text:
EU Liberals To Vote Against ACTA; Conservatives Want To 'Fix' It
from the it's-a-majority,-but-not-as-we-know-it dept
We reported last week that the Socialists and Democrats in the European Parliament had decided to vote against the ratification of ACTA; now the Liberals and Democrats are following suit:
The Alliance of Liberals and Democrats in the European Parliament announced today that it cannot support ACTA (the Anti-Counterfeiting Trade Agreement).
The press release picks out the core problems:
"Civil society has been extremely vocal in recent months in raising their legitimate concerns on the ACTA agreement which we share. There are too many provisions lacking clarity and certainty as to the way they would be implemented in practice.
Although that means in theory that a majority of Members of the European Parliament (MEPs) would vote against ACTA's ratification, things aren't that simple, as Rick Falkvinge explains:
"Furthermore, ACTA wrongly bundles together too many different types of IPR enforcement under the same umbrella, treating physical goods and digital services in the same way. We believe they should be approached in separate sectoral agreements, and following a comprehensive and democratically debated mandate and impact assessment."
this majority against ACTA is not like other majorities, which are predictable and stable. The European Parliament is fairly unique among parliaments, in that the MEPs are neither required (or indeed expected) to toe the party line, and while the party whip [line] exists, it is mostly of the fun kind. A recommendation, if you like. Deviations from the declared party line is not only common but expected in pretty much every vote. So even though the party groups have declared their party lines, this has no effective binding force on the people doing the actual button-pressing, and it's the tally of them that counts in the end.
This makes the position of the EPP Group of European Conservatives, the largest block in the European Parliament, critically important. They have just come out with a document entitled: "EPP Group on ACTA: Fix It!", which is still peddling this kind of stuff:
Many of the provisions included in ACTA provide a useful basis to step up the fight against counterfeit products and ensure an adequate protection of consumers and companies alike. This is undisputed.
Hardly undisputed. As the Liberals pointed out in their press release, "the countries that are the main sources of counterfeit goods are not party to the agreement, so its value is questionable": without China as a signatory, ACTA will have no measurable effect on counterfeits in Europe, so the EPP statement is simply wrong.
On the other hand, the EPP does at least seem to understand that ACTA is problematic:
our intensive discussions with citizens and legal experts have shown that we need more legal clarity regarding certain provisions in the agreement in respect of its online chapters.
It's good to see even the EPP accepting that ACTA is flawed in this way. What's less satisfactory is what it proposes to do about it:
It must be ensured not only that ACTA fully respects the EU legal order, especially the Fundamental Rights Charter and the data protection acquis. It is as important that ACTA is not open to any interpretation that would infringe EU law.
We therefore call on the European Commission and member states to ensure legal clarity regarding the following provisions of ACTA, before the EPP Group can support the agreement
Those provisions concern ISPs being asked to police the Internet, and the vague concept of "commercial-scale" infringements. Both are indeed worrying, but so is the idea that the European Commission and member states can somehow "fix" them by providing "legal clarity". The point is, ACTA has been signed; it cannot be changed. Whatever the European Commission and members states say, ACTA will remained flawed and therefore dangerous.
It's pretty clear what's going on here. The EPP is desperately trying to find a way that will allow it to claim that ACTA has been fixed -- as their press release proclaims -- and that MEPs should just forget about all the fuss and meekly agree to its ratification. But ACTA cannot be fixed, since it cannot be amended in any way. So the EPP has come up with this trick of "calling on" the European Commission to promise that everything will be OK when it comes to implementation through EU and national laws.
But no business would sign a flawed contract on the basis of vague promises that its worst clauses won't be implemented: it would tear it up and re-negotiate. So the idea that politicians should adopt this irresponsible approach for a treaty that will impact 500 million people and shape the laws of a continent for many years to come, rather than draw up a new one that does the job properly, is just absurd.
Follow me @glynmoody on Twitter or identi.ca, and on Google+
Filed Under: acta, eu parliament, european union


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subset: commoncrawl


text:
-25 pages, English translated
This is the first Dagashi Kashi hentai manga with Saya in it. At least the first that we are sharing on primehentai. Saya is actually a somewhat shy and really cute anime girl. She might not have big breasts like Hotaru does, still she has her own qualities and that's also what Kokonotsu values.
Now back to the plot. Well, in the anime Hotaru loves to try out new things at the Dagashi shop. This time she wants to try a great mix for all cock sucker fanatics. She just made a chocolate coating over Kokonotsu's dick and then she started licking it.
If you are a girl you might want to try this with your boyfriend, or if you are a guy you might want to ask your girlfriend if… 😉
Alright, the story moves on. After the licking and some ground theory of Shidare (the rich hot anime girl with big tits in this show) Saya joins the round and finally we get to the main part. A dick with various sweets coatings on it inside a pussy? You think girls won't like it. Well these two just loved it.


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Show it to us
Dear friends,
I am a teacher of English in Turkey and teach 4th year students. Our book has changed this year and there are a lot of changes in it. For example, it has more pictures, activities for children (painting, cutting, etc.). However, the problem is, in my opinion, the instructions used in the book are rather difficult. In a class with 40 children, it is really hard to teach such instructions, and to me it is not true to teach them these imperatives.
What do you think of it? I will be pleased if you can make a comment on it.
Show it to us
First unit starts with 'New friends'. First instruction is "Stand in a circle. Hold the ball and say 'My name's ......' THen throw the ball and ask 'What's your name?" (BY the way this book is for the 4th year students, this year is their first year in learning English)
Another example is about a task and the instruction is "Make a finger puppet" and 1- Draw or copy one of the finger puppets. 2-Cut along the dotted line. 3- color it. 4-Put glueon the back side in the shaded places only (etc.)


text:
I have a number of utility functions in a file called
my-utils.el. The first one I wrote was
(defun add-path (&rest path) (let ((full-path "")) (dolist (var path) (setq full-path (concat full-path var))) (add-to-list 'load-path (expand-file-name full-path))))
This means that when I add a new third-party library (in its own directory), I can just write:
(add-path *elisp-dir* "muse-3.12")
I have a function called
identity that returns whatever was passed to it.
(defun identity (e) e)
This is particularly useful in functions like
(defun add-path (&rest path) (add-to-list 'load-path (mapconcat #'identity path "")))
I like this function that I found on the internet a while ago (can't find it again for attribution unfortunately).
(defun insert-YYYMMDD () (interactive) (insert (format-time-string "%Y%m%d")))
remove-dupes removes duplicate items that are next to each other in a list in the same way that
uniq does. (I mentioned this previously in one of the enabling your users posts.)
(defun remove-dupes (list) (let (tmp-list head) (while list (setq head (pop list)) (unless (equal head (car list)) (push head tmp-list))) (reverse tmp-list)))
Sometimes you will have an assocation list where you just want to replace one of the values.
(defun assoc-replace (seq values) "Replace an element within an association list where the cars match." (mapcar (lambda (elem) (let* ((key (car elem)) (val (assoc key values))) (if val (cadr val) elem))) seq))
And often, only the cdr needs to change so
kv is a shortcut for that case.
(kv 'a 'b) returns
(a (a . b)).
(defsubst kv (k v) `(,k (,k . ,v)))
(These functions were mentioned in emacs association lists)
ext-mode-map allows me to easily setup a major mode for extensions that are inconsistently capitalized.
(defun file-extensions (l) (concat "\\.\\(" (mapconcat (lambda (s) (mapconcat (lambda (c) (let ((c (upcase (char-to-string c)))) (concat "[" c (downcase c) "]"))) (symbol-name s) "")) l "\\|") "\\)\\'")) (defun ext-mode-map (extensions mode) (cons (file-extensions extensions) mode))
Then, for example, I can setup my perl extensions like this:
(add-to-list 'auto-mode-alist (ext-mode-map '(pl perl pm) 'cperl-mode))
(These functions were previously mentioned in autoloading an emacs major mode)
I'm still using this function to duplicate the current line. It works unless you are on the final line which is very rare and you can work around that by opening a line below.
(defun duplicate-current-line () (interactive) (beginning-of-line nil) (let ((b (point))) (end-of-line nil) (copy-region-as-kill b (point))) (beginning-of-line 2) (open-line 1) (yank) (back-to-indentation))
(This function was mentioned previously in A Simple Emacs Shortcut – Duplicate Line)
I often copy text into buffer and want to read it nicely wrapped around. I'll change this function to use
visual-line-mode when all my emacs versions are upgraded to 23.
(defun set-longlines-mode () (interactive) (text-mode) (longlines-mode 1))
Other people have talked about their own
count-words functions in the past. I have my own ideas about what constitutes a word.
(defun count-words () (interactive) (let ((words (count-matches "[-A-Za-z0-9][-A-Za-z0-9.]*" (point-min) (point-max)))) (message (format "There are %d words" words))))
regex-replace and string-repeat
I sometimes have a text transform that I want to apply globally to a buffer. Exercise for the reader, fix
regex-replace to only apply to a region if one is selected.
(defun regex-replace (regex string) (goto-char (point-min)) (while (re-search-forward regex nil t) (replace-match string))) (defun string-repeat (str n) (let ((retval "")) (dotimes (i n) (setq retval (concat retval str))) retval))


text:
Create Windows 7 Ghost image to use on all Computers
Hi all
This tutor is for complating my other tutor (Creat XP ghost image working
on all computers).
Hope will be some help for Dear users and hope we will see more exprements
in tutorial page of great BootLand.
1.I have used windows 7 Ultimate v6.1 build 7600 for this tutor and installed
it in 7.5GB virtual HDD.(Windows 7 needs at least 7.5GB space to work properly)
2.I love windows XP (specially sp2) and i have not worked by windows 7 very
much and have little exprements by that.So in this exprement i just made
some small customization and istalled few small programes befor syspreping
3.I made this tutor by virtual machine (VMWare) and then i applied the
result ghost image to drive C: of my real computer,and it worked perfect.
4.Do not forget that when you get ghost image of a drive,you should restore
that to a drive that is at least the same size of ghosted drive.if you use a drive
smaller you may encounter by problems.
1.Installed windows 7 in drive C:
1.Inside windows 7 that is installed in drive C: ,Extact SPAT 6.0.exe to your
desktop and run it.
2.For few seconds you will see a message "..testing system....,then if the system
was as the SPAT wants,The main window of SPAT will be shown.(This windows shape
is different from the same window when you use it in XP).
3.across main window you will see a message box as picture(A),OK it.
4.There are few options to select in different tabs of the main window ,for first
try do not select any option in any tab and just click on "sysprep" button on
general tab.
5.After less than a minute (in my test),it will do the work and will be closed.
6.Restart computer and boot by 3rd media and get ghost image of drive C:.for this
purpose i have integrated ghost32.exe v11 to my winbuilder LiveXP and booted by
that .
7.I have made ghost bootable DVD that can automatically restor ghost inside DVD
to Drive C: of computer.
Thats all
shirin zaban


