paper." Huge applause.
6:44 p.m. "Facts are stubborn things," says Pat Quinn, the governor of Illinois. He calls out the deceptions of the GOP convention: the Medicare thing, the welfare-to-work thing, the General Motors plant in Paul Ryan's district. Then he says, "There's something else the Republicans left out of their convention: any explanation of why they call Mitt Romney 'Governor Romney.'" This is false. Facts are stubborn things.
6:46 p.m. Doug Stern, an Ohio firefighter and self-described former Republican, does his best Joe Biden shtick. "President Obama has my back," he says. Then comes former Virginia Governor Tim Kaine, with a speech designed to win him a Senate seat in his home state. Anthony Foxx, the mayor of Charlotte, tells his overcoming-adversity story. "I learned what it truly meant to be judged by the content of my character," he says.
7:06 p.m. The boxer arrives. Senate majority leader Harry Reid slowly walks to the podium, ready to rumble. "The Republican Party has become the party of the wouldn'ts and the won'ts," he says. "I had a front-row seat to watch the Tea Party take over the Republican Party." He calls Romney the "strongest proponent and clearest beneficiary of this rigged game," and demands again that the candidate release more tax returns. "His word? His word? Trust comes from transparency, and Mitt Romney comes up short on both." He leaves the stage to chants of "Harry, Harry."
7:14 p.m. A few dozen Congresswomen and female candidates take the stage, dressed in brightly colored suits, like a box of crayons. Taking turns, they tick through the list of alleged Republican misdeeds against women, from opposing equal-pay liability legislation to federal funding for contraception to an attempt to narrow the abortion exemption for rape. "Where are the women? Where are the women?" one of them asks, after describing an all-male Republican panel to discuss birth control. "We're here! The women of America are here!" The crowd is standing again.
7:32 p.m. Jimmy Carter phones in a bland video address, with recycled rhetoric delivered like a tenured professor after a long lunch.
7:36 p.m. Interior Secretary Ken Salazar emerges to big applause, wearing an even bigger cowboy hat. He's here to explain why Obama's energy policy is better than Romney's. The oil-tycoon look adds to the effect. Obama "believes the American Dream should belong to every single American," Salazar says. "Let's move forward, not backward." No one has ever disagreed with those ideas.
7:44 p.m. A Kennedy comes onstage. If we had to guess, we'd say it's Joseph P. Kennedy III, but who can be sure? Anyway, he's handsome and Harvard-educated, and talks about "my Uncle Teddy." This segues into a stirring video tribute to the late Massachusetts Senator Ted Kennedy. Just a few grainy photos get the crowd going, but it's nothing compared with the roar when the screen shows old clips of him debating Romney during their 1994 Senate race. "I'm pro-choice. My opponent is multiple choice," the Liberal Lion quips.
(MORE: At the Democrats' Convention, the Meaning of Michelle)
8:01 p.m. Former Florida Congressman Robert Wexler's turn. He's here to reassure people that Obama loves Israel a whole lot. The phrases "unflinching commitment," "never waved" and "unprecedented security cooperation" are thrown around. No mention of the platform dropping the idea that Jerusalem should be the capital.
8:07 p.m. Minneapolis Mayor R.T. Rybak starts talking about the automaker bailout and how the GOP is "a once proud party that's been hijacked by extremists and driven off the flat earth they pretend we're living on." He compares the Republican strategy to pyromaniacs blaming firefighters. The whole thing's a bit confusing. "Romney was wrong, Obama was right," Rybak says. Oh.
8:15 p.m. Time for Colorado Representative Jared Polis. He's a father, he says, and a son. And Jewish. And gay. And a Congressman. He has it all. Democrats should support not just his lifestyle but also the lifestyles of devout Christians concerned about the nation's morality and single women who decide to bring pregnancies to term.
