text:
Prostatitis is swelling or
infection of the
prostate gland. It often hurts. The
prostate gland sits just below a man's bladder and makes part of the fluid for
semen. In young men, the prostate is about the size of
a walnut. It usually grows larger as you grow older.
There are
several types of prostatitis. They vary based on how long a man has had the
problem and what kind of symptoms he has.
Sometimes prostatitis is
caused by bacteria, but often the cause is not known.
Symptoms of long-term
(chronic) prostatitis are often mild and start slowly over weeks or months.
They may include:
Symptoms of acute prostatitis are the same, but they
start suddenly and are severe. They may also include a fever and chills.
Some men may have no symptoms.
A doctor can often
tell if you have prostatitis by asking about your symptoms and past health. He
or she will also do a physical exam, including a
digital rectal exam. In this test, the doctor puts a
gloved, lubricated finger in your rectum to feel your prostate. You may also
need blood and urine tests to find out which type of prostatitis you have or to
look for another cause of your problems.
Prostatitis caused by bacteria
is treated with antibiotics and self-care.
Home treatment includes
drinking plenty of fluids and getting lots of rest. Taking
over-the-counter pain relievers can also help.
Your doctor may prescribe medicine to control pain and reduce swelling.
He or she may also prescribe medicine to soften your stool and relax your
bladder muscles.
Surgery is rarely used to treat prostatitis.
Learning about prostatitis:
Being diagnosed:
Getting treatment:
Most men with
prostatitis have chronic prostatitis/pelvic pain
syndrome, inflammatory or noninflammatory. The cause of this type of
prostatitis is not known.
About 1 out of 10 men have prostatitis caused by bacteria.
Bacteria infecting the prostate cause
acute prostatitis and
chronic bacterial prostatitis. Bacteria most likely
enter the prostate by:
The specific cause of
chronic prostatitis/pelvic pain syndrome, inflammatory, is usually not known. But doctors
believe the possible causes include:
The causes of
chronic prostatitis/pelvic pain syndrome, noninflammatory, may be the same as those for chronic prostatitis/pelvic
pain syndrome, inflammatory. Some doctors think that a combination of things—including nervous
system problems and strained pelvic floor muscles—causes the
pain. Emotional problems and anxiety can make the pain worse.
The symptoms are similar for all forms of
prostatitis, with the exception of
acute prostatitis.
Symptoms of the chronic forms of prostatitis,
including chronic prostatitis/pelvic pain syndrome,
inflammatory and
noninflammatory, may include:
With acute prostatitis, symptoms are severe, come on
suddenly, and include fever and chills. Signs of
chronic bacterial prostatitis may be milder and come
on suddenly or gradually over weeks or months, and the symptoms may come and
go. Symptoms alone cannot be used to determine the type of prostatitis you
Other conditions, such as a
bladder infection or
benign prostatic hyperplasia (BPH), can cause symptoms
similar to those of prostatitis.
especially if it continues for a long time, can cause
anxiety, and
Men with
acute prostatitis have severe pain and fever. Most men recover fully when treated with antibiotics.
Delaying treatment increases the risk of complications, such as
sepsis or an
abscess in the prostate.
Chronic bacterial prostatitis can be difficult to treat, because some
medicines have a hard time reaching the prostate.
Men with
chronic bacterial prostatitis commonly have repeated urinary tract infections.
The infection may spread to the
The presence of infected
prostate stones (prostatic calculi) can make treatment of chronic
bacterial prostatitis more difficult.
Chronic prostatitis/pelvic pain syndrome,
inflammatory and
noninflammatory, often get better over time without
serious complications. But the symptoms sometimes return
Things that can increase
your risk for
prostatitis include:
If you have had
chronic bacterial prostatitis, you have an increased
chance of developing it again.
Contact your doctor immediately if you have sudden fever, chills, and
urinary symptoms, such as pain or burning with urination or blood or pus in the
urine. These symptoms may point to acute prostatitis.
Call your doctor if you
Most men will have some discomfort in their
prostate (prostatitis) at some time during their lives. If you
do not have a fever and chills or extreme pain, you may try home treatment for
a few weeks. Take nonprescription pain medicines, such as aspirin, ibuprofen,
or acetaminophen, to relieve pain. But if your urinary symptoms and pain
continue, be sure to see a doctor.
Health professionals who can evaluate and treat your
prostatitis include:
To prepare for your appointment, see the topic Making the Most of Your Appointment.
If your doctor suspects
that you have
prostatitis, he or she will begin with a complete
medical history and physical exam. The type of
prostatitis that you have cannot be determined solely from your history and
symptoms. Your doctor will do tests to find out the cause of your
Acute prostatitis is the least common
type but the easiest to diagnose. If acute prostatitis is suspected, a
urine culture will be done to test for the presence
and type of bacteria.
If your history and physical exam show that
you do not have acute prostatitis, a
pre- and post-massage test (PPMT) or
expressed prostatic secretions test may be done to
find out which type of prostatitis you have. An expressed prostatic secretions
test is not done if acute prostatitis is suspected, because when the prostate
is inflamed or infected, massaging it to obtain a sample for tests is very
painful and possibly dangerous. Some doctors believe that
massaging an infected prostate increases the risk of developing a bacterial
infection of the blood (septicemia).
More tests
may be needed if:
Tests that may be done include:
Treatment for
prostatitis usually begins with taking an antibiotic
for several weeks. If you begin to feel better, you may have to take the
medicine for 2 to 3 months. If you do not get better while taking
antibiotics, more tests may be done.
Treatment for
acute prostatitis is aimed at curing the infection and
preventing complications. Acute bacterial prostatitis is treated with
antibiotics, pain and fever medicine, stool softeners, fluids, and
Treatment for
chronic bacterial prostatitis is aimed at curing the
infection and preventing complications. Antibiotics are given for 6 to 12
weeks. Long-term antibiotic treatment may be needed if the infection
Treatment of
chronic prostatitis/pelvic pain syndrome, inflammatory, may be difficult.
Chronic prostatitis/pelvic pain syndrome, noninflammatory, is difficult to treat because it is not clear what
causes this form of prostatitis. The primary goal of treatment is to relieve
symptoms. Many treatments are tried, including:
You may be able to prevent
Prostatitis is usually treated with antibiotics and other medicines prescribed by your doctor. But there are some things you can do at home that may help you be more
Treatment of
prostatitis usually begins with antibiotics and
possibly other medicines to relieve symptoms. If you begin to get better, you
may have to continue taking antibiotics for 2 to 3 months. During this time, be sure to take the antibiotics as prescribed. If you do not begin to get
better while taking medicines, your doctor may want you to have more
Antibiotics are central to treating
acute or
chronic bacterial prostatitis. Your doctor may
prescribe certain antibiotics based on your medical history, symptoms, and
other factors such as your age. Other medicines may also be used to help
control symptoms, including:
Chronic bacterial prostatitis may require long-term
antibiotics, especially if the symptoms return. Some men need treatment with
low doses of antibiotics over a long period to control infection and prevent
urinary tract infections (UTIs).
Chronic prostatitis/pelvic pain syndrome,
inflammatory and
noninflammatory, are usually treated first with
antibiotics based on the possibility that an infection was missed during
testing. But experts advise against long-term treatment with antibiotics
unless an unusual bacterial infection is suspected.
that may be used to treat chronic prostatitis/pelvic pain syndrome,
inflammatory or noninflammatory, include:
Prostate stones (prostatic calculi) can make chronic bacterial
prostatitis more difficult to cure. If you have prostate stones, they may need
to be surgically removed.
Surgery for
prostatitis may be needed to treat
chronic bacterial prostatitis that does not respond to
long-term antibiotic treatment and that causes repeated
urinary tract infections. Surgery may be done to
remove part of the prostate or to remove infected prostate stones (prostatic calculi).
But this does not always cure the infection, and it may make the symptoms
worse. Surgery is typically done only if all other treatments have
Surgical removal of part of the prostate to remove prostate
stones or to treat an
infection that does not respond to antibiotic treatment is called
transurethral prostatectomy.
This surgery may not
cure prostatitis, because the surgery may not remove the portion of the
prostate causing the problem.
Prostatic massage for
prostatitis ("milking" of the prostate by a doctor) is an old treatment that many doctors are beginning to use again
because medicines do not always successfully cure prostatitis.
To massage your
prostate gland, the doctor inserts a
lubricated, gloved finger into your rectum and presses several times on your
prostate. This may need to be done 2 or 3 times a week. Why this works is not
certain, but it is believed that the massage helps open blocked ducts in the
prostate, improving circulation and antibiotic penetration into the
Prostatic massage is not done for acute prostatitis,
because it could cause the bacteria to spread from the prostate and cause a
wider infection (sepsis).
Other treatments that may be helpful for chronic
prostatitis/pelvic pain syndrome,
inflammatory or
noninflammatory, include:
UrologyHealth.org is a website written by urologists
for patients. Visitors can find specific topics by using the "search"
The website provides information about adult and
pediatric urologic topics, including kidney, bladder, and prostate conditions.
You can find a urologist, sign up for a free quarterly newsletter, or click on
the Urology A–Z page to find materials about urologic problems.
The National Institute of Diabetes and Digestive and
Kidney Diseases (NIDDK) is part of the U.S. National Institutes of Health. It
conducts and supports research on many of the most serious diseases affecting
public health, particularly the diseases of internal medicine. NIDDK sponsors
the National Kidney and Urologic Diseases Information Clearinghouse (NKUDIC).
It has information about diseases of the kidneys and urologic system for people
with these diseases and their families, health professionals, and the
Publications and links to medical journal articles about
prostatitis are available at this site. The Prostatitis Foundation also
sponsors a moderated e-mail discussion group.