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I'm not sure how it works in the NBA, but in school or places of employment, your name partly determines where you fit in. No one clique ever really has two guys with the same name. Occasionally, there would be two dudes named Brett or something, but one of them always goes by a nickname or his last name. No one ever said, "Brett H. can ride with me, Brett R. called shotgun in the Jeep." Seriously. I defy you to prove that sentence had ever been uttered before just now. So I don't really know how the name thing works within the league. The league can't hold two Dirks, I know that. It just can't. Same thing with LeBron. There are four high-quality Kevins in the league, but Love is the only one without at least two nicknames. You have to assume that when the Raptors drafted Jonas Valanciunas from Lithuania, Detroit Swede Jonas Jerebko was capitally peeved. Both Jonas' (Jonai?) are in the 6-foot-10, 240 range, surprisingly athletic, play for weak northern teams, and have names my grandma will almost certainly mispronounce, fitting similar sounds into the right amount of syllables. I'm thinking she'll call one Jonesy Valencia and the other Jordan Jibco. Despite missing the entirety of the 2010 season Mr. Jibco showed massive potential after his rookie season and was touted in most leagues as a sleeper to target in the final rounds of you draft. Then you did and then you immediately had to drop him. Along with his motivation to be the league's best Jonas, here's why Detroit might have a sleeper not named Brandon Knight on its roster.
It's hard to tell what the Pistons are going to look like at the start of the season; new coach, half a roster that is both old and likely immovable, and a few young guys around whom the team never intended to build. So that's pretty sweet, huh Detroit? Like it or not, Daye, Monroe, Jerebko, and Knight are the future of this team.* I have faith that the Pistons can't be worse than they were last season. There were too many management errors, too much in-fighting, too many stubborn missteps that turned a simple underachiever into one of the league's laughing stocks. The Pistons will turn to their youth. Between the possibility of injury and the sapping of their older players' skills, they'll have to turn to their youth. Jerebko only averaged 28 minutes in 2010 and was only involved in 16 percent of the plays when he was on the court and he still managed 9/6, with a steal and 1 3ptm+blk per game with good percentages. He'll play most of his time at the four-spot, where he'll open the floor and cause a lot of bangers problems. The downside will be his underwhelming rebounds and his fouling put him in the jackpot a few too many times as a rookie, but then again, he was a rookie. Now he's a sophomore with a junior's amount of experience watching the NBA function. I don't think he'll come out shiny and polished like Blake Griffin did after his rookie furlough, but watching the game for a year helps. Playing for a directionless Pistons team that will likely try to roll its old line out there more than it should, won't help. I also don't think that tact will last. Detroit's old line is busted and a few of them might be gone before the season starts. The window for Jerebko to repeat his 26-28 mpg is there and I think mild improvements in scoring and defense after a few months of re-acclimation are a given; something in the range of 1 3ptm/ 11.5 pts/ 6 rbd/ 2 ast/ 1 stl and a return to the final flyer pick in your draft seems about right.
*If the "Knight and Daye" combo doesn't stick (it totally needs to stick), I'll spend all next summer working to get Milicic back in Detroit for the Darko Knight combo.


text:
ESCI necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 81 diseños de 19 diseñadores freelance.
Electrical & Solar Concepts,Inc.
I have been in the electrical field over thirty years and have done projects from as small as a project can be to multimillion dollar projects in all phases of this field. Through the years I have seen solar power technology develop to the point that it is feasible to provide this power to everyone who feels they want to do their part to make our environment cleaner for our children and their children. This industry is starting to take off and I am excited to be in a position to participate in starting a new business, creating jobs and making a big difference in the environmental health of our world. I am very excited about this project and looking forward to working with a designer who wants to make a difference and to show their work in a way that you can be proud of. My intention is not only to have a successful company but to make a contribution to our global concerns.
This is for property owners who are looking for ways to cut their costs and invest in our environment.
The name of my company is Electrical & Solar Concepts Inc.
I would like the logo to show: A picture of the earth rotating around a sun that is wearing solar panels for sun glasses with the name of my company in the center of the orbiting earth and sun. I would like the name to be staggered with electrical at the top and Solar below. Solar angled slightly to the right and Concepts, Inc. below Solar angeled slightly to the right with the first letter of Eletrical , Solar &Concepts being larger then the rest of the lettering. I would like the large letters to cross slightly through each other. I would like an extension cord coming from the sun underlining the company name and connected to the earth. I would like this logo to express how the sun is the answer to the earths invironmental hearth and how a solar systems works.
After having said all this I would still be open to exploring other designs that would convey the same information visually. Thanks very much and I appreciate all your efforts. Format as an Adobe Photoshop image (psd) and scalable vector graphics. If you think a different format would work better, please let me know.
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


text:
Any professional newscaster, actor or performer will tell you that they hate how they look and sound when recorded, so it's no surprise we ordinary mortals do, too. But if you're lucky enough to be recorded when you speak--whether you do the recording or someone else does--you've got a golden opportunity to learn things you might never otherwise know about how you speak. You don't have to record your speech, but if it's made available, take the opportunity. Or rig your own Flip ultralight camcorder and take charge of your own recording.
Rather than torture yourself with how bad you think you look, focus instead on these cues and clues that would be hard to discern without help from a camera. This list is what I look for when coaching clients:
- Visual "ums:" Instead of saying "um" when you're pausing to think, you may look to one side or up or down; make a repetitive gesture over and over; or move in a pattern, if you're on your feet and away from the lectern. Watch for those patterns--freeze-frame if you need to catch them--and work on buying yourself time to think with new phrases, or work more on your message in advance and practice. Hint: It helps to watch the video sooner rather than later after your talk to catch this slip-up, since you'll be better able to remember what you were thinking at the time your visual "um" occurred--and that may help you avoid repeating it next time.
- Invisible gestures: You may be gesturing like a windmill, but if it's below the height of the lectern or out of camera range, all the audience will see is your body moving slightly. That's great if you're gesturing to keep your speech fluid, since gestures help you avoid "ums" and stumbles. But if you wanted your gestures to help get your point across and hold the audience's interest, make sure we can see them. Typically, that will mean gesturing at shoulder or chest height.
- A body with a mind of its own: Some speakers planted in one place will sway from side to side, and some who like to move around wind up drilling a path into the floor as they pace back and forth, back and forth, in an unrelieved line. Either one calls for a change: You may need to focus on keeping your core body stable, or move in different directions if you like to roam the audience. If you are going to move your body, it's just like gesturing: Make it purposeful.
- How you react to interruptions: Listen for those unexpected noises--door slams, crying babies, sneezes--during your talk. How do you react? It's a great chance to catch your immediate reaction, and to think through how you might handle that next time. While you're at it, pay attention to how you react when you're asked a question; your face may give a different answer than your mouth does.
- Expressions that match your words: Your face is part of your connection with the audience, but it gets confusing, at best, if you look like you're grimacing when giving praise or sad when talking about something exciting. Since it's not at all unusual for speakers to feel disconnected from their facial expressions, video helps you focus and fix that. Hint: Most people's mouths, when at rest, are either flat-lined or slightly downturned, making you look bored or sad. Smiling, even a little, corrects that natural downward turn. You get to decide how much to smile, but smile at least somewhat.
- Gestures that match your words: If you're gesturing randomly, or in ways that don't underscore what you're saying, you're inadvertently making it tougher to grasp your meaning. Likewise, if you gesture for every word, you're missing the chance to emphasize some of them to good effect. Try counting your gestures and putting them in two groups: purposeful and filler. Then work on cutting out the filler gestures.
- Your posture and body language: Are your shoulders up around your ears, or slumped? Do you look at ease? You may be surprised: Most speakers find they feel nervous, but don't look it. If you're not sure, ask a friend to watch and tell you what she thinks.
- Can you hear your message clearly throughout? To find out, you may need to just listen to the audio once, then watch the video. Do you find it hard to follow your progression? Did you forget to include a key point? Did your gestures, movement, facial expressions and props help get that across? What can you notice that will help you next time in terms of clarity and focus?
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text:
I first saw Boito's Mefistofele in October 1965, almost half a century ago, at the Lyric Opera in Chicago with Nicolai Ghiaurov in the title role. It changed my life.
I had seen a handful of operas before then and enjoyed them, but they were nothing special. But I was totally unprepared for the tense excitement of the music, color, and action of the Prologue. I remember none of the details, but that performance gave me my first intimation of the intense pleasure I have since found in a great variety of operas since then.
The opera is played all too rarely, and I have seen it only twice twixt then and now – but both of those featured the immortal Samuel Ramey; New York City Opera 1989, and here in San Francisco in 2019.
But I want to talk about a specific opera performance I have just seen:
San Francisco Opera's rendition of Boito's Mefistofele on September 11, 2013. If opera were like baseball and handed out an award for the Most Valuable Player, my choice would be Nicola Luisotti and Ian Robertson, conductor and chorus director, for their outstanding control and direction of the orchestra and chorus. They took the awesome score that Boito gave them and served it up with perfect balance. Maestro Luisotti had his 69-piece orchestra under pin-point control, whether filling the hall with glorious song from the 90 choristers, 24-member children's choir, and one or more of the 6 soloists – or accompanying a pianissimo love duet.
And if I had two votes, the other would go to the design team of Producer Robert Carsen, Revival Director Laurie Feldman, Designer Michael Levine, and Lighting Designer Gary Marder for their outstanding sets, costumes, and stage effects. All of the dancing and stage motions were in perfect accord with the music – no trivial accomplishment considering the full stage and the wild variations of the village party, saturnalia, and classic Greek scenes.
There are three major roles in Mefistofele and I don't know where you'll find three better voices than the established stars Ramón Vargas (Faust) and Patricia Racette (Margherita) and the up-and-coming Ildar Abdrazakov (Mefistofele). This is the fifth time in recent years that I have seen Vargas. I always enjoy his voice, but is acting leaves something to be desired. The problem is that I am always aware of the fact that he is Vargas. He never convinces me that he is Don Giovanni MetHD 2011), Werther (SFOpera 2010), Rodolpho (Met HD 2008 – Encore 2010), Lenski in Eugene Onegin (Met HD 2010). But oh, that voice!
From where we were seated (row S), I couldn't make out Patricia Racette's facial expression, but after looking at some of the close-up pictures I have a much greater appreciation of her acting ability. Her costume, her wig, her expression, and her posture, showed Margherita as two different people before and after her rape. And when she came on as Elena in Act IV she was totally different from either of them. Whoever she was, she had a sweet rich voice that totally fit the part.
I can't honestly say that Abdrazakov was the best Mefistofele I had ever seen. After all, as I mentioned above, I had twice seen Samuel Ramey in the role – and it's not fair to compare a mere mortal with Ramey. But Abdrazakov was damned good, and I would cheerfully go see him again. His bass voice was tremendous, and he was most convincing as an actor. Just look at the mockery in face and body as he "praises God" in the Prologue.
Every element of this performance was excellent – and when SFOpera puts all those elements together in perfect harmony, the result is perfection. I won't go far as Faust: "If I would haply say to the moment flying, 'Stay thee, for thou art blissful' Ah! let me die then, And let hell there engulf me!" but those 3+ hours in the War memorial Theatre were indeed Blissful. You too can experience them by buying a ticket at San Francisco Fall 2113. But hurry, the last performance is Wednesday October 2.
San Francisco Opera
301 Van Ness Avenue
San Francisco, CA 94102
(415) 861-4008
For Part I of this review, clich here.
Except as noted, all photos by Cory Weaver, San Francisco Opera
Video clips are from Mephistopheles 5 minutes highlights (2013), SFOpera
Cropping and arrangements by Philip Hodge
Quotes in italics are from a libretto translated by Theodore T. Barker