8:20 p.m. Obama appears on the big screen to introduce the next series of speakers. "Women are not an interest group," he says. "They shouldn't be treated that way." Sure doesn't seem that way tonight. The next speaker, an earnest young woman with braces, says Republicans want to take away her birth control, which isn't true, and put insurance companies in charge of her care, which already kind of happens. She's followed by Nancy Keenan, the head of a pro-choice group. "Women in America cannot trust Mitt Romney," she says. "Four more years!" the crowd chants.
8:32 p.m. A video introduces the next speaker, Marine veteran Nathan Davis. He jogs and does push-ups onscreen. It's like a Nike ad, but for public service. Davis comes out to talk about how the post-9/11 GI Bill helped veterans. Congressional candidate Tammy Duckworth, who lost her legs flying combat helicopters in Iraq, is next, and she agrees. She also accuses Romney of ignoring the war in Afghanistan. "U-S-A, U-S-A," the crowd says.
8:45 p.m. Here's Lincoln Chafee, a former Republican and now the governor of Rhode Island, who looks like an aging Tom Hanks with long hair. Moderates will support Obama too, he says, because "there's nothing moderate about our love of country." Poll-tested and meaningless.
8:53 p.m. A video promoting Obamacare. The law will help a woman whose daughter was born with a heart defect because it removed lifetime caps on health-insurance payouts. The whole family then comes onstage, and the mother says she's scared that Republicans will repeal Obamacare. The little girl begins crying. You can't script this stuff. "Four more years!"
8:57 p.m. Ohio Governor Ted Strickland is bragging about the success of the auto bailout and attacking Romney. He shouts every line like someone just cut off his microphone. "If Mitt was Santa Claus, he would fire the reindeer and outsource the elves," he yells. "Even his money needs a passport: it summers on the beaches of the Cayman Islands and winters on the slopes of the Swiss Alps." No word on what Easter Bunny Mitt would do. Or where his money springs and falls.
(PHOTOS: Obama's Travels: Photos of Air Force One on the Campaign Circuit)
9:08 p.m. Health and Human Services Secretary Kathleen Sebelius tries to explain Obamacare. Even here, people get bored and start chatting to each other, wandering the aisles. It's an impossible task.
9:16 p.m. Rahm Emanuel could be exciting, but he's not. Instead of swearing, he loses the crowd with a predictable telling of the President's bravery and steady leadership in office. He is followed by Kal Penn, the actor from Harold & Kumar, who is funny. He lists Obama's accomplishments. "Thank you, invisible man in the chair, for that," he says, and then asks people to refer to him as #sexyface and excuses Rahm's blandness. "He's a mayor now. So he can't use four-letter words. But I'm no mayor … Vote."
9:32 p.m. The President's little sister and Michelle's big brother are charming and likable. They are followed by Lilly Ledbetter, the namesake of Obama's equal-pay bill. She gets applause for going after Romney's Swiss bank account.
9:45 p.m. Massachusetts Governor Deval Patrick gives a vicious, high-flying speech, tearing into Romney's record: "Romney talks a lot about all the things he's fixed. I can tell you that Massachusetts wasn't one of them." Then he pivots to cast the danger facing Obama. "I will not stand by and let him be bullied out of office," he says. The crowd roars.
9:57 p.m. Maryland Governor Martin O'Malley has a better speaking slot but delivers a worse speech. He is the Tim Pawlenty of the Democratic Party — good on paper, but somehow unforgivably bland, like a really good pitchman for an expensive product you probably don't need. "Swiss bank accounts never built an American bridge," he says. Fact check: True.
10:06 p.m. One Castro brother introduces another. They wave together, and then Julián Castro, the mayor of San Antonio, gives the keynote. He looks even younger than Marco Rubio and has a brighter smile than Obama's. "My family's story isn't special. What is special is the America that makes our story possible," he says. It's that kind of speech. "My mother fought hard for civil rights so instead of a mop, I could hold this microphone," he continues, not holding a microphone. The best part of the speech comes when he speaks about his 3-year-old daughter Carina Victoria, who sits in the stands. She realizes she is on television and begins to tease her hair in exactly the way a 3-year-old would think a fashion model teases her hair. When Castro finishes, the roar is so deafening that Carina Victoria covers her ears.