CitationsAnothaisintawee T, et al. (2011). Management of chronic prostatitis/chronic pelvic pain syndrome. JAMA, 305(1): 78–86.Other Works ConsultedNickel JC (2001). Consensus development of a histopathological classification system for chronic prostatic inflammation. BJU International, 87(9): 797–805.Nickel JC, et al. (2003). Leukocytes and bacteria in men with chronic prostatitis/chronic pelvic pain syndrome compared to asymptomatic controls. Journal of Urology, 170(3): 818–822.Shoskes DA, et al. (2003). Long-term results of multimodal therapy for chronic prostatitis/chronic pelvic pain syndrome. Journal of Urology, 169(4): 1406–1410.
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Last Revised:
December 2, 2011
Healthwise Staff
Medical Review:
E. Gregory Thompson, MD - Internal Medicine & J. Curtis Nickel, MD, FRCSC - Urology
This information does not replace the advice of a doctor. Healthwise, Incorporated disclaims any warranty or liability for your use of this information. Your use of this information means that you agree to the Terms of Use. How this information was developed to help you make better health decisions.
To learn more visit Healthwise.org
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text:
The spot price is the benchmark for cash operations on international exchanges (LBMA, NYMEX, GLOBEX, HONG KONG). Its value sits between the ask, or buying price, and the bid, or selling price.
This chart is updated every minute. It shows performance starting at market open.
For additional information, consult theHow are Gold and Silver Prices Determined ?page.
With , one buys and sells on the same basis as the professional nsult our vast array of bars and coins.
The historical chart is updated daily at 12:15 AM GMT. The time unit, daily, weekly, monthly or annually, is adapted to the selected period. The performance shown represents the price activity over the same period.
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subset: commoncrawl


text:
Rejoice Penguins, Wells Fargo Has An ATM In Antarctica
Wells Fargo is the undisputed leader in Antarctic banking thanks to a pair of ATMs at McMurdo station. Despite the monopoly, the bank acts as a benevolent despot by allowing non-customers to draw cash without a surcharge. But who replenishes the stock of $20s? What happens when the ATMs break? Wells Fargo VP David Parker explained it all in a recent interview.
It turns out McMurdo doesn't get new money, which, for us, would create the overwhelming urge to doodle on bills.
[F]irst of all, the cash on the ice is recycled. So McMurdo Station (which is the scientists' station there on Antarctica)… any sort of venue, the cash is all recycled, and so there's no cash vendor that has to go down all the time to a regular ATM to replenish the cash volume.
And repairs?
We do send a vendor down about once every two years to do some preventative hardware maintenance on both of the ATMs, to make sure they're operational, change out the belts and that kind of stuff, provide new cartridges anything else hardware-wise that we would need to make sure that it runs. But as you can imagine getting somebody down there is quite a feat.
But what happens when things break anyway?
Well, the one thing that we've done, obviously, is we've trained the folks that are there on the ice to take care of the ATM, so they are basically self-servicing the ATM in the meantime, and then, like I said, just doing a really heavy, heavy preventative maintenance once every other year, and then having the other ATM that they can sort of utilize if there's a problem with the one running at the time, they can switch it over or they can use it to change out parts and that kind of stuff, so it gives them some spare parts if it's needed.
Obviously. Would Wells Fargo ever consider making domestic ATMs free to non-customers?
Raytheon who owns the stuff going on down there at McMurdo Station didn't want to charge their employees for that, and so we took that into consideration when we do our analysis as far as financials, so they're actually making up that difference for them.
The full interview is a worth a read if for no other reason than it's about a bank and won't make you mad.
The World's Most Southerly ATM: An Interview With Wells Fargo's David Parker [Needcoffee via The Morning News]
Want more consumer news? Visit our parent organization, Consumer Reports, for the latest on scams, recalls, and other consumer issues.


text:
Getting Going with Go
The first installment in our five-week tutorial on Google's new native language explains how to set up Go and build programs. It then walks through code examples that highlight some of the language's interesting features.
In this installment, Go expert Mark Summerfield explains how to set up Go, and then he provides two examples of Go programs that are explained in depth. The programs provide a partial overview of Go's key features and some of its key packages. The following weeks' installments will show the remaining key features and dig into many aspects that make Go a uniquely interesting language, especially for C, C++, and Java programmers.
As explained in the editorial Why Not Go?, Go has many unique features and might be described as C for the 21st century. Given that one of the language's designers is Ken Thompson, the languages do indeed share a common ancestor. [read on]
Go Tutorial: Object Orientation and Go's Special Data Types
In this second installment of our five-week course on the Go language, we explore Go's unusual approach to object orientation, its special built-in object types, the syntax for multiple return values, and how Go handles exceptions.
Although Go supports object-oriented programming, it provides neither classes nor inheritance (is-a relationships). Go does support the creation of custom types, and Go makes aggregation (has-a relationships) extremely easy. Go also allows for the complete separation of a type's data from its behavior, and supports duck typing. Duck typing is a powerful abstraction mechanism that allows values to be handled (for example, passed to functions) based on the methods they provide, regardless of their actual types. The terminology is derived from the phrase, "If it walks like a duck, and quacks like a duck, it's a duck." This produces a flexible and powerful alternative to the traditional classes and inheritance approach but it requires those of us used to the more traditional approach to make some significant conceptual adjustments to really benefit from Go's object orientation. [read on]
Go Introduction: How Go Handles Objects
Go's unique approach to OO steps around many problems found in other languages by preferring composition to inheritance.
TTo an object-oriented purist, neither C++ nor Java are object-oriented because those languages use method calls rather than message passing. Pragmatists equally might question whether Go is object-oriented, since in addition to using methods rather than messages, it doesn't support inheritance. This apparent lack is a deliberate design choice which reflects a growing discontent with deep, complex object hierarchies that can be very inflexible to use and expensive to change. Many programmers are switching to using aggregation wherever possible, and Go provides particular support for this approach. [read on]
RESTful Web Service in Go Powered by Google App Engine
In this installment of our Go tutorial, Go's support for REST-based Web services and cloud computing make quick work of useful document analysis project.
Here, I have developed a Web service in Go that does useful data retrieval and exposes the results via a RESTful API, and I've rolled it out on the Google App Engine cloud. If your volumes (traffic and data) are less than a certain limit, you can use GAE for free. [read on]
A Brief Tour of the Go Standard Library
In this final installment of our five-week tutorial series on Go, we examine the language's extensive standard library.
The Go standard library includes a large number of packages that provide a wide range of functionality. The overview provided here is highly selective and very brief. The contents of the library are likely to continue to grow after this article is published, so it is best to look at the library APIs online or locally using godoc (in the Go distribution) to get the most up-to-date information and get a comprehensive overview of what is available in each package.
exp (experimental) package is where packages that might potentially be added to the standard library begin life, so these packages should not be used unless you want to participate in their development (by testing, commenting, or submitting patches). The exp package is normally available when pulling Go from Google's Go source tree, but it may not be included in prebuilt packages. The other packages are OK to use, although at the time of this writing, some are still incomplete. [read on]


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"Valentine" [2001]
This offbeat modern horror film directed by Jamie Blanks (of Urban Legend fame) and starring Denise Richards presents the seemingly cliched story of an emotionally awkward young American whose scarring experience on Valentine's Day leaves him with a vengeful heart against those seeking easygoing or sentiment-optimistic life moments on the iconic 'day of romance.'
He grows up to be a serial killer wearing the mask of Cupid (a god representing love and the serendipity of enchantment).
This film addresses a very important civilization/humanity emotion: the anger (not poetry) created by unrequited love. We've all heard stories of unrequited/tragic love (historical and fictional) --- Antony and Cleopatra, Romeo and Juliet, Bonnie and Clyde, etc., etc.
Love can lift us to places of peace, and the frustrating loss of love or feeling of desolation can take us to the pits of yearning, rage, and alienation.
Valentine invites us to ask psycho-sociological questions, such as "Should I kill my wife for committing adultery?", "Does a hapless marriage signify a 'time to forget'?", "Can a lack of love create inhuman deformity'?"
That's why I give this very very symbolic and under-rated (if straightforward) modern-era horror gem at least 3/5 stars and liken it to The Birds, Child's Play, and Ghost in the Machine.
{interpretation dialogue}
TEENAGER 1: You're like the Phantom of the Opera!
KILLER: I'm simply a spirit.
TEENAGER 2: No way, you're the opposite of Cupid!
KILLER: I look the way you feel...in your worst dreams.
TEENAGER 1: You're a monster.
KILLER: I'm a 'friend.'
TEENAGER 2: You're no friend; you're destroying Valentine's Day.
KILLER: Don't you want me to? You have no care for love!
TEENAGER 1: Not true. V-Day is sacred to many American teenagers.
KILLER: Prove it.
TEENAGER 2: You're a real psycho.
KILLER: Death is never proud.
TEENAGER 1: You're no messenger of St. Valentine!
KILLER: I'm an 'angel of death.'
TEENAGER 2: You're the angel of death.
KILLER: Always be careful what you wish for...
Valentine (Film)
Valentine inspired me to think about the 'politics of betrayal.' I suppose horror films do engage thoughts about 'sociological normality.' For example, after watching Friday the 13th [2009], I thought about how horror film 'ghouls' symbolize human anxieties about serendipity-based intelligence.
So here's a short-story I cooked up (with a new mythology-oriented 'avatar' named Angelia) inspired by Valentine which should inspire pseudo-philosophical thoughts in those interested in academic connections between 'etiquette' and 'corruption.'
In some ways, Valentine is the opposite of Scorsese's film (adaptation of Edith Wharton's etiquette-sentiment novel of the same name) The Age of Innocence.