text:
Grant Morrison on Final Crisis #1
If there's one thing that Final Crisis #1 by Grant Morrison and J.G. Jones did, it was rasie a lot of questions among fans.
What does this mean in relation to Countdown?
What was Anthro doing with Metron?
Where are the New Gods?
Did the Martian Manhunter really...
Well – yeah, a lot of questions.
In the first of our regular installments with Grant Morrison, we spoke with him about the first issue, and he graciously handled the questions.
Newsarama: Grant, let's start with your opening point in time and the role of the New Gods – is what we're seeing with Anthro new, or is that in fact, how things have always been? That is, Metron cast Anthro as Prometheus for humanity of the DCU?
Grant Morrison: There's a lot going on in that scene and yes, it's something new to DC continuity (although there are references in Seven Soldiers to the idea of the New Gods having altered human history for their own purposes, which I'm following up and doing a slightly different perspective on) while also being a representation of how things have always been. In Jack Kirby's Fourth World books (which every right thinking human being should read, if they haven't already), it's pretty clear that the New Gods have known about Earth for a long time and in JLA ten years ago, I suggested that part of their interest in us was rooted in the fact that Earth was destined to become the cradle of a new race of 'Fifth World' super-divinities - an eventuality Darkseid is eager to prevent from occurring.
We have big ambitions for Final Crisis, and the Anthro scene was a way of laying down a kind of primal creation myth for the superhero concept. Anthro (which means 'man' of course) is equivalent with Adam, the First Boy, encountering an 'angel' or higher intelligence which gives him an incredible new weapon, technology, or 'power', which then makes him more than human and moves him to defend his tribe against the forces of chaos and lawlessness. We're seeing a kind of aboriginal genesis of superheroism itself here, so it has resonances with various creation stories, Biblical and otherwise.
And, yeah, I know there are glaring anachronisms (fire was probably first tamed by Homo Erectus over a million years ago) used by in the scene but I just couldn't resist having DC's Anthro character be the one to first use fire as a weapon against evil, so I hope early history buffs will permit me to plead poetic license in this case. I wanted to suggest that being blessed with the gift of fire would be as outrageous as being handed a Green Lantern ring.
NRAMA: Speaking of Metron – his costume is different from the regular dark blue/black that he's worn previously. Is this a new look or a new incarnation?
GM: It's how Metron appears in this series. It's Metron with a bigger effects and costume budget!
NRAMA: From the Final Crisis Sketchbook, it's clear that you and JG redesigned a lot of the New Gods, or gave them new looks altogether. In doing that, what did you keep as your touchstone, your guidance? Trying to channel Kirby in a modern setting?
GM: As ever, the idea was to look at Kirby's originals in the context of the times in which they were created and then foreground those elements of his designs which seem most appropriate to the kind of world we live in today. We're trying to do this in the spirit of Kirby himself, whose restless imagination never stayed still - if you look at the portrayal of Darkseid when he was introduced in 1971, as a kind of cosmic Hitler meets Milton's Satan, compared to the same character in the Hunger Dogs graphic novel thirteen years later, or whatever, where Darkseid's evil seems almost quaint and obsolete in a world that's becoming increasingly mechanized, bureaucratic and faceless, it's easy to see how adept Kirby was at reframing his characters to suit the concerns of the times.
In the same spirit, our Darkseid & co. have been tailored to reflect the fears, the dark desires and the subconscious nightmares of our current, early 21st century, War on Terror culture, as we see them. Kirby was always ahead of his time and his characters are incredible archetypes so we've had no trouble adapting and reintroducing them in a way that allows us to talk about the tensions of our own times.
NRAMA: Speaking of Kirby, why'd you choose Turpin as a mouthpiece character?
GM: Knowing how cosmic and epic it was going to get, I wanted to start the story at street level, with the discovery of the body of a god in the trash. I wanted the ultimate Multiversal crisis to get rolling as an urban murder mystery so I needed a cop, or a detective, and Turpin came with all this great history. He once fought Darkseid's son, Kalibak and he knows how to kill Superman, so he was a good fit for the role I needed him to play.
And, as you'll see in issue #2, Turpin is being set up to take centre stage in a battle that will make his previous struggle with Kalibak look like a game of kiss chase.
NRAMA: Within a few pages of issue #1, you've shown us that you're building upon the foundation that was laid by everything from Identity Crisis through Countdown. In regards to the more recent material, such as Countdown, did you have a hand in planning that out, did you tell editorial where you needed things to be for the start of your story, or did you modify Final Crisis to pick up from where things were?
GM: Well, the way it worked out was that I started writing Final Crisis #1 in early 2006, around the same time as the 52 series was starting to come out, so Final Crisis was more a continuation of plot threads from Seven Soldiers and 52 than anything else. Final Crisis was partly-written and broken down into rough issue-by-issue plots before Countdown was even conceived, let alone written. And J.G. was already working on designs and early layouts by the time Countdown started. There wasn't really much opportunity, or desire, to modify our content at that stage.
Although the 52 writing team was asked to contribute to Countdown, we were all seriously burned-out by the demands of the weekly schedule and I think we all wanted to concentrate on our own monthly titles for a while, so whenCountdown was originally being discussed, it was just a case of me saying 'Here's issue 1 of Final Crisis and a rough breakdown of the following six issues. As long as you guys leave things off where Final Crisis begins, we'll be fine.' Obviously, I would have preferred it if the New Gods hadn''t been spotlighted at all, let alone quite so intensively before I got a chance to bring them back but I don't run DC and don't make the decisions as to how and where the characters are deployed.
NRAMA: So. So in essence, you were handed a plate where between Death of the New Gods and Countdown, Orion appeared to have died twice. Picking up with him here, did he wander to the docks from the battle in Countdown #1, or are his terminal injuries from something else?
GM: Again, bear in mind thatCountdown only finished last month so Final Crisis was already well underway long before Countdown and although I've tried to avoid contradicting much of the twists and turns of that book as I can with the current Final Crisis scripts, the truth is, we were too far down the road of our own book to reflect everything that went on in Countdown, hence the disconnects that online commentators, sadly, seem to find more fascinating than the stories themselves.
Orion's appearance on the docks and the Guardians' response in Final Crisis #1 was written and drawn first. Jim Starlin then created Orion's death scene in Death Of The New Gods to lead into the War God's appearance in Final Crisis #1, so we refer back to Jim's scene in Final Crisis #3. When I wrote that scene, Orion's terminal injuries were a result of the mysterious bolt of light which Jim hit him with in Death Of The New Gods #6. By the time Countdown #1 came out, I was working on Final Crisis #4 and #5 and JG was drawing #3, so we were already well into our own story and unable to change it to match Countdown.
NRAMA: And so you were left with a handful of continuity issues as result - – why didn't the Guardians call a 1011 when all the other New Gods died? Why didn't Superman recount his experiences in Death of the New Gods when he was talking about the New Gods to the JLA? How did the villains capture J'onn? Obviously, if you dealt in all the minutia of every storyline since Identity Crisis or earlier, you'd go nuts – so what was your personal line in the sand that you used in writing Final Crisis in regards to what "mattered" and what didn't?
GM: What mattered to me was what had already been written, drawn or plotted in Final Crisis. The Guardians didn't call 1011 when Lightray and the other gods died in Countdown because, again, Final Crisis was already underway before Countdown came out.
Why didn't Superman recount his experiences from DOTNG ? Because those experiences hadn't been thought up or written when I completed Final Crisis #1. If there was only me involved, Orion would have been the first dead New God we saw in a DC comic, starting off the chain of events that we see in Final Crisis. As it is, the best I can do is suggest that the somewhat contradictory depictions of Orion and Darkseid's last-last-last battle that we witnessed in Countdown and DOTNG recently were apocryphal attempts to describe an indescribable cosmic event.
To reiterate, hopefully for the last time, when we started work on Final Crisis, J.G. and I had no idea what was going to happen in Countdown or Death Of The New Gods because neither of those books existed at that point. The Countdown writers were later asked to 'seed' material from Final Crisis and in some cases, probably due to the pressure of filling the pages of a weekly book, that seeding amounted to entire plotlines veering off in directions I had never envisaged, anticipated or planned for in Final Crisis.
The way I see it readers can choose to spend the rest of the year fixating on the plot quirks of a series which has ended, or they can breathe a sight of relief, settle back and enjoy the shiny new DC universe status quo we're setting up in the pages of Final Crisis and its satellite books. I'm sure both of these paths to enlightenment will find adherents of different temperaments.
NRAMA: Fair enough. Moving on, your portrayal of Dr. Light really played up a specific side of him, somewhere between sexual predator and serious horndog. You setting him up for some bad stuff that readers won't feel guilty about when they cheer for it happening?
GM: There's certainly that aspect to it. Once you've had the image of Dr. Light hammering away at Sue Dibny's ruptured rear end burned into your neurons, it's hard to write him as one more cackling gimmick villain. I thought it was fun to play up his priapic nature and I enjoy writing super villain conversations but yeah, we're hoping readers will cheer loudly when they see the fate Greg Rucka and the Spectre have in store for randy Arthur Light.
I also enjoyed putting some genuine Glasgwegian street rhythms back into Evan McCulloch, the Mirror Master's dialogue.
NRAMA: Libra said it – Twilight of the Gods. Obviously, not a cast-off reference there...
GM: 'Twilight of the Gods' in this case, is a reference to the Norse Ragnarok or Wagnerian Gotterdammerung. In a story about the 'end times', I wanted to include references to as many 'end of the world' stories as I could - so there are nods to the Biblical Apocalypse, the Ragnarok, Hopi myths, Mayan prophesies, the Hindu Kali Yuga and many others.