10:30 p.m. A video warms the crowd up for Michelle Obama. It's soft-bio stuff: a humble upbringing, her anti-obesity campaign, shenanigans on late-night TV. "In our household, she's the conductor, and I'm second fiddle," the President says. Placards bearing the First Lady's name are distributed in the hall. The delegates are primed.
10:35 p.m. With the setup complete, the loud speaker greets … someone whom the crowd doesn't recognize: a military mom from a swing state. Delegates stir with confusion for a moment, before being won over by her charm.
(PHOTOS: Behind the Cover: Obama Makes His Way to the DNC)
10:38 p.m. Here's the First Lady, waving with both arms as the crowd sings along to Stevie Wonder and shakes the "Michelle" signs in unison. They're too amped up to let her speak. Chants of "Four more years!" drown out the first lines of her speech.
10:40 p.m. Michelle Obama talks about military families and meeting heroic Americans as First Lady. "Every day they remind me how blessed we are to live in the greatest nation on earth." She's come a long way since 2008, when she caused a stir by saying, "For the first time in my adult lifetime, I am really proud of my country."
10:45 p.m. Stories about the President's poorer days, with his rusted car, cheap furniture and undersize shoes. They create a strong contrast with Romney, even if she never mentions him explicitly. "Barack and I were both raised by families who didn't have much in the way of money or material possessions," she says. Her dad worked hard despite having a disability. Barack's grandmother worked hard despite seeing her male colleagues promoted ahead of her. "We learned about dignity and decency, that hard work matters," the First Lady says. "We learned about honesty and integrity, that the truth matters." And finally, "We learned about gratitude and humility."
10:49 p.m. "Being President doesn't change who you are. It reveals who you are," she says. She trusts her husband to make the right decisions in office, and voters can too. "The issues that come across the President's desk are always the hard ones — the problems where no amount of data or numbers will get you to the right answer," she says, another well-camouflaged dig at Romney, a former business consultant.
10:53 p.m. More personal and political narratives are weaved together. "We were so young, so in love and so in debt," she says of her early relationship with her husband. "Barack knows what it means when a family struggles. He knows what it means to want something more for your kids and grandkids. Barack knows the American Dream because he's lived it." The whole speech could be read as a case against Romney. The President "started his career by turning down high-paying jobs and instead working in struggling neighborhoods where a steel plant had shut down." Romney worked a high-powered job at a company that once laid off steel workers.
10:57 p.m. The First Lady lists all the things she loves about her husband and all the things he's done in office. "We've got so much more to do," she reminds the crowd. "Change is hard and change is slow and it never happens all at once."
11:02 p.m. Her voice cracks as she talks about being a mom and how it should be important to all parents that the President be re-elected. "We must work like never before," she says. The rest of her speech is inaudible in the hall. The loudspeakers aren't powerful enough to compete with the noise. The First Lady takes her time leaving the stage. The delegates wave their "Michelle" placards. The benediction is read. The chair gavels us out, tells the delegates to enjoy Charlotte, and we're done. The party, no doubt, is just beginning.
MORE: Are Americans Better Off Now than They Were Four Years Ago? Some Simple Advice for Team Obama


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Possible Duplicate:
What to check when buying a new guitar?
I have a couple years experience on acoustic guitar (although I haven't played one for a very long time), and wanted to go back to playing but with an electrical one.
How do I chose a beginner's guitar and what questions should I ask when I walk into a store and buy one?


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NORFOLK & W R. CO. v. EARNEST(1913)
[229 U.S. 114, 115] Messrs. John H. Holt, Roy B. Smith, and Theodore W. Reath for plaintiff in error.