It occurred to me that one reason American horror films are considered 'low-brow' is because they naturally speak to pedestrian fears --- so it's sort of like going to the doctor's office (you're not interested in flowery).
Angelia was a wicked angel sent to Earth by Satan to corrupt humanity on Valentine's Day. Angelia studied the human mythology surrounding the god Cupid (a cherub-like spirit who causes people to fall in love by shooting magical enchantment-arrows). Angelia realized he was the opposite of Cupid and was interested to see what his contribution to history would symbolize. Angelia made a deal with Satan --- if everyone was satisfied with his deeds on this Valentine's Day, he would continue his 'work.'
Angelia visited the high school in Beverly Hills, California. It was an affluent neighborhood, so the kids/students were rich and somewhat snobby. Valentine's Day was quite the buzz at the high school, since guys and dolls alike were interested in celebrating sentimental chic (and expensive!) romance-themed clothing/fashions and of course chocolate. One girl named Eva wanted to see if her boyfriend Rex (the high school football team quarterback) was simply going to buy her another box of very expensive white-chocolate.
Angelia watched over and observed the activities of Eva. He decided that he would 'stalk' her and confound her romantic and sentimental relations this Valentine's Day and see how it would affect her perspective on affluence, luxury, romance, and betrayal. Angelia went to a nearby university library to read about the studies on the reliability of social contracts from an anthropological perspective (to deepen his understanding of civilization context). He studied about the Magna Carta, the US Constitution, and even the Hippocratic Oath. He started formulating 'links' between sentiment and governance.
Angelia returned to spook Eva. He started dropping fake love-notes in her locker with eerie handwriting, so she would think it was something unusual her boyfriend Rex did, and that's just what Eva thought. "What is Rex up to? He shouldn't try to be awkwardly creative and just send me some expensive box of white-chocolates!" Angelia then had boxes of expensive white-chocolate planted in the lockers of two of Eva's favorite girlfriends. When her friends approached Eva, she was enraged and thought to herself, "Rex is trying to court my girlfriends to see who will appreciate his expensive white-chocolate gift on Valentine's Day more!" Eva swore revenge.
Eva decided to go to Rex's house the night before Valentine's Day with a box of chocolates with bugs crawling inside (as a wake-up joke and furious insult!). She knew Rex's parents had gone to their lavish beach-house for the weekend, so Rex would be home alone (he didn't even have any pets). When she got to the door, she was surprised to find it was open. She let herself in and was horrified as she followed a trail of blood-stains all the way up to Rex's bedroom. When she walked into Rex's bedroom, Eva found his dead body (his throat was slit and he had a knife in his hand) next to an apparent suicide-note he had written.
Angelia had convinced Rex to kill himself by suggesting to him that high school rumors that he was planting white-chocolate gifts in the lockers of Eva's girlfriends made people think Rex was unsure of his affections towards Eva (a very popular and attractive young woman) and towards women in general! Rex realized people at his gossip-obsessed high school would think he was experimenting with homosexuality, and he didn't want that kind of gossip circulating about him, especially since he was getting ready to be a high-profile player on the UCLA college football team, which gets national media attention every autumn.
Eva read Rex's note and evaluated what happened, while Satan congratulated Angelia for a job certainly representative of 'anti-sentimental human angst' (Angelia then considered becoming an annual Valentine 'monster'):
"As a 'rich white boy' getting ready to play high-profile football for UCLA, I didn't feel comfortable having wild rumors that I was experimenting with homosexuality or betraying my girlfriend. I have a terrible past. My mother's sister was very abusive towards me before committing suicide (while my parents divorced temporarily and left me in her care). The haunting memory motivated me to think about the social ramifications of prestige, betrayal, and emotional corruption. I'd rather be a ghost than face this Valentine's Day with this 'stigmata.' Farewell, cruel world!"
I want to compare "Valentine" [2001] to "Annabelle" [2014], since they both present stories/ideas/images of sentiments gone awry.
Annabelle is about a spooky girl-doll which continues to plague human beings with its demonic presence.
Dolls remind us of pretty things, daintiness, and carefree youthful life, but the doll in this offbeat horror film, which is an installment in the 'metaphysics-trap' Conjuring film franchise, reminds us of unrequited hopes, lost courage, forgotten innocence, and of course, fear.
Horror films, fantasy-films, and comic book adapted vigilantism-daydream films are all the rage in Hollywood recently, so we should appreciate how post 1990s films such as Valentine and Annabelle represent a cinematic investment in 'paranoia-proselytization'...
{interpretation dialogue}
DOLL: Remember, you're pretty and doomed...
GIRL: You frighten me, but I love you.
DOLL: I'm your secret nightmare/dream.
GIRL: I wonder if mommy is scared of you.
DOLL: We should scare her and find out...
GIRL: I'm scared of the dark!
DOLL: Darkness is a thief.
GIRL: Let's turn on the lights.
DOLL: Alright.
GIRL: I'll make you a lace for your pretty dress, Annabelle...
DOLL: I'd rather drink some blood!
GIRL: What if I never found you?
DOLL: You'd be all alone...forever.
GIRL: Alright!
Forlorn Love(?)
Finally, for my last addendum to this thread (and perhaps my last Internet post anywhere, since I'm retiring from blogging --- after 15 years of it --- I had a blast my friends!), I want to talk about the development/evolution of love stories and how it contributes to the modern-age presentations of 'horrifying shock of love-experiences' (i.e., horror and betrayal themed cinema --- definitively a modern trend) on this great superstition-tradition day of Friday the 13th.
If we look at Biblical stories of great love --- e.g., Abraham and Sarah, David and Queen of Sheba, Samson and Delilah --- and compare them to new age romance-intrigue stories in popular folklore --- e.g., Romeo and Juliet, Tristan and Iseult, Bonnie and Clyde --- we find distinct parallels regarding social norms, political complications, and cultural factors, but we also find divergences regarding anticipation of optimism, the reality of traffic-congestion, and the challenges of modernization.
In particular, the story of Samson and Delilah represents incredible obstacles of an ethical nature, while the story of Tristan and Iseult represents sentimentalism in the face of great social progress.
Therefore, new age love stories (such as that of Tristan and Iseult) signify an appreciation specifically of society-confounded progress-related complications to love.
Tristan and Iseult have to deal with politics and monarchies/kingdoms and are ultimately considered paragons of love sought but always simply/tragically romanticized. Samson and Delilah, on the other hand, represent love yearned and challenged by barbarism/cynicism.
This contrast in stories about forlorn love between the old world and new world reveals the thematic approach of many horror film-makers (such as Jamie Blanks) in composing great and shocking tales of complete psychos 'avenging' themselves for love never obtained (but perhaps once sought).
Valentine, The Phantom of the Opera, and Sleeping with the Enemy obviously stand out in this respect.
It would be interesting to do a study of how horror-cinema symbolizes stances on the ironic undesirability of love-complications (and perhaps then of love itself!).
It can be argued that Hitchcock's Psycho started all this 'heresy.'
TRISTAN: My love is an elegy...
SAMSON: My love is a parable only...
TRISTAN: Maybe I will be remembered as a hunter!
SAMSON: I will be remembered as a prophet.
TRISTAN: It's strange how times have changed.
SAMSON: Love is no longer a story about humanity.
TRISTAN: Yes, it's now (also) a story about politics.
SAMSON: Love-vengeance may be uglier...
TRISTAN: Forlorn love is motivation for anarchy.
SAMSON: Do Christians fear 'betrayal-retribution'?
TRISTAN: Certainly, modernists fear 'dystopian complications'!
SAMSON: Perhaps then horror-films symbolize pure pity.
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text:
I realize that VS 2013 has not been out long, but is there any possibility that an update to NORMA to add VS 2013 support is in the works?
<rant>MS is trying to kill me. What happened to a two year release cycle? What is wrong with releasing new or updated packages for the previous platform (VS2012) so that everyone other vendor's tools still install and register the same way? They used to call a few new features a service pack, not a new product. I just got an official VS2012 installed at the beginning of the summer so I could both build and run NORMA on VS2012 (instead of just building it, the license is only checked when you open the IDE, which isn't needed for build). Upgrade licenses don't cut it for me because I have to be able to build and run the previous platform as well, not transfer the license to another product.</rant>
I've been gone most of the summer, so I guess I missed the release. It's mighty unsporting of Microsoft to burden my poor build machine with a new (fifth) version of Visual Studio less than a year after I got the last one running. It will be at least a couple of weeks before I can look at this. After download and install, it takes around a day to investigate the new system and get it to build--assuming there are no interface or libary changes, and there are always some surprises. If the DSL templates have changed sufficiently that the new libraries no longer work with the older generated bits, then add at least one more day of work to integrate a third set of generated files.
That's just the predictable busy work. Then come the surprises.
The last go round deprecated all of the build and project system classes (full rewrite of the custom tool code generator), broke coloring in the fact editor (and hid the settings to fix it in a completely undocumented registry key just to make it fun), mangled the extension installation system badly enough that I could no longer use it reliably, changed the toolbox item registration system, added some new diagram events that crashed at odd times if you didn't handle or block them (which, of course, the existing code didn't), and required new WiX (installer) versions that didn't like the old setup files. They haven't had as long to stir the pot this time, so hopefully it will be a smoother transition.
I guess the rant continued past the end tag, sorry.
Seriously, though, I'll see what I can do to at least get this out in 2013. Until I burn a couple of days to get the build working and the packages running in a new VS version I have no way of providing any estimate as to the total time. It's a total crapshoot.
Hello Karl,
I have no update to offer on this. NORMA installs for each visual studio version independently. It is possible that 2013 was reading some 2012 stuff in early trial versions, but it seems unlikely. The more likely scenario is that you had NORMA running in 2012 on a machine that also had 2013.