NRAMA: Someting that caused major repurcussions with the fans - you killed the Martian Manhunter. Along with the end of the Fourth World, that's some serious stuff there, given his stature and importance to modern comics. And again, he wasn't chosen at random. Give us some broad strokes at what the death of the Martian Manhunter means symbolically…he was the start of the Silver Age, after all.
GM: Exactly. And the thing is, we wanted to open with a nasty, execution-style death of a superhero as a way of demonstrating how far behind us the Silver Age is. We're conditioned to expect the hero to fall after a noble struggle or to give his life saving the universe but this had to be different. The scene was very much about calling time on expectations and letting our readers know up front that the rules have changed. Evil is getting away with it. Things are going to get nastier and grubbier and scarier before it's over, just like in the real world. There's more of that kind of thing in issue #2.
NRAMA: With Turpin's scene in Club Dark Side, I guess we can pull down the pretenses – this is the same as what we saw in Seven Soldiers: Mr. Miracle, correct?
GM: No, the storyline in Mister Miracle happened around the same time as the events in Infinite Crisis.
As we'll learn, when we see Darkseid's 'Fall' from the world of the New Gods - as depicted in DCU #0 - he's falling backwards through time. In DCU #0 we're watching him fall back through the present, into the past of Seven Soldiers where he finally comes to rest in the body of 'Boss Dark Side', the gangster from that story. The implication is that Darkseid has been consolidating his power base on Earth, in a human body, since at least the time of Infinite Crisis. Only Shilo Norman AKA Mister Miracle has any real idea what's going on but he's seen as a crazy-ass showbiz loon who's had a bizarre quasi-religious experience, so no-one takes him entirely seriously.
NRAMA: Still - Seven Soldiers where you did seems exceptionally ballsy – that is, to tell a story that would be reflected in the future, and worry about changing the present to match the future later. Or did you know that Final Crisis was in the pipeline when you were working on Seven Soldiers, and thus, you had a goal you were working towards?
GM: Although I have to admit I was quite enjoying being called 'ballsy', I cannot tell a lie. Seven Soldiers happened in the past, I'm afraid, but it did set up Final Crisis, so yes I always had a goal to work towards and still do.
NRAMA: That all said, will other Seven Soldiers characters be appearing in Final Crisis?
GM: Frankenstein appears in issue #3 and will doubtless turn up in the battle scenes from issue #4 on. We'll probably get a glimpse of some of the others.
NRAMA: In setting up the "Fifth World" of the New Gods, what are you building from? Going through the Omnibuses, it's not clear how far Kirby had planned out in that regard – that is, a climactic and final battle was foretold, but afterwards? How do you get yourself in the headspace to match what Kirby might have done?
GM: I did what you did - I read the Omnibuses/Omnibi (?) to start with. Then I re-read all my copies of The Jack Kirby Collector and anything else I could lay my hands on to help me absorb the Kirby spirit. I practised on books like The Manhattan Guardian and Klarion, where I rebuilt a Kirby concept, using the original raw materials to create a completely new character and set-up.
Kirby was clear that he wanted New Gods to conclude with a climactic battle between Orion and his father Darkseid but because he never got to that point, the mythology has never really been able to move past that wall, so my idea, in Seven Soldiers and now in Final Crisis, was to start from a place where the battle is already over…and, quite unexpectedly, Darkseid has won. Evil won. So now evil can break the rules. Radical, spiritual Evil can worm its way effortlessly into every aspect of life in the DC Universe in a way that it's never really been able to before.
As it is in the cosmic world of the New Gods, so it is on Earth. Where there once was a particular relationship between Good and Evil, with the good guys tending to come out on top, now the moral ground of the universe itself has shifted underfoot and anything can happen.
It's not the way he would have done it, but I like to think Jack Kirby would have enjoyed the story we're telling and I hope he'd appreciate our efforts to channel readers in the direction of his amazing books and characters.
NRAMA: In this new world, Dark Side implies that his body is wearing out….can you explain a little of how the gods are living? Do their souls inhabit human husks? Do they make human bodies from scratch? When their body is killed, do they move to another, or do they die (again)?
GM: When we decided to do a book about gods, we felt it was important to do think through what a 'god' actually is. Gods aren't like souls, or ghosts, gods are much bigger and scarier than that.
You know, it's like every single word culture developed is own pantheon of Gods -which unsurprisingly all share similar traits, like the Greek goddess of Love is Aphrodite, while the Voudon goddess of Love is Erezulie and the Norse goddess of Love is Freya and so on. Now, what you have to understand is this: our primitive forebears weren't stupid and when they talked about gods what they were describing were 'eternal qualities'. In a normal human lifetime, we become possessed by 'gods' every day. When we fall in Love, we are possessed by Aphrodite, when we are witty and clever we are possessed by Hermes or Thoth, when angry we're possessed by Ogun or Tyr or Ares. We tend to call such possessions 'moods'. but even when we are not personally in love or angry, there is always Love and Anger in the world and those eternal wells of Love and Anger and the other 'big' qualities of the human emotional spectrum are what our ancestors personified and called 'gods'. The 'god' in this case, being the timeless quality of 'Love' or 'Anger' that we can all tap into for a little while.
No-one was really ever suggesting that there is a real woman you can touch called Aphrodite, who lives on Mount Olympus - but the sum total of every single human experience of Love is what the Greeks called Aphrodite and the Celts called Brigit and so on. I hope that makes sense.
In the case of Darkseid and his diabolical court, we're dealing with personifications of absolute negative qualities. We've all been possessed by Greed or Hatred in our lives but Darkseid and his pals are embodiments of the timeless qualities of Tyrannical Will or Sadism or Envy or whatever. So in the sense that we can be cruel, or ignorant, or hate people we've never met, we all have Darkseid or Desaad within us. It's like the idea of being possessed by the Holy Spirit, except in this case they are Unholy Spirits and the Gods of Apokolips want us to replace all our good qualities with all our bad qualities so that we become vehicles for their evil intentions.
There's always Greed in the world. There's always Fear. And a lot of this ties into what Geoff's doing in Green Lantern with the idea of the emotional spectrum. We're creating a big mythology for the DC Universe and Final Crisis is intended to be a myth for the 21st century.
NRAMA: Characterize the Monitors, as a group. From Countdown to here, they seem to be in a rush to judge, and easily swayed to the most persuasive argument, no matter how true it is. Kinda makes one worry about the DCU, you know?
GM: Indeed. The Monitors are the elephant in the room of Final Crisis. What they really are is a lot more alien and bizarre than anything we've seen so far. My idea for the origin of the Monitors is one of the major plot strands in Final Crisis - if not the major plot strand -but you won't get to see that until the Final Crisis: Superman Beyond book comes out in the skip month between Final Crisis issues #3 and #4. Definitely keep your eye on the Monitors.
NRAMA: In that vein - can you explain the Orrery of Worlds for us?
GM: See Superman Beyond for the full story. Until then, I'll refer you to current superstring theory which we've mashed up with the DC 'multiverse' idea. Where science walks, it finds the footprints of comics leading the way!
As I described it to Dough Mahnke for Superman Beyond:
'some string theorists have come up with the goofy comic book notion that our universe is only one of many, with its entire three dimensions of space and one of time spread across the surface of a vast flat membrane, or brane, as the physicists like to call them. These branes allegedly drift serenely past one another in some hyper-dimensional jelly medium that's bigger than everything you can imagine, plus, sometimes colliding and rewriting one another's laws of physics.'
We combined that idea with the notion (seen in Flash comics) that the universes of the DC Multiverse 'vibrate' through one another at different frequencies and came up with the notion that the whole structure is creating a kind of cosmic 'music', which is slowly going out of tune. There's more of this and what it means coming up in the books, so I don't want to spoil everything up front. Like I say, I realise certain readers want everything at once but sometimes you have to allow a story to unfold at its own pace if you really want to enjoy it.
The Orrery of Worlds is the Monitor name for the structure of the entire Multiverse as seen from the outside, on a higher scale. Basically, it's everything that ever was, in a jar. What purpose does it serve and why should we all be very afraid? See Superman Beyond.
NRAMA: Hey - what's Anthro drawing there in the end?
GM: He's drawing the circuit pattern that's engraved into Metron's silver suit in the opening scene. When he draws the pattern on the sand, he immediately experiences a vision of a future time, which may lead us to suspect that Metron may have been passing on some kind of knowledge concerning the workings of time and space…
This circuit, along with the Metron 'mask' Anthro paints on his face after his vision, will become more significant as we progress.
NRAMA: And the guy waking up? That's Nix, bannished?
GM: That's the exiled young Monitor, Nix Uotan, now trapped on Earth as a mortal with only vague memories of who he is or where he came from. Clearly somebody wants him out of the way and we'll be seeing more of his story in upcoming issues.
NRAMA: So where do things pick up in #2?
GM: We open in Tokyo, where we meet Sonny Sumo and the members of the Super Young Team. The cosmic murder investigation continues and the Gods of Apokolips continue to make their moves against Earth's best and brightest superheroes. And the book ends with a dramatic return…
We'll be putting up some exclusive sneak preview art from Final Crisis #2 when my revamped website makes its debut hopefully later this week at www.grantmorrison.com (as well as some stuff from Seaguy: Slaves Of Mickey Eye and a bunch of other treats) so I hope readers will pay a visit to check out what's upcoming.
And I'll be back next month to answer any questions about Final Crisis #2!Click here to discuss this in our community thread in the DC forum, or post your comments below.