Messrs. Bynum E. Hinton, Thomas Lee Moore, Harold J. Pack, and Samuel B. Pack for defendant in error.
Mr. Justice Van Devanter delivered the opinion of the court:
This was an action against a railroad company to recover for personal injuries sustained by an employee while both were engaged in interstate commerce. The plaintiff secured a verdict and judgment in the circuit court, and the defendant sued out this direct writ of error, claiming [229 U.S. 114, 116] that the employers' liability act of April 22, 1908, 35 Stat. at L. 65, chap. 149, U. S. Comp. Stat. Supp. 1911, p. 1322, upon which the right of action was based, was repugnant to the Constitution of the United States. After the writ of error was allowed, our decision in Second Employers' Liability Cases (Mondou v. New York, N. H. & H. R. Co.) 223 U.S. 1 , 56 L. ed. 327, 38 L.R.A.(N.S.) 44, 32 Sup. Ct. Rep. 169, settled the constitutional questions in favor of the validity of the statute, but it is still necessary that we pass upon other questions presented in the case. Michigan C. R. Co. v. Vreeland, 227 U.S. 59, 63 , 57 S. L. ed. --, 33 Sup. Ct. Rep. 192.
The injury to the plaintiff occurred in the nighttime, in the month of February, in the railroad yards of the defendant at North Fork, West Virginia, while he was piloting a locomotive through several switches to a main track, where the locomotive was to be attached to an interstate train to assist in moving it over an upgrade in the direction of the next station. He carried a torch and was proceeding in advance of the locomotive to see whether the switches were in proper position, and, if not, to change them. Upon reaching the first switch, known as No. 3, he found it in proper position, signaled the engineer accordingly, and advanced along the track, between the rails, to a point near the next switch, known as No. 2, where the engine overtook him and inflicted serious injuries upon him, resulting in the loss of his right leg. He had not yet signaled to the engineer whether that switch was in a proper position, and one of the questions controverted at the trial was whether the engineer was negligent in attempting to pass over that switch without waiting for a signal. The evidence for the plaintiff was to the effect that it was the established custom in that yard for the engineer to await a signal from the pilot before proceeding over a switch, and that the pilot was entitled to rely upon the engineer's conforming to that custom; while the evidence for the defendant was to the effect that by the settled custom the engineer, although required to await a signal before passing over the first [229 U.S. 114, 117] switch, was not required to await a signal before passing over the others, and that it was incumbent upon the pilot to govern himself accordingly. The evidence was likewise contradictory as to whether it was usual for pilots, in advancing before the engine, to walk between the rails, and also as to whether the conditions outside the track made it necessary to do so in the nighttime. But although the evidence was conflicting in these particulars, it established without any contradiction that it was the duty of the pilot to go ahead and see that the switches were lined up properly, and, if not, to put them in position for the engine to pass, and that it was the duty of the engineer to keep control of his engine and to follow at a rate of not more than 3 or 4 miles an hour. Both the plaintiff and the engineer had been in this service for a long time, and were familiar with the manner in which it was conducted, and with all the conditions surrounding it. The plaintiff admitted that as he advanced from the first to the second switch, a distance of 130 feet, he made no attempt to see where the engine was, and the engineer substantially admitted that in covering that distance he made no attempt to see where the plaintiff was. Each justified his action or nonaction in this regard by what he described as the usage in that service.