Update: I've posted an initial VS2013 installation. Retargeting went relatively smoothly, but I haven't tested anything but the basic functionality yet. I'll leave this up until I have something else or make an official public drop.
Update: The first build did not install the PLiX prerequisite for VS2013, and the ORMGeneratorSettings would not launch on VS2013. Please install with the link below.
Thanks Matt,
I have updated the Library version.
Hi Ken,
There is a reason this was posted as a preview.
It still has minimal testing applied (as in I have had no reports of success off of my machine) and has several new undocumented features that did not exist in the previous drop, have nothing to do with VS2013, and can cause file format issues opening in the other public NORMA versions.
When I'm ready to make a public drop I'll let you know. In the meantime, please let me manage my own intermediate files and do not post NORMA versions to any library until I officially bless them as public releases.
An October 2013 release will be available soon, but build 1535 is not it.
Hi Matt,
Despite the fact that the link that you posted will have scrolled off the front page in a few days, this site gets up to 75,000 visitors per month so any links that you post are likely to be seen by several thousand people.
I thought that you might find it useful to have as many testers as possible so that's why I posted it in the library - with appropriate caveats of course.
Big fan of ORM and will evaluate this over the next few weeks, but so far so good. The file types did appear in the New item category.
Thanks for the work you do on this tool. I always ask the Visual Studio DB tool people about incorporating ORM better but you know priorities. Keep plugging away and if you find that you get stuck or need some help or tools I am willing to donate some time.
Thanks for your vote of confidence in ORM and offer of help.Matt continues to do a magnificent job of implementing features, solving bugs and providing user help (to name but a few) but he is carrying a big load and like all of us, he has his priorites.
If you want to look at them, here are two (of the many) things that (in my view) "need doing".
1: Providing a generator that implements all data types available in SQL Server 2012.Since different versions of SQL Server have different data types, I suspect that the DDL generator for SQL Server 2012 may have to be shown as a separate item in the ORM Generator Selection list.You can see the ORM Generator Selection list at 1 minute 39 seconds into the experimental video that I posted here.Apologies for the quality of this video. It's purpose was to test that I could upload an MP4 file of reasonable size into the library rather than to produce a pedagogically correct video. I'm working on several others...
2: Simplifying the DDL generation processThe procedure for generating DDL takes rather a lot of keystrokes so a simpler procedure would help a lot.Tom Leeman had a go at this last year. He posted his suggestions in this thread.Matt had some concerns about Tom's method but I don't recall what they were.
If you want to contribute, please start a separate thread for each topic.


text:
Sights of Speedweeks 2005
Plenty of action filled the days and nights
The car count was in the thousands, once you added it all together. Ifyou took all the cars that competed at Daytona International Speedway,East Bay Raceway Park, New Smyrna Speedway, Orlando Speedworld, andVolusia Speedway Park, the total would have a comma in it.
The activity started in late January and proceeded into late February.For many tracks, it ended right before the Daytona 500 on February 20,but East Bay Raceway Park still have four of its scheduled 23 nights ofaction to go.
The weather was splendid. Unlike 2004, when rain washed out the criticalfinal Saturday, this year saw most of the tracks averting a problem.Daytona, New Smyrna, and Volusia ran their shows without weatherinterruptions. East Bay lost one night, January 28, in its first 20nights. That show was made up with a Saturday doubleheader the followingday.
For some, the Speedweeks excursion gave them a chance to post a winbefore their regular season began. For many, victory was something notunusual, but there was a career first time winner at New Smyrna whenKevin Goodale won the NASCAR Tour Modified race against top competition.
Plans are well underway for Speedweeks 2006. Anyone on hand this year ismaking their own plans to come back. Next year, they'll even bring theirfriends.
Daytona International Speedway
Rolex 24 at Daytona--Wayne Taylor, Max Angelilli, and Emmanuel Collard
ARCA RE/MAX--Bobby Gerhart
NASCAR Craftsman Truck--Bobby Hamilton
NASCAR Busch--Tony Stewart
NASCAR Nextel Cup Gatorade Duels--Michael Waltrip, Tony Stewart
NASCAR Nextel Cup Daytona 500--Jeff Gordon
East Bay Raceway Park
360 Sprints--Danny Martin Jr., Greg Leonard, Gary Wright, Chad Kemenah
410 Sprints--Chad Wells, Kelly Kinser, Danny Lasoski (2)
Lucas Oil NARA Late Models--Tim McCreadie, Terry English, Steve Shaver,Steve Francis, Don O'Neal (2)
Modifieds--Kenny Gaddis, Jimmy Owens, Jason Hughes, Brad Waits, JoelCryderman
New Smyrna Speedway
Super Late Models--Jeff Choquette (2), Louie Mechalides (2), MikeFritts, Ted Christopher, David Rogers, Travis Kittleson
Late Models--Jason Boyd (4), Jerry Artuso (3), Chuck Burkhalter (2)
Florida/IMCA Modifieds--Lee Collins (2), Jerry Symons (3), Jerry Artuso
NASCAR Tour Modifieds--Chuck Hossfeld (2), Donny Lia, Kevin Goodale, TedChristopher (4)
SK Modifieds--Steve Reed (2), Chris Jones (3), Eric Beers, Tim Arre,Dale Holdridge
Pro Trucks--Sean Bass, Jamie Skinner (2)
Mini Stocks--Sean Bass, Keith Roggen, Chris Thornton, Robbie Yoakam,Rick Sirmans
Super Stocks--Jack Lenzen, Pat Buckley
Strictly Stocks--Charlie Rosarbam
Sportsman--Patrick Thomas (2), Dale Clouser
Thunder Roadsters--Kyle Beattie (2)
TBARA Sprints--Doug Heveron, Dave Steele
Overall Champions--Louie Mechalides (Super Late Models), Jerry Artuso(FL/IMCA Modifieds and Late Models), Ted Christopher (NASCAR TourModifieds), Chris Jones (SK Modifieds), Jamie Skinner (Pro Trucks)
Volusia Speedway Park
410 Sprints--Terry McCarl, Fred Rahmer, Kraig Kinser, Jeff Shepard,Jason Meyers
Modifieds--Steve Arpin, Craig Thatcher (2), Joey Kramer (3)
Late Models--Rick Eckert, Billy Moyer (2), Tim McCreadie (3)
DIRT Modifieds-- Brett Hearn, Andy Bachetti, Billy Decker, Jamie Mills
Pure Stock--Steve Buker (2)
Hobby Stock--Travis Gamble


text:
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No one knew at that time that would end traffic going east out of Neb City and travel on I-29 from Missouri border to north of Omaha for months
by len hoskins
Nebraska City and the Missouri River valley,and other tributaries in a 25 mile radius of the city.... the WIlson Creek near Dunbar, the Weeping Water creek thru Union and across north of Nebraska City on Highway 75, the river north of Auburn and the Nishnabotna river and its tributaries east of Nebraska City thru RIverton,Farragut and Hamburg have been a terrific cost to the farmers, merchants, and families in all this area. And some lives on a bus headed for Lincoln..but never made it flooded west of Dunbar with the loss of lives as a bus overturned in the high water, including a former Safeway Store assistant manager and others whose bodies were never found.
these conditions have been traced clear back to 1881..where the Missouri RIver top height was 18.0 feet ranging far and wide...In 1938 it was 17 ft; 1942-18.43 ft . Then came the big one in 1952...which the CORP of ENGINEERS SAID IT WOULD NEVER HAPPEN AGAIN..A CREST OF 27.7 FT.
But back to what they called the granddaddy of 1952...
I was just a part of the help..along with all the boys at Nebraska City High School that gathered in Nebraska City to fight the flood , along with the 5th United States Army for weeks. Our high school boys, along with many other area high school boys and hundreds of volunteers from around the city and area..We filled sandbags, we stacked sandbags along the flashboards being built buy the 5th Army along the Plum Creek area in Iowa..But alas..all our worked went for naught as water surged over all the work and spreading all the way to the bluffs 12 miles away from Neb City to the east....Highway 2 was destroyed and when it reopened there were new bridges built along the way as the creeks in that area tore thru the area as well..A number of times a group of us got to go visit and eat with the 5th Army men who camped out on the Hayward Football field for a number of weeks
Even with all the dams, levees and other ideas..YES it did happen again.
2011....I think i was probably one of last to drive thru the water with the water lapping at my car bottom on the curve heading east away from the bridge..I wondered as I drove past all the businesses with the huge berms built around them-- could they possibly hold. No one knew at that time that would end traffic going east out of Neb City and travel on I-29 from Missouri border to north of Omaha for months
My brother-in-law Gary Barrett of Hamburg, a rural mail carrier in southeast Nebraska was soon to find out he wouldnt be able to get home to his wife, Carol Hoskins Barrett, for some period of time, having to stay with his brother in Auburn for sometime. So much damage, but thankfully NO loss of life.
HOPEFULLY there will never be another flood of this intensity..HOPEFULLY ALL THE WORK THE CORP OF THE ENGINEERS ARE PUTTING IN WILL HOLD THE WATER...THEY WILL NEVER BE FORCED TO RELEASE SUCH POWER OF WATER FROM THE DAMS AT THE NORTH END of the water system.


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If you're interested in a thoughtful analysis of American politics, then this recent podcast is right up your alley. Sam Harris recently interviewed David Frum (a former Bush speechwriter) and Andrew Sullivan. They offer up an insightful, far-ranging, and thoroughly civil discussion of what brought us to this precipice and what may lie ahead. They really drill deep into the psyche of America. Great stuff, if you're so inclined.