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Terminate This Purchase
Me: "Did you find everything you were looking for?"
Customer: "Oh, yes. Absolutely."
(I realize the customer is buying three things. A pack of water pistols, lighter fluid, and matches.)
Me: "Um… This is an interesting purchase."
Customer: "Yeah, there's a wasp infestation in my garage. Figured this is easier than an exterminator."


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Denis Matsuev
Matsuev has collaborated with the world's best known orchestras, such as the New York Philharmonic, Chicago Symphony Orchestra, Pittsburgh Symphony Orchestra, Cincinnati Symphony Orchestra, Houston Symphony Orchestra, Bavarian Radio Symphony Orchestra, WDR Symphony Orchestra Cologne, Leipzig Gewandhaus Orchestra, BBC Symphony Orchestra, Royal Scottish National Orchestra, Filarmonica della Scala, Orchestre National de France, Orchestre National du Capitole de Toulouse, Orchestre Philharmonique de Radio France, Orchestre de Paris, Budapest Festival Orchestra, Rotterdam Philharmonic Orchestra,
Berliner Philharmonic, Vienna Symphoniker, Accademia Nationale di Santa-Cecilia, Frankfurt Radio Symphony Orchestra, Orchestre Maggio Musicale Fiorentino and the European Chamber Orchestra; he is continually engaged with legendary Russian orchestras including the St. Petersburg Philharmonic Orchestra and the Mariinsky Orchestra.
Mr. Matsuev's worldwide festival appearances include Leipzig's Mendelssohn and Schumann Festival in Germany, the Chopin Festival in Poland, Maggio Musicale Fiorentino and the Mito Festival, both in Italy, Les Choregies d'Orange in France, Verbier Festival in Switzerland, Enescu Festival in Romania and the Ravinia Festival in the United States.
The 2011-12 season promises to excite, with concerts with the Rotterdam Philharmonic and Jukka-Pekka Saraste conducting, the Iceland Symphony Orchestra and conductor Rumon Gamba, the Philharmonia Orchestra of London with Leif Segerstrom conducting, and the Nederlandse Programma Stichting. Matsuev will return for a third time to Carnegie Hall for a recital in January 2012 on a tour that will include Seattle and Los Angeles. Matsuev will also join Maestro Valery Gergiev and the London Symphony Orchestra in early 2012 for a tour of Asia. In summer 2012, Matsuev will make an appearance at the Ravinia Festival with the Chicago Symphony Orchestra and James Conlon conducting.
In the season 2010-11 alone, Matsuev appeared under the batons of Valery Gergiev (Berlin Philharmonic, Mariinsky Orchestra, Rotterdam Philharmonic, London Symphony), Paavo Järvi (Orchestre de Paris and Frankfurt Radio Symphony Orchestra), Kurt Masur (Orchestre National de France), Zubin Mehta (Orchestra del Maggio Musicale Florentino), Mikhail Pletnev (The Philharmonia Orchestra, Russian National Orchestra), Vladimir Spivakov (National Philharmonic Orchestra of Russia in France and Russia), and Yuri Temirkanov (The Philharmonia Orchestra, Ravenna Music Festival and St. Petersburg Philharmonic in Taiwan, Shanghai, Beijing, and Hong Kong).
Also in early 2011 he returned to the Pittsburgh Symphony with Gianandrea Noseda conducting, and in the spring, embarked on a North American recital tour including Boston, Washington, Toronto, Montreal, Vancouver and San Francisco.
In December 2009, the new Mariinsky Label released Mr. Matsuev's Rachmaninoff's Concerto No. 3, with Valery Gergiev and the Mariinsky Orchestra, recorded in the Mariinsky Concert Hall in St. Petersburg, Russia. In December 2007, Sony BMG released a CD of Mr. Matsuev, Unknown Rachmaninoff, and garnered strong positive reviews praising his execution and creativity. His Carnegie Hall debut recital in November 2007 was recorded live by Sony BMG and is entitled Denis Matsuev – Concert at Carnegie Hall. The New York Times said, "…his poetic instincts held fast in tender moments, with trills as thrillingly precise as one might ever hope to hear."
Over the past four years, Matsuev has collaborated with the Sergei Rachmaninoff Foundation and its president Alexander Rachmaninoff, the grandson of the composer. Matsuevwas chosen by the Foundation to perform and record unknown pieces of Rachmaninoff on the composer's own piano at the Rachmaninoff house, "Villa Senar," in Lucerne. This unique program has been in high demand around the world. In October 2008, at the personal invitation of Alexander Rachmaninoff, Matsuev was named Artistic Director of the Sergei Rachmaninoff Foundation. As part of this partnership, he will perform in a series of gala concerts in some of the most prestigious concert halls throughout Europe and the United States.
Matsuev is Artistic Director of two important Russian Festivals: "Stars on Baikal" in Irkutsk, Siberia, and "Crescendo," a series of events held in many different international cities, such as Moscow, St. Petersburg, Yekaterinburg, Tel Aviv, Kaliningrad, Paris and New York City. These remarkable festivals present a new generation of students from Russia's music schools by featuring gifted Russian soloists from around the world performing with the best Russian orchestras. The "Crescendo" festival has had incredible resonance in Russia and is under the patronage of the president of the Russian Federation. Additionally, Matsuev is the president of the charitable Russian foundation "New Names."


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Melvin loses challenge in game vs. Astros
Jane Lee is a reporter for MLB.com. Read her blog, Major Lee-ague, and follow her on Twitter @JaneMLB.
HOUSTON -- A's manager Bob Melvin lost his challenge of a foul call on Brandon Moss' batted ball in the fifth inning of a 5-5 game in Houston.
With Josh Donaldson standing on first base, Moss lined a ball down the right-field line, and first-base umpire Jerry Meals ruled it was foul. Melvin challenged and, upon further review, the play stood as called, as the replay was inconclusive.
Moss found his way on base, anyway, ultimately singling against Brad Peacock.
Read More: Brandon Moss


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California lawmakers on Tuesday rejected a bill that would have allowed bars serve alcohol until 4 a.m. -- two hours later than current law allows.
Senate Bill 635 failed to pass the state Senate's Governmental Organization committee on a 4-6 vote. Though lawmakers left open the option to reconsider the bill, legislative officials told NBC4 that possibility seemed unlikely until at least next year.
The idea of later bar hours drew support from groups representing restaurants, business and labor. Meanwhile, police unions, anti-drug and alcohol organizations, and the city of Los Angeles oppose it.
U.S. & World
At least 15 states have similar laws on the books, including New York, Illinois and Nevada.
Supporters claimed SB 635 "would enable certain California cities to compete with other world-class cities in attracting tourists, conventions and conferences from around the world," according to an analysis of the bill.
Opponents, however, argued that extending drinking hours would ruin the quality of life in some neighborhoods, and cause more drunken-driving crashes as "late-night drinkers (share) the road with early morning commuters," the analysis said.