In its charge to the jury the court, after saying that the mere occurrence of the injury was no evidence of negligence on the part of the defendant or its engineer, and that the burden was on the plaintiff to establish such negligence by affirmative evidence, gave the following instructions at the defendant's request:
The defendant complains that the court fefused to say to the jury in that connection that the engineer was not required to keep any lookout for the plaintiff. We think the refusal was right. As before indicated, there was evidence tending to show that it was usual for the pilot to walk between the rails in advance of the locomotive, that the conditions outside the track made it necessary to do so in the nighttime, and that all this was known to the engineer. Whether this evidence was true was for the jury to determine; and if it was true, it certainly could not be said as matter of law that the engineer was in the exercise of ordinary care, which was the controlling standard for him, if he made no effort to see whether the plaintiff was on the track, and took no precautions for his protection. Upon that question the court rightly gave the following instruction: [229 U.S. 114, 119] 'If the jury believes from the evidence that it was necessary or usual, within the knowledge of John Drawbond [the engineer], for the plaintiff to walk on, along, or over the tracks of the defendant company in front of the said engine while it was moving, in order to properly perform his duties of piloting said engine out of said yard, it was then the duty of the defendant company, through its engineer in charge of said engine, to use reasonable care and caution in the management of said engine, and to keep such a lookout for the plaintiff as an ordinarily prudent and careful man would have done under the circumstances, to avoid running said engine upon or over the plaintiff; and if the said engineer did not exercise such reasonable care and caution, and his failure so to do was the proximate cause of the accident, then they must find for the plaintiff.'
Complaint is also made of the refusal to give an instruction requested by the defendant upon the subject of assumption of risk. But the instruction was couched in such general and sweeping terms that it was not calculated to give the jury an accurate understanding of the law upon that subject, or to direct their attention to the particular phase of the case to which it was deemed applicable. Consequently, the refusal to give it was not error.
The declaration alleged that the plaintiff's damages amounted to $20, 000, and prayed judgment for that sum. One paragraph of the charge to the jury dealt at some length with the question of the measure of damages, and contained the statement that, if the verdict was for the plaintiff, he should be awarded 'such an amount of damages, not exceeding $20,000, as' would compensate him for the injury. An exception was taken to this paragraph, without indicating wherein it was deemed objectionable, and complaint is now made that it erroneously conveyed to the jury an intimation that a finding that the plain- [229 U.S. 114, 120] tiff's damages amounted to $20,000 was justified by the evidence. Looking at the entire paragraph we think it could not have been understood by the jury as conveying such an intimation, and that the words now criticized could only have been understood as marking a limit beyond which the jury could not go. Besides, if the defendant entertained any fear that the jury would be misled in that regard, it should, in fairness to the court and the plaintiff, have called special attention to those words, in order that they might be so modified or explained as to leave no doubt of their purpose and meaning. McDermott v. Severe, 202 U.S. 600, 610 , 50 S. L. ed. 1162, 1168, 26 Sup. Ct. Rep. 709.
The 3d section of the employers' liability act declares, subject to a proviso not material here, that 'the fact that the employee may have been guilty of contributory negligence shall not bar a recovery, but the damages shall be diminished by the jury in proportion to the amount of negligence attributable to such employee;' and in its charge the court dealt with the subject of contributory negligence as follows:
An exception to this instruction was reserved, without suggesting any other objection to it than that the employers' liability act was deemed unconstitutional. It is now criticized (a) because, instead of saying that, if the plaintiff was guilty of contributory negligence, the jury 'must diminish the damages,' it merely said that such negligence 'goes by way of diminution of damages,' and (b) because it prescribed a wrong rule for the diminution in that it directed or permitted it to be made upon a comparison of the plaintiff's negligence with that of the defendant. Both criticisms were advanced in the circuit court in support of a motion for a new trial which was overruled, the court stating that neither criticism had been suggested before.
We think there is no merit whatever in the first criticism. In one sentence the instruction plainly stated that the statute requires, where the plaintiff has been guilty of contributory negligence, that 'the damages shall be diminished by the jury;' and the statement in the next sentence that such negligence 'goes by way of diminution of damages' was evidently intended as a mere repetition of the statutory requirement in somewhat different words. Its purpose was to give effect to what went before, not to qualify it, and it is not reasonable to believe that the jury could have thought otherwise.