And I've been thinking about Frank's 1933 and the other politically-charged songs he's recently offered up. Given Frank's penchant for all things historical, his ceaseless globe-trotting, and the turbulent times we're living through, I think in music, he's rather uniquely placed to offer up his voice. And if FT is ever drawn to this end of the FT forum, I'd be interested to know if he follows any particularly political commentators.
Peter T.
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text: Currently looking for a full time veterinarian for a private 2 to 3 doctor small animal practice. Park Slope Veterinary Center is proud to serve Brooklyn for everything pet related and have a very dedicated staff. We are looking for 2yrs + experience. Must feel comfortable with occasional emergencies and be able to perform routine surgeries and keep up with a fast paced busy hospital. No overnight shifts, or on call emergencies. We are a general practice and do not hospitalize. We have two referral emergency hospitals nearby. Schedule consists of appointments from 9 to 7 Wed-Friday, 9 to 2 Tuesday and Saturday. Surgeries are in the mornings Tuesday thru Thursday. Days off would start Saturday after 2pm until Tupesday 2pm. We offer the latest digital x ray software and dental machine. Our veterinary program is Avimark. We also work with many rescues and offer low cost services. Benefits include, health insurance, 401k, 2 weeks paid vacation, 5 sick days and paid CE courses. For additional info please contact Dr. Szacki and visit our website, www.parkslopeveterinarycenter.com


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text:
A group led by real-estate investor Nicholas Schorsch said early Wednesday that it planned to buy independent broker-dealer First Allied Securities from its private-equity owner Lovell Minnick Partners, which has owned a majority stake in the IBD for less than two years.
"This brings a whole new dynamic to the broker-dealer world," said Jonathan Henschen (right), president of the recruiting firm Henschen & Associates, in an interview with AdvisorOne. "It's like in the '80s when insurance firms were buying broker-dealers, but now maybe its real-estate conglomerates flush with money that will be buying BDs."
First Allied's buyer is RCAP Holdings, which owns Realty Capital Securities, a wholesale broker-dealer and affiliate of American Realty Capital Properties (ARCP) and several other entities.
It is led by Schorsch, William Kahane, Michael Weil, Peter Budko and Brian Block. "In 2007, my partners and I perceived an opportunity to build an open architected, wholesale broker-dealer to distribute best-in-class investment solutions," Schorsch said in a press release.
"Today, RCAP Holdings takes another step forward," he said. "We believe that the challenges and opportunities we witnessed in the wholesale distribution channel exist in the broader retail network as well, and we see value and opportunity for growth in a paradigm shift toward a sustainable direct relationship between the mass affluent investor and their independent financial advisor."
San Diego-based First Allied, which acquired the Legend Group in late 2012, includes a network of about 1,500 independent financial advisors with more than 300,000 clients and over $32 billion in assets. In 2012, its revenue totaled about $233 million, with the average fees and commissions per advisor at $293,000 and average assets per rep at $29 million, according to Investment Advisor's 2013 Broker-Dealer Reference Guide.
"Lovell Minnick was a great owner for First Allied," said Chip Roame (right), managing principal of Tiburon Strategic Advisors, in an interview. "First Allied, with Lovell Minnick capital, was able to make several tuck-in acquisitions and also expand through the acquisition of clearing firm Legend … RCAP in some ways is just a new capital partner, replacing Lovell Minnick."
Unexpected News
"I'm surprised," Henschen said. "Lovell Minnick has only owned First Allied for a year or so." Private-equity firms usually hold onto BDs for four or five years and then sell them at a profit or build them up to scale and go public, he says.
This was the case with LPL Financial (LPLA), for instance, which was owned by TPG Capital and Hellman & Friedman from 2005 to late 2010, when LPL had its IPO.
"Lovell Minnick was probably offered a pretty good price for First Allied," Henschen said. "This is something I've never seen before. I've seen insurance companies buy BDs to distribute products, but this seems like a first for a REIT-focused firm."
"Speaking as a recruiter, this is good news. It means good financing for broker-dealers," Henschen said.
Roame agrees. "I like that [First Allied's] management invested $10 million in the deal," he said. "It's a sign of confidence."
Insurance companies have been squeezed by low interest rates, which were high in the '80s when they went on their BD buying spree. Today, REITs have been benefitting from interest-rate levels, as investors seeking yield have piled in.
"Insurance companies have been consolidating into their core business," the recruiter said. "But with interest rates low, people are hungry for yield. Now, real-estate conglomerates can do what insurance firms did in the '80: buy firms in other areas that they like."
First Allied CEO and President Adam Antoniades is upbeat on the situation for both advisors and investors, as well. "Our affiliated advisors will benefit from immediate access to a well-capitalized platform tailored to provide the mass affluent, emerging high-net-worth, and retirement-focused investors with the next generation of industry-leading investment solutions focused on durable income and principal preservation," Antoniades said in a statement. "Collectively, these investment solutions represent a significant competitive advantage in an increasingly crowded market of financial advice."
Conflicts of Interest?
Henschen wonders, though, if the coming together of firms that sell REITs and BDs may dredge up some issues that arose when insurance firms were buying broker-dealers.
"Will we see competing products get squeezed out and, at conferences, see the parent companies' products be given precedent and competing products be given less exposure there and in the wholesaling area as well?" he asked.
"In other words, this situation could present conflicts of interests. We do not know yet."
The broker-dealer business is not typically as profitable as related businesses, like insurance or REIT sales. "I was with an insurance BD, and we made little to no money [on the BD]. It's about distribution. We'd make 15% on insurance sales and very little on the BD."
First Allied, Henschen points out, already works with accredited investors (who have $1.2 million in liquid assets or more) and qualified investors ($5 million or up) on sales of alternative products, private equity and other investments.
"When it comes to alternatives it's all about due diligence and staying clear of products," he noted, like certain nontraded REITs. "Some firms, including First Allied, are being more selective and pulling back on the amount of alternatives they work with."
(First Allied and RCAP were not available to clarify these issues as of press time; however, comments shared late Wednesday will appear online Thursday.)
Other experts say that the deal announced today is interesting and should be followed closely.
"First Allied has always prided itself on its strong commitment to fee-based business and the world of managed money," said Mark Elzweig, of the executive-search consultancy Mark Elzweig Co. in New York, in an interview. "Nontraded REITs are a wholly different game. I think that First Allied advisors will be very interested in getting a sense of the new owners' vision for the firm going forward."
Read 5 IBDs That Changed the Game on AdvisorOne.


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Mr Rogers is above all that nonsense.
As a neuroscientist I have to disagree with the perception that anyone is doing mathematical modeling of cognitive intelligence, yet; intelligence as an economist defines it, yes, but economists are worlds away from actual cognition.
EoC, you are the bane of my existence.
EoC doesn't make creepy.EoC makes creepy worse.
the afflicted persons get hold of and consume carrots even in socially quite unacceptable situations.
So, the next few things are catching up on some days I missed. Yes, they're out of order. No, I don't care what you think about that.


text:
Should we loan American automakers money to keep their industry afloat, or should we allow Darwin's theory of "Survival of the Fittest" to take its course?
We didn't know it at the time, but the closing of Ewing Chevrolet in Canton, Ohio, after 93 years was a canary in a mine shaft.
Should we loan American automakers money to keep their industry afloat, or should we allow Darwin's theory of "Survival of the Fittest" to take its course?
For years, American carmakers have claimed they had to make gas-guzzlers to meet customer demand. But mostly, we want what advertisers tell us we should want.
For decades, Detroit beat back increased emission and fuel-efficiency standards, spending as much as $10 million on lobbyists. The only green they cared about was yours.
Now, the Hummers have come home to roost.
It's easy to forget that everything's connected. One reason Detroit is in trouble is because it can't borrow money thanks to the implosion of the banking industry. And if Detroit capsizes, millions will drown in the undertow, including people you know.
But where do we stop? It may be time to divert the $25 billion congressional loan originally set aside for fuel-efficiency programs, as President George W. Bush already has suggested.
But it isn't solely about the money; it's also about the product. For years, Detroit ceded ground by cranking out junk such as the Chevrolet Vega, a car that should have come with a free headstone.
Today's American cars are comparable to any other, but they've lost generations of consumers.
Bonus onus
Rep. Barney Frank, D-Mass., harrumphed last week that any money forked over to Detroit should not be burned on bonuses for people making more than $200,000 a year.
Is he kidding? Why are bonuses even part of the discussion? If your company is hanging upside down, should you really be expecting a bonus? Shouldn't you just be happy if your paycheck doesn't bounce?
People love to blame overpaid, "union-goon" assembly-line workers for Detroit's troubles, but laborers don't design vehicles people aren't buying, or marketing strategies based on the assumption of eternally cheap oil.
However much a laborer makes, a Fortune 500 CEO makes about 400 times more. And who has proved to be the better bargain, the people installing the steering wheels, or those white-shirts who drove their companies into the ditch?
If any money is given to Detroit, one of the conditions should be to fire the board members and top-tier executives who brought us to this place.
Better the sacrifice of a few than the demise of all.
Last week, the Big Three CEOs showed just how much they don't get it: They each blew into Washington on private jets ‹ to ask for public money.
Wouldn't taking a commercial flight, or even driving -- hello -- one of your own cars, have made for a better case?
Nothing like asking for a hand while giving taxpayers the digit.
Reach Charita Goshay at firstname.lastname@example.com


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text:
Signo SFX-Instruments is the artisan of unique sample based foley and sound effects instruments libraries for Kontakt sampler. These instruments called SFX-Instruments (SFX-I) are specifically designed to support the professionals in their complex tasks of sound effects "montage" often difficult to synchronize with picture. Integrated as a plug-in to the Digital audio workstation (DAW) software such as Pro Tools, Logic Pro, Nuendo and others, the Kontakt SFX-Instruments become then extremely powerful and productive tools.