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Diesel Nissan Titan: Cummins 5.0L V8 Turbo Diesel Engine
Half Ton Diesel
Nissan teased us with announcements that the next-generation Titan would have more powertrain options, and now we're seeing it come to fruition. A partnership between Cummins and Nissan has resulted in the optimization of a Cummins 5.0L V8 turbo diesel engine to be offered in the next-generation full-size Nissan Titan pickup. While we don't know much about towing capacity and mileage yet, we do know that torque rating will be in the mid-500s (lb.ft.) with more than 300 horsepower. We were on-site for this announcement, which came this morning at the Nissan 360 event in Irvine, California. The Cummins 5.0L V8 will be built at the Columbus Engine Plant at the Cummins headquarters in Columbus, Ind. The next-generation Titan will be built at Nissan's Canton, Miss. vehicle assembly plant.
Reports Fred Diaz, divisional vice president, Nissan Sales & Marketing, Service & Parts, Nissan North America: "There is no question that the new Titan will turn heads, and with the available Cummins 5.0L V8 Turbo Diesel, we expect to win new fans and attract buyers looking for this unique configuration."
No launch dates have been announced at this point, but Cummins-powered prototype trucks are undergoing extensive durability testing and highway performance testing.


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The new version of SimLab 3D PDF plugin for Rhino, is based on new capabilities of SimLab Composer 2013 and includes the following enhancements:
1- New: Template designer, enabling users to create templates that can be used to export customized 3D PDF files.
2- New: 64 bit support to handle very large and complex models.
3- New: Embedding in HTML, user can include the generated 3D PDF in automatically create HTML to make it easy to share 3D PDF files in the web.
4- New: Merging multiple PDF files, the plugin includes a new tool for merging multiple PDF files. Users can use the merge feature to merge a company's front page –in PDF format– with a 3D PDF model.
5- New: Floating license support, ready to support teams of Rhino designers.
6- New: Command line integration, GUI free mode to enable scripting the process of 3D PDF creation inside Rhino.
7- New: Open After Export, the 'Open file after export' option, makes it easier for the user to view the generated 3D PDF file without searching for it.
8- Enhanced: Better 3D PDF illustration mode, with the new illustration viewing mode, share your models in a new better look, showing details like never before.
9- Enhanced: Better control over the generated 3D PDF file size, By utilizing Rhino's Render Mesh, the user has control over the size of the generated 3D PDF file.
To download a version which is compatible with Rhino 5 please visit this link for Rhino 64-bit and this link for Rhino 32-bit.
Ashraf Sultan, Simulatuion Lab Software


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They say that good things come to those who wait, and it seems to be that great Skaters are also included as part of that saying. Today, the Skater 478 Vee made its inaugural voyage shake-down cruise and the initial test results were certainly very positive.
We are under sworn secrecy to the performance numbers, but it was just an initial shakedown so top speed was not a consideration. Handling, time to plane with drives in versus drives at neutral. No tabs to plane, quartering seas handling, cornering capabilities, and just reviewing a new boat bottom design for idiosyncrasies was the days agenda.
The boat passed all of its tests with flying colors. On top of looking really good sitting on the water.
Cornering, acceleration, cross wakes, and time to plane were all excellent. Not once was a tab required to put the boat on plane, and the cornering felt more like a conventional Vee than a multiple stepped bottom boat.
The interior, with the cabin accent lighting on, also looks sweet.
Stay tuned as we add more pics and information. Cant wait for the next water tests. Rough water and top speed seems like a good plan to me.
Skater's All New 478 Raised Deck Vee, Part 3 - First Water Test
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velartis necesitaba un nuevo diseño de página web y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 23 diseños de 10 diseñadores freelance.
nsys origin
We are a young email marketing company.
Small and bigger companys. It is a B2B product.
We need a sell page to offer our email marketing software. Customers should be atracted to contact us. We want to show the benefits of our software and also give a overview of all its functions. It should be an eye catcher.
Use the logo (and the slogan somewhere but small) if you want and it fits you can use the apples in small. But be careful not to overload the page.
Just one Level: Company, Lösungen, Know How, Referenzen, Kontakt
This is just for developing the design and should be flexible to change between 4 – 8 navigation items.
Content Blocks:
1. We would like to have big content banners in the head of the page (maybe with flash - give us an idea how it could look like) to promote some features of the software- or with some slogans. With a photo in the background a promotion text - or slogan) This should be possible in all subpages to.
2. A content block element where you can show some screenshots in detail.
3. A content block element with contact us message & button (which goes to a contact formular page) and telephone to contact us.
4. Content block element with input form to contact us. Name, Email…….(where you come if you press on the contact button from content block element 3)
5. A Content block element (larger) to write larger texts or descriptions
6. A content block element to present our features.
7. A content block element (maybe to put in the footer) with references.
8. Smaller promotional banner Maybe with images in the background and short texts. Example would be: Her you can se Screenshots of some features. And in the background some small Screenshot. With an Button. (which will lead to a page with the screenshot content block element) .
Make it changeable, module like.
The page should have 3 virtual vertical lines (so all the page is divided into 3 virtual sections). All the content blocks should fit into them.
So we have full size content blocks like the main banner (which will use all 3 virtual sections together). Or small ones like smaller promotional banners. Others can be bigger (with 2 virtual sizes) or small (just 1 virtual size).
And it must not be similar to the actual page. Please do not use any elements of the old page.
Colors: fresh. Maybe some blue. Not too many colors...
Good luck!


text:
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3 May 2017 : Pico in the Wild: Replacing Passwords, One Site at a Time #
I've posted a short synopsis of the Pico team's time in Paris at EuroS&P and EuroUSEC up on the Computer Lab's Light Blue Touchpaper blog. That's my first post to the blog, although not the first Pico post.


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Mo-loch 1. In the Old Testament, a god of the Ammonites and Phoenicians to whom children were sacrificed by burning.
2. Anything regarded as demanding a terrible sacrifice.
It only took me two years to get this thing going. If you haven't viewed my webcomic before, I now have over 200 strips in the archive and am still going strong. Most of these strips are oneshots with few recurring characters and a handful of unrelated stories. Basically this website has served to hone my craft, build a portfolio, and vomit the shit in my head onto your computer screen.
Let me know what you think.


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Zookeepers in Toronto, while "fascinated" by male African penguins who appear to be a couple, even displaying signs of mating rituals, plan on splitting up the pair for the sake of captive breeding.
In case you are getting this confused with an episode of Parks and Recreation, you aren't, this is real life:
Toronto Star:
"They do courtship and mating behaviours that females and males would do,'' one keeper said in an interview.
Those behaviours include making a "braying'' sound, almost like a donkey, as a mating call. They defend their territory, preen each other, and are constantly standing alone together. In fact when the Star visited the exhibit this week Buddy emerged from the water, followed a few moments later by Pedro. The two huddled together for quite some time." (Read more)


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Marion Jones Released From Prison!
AP reports "Former track and field star Marion Jones was released from prison Friday, after completing most of her six-month sentence for lying to federal investigators about her use of performance-enhancing drugs. (Sept. 5) "
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EU trade deal with Guatemala becomes operational
As of 1 December 2013, trade barriers will be lifted between the European Union and Guatemala, when the trade pillar of the EU–Central America Association Agreement will be applied. With Guatemala joining, the whole region of Central America can now benefit from the agreement, as the deal is already implemented with the other five member countries – Costa Rica, El Salvador, Nicaragua, Honduras and Panama. This ambitious trade partnership will open up new markets and simplify rules which will boost trade and investments on both sides.
"This trade agreement will bring our regions closer together by giving our companies privileged access to each other's markets," said Trade Commissioner Karel De Gucht. "I am glad that all Central American countries are now part of it. It is an important stepping stone in our relations and paves the way for truly closer integration between the European Union and the whole of Central America, and should also facilitate regional economic integration in Central America."
The Agreement will open up markets for goods, public procurement, services and investment on both sides. This will create a stable business and investment environment based on predictable and enforceable trade rules which, in many instances, go further than the commitments the parties have made in the World Trade Organisation (WTO).
As a result, the Agreement will facilitate economic integration of the region while at the same time providing for new market opportunities for European economic operators, exporters and investors. The Central American economy is expected to grow by over €2.5 billion per year now that the Agreement applies to the entire region.
The trade deal has been applied with Honduras, Nicaragua and Panama since 1 August 2013 and with Costa Rica and El Salvador since 1 October 2013. The implementation of the Agreement with Guatemala was delayed to allow the finalisation of internal procedures.
The EU–Central America Association Agreement will substantially improve market access for EU and Central American exporters. The main benefit of the new regime will be the improved trading and investment conditions established by the agreement. This is expected to create significant new opportunities for businesses and consumers on both sides.
The deal also includes far-reaching provisions on the protection of human rights and the rule of law, as well as commitments to effectively implement international conventions on labour rights and environmental protection. Civil society organisations will be systematically involved in the work to monitor the implementation of these commitments.
The agreement also aims at fostering regional economic integration among the six Central American countries.
The trade pillar of the EU-Central Association Agreement is one of three – political dialogue, development co-operation, and trade. Its overall objective is to support economic growth, democracy and political stability in Central America. Pending the completion of ratification procedures by the 28 EU member states, the trade pillar of the Association Agreement can be provisionally applied. During this provisional application period, companies can already receive all the trade preferences set out in the agreement.
More information
Full text of the Trade Agreement
MEMO/11/429: Highlights of the trade pillar of the Association Agreement between Central America and the European Union
Press Release IP/13/881: EU trade deal with Costa Rica and El Salvador becomes operational, 27 September 2013
Press Release IP/13/758: EU Trade deal with Honduras, Nicaragua and Panama becomes operational, 31 July 2013
On EU-Central America trade relations
Category: A Frontpage, EU, European Commission, Trade