The other criticism deserves more discussion. The thought which the instruction expressed and made plain was that, if the plaintiff had contributed to his injury by his own negligence, the diminution in the damages should be in proportion to the amount of his negligence. This was twice said, each time in terms readily understood. But for the use in the second instance of the additional words 'as compared with the negligence of the defendant' there would be no room for criticism. [229 U.S. 114, 122] Those words were not happily chosen, for to have reflected what the statute contemplates they should have read, 'as compared with the combined negligence of himself and the defendant.' We say this because the statutory direction that the diminution shall be 'in proportion to the amount of negligence attributable to such employee' means, and can only mean, that, where the causal negligence is partly attributable to him and partly to the carrier, he shall not recover full damages, but only a proportional amount, bearing the same relation to the full amount as the negligence attributable to the carrier bears to the entire negligence attributable to both; the purpose being to abrogate the commonlaw rule completely exonerating the carrier from liability in such a case, and to substitute a new rule, confining the exoneration to a proportional part of the damages, corresponding to the amount of negligence attributable to the employee. Second Employers' Liability Cases (Mondou v. New York, N. H. & H. R. Co.) 223 U.S. 1, 50 , 56 S. L. ed. 327, 346, 38 L.R.A.(N.S.) 44, 32 Sup. Ct. Rep. 169.
Not improbably the mistake in the instruction was purely verbal, and would have been promptly corrected had attention been specially called to it, and possibly it was not prejudicial to the defendant. But, be that as it may, the record discloses that full opportunity for presenting objections was afforded, and that the one now pointed out was not made. We must therefore apply the rule that where an instruction embodies several propositions of law, to some of which no objection properly could be taken, a general exception to the entire instruction will not entitle the exceptor to take advantage of a mistake or error in some single or minor proposition therein. Baltimore & P. R. Co. v. Mackey, 157 U.S. 72, 86 , 39 S. L. ed. 624, 629, 15 Sup. Ct. Rep. 491; McDermott v. Severe, supra.
Judgment affirmed.


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Welcome to Sonic Drive-In! It's like the old drive-in style - you pull up, order and then young hussies on roller skates (not roller blades - actual 4 wheeled skates!) bring your food with a smile!
When you pull up there is a massive menu board with all sorts of junk food to choose from. Combos, drinks, etc... It's cheap too...The onion rings were just okay - there was an after taste that I think made me sick later...so I probably wouldn't get them again.
Corn dog - how I love thee! This was a good one - with a touch of sweetness to the batter. Made me wanna go buy some for home!
This tater tot - chili - cheese mess was delicious - although it could also be the culprit for my upset stomach later on. Larry said "That looks like a hot mess!" And yes it was!
He got a burger and I must say - it was damn good - especially for a fast food burger. I stole a couple of bites and it was HUGE! Like - holy cow this thing has got to weigh 2 pounds - huge!!!! Definitely on par (better if you ask me) than anything from McD or BK.
I love the Cherry Limeade - it's like Cherry juice and Sprite with lime - nothing fancy - but it's so good!
Any Sonic fans out there???
p.s. only giving 2.5 cuz I was sick to my stomach after a couple of hours...chili cheese tots or onion rings - had to be it. couldn't be my beloved corn dog!


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IBM Storwize V7000 - Two New Reviews
Visits (11502)
The IBM Storwize V7000 was introduced last October, and has proven to be wildly successful. I saw two awesome reviews recently of the IBM Storwize V7000 disk system that I thought I would bring to your attention.
The first review is [IBM Storwize V7000] from Roger Howorth of ZDNet UK. Here are some quotes:
The second review is [IBM Storwize V7000 Disk System: Enterprise-class Function in a Midrange Storage Package] from Tony Palmer of Enterprise Strategy Group (ESG). Here are some quotes:
This is a great review, following the February ESG Report on [IBM Storwize V7000: Real-world Mixed Workload Performance in VMware Environments].
If you are looking for midrange storage with a nice set of enterprise-class features, consider the Storwize V7000!
technorati tags: IBM, Storwize V7000, Roger Howorth, ZDNet, Tony Palmer, ESG, GUI