From a little closer...
"One Key CYCLE"
Signo-SFX Instruments has developed the "One Key Cycle" (OKC), a versatile structure for zones distribution designed especially for footsteps SFX-Instruments, but it can be incorporated for other purposes such as the clothing and accessories SFX-Instruments. The "OKC" is provided one hundred twenty-four (124) samples with one hundred and four (104) Cycle Round Robin including four (4) zones of velocities on one key (C2) of the keyboard controller, which allows realistic variations to repetitive sound effects. For more flexibility and fine control, these same samples were spread individually on each white key of the keyboard. Finally, the black keys have been configured as additional sound like scratches, movements, handling and other related additional sounds. The One Key Cycle can be interactive by combining with each other. For example, when recording foley for a scene, a footsteps SFX-Instrument may be accompanied by a pants SFX-I and layered by a backpack SFX-I, ready to be recorded in a "single pass" and that from a single key of the keyboard controller.
The Main Control Panel is the heart of SFX Instruments. It is a set of knobs that affect parameters such as volume, panorama and tune. It also includes controls of the envelope, an equalizer and a filter for the entire instrument. In some cases, for sound design instruments, the Main Control is assigned to each of the sixty-one (61) keys (samples) of an SFX-instrument, making it a super SFX-Instrument combining sixty-one (61) independent Main Control. Each of the keys will have its own settings in memory (Vol, Pan, Tune, Eq, Env, Filter). In addition, to ensure maximum control and speed, the Main Control allows you to control its parameter from outside Kontakt. Ror example, using the automation system of your DAW or data generated by an external MIDI controller, you will have the opportunity to easily select and assign (or remove) the sources of appropriate automation freely.
Important note about requirements:
All Kontakt SFX-Instruments requires the full retail version of Native Instruments Kontakt v.4.2.4+ v.5+ and v.6+. The free version of Native Instruments Kontakt Player is not supported.
Enjoy your visit!


text:
Apple has accused a Chinese food company of trademark infringement, saying that its logo needs to be changed.
Apple said that Sichuan Fangguo Food Co.'s logo is too close its own and that the Chinese company must remove its leaf or pull its application for trademarks in notebook computers and electronic gaming. The company currently makes noodles and flour, but had registered the trademark in 16 categories for possible future use.
"There's a leaf so you can tell it's an apple, but it also contains two Chinese characters. The orientation is also different, and ours is a totally different shape," said Fangguo CEO Zhao Yi, adding that when he started the company, he "had never even heard of Apple. . . . I'm Fangguo, it's a fruit, if the leaf is removed, it'll just look like a bomb."
U.S. & World
News from around the country and around the globe
Looking at the logos, we're not sure that anyone would confuse Fangguo Food's logo with Apple's logo. (Several bloggers have also pointed out that it looks more like LG's logo.) Apple can pursue the case legally, but we're not sure it will hold up in court.


text:
Scrum Sevens
Crossing the void
Tom Hamilton
November 23, 2011
Willie Mason demonstrates his offloading skills against Wales © Getty Images
The Barbarians have featured some of the world's best players over the years and they continue their proud history against the Wallabies at Twickenham on Saturday.
Rugby league star Sam Tomkins has been named in their ranks to face the Tri-Nations champions and he follows in the well-trodden path taken by other cross-code legends from around the world. Controversy, emotional finales and World Cup beaters, it's all here in this week's Scrum Sevens.
Mat Rogers made his union bow for the Barbarians against Australia in November 2001 before he had even played a club match in the 15-man game following his switch from league side Cronulla Sharks to the NSW Waratahs. Rogers had previously played union in school and was one of eight new faces in the party to face Australia as they came to the end of their tour.
Despite the fanfare around Rogers' debut, the match itself failed to live up to expectation. The Wallabies ran out 49-35 winners and despite the scoreline suggesting an epic, the majority of the Barbarians' points came at the beginning and the end of the match and despite the Barbarians' reputation for throwing the ball around and attacking at a whim, they played a forward orientated game, under the guidance of Bob Dwyer, much to the disgust of the crowd packed into the Millennium Stadium.
Rogers went on to play 45 games for the Wallabies and turned out for the famous invitational side again - in December 2004 against the All Blacks. Rogers started at fullback but was unable to prevent the Kiwis from completing an unbeaten tour of the Northern Hemisphere that season.
Australian speedster Tuqiri had a more conventional entry to Barbarians rugby compared to fellow cross-code convert and Wallabies team-mate Rogers as he had already turned out for the national side at the 2003 World Cup. And the former Brisbane Bronco made his Baa Baas debut in the loss to the All Blacks in December 2004 in a select side laced with Australian internationals.
Despite the likes of Tuqiri, Matt Giteau and Chris Latham appearing in a strong backline, with Tuqiri lining up at outside centre, the Barbarians fell to the Kiwis 47-19. But it would not be the final time Tuqiri lined up in a match featuring the Baa Baas. In December 2008, he played for the Wallabies against the international select side at Wembley where he was on the winning side and also ran in a try in the process. He went onto play for the Waratahs in the 2009 Super Rugby season before transferring to the Leicester Tigers on a short-term deal. Tuqiri is now back in Australia plying his trade in rugby league for the Wests Tigers.
The Brisbane Broncos winger made the high profile switch to union side the Queensland Reds in time for the 2002 Super Rugby competition having crossed the line an impressive 110 times in 189 appearances in league. His debut for the Wallabies soon followed in June 2002 where he appeared alongside fellow league convert Rogers and made an immediate impact. Similar to Rogers and Tuqiri, Sailor appeared in the 2003 World Cup final and continued to carve up defences for the Wallabies until 2006. And despite his career in union ending in controversy with a failed drugs test, Sailor turned out for the Barbarians in 2005.
And it was against England that Sailor made his one and only start for the Baa Baas. An England side featuring the likes of Tom Voyce, Paul Sackey, Andy Goode and Louis Deacon had no answer to the rampaging Barbarians as they ran in eight tries in response to the Red Rose's five. Sailor grabbed a brace on the day - alongside a double from Bruce Reihana and Brent Russell with Carlos Spencer and Trevor Halstead also touching down.
The rugby league star is someone who never shies away from the public eye and his move to union was shrouded in controversy. When Mason signed for Toulon - on a deal worth a reported £1.6m - he was under contract with Hull KR, though they released him once they found out the 31-year-old had paid a visit to the Top 14 side's supremo Mourad Boudjellal.
And he went on to appear for the for the Baa Baas against England on May 29, 2011. His only real contribution was to catch Henry Trinder with a high tackle but he had a chance to redeem himself a week later against Wales at the Millennium Stadium. This time Mason excelled in the closing stages of the match as he set up two tries through his notorious offloads.
Mason's Toulon career is yet to reach the heights as previously expected with the centre only starting one match for the Top 14 side to date.
One of England's favourite sons, Robinson starred in league for Wigan before making the switch to union where he joined Bath. However, it was at Sale where he will be best remembered after joining the Edgeley Park side in 2000. Robinson also starred on the international stage where he scored in the 2003 World Cup final and also made a huge impact on the British & Irish Lions' tour of Australia in 2001.
In 2007, Robinson announced his retirement from the game but he missed the final of the World Cup through injury in what was set to be his final match. But he was called up to the Barbarians for their December 2007 clash against the reigning World Cup holders the Springboks. Although Robinson failed to cross the line, he lit up Twickenham with a series of his trademark mazy runs and played a key part in their historic 22-5 win over the Boks in what was his last professional match.
Sonny Bill's move to union in June 2008 caused huge uproar back in Australia. He was turning out for the Canterbury Bulldogs at the time and left 18 months into a five-year deal to journey to Toulon and join the Top 14 big-spenders with Mourad Boudjellal footing a reported £300k transfer fee. After a season of transition on the Mediterranean coast with Toulon, Williams was named in the Barbarians side to face Australia on June 6, 2009.
Although he was yet to play in New Zealand or feature for the All Blacks, Williams' inclusion was received with huge media fanfare. Despite his best efforts, Williams' debut on Southern Hemisphere soil in the union form of the game failed to live up to its billing as the Wallabies ran out 55-7 winners.
Despite his underwhelming debut for the Baa Baas, Sonny Bill returned to home soil to join the Crusaders in 2010 and played a key part in the Kiwis squad which took the 2011 World Cup.
Welsh centre Scott Gibbs appeared for the Barbarians on three occasions with a spell in rugby league dividing up his career. By the time he journeyed to St Helens in 1994, he had already turned out for the Baa Baas twice and had secured his place in British & Irish Lions history having turned out for them in 1993. He made his Barbarians bow against Australia in November 1992 in London as the invitational side lost 30-20 to the Wallabies in the 'Final Challenge' of their tour of Europe. And this was quickly followed by an appearance the following year against the All Blacks in Cardiff where he was once again on the losing side with the Kiwis running out 25-12 winners.
And after his brief stint in rugby league, Gibbs returned to union and was named 'Player of the Series' on the Lions' tour of South Africa in 1997. He played one final game for the Barbarians against Scotland in May 2000. He lined up alongside the likes of Zinzan Brooke, Neil Jenkins and Lawrence Dallaglio as they played out a thriller. The Baa-Baas prevailed took the plaudits edging Ian McGeechan's Scotland 45-42 in a match which saw 12 tries and Joeli Vidiri crossing for a hat-trick.
© ESPN Sports Media Ltd.
Tom Hamilton is the Assistant Editor of ESPNscrum.
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SuperCube 8000
Ultra-performance powered subwoofer with disappearing alpha-numeric display, wireless connectivity option, performance optimizer remote control and explosive bass response for movies.