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Brad and Chad discuss Ready Player One and Isle of Dogs, the latter of which has angered some kids on Twitter.
Category: Show Archive
All episodes of the original 2013 – 2018 run of The Cinematic Tangent are archived here.
Episode 66 – Netflix and 'Black Panther'
Ryan Coogler's Black Panther is breaking records – but how good is it, really?
Episode 65 – Teddy Bears and Fish People
The Cinematic Tangent spoils The Post, Paddington 2, Shape of Water, and I, Tonya.
Episode 64 – Not a 'Last Jedi' Show
Chad maintains his boycott of all things Star Wars movies, while Brad quickly brushes past Star Wars: Episode VIII – The Last Jedi. After that, the guys talk Coco, Last Flag Flying, and Lady Bird.
Why is Twitter mad about a Frozen short? Is it anti-war, or are the "boys" just "back in town"? Is Greta Gerwig 2017's Best Director? CinTan discusses these questions and more.
Episode 63 – 'A Ghost Story'
The guys talk Murder on the Orient Express, The Killing of a Sacred Deer, and A Ghost Story.
Also, are you tired of sequels yet?
Episode 62 – You're Killing Me, Smalls!
Just in time for the World Series, the Cinematic Tangent reflects back on The Sandlot, Little Big League, and other baseball films from the good ol' days.
Episode 61 – Random Reflections
A re-direct from last episode on the value of comedy is followed by talk of Baby Driver and Spider-Man: Homecoming.
Also, from cushy chairs at a high price to cushy chairs that shake, are you tired of "luxury" theatre gimmicks yet? Bring back Smell-O-Vision!


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Comprising Integrating sphere contained in a module which simply snaps into the spectrometer and is ready to be used without any adjustment. integrating spheres is the industry standard for the measurement of total reflectance, diffuse reflectance and diffuse transmittance measurements for a huge range of sample types. The 60 mm and 100 mm Integrating Sphere are used for routine diffuse reflectance and diffuse transmittance measurements.
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This chapter provides a reference for Oracle Continuous Query Language (Oracle CQL) pseudocolumns, which you can query for but which are not part of the data from which an event was created.
This chapter includes the following sections:
You can select from pseudocolumns, but you cannot modify their values. A pseudocolumn is also similar to a function without arguments (see Section 1.1.11, "Functions").
Oracle CQL supports the following pseudocolumns:
Every stream element of a base stream or derived stream (a view that evaluates to a stream) has an associated element time.The
ELEMENT_TIME pseudo column returns this time as an Oracle CQL native type
ELEMENT_TIME is not supported on members of an Oracle CQL relation. For more information, see Section 1.1.1, "Streams and Relations".
This section describes:
Section 3.2.1, "Understanding the Value of the ELEMENT_TIME Pseudocolumn"
Section 3.2.2, "Using the ELEMENT_TIME Pseudocolumn in Oracle CQL Queries"
For more information, see:
The value of the
ELEMENT_TIME pseudocolumn depends on whether or not you configure the stream element's channel as system- or application-timestamped.
In this case, the element time for a stream element is assigned by the Oracle Event Processing system in such a way that subtracting two values of system-assigned time will give a duration that roughly matches the elapsed wall clock time.
For more information, see "System-Timestamped Channels" in the Oracle Fusion Middleware Developer's Guide for Oracle Event Processing for Eclipse.
In this case, the associated element time is assigned by the application using the application assembly file
wlevs:expression element to specify a derived timestamp expression.
Oracle Event Processing processes the result of this expression as follows:
Section 22.214.171.124.1, "Dervied Timestamp Expression Evalutes to int or bigint"
Section 126.96.36.199.2, "Dervied Timestamp Expression Evalutes to timestamp"
For more information, see "Application-Timestamped Channels" in the Oracle Fusion Middleware Developer's Guide for Oracle Event Processing for Eclipse.
If the dervied timestamp expression evaluates to an Oracle CQL native type of
int, then it is cast to and returned as a corresponding
bigint value. If the expression evaluates to an Oracle CQL native type of
bigint, that value is returned as is.
If the derived timestamp expression evaluates to an Oracle CQL native type of
timestamp, it is converted to a
long value by expressing this time value as the number of milliseconds since the standard base time known as "the epoch", namely January 1, 1970, 00:00:00 GMT.
This section describes how to use
ELEMENT_TIME in various queries, including:
Example 3-1 shows how you can use the
ELEMENT_TIME pseudocolumn in a select statement. Stream
S1 has schema
(c1 integer). Given the input stream that Example 3-2 shows, this query returns the results that Example 3-3 shows. Note that the function
to_timestamp is used to convert the
Long values to timestamp values.
Example 3-1 ELEMENT_TIME Pseudocolumn in a Select Statement
<query id="q4"><![CDATA[ select c1, to_timestamp(element_time) from S1[range 10000000 nanoseconds slide 10000000 nanoseconds] ]]></query>
Timestamp Tuple Kind Tuple 8000 + 80,12/31/1969 17:00:08 8010 - 80,12/31/1969 17:00:08 9000 + 90,12/31/1969 17:00:09 9010 - 90,12/31/1969 17:00:09 13000 + 130,12/31/1969 17:00:13 13010 - 130,12/31/1969 17:00:13 15000 + 150,12/31/1969 17:00:15 15010 - 150,12/31/1969 17:00:15 23000 + 230,12/31/1969 17:00:23 23010 - 230,12/31/1969 17:00:23 25000 + 250,12/31/1969 17:00:25 25010 - 250,12/31/1969 17:00:25
If your query includes a
GROUP BY clause, you cannot use the
ELEMENT_TIME pseudocolumn in the
SELECT statement directly. Instead, use a view as Section 22.214.171.124, "Using ELEMENT_TIME With GROUP BY" describes.
Consider query
Q1 that Example 3-4 shows. You cannot use
ELEMENT_TIME in the
SELECT statement of the query because of the
GROUP BY clause.
Example 3-4 Query With GROUP BY
<query id="Q1"><![CDATA[ SELECT R.queryText AS queryText, COUNT(*) AS queryCount FROM queryEventChannel [range 30 seconds] AS R GROUP BY queryText ]]></query>
Instead, create a view as Example 3-5 shows. The derived stream corresponding to
V1 will contain a stream element each time (
maxTime) changes for a specific
queryText group.
<view id="V1"><![CDATA[ ISTREAM ( SELECT R.queryText AS queryText, COUNT(*) AS queryCount, MAX(R.ELEMENT_TIME) as maxTime FROM queryEventChannel [range 30 seconds] AS R GROUP BY queryText ) ]]></view>
Note that the element time associated with an output element of view V1 need not be the same as the value of the attribute maxTime for that output event. For example, as the window slides and an element from the queryEventChannel input stream expires from the window, the queryCount for that queryText group would change resulting in an output. However, since there was no new event from the input stream queryEventChannel entering the window, the maxTime among all events in the window has not changed, and the value of the maxTime attribute for this output event would be the same as the value of this attribute in the previous output event.
However, the ELEMENT_TIME of the output event corresponds to the instant where the event has expired from the window, which is different than the latest event from the input stream, making this is an example where ELEMENT_TIME of the output event is different from value of "maxTime" attribute of the output event.
To select the ELEMENT_TIME of the output events of view V1, create a query as Example 3-6 shows.
Example 3-7 shows how the
ELEMENT_TIME pseudocolumn can be used in a pattern query. Here a tuple or event matches correlation variable
Nth if the value of
Nth.status is
>= F.status and if the difference between the
Nth.ELEMENT_TIME value of that tuple and the tuple that last matched
F is less than the given interval as a


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Teen accused of plotting mass killing in Waseca pleads not guiltyWASECA, MN -- The southern Minnesota teenager accused of plotting to kill his family and slaughter students and staff at his school pleaded not guilty Monday.
By: INFORUM, Forum News Service
WASECA, MN -- The southern Minnesota teenager accused of plotting to kill his family and slaughter students and staff at his school pleaded not guilty Monday.
John David LaDue, 17, was charged as a juvenile with four counts of attempted first degree murder, two counts of first degree attempted criminal damage to property and six counts of possession of an explosive or incendiary device by a person under age 18.
He pleaded not guilty Monday in Waseca County District Court, the Waseca County News reported on its website.
He had planned to kill his family, set a fire in rural Waseca to distract authorities and then head to the building that houses Waseca's junior and senior high schools, with more than 900 students, Waseca Police Captain Kris Markeson told a news conference after LaDue's arrest.
Based on LaDue's account to police and his journal, he planned to set off numerous bombs during lunch, kill a school resource officer as he responded to help, then set fires and shoot students and staff before being killed by law enforcement officers, Markeson said.
A tip of a suspicious person near a storage unit in Waseca led authorities to bomb-making materials at the storage unit and to LaDue, who was arrested April 29.
Tags: news, updates, waseca, minnesota, school, shooting, bomb, plot, crime


text: Classic White Luxe Pima Pajama$108.00 Size Choose an optionSmallExtra SmallExtra LargeLargeMedium Color Choose an optionWhiteClear Classic White Luxe Pima Pajama quantity Add to cart SKU: 360-750 Categories: LONG-SLEEVED SETS, LUXE PIMA, NEW ARRIVALS, SHOP BY DESIGN, SHOP BY FABRIC, SHOP BY STYLE, SOLIDS, STRIPES & DOTS Tag: Basics, Solid, Spring 2020 Details Product Details Luxe Pima is an ultra-soft, super light tightly woven cotton. It is our highest quality fabric and, like voile, is ideal for warmer climates or for people wanting a light, cool sleepwear set. 100% hand-pulled Pima Cotton Contrast piping and drawstring Long-sleeved Pajama top with full length pant with pockets Waist has 3/4′ elastic and drawstring Machine wash cold – tumble dry low – no bleach Pajama set is not pre-shrunk and will shrink when washed This women's pajama set has a roomy, comfortable fit Made in Peru Most people find our sleepwear to be larger than expected. This allows for a comfy fit and room for expected cotton sleepwear shrinkage, which is approximately 1″ in width and length. Related products Meadowlark Pima Knit Pajama $108.00 Anchors Away Luxe Pima Pajama $108.00 Lovebirds Cotton Pajama $108.00 Promenade Luxe Pima Pajama $108.00