Guías y Manuales
Talleres Autorizado y Garantia
Music Lovers Rejoice
Subwoofer manufacturers are always talking about how "explosive" their subwoofers are (frankly so do we), but there's more to home entertainment than rocket blasts and explosions—there is also music, be it in the movies you watch or the CDs you enjoy. And for music the quality of a subwoofer's performance is way more important than the quantity. The bass should be "tight," precise, and musical. Bass notes should have pitch, not just a dull thud or drone. Definitive Technology was started by and is run today by music fanatics and the very first thing we do to evaluate a subwoofer prototype design is to listen to music. If a subwoofer doesn't do an exemplary job with music reproduction, it's not a Definitive.
Features in the Service of Superior Performance
The most obvious departures from previous SuperCube models are the addition of a digital display (cleverly hidden under the grille cloth) and a wireless remote. They're much more than an aid for chronic couch potatoes; they're serious performance optimizing tools for perfectly blending the subwoofer to your system and room and correcting for differences in program material.
In an ideal audio system the subwoofer works "invisibly," simply adding deep, loud bass without calling attention to itself—blending seamlessly with the main speakers. The key to seamless main speaker/sub blending is finding the perfect crossover frequency, equalization and phase settings for your system and room. And the best place to make those "set and forget" adjustments is from your listening chair via a wireless remote. For everyday use the remote makes it easy to set just the right amount of bass output to compensate for program material differences. As you make settings adjustments, the hidden display light up to indicate the setting value, and then turns off a few seconds later. You'll get exactly the bass performance you want — effortlessly at the touch of a button.
Digital Tracking Amplifier for Clean High Output
The SC8000 features a designed-from-the-ground-up brawny Class HD digital tracking amplifier that is optimized for real world power demands to deliver low distortion and high output. As well as producing high continuous power to cleanly reproduce sustained bass, this all-new Definitive amp has a high crest factor to deliver considerably higher power during short, transient peaks such as bass drum kicks and on-screen artillery blasts. You'll enjoy high volume, high impact, and low distortion bass from your favorite action/adventure films and TV shows without sacrificing the smooth response and quick precision needed for music.
As well as being powerful, the new Definitive amps are environment-friendly. The amplifier goes into idle mode less than 30 minutes after the cessation of signal and draws a mere half Watt or less of current, meeting international standards for low energy consumption.
Computers in the Subwoofer Exert Precise Control
The SuperCube 8000 has an integrated 56 bit Digital Signal Processor (DSP)–in essence a mini computer–that extends and improves the bass response. Multi-band digital protection systems tightly monitor and control the woofer system to prevent distortion and woofer damage at ultra-high volume levels with a minimum of audible artifacts. In contrast to simpler one-band compression/limiting circuits used in competing subwoofer amp designs, the Definitive subs feature a Multiband Dynamic Range Optimizer (M-DRO) that divides the frequency range into multiple bands. If the DSP detects an overdrive condition in the upper bass range, it applies just the right amount of compression and to prevent distortion to just that range without compressing the low bass, thereby vastly reducing the audible compression artifacts. The bottom line is that SuperCube bass is always tight, highly detailed and distortion free.
Rock Solid Cabinets Ensure Pure Low Distortion Response
The cabinet of a loudspeaker plays a large part in its sonic performance. Resonance and vibration can add unwanted distortion as well as drain away important acoustical energy from the system. Definitive's subwoofer enclosures have been specifically engineered to be totally inert and vibration free, to ensure you of absolutely pure sonic reproduction. The front and rear panels are nearly 2-inches thick and the cabinet incorporates multiple internal braces to ensure total solidity. To top off the extraordinary performance, the SuperCube 8000 is finished in gorgeous piano-gloss black.
High-Definition Subwoofer Drivers Deliver Superior Detail and Lightning-Fast Transient Response
The powerful, high-definition drivers used in the new SuperCubes were specifically engineered for their task: to deliver rock-solid low distortion bass, reaching down to the lowest frequencies, with an outstanding quality of superior transient response ("tightness"). The special ultra-stiff cones are joined to specially formulated surrounds and long-throw voice coils and spiders. The incredibly rigid cast Aluminum baskets are engineered to hold the massive magnet structures and large voice coils in absolute alignment. The high temperature voice coils are made of aluminum wound with triple insulated ultra-pure copper wire and baked in epoxy for superior power handling and reliability.
The SuperCube 8000 features a new 11-inch (28cm) subwoofer driver pressure coupled to two 12-inch (30cm) Ultra Low Bass Radiators. The total piston area is greater than a 18-inch diameter woofer but with far greater speed, musicality and control than a single large diameter woofer could ever deliver—and it all fits in a compact enclosure. The SuperCube 8000 can fill the largest domestic spaces with loud, visceral, extended and musical bass yet it occupies only 1.8 square feet of floor space!
A Full Range of Inputs Facilitates Easy Hookup to Any System
The SuperCube 8000 can connect to any audio system via your choice of single cable LFE, stereo line level and speaker wire level inputs. Or you can choose to go wireless with the optional SCW-100 wireless connectivity kit for the ultimate in connection convenience.
|Definitive Technology
|16 1/4"
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Cornelia Jefferson Randolph
Born at Monticello, Cornelia Jefferson Randolph (1799-1871) was the fifth child and third surviving daughter of Martha Jefferson Randolph and Thomas Mann Randolph. Cornelia spent much of her time at the home of her grandfather Thomas Jefferson and, as a young girl, often accompanied him on visits to Poplar Forest. She learned mechanical drawing from Jefferson and practiced by creating renderings of architectural plans for the University of Virginia. When she was a teenager Cornelia gave John Hemmings a dictionary to aid him in learning to read and write. [1] Cornelia never married and lived at Tufton and then Edgehill, the homes of her older brother Thomas Jefferson Randolph. In the 1830s, in order to try to improve the family finances, a school was established at Edgehill where Cornelia taught drawing, painting, and sculpture. She later translated and edited The Parlor Gardener: A Treatise on the House Culture of Ornamental Plants. Translated from the French and Adapted to American Use (Boston, 1861). After the Civil War, Cornelia moved to Alexandria, Virginia, to live with two of her sisters at the home of her niece Martha Jefferson Trist Burke. She died there on 24 February 1871 and was buried in the Monticello Graveyard.
- ↑ Cornelia Randolph to Virginia Trist, Oct. 25 [1816] (Nicholas Philip Trist Papers).
Further Sources
- Library of Congress. Thomas Jefferson Papers. (search for "cornelia")
- Randolph, Cornelia. Commonplace Book. n.d. Library of Congress, Thomas Jefferson Papers.
- Randolph, Cornelia. "Monticello. Two sketches of plan showing location of furnishings and works of art." Post 1826 July. Drawing N-563. Thomas Jefferson Papers, Special Collections, University of Virginia Library, Charlottesville, Va.
- Malone, Jefferson, 6:286.
- Shackelford, Descendants, 1:147-€"53, 253.
- Thomas Jefferson Foundation. Family Letters Project.
- Thomas Jefferson Foundation. The Monticello Classroom.


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Creating your own Identity Plates in Lightroom 3
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[♪music♪] [Adobe TV Presents] The Complete Picture by Julieanne Kost] Hi, and welcome. My name's Julieanne Kost. In this episode of The Complete Picture, we are going to make our own identity plate in Lightroom. We're going to make our own identity plate here, starting in the library because I'm going to show you how to use it to kind of brand Lightroom to make it your own. That can be especially helpful if maybe you're using this as a sales tool or maybe just because you want to customize it. Then we'll take a look at how to use identity plates in the slideshow print and the web module. So let's begin here. I'm going to go into the Lightroom menu and come down to identity plate set up. Now if you're on Window, you're going to want to go up underneath the edit menu and come down to identity plate setups. You'll notice that it's right next to the edit watermarks, which is a really cool new feature in Lightroom 3. We're going to talk about identity plate setup, but you should just know that these both exist, because when we get to the slideshow or the print or the web, you should know that you can add a watermark over your image and use an identity plate. So kind of two different ways that you can put content on top of your images. So let's start with the identity plate set-up. The first thing we're going to do is we're going to turn it on, so we're going to enable it here. And you can see that I can either use a stylized text identity plate or I can use a graphical identity plate. So if I wanted to use a stylized text identity plate, all I need to do is type it in. So if I wanted to type in photography by Julieanned Kost, we can go ahead and type that in. Let's do it in all lower case. And then if I wanted to make changes to maybe just some of the type, I could by just selecting it like you would do in any text editor. And we can go ahead and make that part bigger and maybe change the color by clicking on the color swatch here. So let's make that a bright red. And there you can see that we've made those changes and it's displaying those changes up here in our little identity plate area. So if we like this, then what we should do is simply save it so that we can use it in the other modules. So let's save this as let's just say PBJK, and we'll just put text right after it. And maybe we'll put red just so that I remember that my text is red here. Save, and that now becomes part of this drop-down list. So that's how easy it is to make a text-based identity plate. If we want to use a graphical identity plate, all we need to do is click this radio button and it asks us to locate our file. Now, you can locate any kind of file, but, I will tell you, the best one would be a PNG file. The reason I say that is because PNG supports transparency, so that means I can have my logo, my transparent background, and then maybe it doesn't make as much sense here in the library module, but when I go to slideshow print and web it would be this nice logo on top of maybe if I have a gradient in my slideshow or something like that, it would just seamlessly integrate with it. So, I'm going to go ahead and choose. Let's see, what do I want? We could choose a banner or we could choose a logo. So here's a kind of different logo. It's a graphic file, but it basically says the same thing, Photography by Julieanne Kost. Or maybe we want to pick something like this. It doesn't look like anything and that's because it's actually my signature in white, because I want it to show up over the black. So let me just show you. If I pick the next one down, this is the PSD file, just so I remember what it was. So it's my signature over black, then I saved it as a PNG file without that black background. All right, so we'll choose that. You can see that now I have my signature in the upper left, and if I like this we'll just save this as signature. And I might want to put white. And that becomes my first graphical identity plate. Of course, the best thing about this is, like I said, once we save them, they become available in all of our other modules. Okay, before I leave this dialog box I just want to show you that on the right-hand side you can also customize how large the module names are. So if we wanted to make these smaller, we could bring them down to, well, 12 point, I think, is a little too small. Let's maybe go to 14 point. We can change the color, we can change the font. Everything that you can do to that stylized text identity plate you can do right here to the module picker buttons, as well. So once we've got that set, we'll just click okay. So that's one way to create and stylize your own identity plates. Now let's take a look at some of the examples over in slideshow print and web. So here's just a real simple example. I have my photograph here in the middle, and underneath I have my identity plate. The way you turn on or off an identity plate is in the overlay area. So we can just uncheck that, and it goes away. Check it on, it comes back. This little teeny tiny triangle here will allow me to pick from same set of presets or saved settings that I've done, or we can go in here and we can edit these. So, again, I can locate a file for the graphical identity plate or use a stylized text identity plate, anything I want. Let's go ahead and select that signature again. Click okay, and there's my signature. We can change the opacity of this and the scale. So I can go ahead and scale it up if I wanted to, and I can relocate it to any position. You can see the little anchor points. See how the anchor point here is adhered to the side of this line? That's kind of nice if you want, when you move from one image to the next, the identity plate to stay in a fixed location in relationship to your image. So if you have horizontal and vertical images, and you anchor, let's say, to the lower right of your image-- obviously we probably want that smaller, but you see the point--I would anchor it to the image so that when I transfrom from a vertical to horizontal it would always stay in the lower-right of my image. Or we can anchor this to the actual slide, so that now, regardless of the orientation-- whether it's horizontal or vertical--of my photograph, my signature would stay in the same spot. So that's just so you know where those anchor points are. And, of course, we can also change the opacity. I'm not sure if I said that or not, but I'm going to leave that fully opaque. Okay, so that's the identity plate and the slideshow. I think I just have one other example. Oh, right here, yeah, because I did want to show you-- in fact, let's go make this. Let's go ahead, and I'm going to change the layout of this a little bit. Let's go here. I'll show my guides, and what I'm going to do is I'm going to force my image to the far right-hand side, and I'm going to put a huge, graphical identity plate right here on the left. So we'll go back to overlays, choose the triangle, go to edit, and I'm going to go locate my file. So let's go to my identity plates, and this is going to be for my slideshow. I have got a vertical striped banner here on black, and it's a really big file, so it's not even displaying the whole file right here, but when I click okay you can see that it's replaced that. I can go ahead and enlarge this. So if you have a cool custom logo or something that you want to display, feel free to also load that up because I think a lot of people think their identity plates have to be really small, but they can be as large of a graphic as you want them to be. And then all we need to do, obviously, would be just to save this in our template browser, and that would be accessible and we go and we select other images that we want to work with. Okay, let's go over to the print module. Now in the print module here, this example doesn't have an identity plate, but we could quickly add one. In fact, it might be kind of nice to kind of lower these. We've got this nice grid of nine images, but I'm just grabbing the top margin here and dragging it down a little bit, because that will give me a lot of space for my identity plate. So now we just need to scroll down, and in the page area that's where we're going to get our identity plate. So I'll go ahead and click to turn that on, and you can see the last time I was in here, I actually just used a text identity plate. I just typed in the word proof, and I told it to render on every single image. So that's kind of another use of the identity plate. We can also turn on a watermark, so now I can have both my identity plate and my watermark sitting on top of the same image. Okay, but let's say I don't want the word proof because I've already got my watermark. So let's swap this one out. Again, we could go use our signature, but instead of putting it on top of every single image, let's just put it up here at the top. So you can see it would be really easy for you to brand maybe some proofs that you are going to send to your clients by just adding your own identity plate. Okay, some other examples here. We've already talked about the proof one, so what does this look like? That one just has the watermark, and that one has the logo. Here it's just kind of a reverse logo in that it's black and the back of the page is white. And you just set the page background color right here under the page option, so that's a real easy thing to do. Let's scroll down here. What we were using a minute ago was just the first layout engine here, the single image or contact sheet layout, but we can also go down and use the custom engine. So let's say, for example, we want to put two photographs on a page, and this is really easy. This is a new feature of Lightroom 3. If you put multiple cells on a page, then you can simply drag out your images to fill those cells. And here's my identity plate here. So that's another good example of that. Let's scroll down a little bit more and maybe look at a diptych here. Here's another example. Let's select more than one image again. So we've got our two images next to each other and the identity plate, which is just a logo right below it. And again, one more example here. Here's a single image with an identity plate. However, I think that the identity plate is white, so it's not showing up. So let's come down here. Yep, sure enough, there it is. It's white, so let's pick a different identity plate, maybe my studio logo. Oh, and look at this. This is interesting. You can also rotate the identity plate, which most people do miss because it's just this little option right here. See how it's rotated negative ninety? If you click on that, you can rotate it however you want. Let's unrotate that, though, and just put that right down at the bottom. So there's some good examples of how you can use your identity plate in the print module. And last, but not least--oh, there's one more I want to show you. Everybody always asks me, "How do you add edges?" "Can you add edges in Lightroom?" Most of the time I tell people to go to Photoshop. But if you just want to print out all these images with the same edge, we can go right down here and you can see that I have an identity plate, and look at it. All it is, is it's a Photoshop file. Well, that's not really true. I created it in Photoshop. It's a white file, it's got a white outline here, and then it's got these black edges. And we can actually go take a look at it if you want to. I can go ahead and say edit, and then we can say locate the file, just so you can see it a little bit bigger. This would be in my print area. So here it is, it's an 8-byte, 8-inch image at 150 pixels per inch, because that's going to be just fine because they're just kind of these messy edges, and it's a PNG file. This whole center area is transparent, so that when we add this-- it's going to warn me that it's too big, but I'm going to use it anyway-- when we add this, this is what I get is this great transparent area on the inside and then my edge. Then it goes to white. So that's just one more example. Okay, over in the web module, you can see here that I'm just using an identity plate up at the top. One thing I will just note is that when I do this, typically, I don't add the site title because we could add more information in here, but then it just gets really crowded up there at the top. So if you don't need the site title, because a lot of people don't realize that if you just leave that blank and then tap the tab key, it will actually change the template and it will change the spacing there so that you can have this great identity plate that's custom to your studio and then just not include a title there. So that's one example of it, and then I was just going to show you another example, maybe, as a flash example. Here I've got my identity plate, and what I've noticed is that I actually wanted it smaller here. So you might need to play around a little bit with the size of your identity plate. The other thing is, when I made this identity plate, so I think it's 43 pixels high; it's not very big. I have a slight indent, so you can see I didn't want it to start way over flush left. I wanted it to start like right above view and right above where my little thumb nails were, so my Photoshop file actually has a little bit of extra black space on the left-hand side, just so that it looks good when I use it in this template. All right, and if we just scoot down here. Sorry, I did forget to show you where it was. You just go under the appearance panel, and that's where your identity plates are going to be. Just like all the other modules, you select them here, or you can go in and edit them. All right. Excellent. So that, hopefully, gave you a good overview of all the different ways that you can use identity plates in Lightroom. I think it's a great way to customize it, especially if you're using it in your sales room and you've got your own logo up here. And then it also helps you customize all your slideshows and when you print out all your images, as well as your website. My name is Julieanne Kost. Thanks for joining me. I hope you'll join me again on the next episode of The Complete Picture. [♪music♪] [Executive Producer, Bob Donlon; Producer, Karl Miller] [Director, Kush Amersinghe; Post-Production, Erik Espera][Adobe TV Productions]
Video Details
Duration: 13 minutes and 26 seconds
Language: English
License: All rights reserved
Genre: None
Views: 365
Posted by: adobetv on Oct 7, 2010
In this episode, watch as Julieanne Kost demonstrates how to create and save text and graphic presets to be used as Identity plates to brand your images when outputting them to slideshow, print and web. In addition, Julieanne will show you how to personalize your copy of Lightroom with your own Identity Plate.
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Dancing With The Stars Season 9 Contestant And Professional Snow Boarder Louie Vito Makes History!!
Former Dancing With The Stars Season 9 contestant and professional snow boarder, Louie Vito, made history yesterday!! A fan named Byrl sent us the details and a cool video for how Louie did so. What's more, former partner, Chelsie Hightower, was there to support and cheer him on. Below reader Byrl tells us about it and what's next for Louie….
Byrl: Here is the video of Louie Vito making history this afternoon. Chelsie Hightower was there cheering Louie on, she saw history being made right in front of her eyes. Louie is the first male to ever win back to back Dew Cups, first to ever throw down 4 double corks and score the highest score ever in the Dew cup of 98. Chelsie was overjoyed and you can tell at the very end where Louie goes over they are hugging each other. I have watched this video 3 times and every time he amazes me on just how good he is.
Now he is in flight to Oslo, Norway for a competition and will be back in the US on the 20th and then has a break for about 5 days and then on to Mammouth, California from March 1st-3rd. Then from there he goes to The Burton Open in Vermont on March 5h-11th and then to Tynes, France, I think, for his last competition of the season. He won gold there last season.
Enjoy this video…
Picture above is of Louie, Chelsie, Louie Vito Sr., and JJ Thomas (Louie's coach). Thanks to Byrl for the news, pic, and write-up.