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Push [Movie Trailer]
A riveting action-thriller, Push burrows deep into the deadly world of psychic espionage where artificially enhanced paranormal operatives have the ability to move objects with their minds, see the future, create new realities and kill without ever touching their victims. Against this setting, a young man and a teenage girl take on a clandestine agency in a race against time that will determine the future of civilization. With Chris Evans, Dakota Fanning, Camilla Belle and Djimon Hounsou
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January 4, 2005 • Posted By Shaun Lyon
One very small piece of casting news is hidden in the latest edition of Radio Times today (8û14 January). Tamsin Greighas 'a cameo appearance' in the new series, according to the magazine. She is the voice of Debbie Aldridge in The Archers on BBC Radio 4, and has starred in Green Room (Channel 4, 2004), Black Books (Channel 4, 2000û) and Neverwhere (1996 on BBC2), as well as the film "Shaun of the Dead" (starring fellow new series guest star Simon Pegg) last year. (Thanks to Steve Tribe)


text: Mayor Mitch Landrieu spoke at Wednesday's annual Mayoral Luncheon in support of the city and with special attention to the legal community. NOBA members lunched at the Sheraton Hotel while Mayor Landrieu underlined how far the city has come, and jokingly noted that he would rather get complaints about too much road work going on than complaints about roads in serious need of repair. His discussion focused on recent economic development projects including Costco and General Electric's Technology Center. He noted the current budgetary constraints faced by the city, but emphasized recent job creation. Mayor Landrieu rounded out his discussion on current crime prevention and the NOLA for Life program. The Young Lawyers Section hosted this program and special thanks is extended to Tommy Peyton and Becky Farina for all their help.


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Classes are currently being taught online. All physical facilities are closed to the public at this time, and employees are working remotely.Please visit
dcccd.edu/coronavirus for additional information and to
find contact information for various departments.If you need additional assistance, please visit
My Community Services and our
Community Employment Resources.
This article appeared in a February 2016 issue of the
student newsletter.
Did you know you can take online classes from top four-year colleges and pay DCCCD tuition rates? It's true! If you've completed 12 credit hours of college-level courses and have earned a 3.5 GPA or higher, you qualify.
international honors courses (IHC) are currently available through thr different International Honor Certificate.
Spring 2016 flex offerings include:
1. UCLA Anderson – Global Entrepreneurship Certificate
Learn the core concepts to create a global business plan, to get it funded and successfully grow your business.
DCCCD class: Introduction to Business (BUSI 1301-93X01) OR Small Business Management/Entrepreneurship (BUSG 2309-93X01).
2. University of Johannesburg, South Africa – Organizational Leadership Certificate
Build a foundation for leadership by understanding yourself, working with others and leading in any context.
DCCCD class: Inter Cultural Management (IBUS 2341-93X01) OR Organizational Behavior (HRPO 2307 93X01).
3. University of South Carolina – International Business Human Resources Certificate*Ranked #1 international business program for 13 straight years
Develop an understanding of modern management in the international setting. You will learn how to balance corporate policies with local customs so you can manage successfully in a global workplace.
DCCCD class: Introduction to International Business and Trade (IBUS 1305-93X01) OR Human Resources Management (HRPO 2301-93X01).
Interested, but wondering if an International Honor Certificate is right for you? Below are a few key facts that may help you decide if the certificate (and the timing) is right.
*This program is offered in conjunction with Phi Theta Kappa (PTK) International Honor Society; however, membership in PTK is not required. Students who complete the courses also receive a certificate of "International Leadership in Action and Development" through PTK.
Wonder what are students saying about the
International Honors Courses (IHC)?
Many believe the certificate program will help them expand their resume including Jorge Pina, a biomedical sciences student at Mountain View College.
"I'm not just competing with people in Dallas," explains Pina. "I'm competing on an international level. This (program) gives me a competitive advantage if I'm applying to an elite university or for a job."
A resume boost translates into more than job opportunities, however. A strong resume can also help you with scholarship applications— especially those for international travel or study abroad. Your honors class will introduce you to some of these scholarship opportunities.
Registration is available online through
eConnect through Wednesday Feb.3, 2016.
You may register for only ONE of these courses. Be sure to enter the specific section number.
To determine if these IHC/DCCCD courses would apply to your program of study or degree plan (as a required course, elective or additional course) please
see an academic advisor before registering. This is especially important if you are receiving financial aid or if you need information on how these online IHC courses will transfer to a four-year institution.
Upon registration of your course,
log into eCampus and select "Your Online Classroom." Under "Community" search for the DCCCD-PTK-INTERNATIONAL organization for additional course information.
Access to your IHC online course begins on Feb. 4, 2016, and you will receive instructions via email on how to access your course prior to that date.
Contact Becky Witherspoon at
email@example.com or at 972-860-8928; or Anna Mays, firstname.lastname@example.com, at 214-378-1733.


text:
belly(redirected from -bellied)
Also found in: Dictionary, Thesaurus, Financial, Encyclopedia.
venter (def. 1).
1. The abdomen.
2. The wide fleshy part of a muscle. Synonym(s): venter (2) [TA]
3. Popularly, the stomach or womb.
[O.E. belig, bag]
1. See abdomen.
2. Informal The stomach.
3. The womb; the uterus.
4. The bulging, central part of a muscle.
The thickest circumference of a skeletal muscle.
Vox populi
Abdomen, see there.
1. The abdomen.
2. The wide swelling part of a muscle.
Synonym(s): venter (2) .
Synonym(s): venter (2) .
3. Popularly, the stomach or womb.
[O.E. belig, bag]
bellyA common name for the ABDOMEN.
Patient discussion about belly
Q. stomachache
A. as doctoradhi said - you gave little information about what you look for so you get the most broad answer there is. what i can say from my experience with people is that most stomachaches i know are caused by gas :) and taking care of that will get rid of the stomachache.
Q. 10 weeks pregnant, stomach pain. My sister is 10 weeks pregnant and she is suffering from stomach pain from week 5 until now. I am Just wondering is it normal to have stomach pain when pregnant? and dose it go away after 12 weeks? This is her first pregnancy so please educate us.
A. hmm...my wife also felt pain during those weeks (5th..? maybe 4th...? up to the 11th- not sure) but it was not constant and not very painful. she went to her gyno who checked her out and told her it's the uterus stretching but it's good that she comes to check it out cause who knows.. don't take a chance.
Q. what kind of diet/food is good for helping with a stomach ache?
A. Stomach ache alone without diarrhea? You should eat more rice and bread and less meat, dairy and fruit. If you have diarrhea you should avoid fruit (except apples and bananas), and avoid milk products completely.More discussions about belly


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Chicago Metal legends TROUBLE return with their first album since 'Simple Mind Condition', released in 2007. The album is entitled 'The Distortion Field' and it features 13 tracks and will be released by FRW Records in North America on July 16th 2013 and in Europe on July 26th, 2013.
'The Distortion Field' makes history in the TROUBLE camp through the band's acquisition of a NEW lead vocalist, Kyle Thomas of Exorder and Floodgate fame.
Commenting on NEW vocalist Thomas, TROUBLE founder and guitarist Rick Wartell says, "Kyle is one of the most impressive singers I've ever heard, and by far the most extraordinary singer I've ever had the pleasure of working with. He's got incredible range, incredible power, and an incredible knowledge of TROUBLE, as he's been a fan for 20-something years. We've known him forever, and he innately understands what TROUBLE is about. He's like the perfect guy to come in and do this job. It's awesome."
Veteran Music Producer Bill Metoyer is once again lending his expertise, having previously worked with the band on 'The Skull' and 'Trouble', both Metal Blade releases.
"Musically, I think this album is a true TROUBLE record.", states Wartell. "In the early days, we used to just write what we felt and didn't really care about what anyone said. We just wrote heavy riffs and played our music our way. But outside influences can kind of get a hold of you and start telling you what to do. When we were writing this album, the thinking was, we don't care what anybody thinks. We're going to write what we write. So this is basically a return to our roots, while combining some reflections of our band's long history as well. With the two different music writers, Bruce and myself, we have a slight variation in our writing; Bruce has more of a '70s groove to his writing, and I'm more the old school doomy metal thing. And when you put it together, you get TROUBLE."
The band consists of Kyle Thomas - vocals, Rick Wartell - guitar, Bruce Franklin - guitars, and Mark "Marko" Lira - drums.
The band has planned a string of festival dates and will tour the album in both Europe and North America. Visit the band's website www.newtrouble.com for updates.
Related links:
TROUBLE's official site