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2012 Field Hockey All-Scholastics
Meet the standout performers who earned All-Scholastic honors for their work this season:
Athletes of the Year
Eleana Cardarelli
Division 1: Acton-Boxborough
Cardarelli's 29 goals and 15 assists propelled the 22-1-1 Colonials to their third state title in six years. The skilled junior forward is an honor roll student and also plays ice hockey and lacrosse. She a member of the Cape Ann Coalition Field Hockey Club.
Lauren Sutherland
Division 2: Watertown
The Middlesex MVP, Sutherland led the Raiders to their fourth consecutive state championship. In her four years at Watertown she helped the Raiders to a 92-0-3 mark. Also the captain of the lacrosse team, Sutherland will play field hockey for Holy Cross.
Elizabeth Alie
A backbone for the Panthers' defense, Alie helped Franklin to 11 shutouts this season and the Hockomock League title for the second year in a row. She's a member of the National Honor Society and Best Buddies and also plays lacrosse.
Nicole Bradley
Manchester Essex,
The Cape Ann League Small Player of the Year, Bradley led Manchester-Essex to the North final and an 18-2-1 mark, finishing with 8 goals and 6 assists. Bradley, an honor roll student, also plays softball. She will play field hockey for Merrimack.
Leah Cardarelli
Acton-Boxborough, sophomore
The skilled sophomore forward and two-time DCL All-Star finished with 17 goals and 16 assists for the Division 1 state champions. Cardarelli netted the winning goal in the state semifinal win over Walpole. She also plays ice hockey and lacrosse.
Alyssa Carlson
Carlson leaves the Raiders as a four-time state champion. The heart of the defensive line, Carlson has never lost in her time at Watertown. A member of the Cape Ann Coalition Field Hockey Club, she will play for Northeastern.
Elizabeth Dennehy
Weston, sophomore
Dennehy helped the Weston to DCL crown and a Division 1 North final appearance. A two-time DCL All-Star, the midfielder finished her career with 30 goals and 22 assists. Dennehy also has participated in the National Futures Championship three times.
Elizabeth Egan
Dennis-Yarmouth, senior
As a defender/midfielder, Egan helped the Dolphins to 14 shutouts and a 16-3-1 mark. A two-time Atlantic Coast League All-Star, Egan is also a member of the National Honor Society and plays for the ice hockey and softball teams. She will play field hockey for Merrimack.
Erin Gendreau
Sandwich, senior
The center midfielder's 16 goals and 10 assists helped the 19-3 Blue Knights reach the Division 1 South final. Gendreau is a three-sport ACL All-Star, excelling at field hockey, basketball, and lacrosse. Gendreau hopes to study athletic training in college.
Ellie Landsman
Lincoln-Sudbury, senior
Landsman was the midfield presence for the Warriors, who finished 11-6-2. She finished with 13 goals and 9 assists. A member of the Cum Laude Society and the NFHCA All-Regional team, she will play for Boston University next year.
Brooke Matherson
Walpole, junior
The MVP of the Bay State Carey, Matherson led the Porkers to an undefeated regular season and a Division 1 South title. The junior forward netted 50 goals and 15 assists. An honor roll student, Matherson also plays ice hockey.
Meaghan McKenna
A defensive force, McKenna led the Bulldogs post six shutouts and a 14-2-4 record. McKenna managed 13 goals and 6 assists as a back. An All-Star in field hockey, ice hockey, and lacrosse, she will play field hockey for Holy Cross.
Maeve McMahon
Groton, senior
McMahon earned ISL All-Star honors all four years at Groton. From her midfield position she scored five goals and added five assists but more importantly controlled the middle of the field for Groton. A three-sport athlete, she'll play lacrosse at Harvard.
Hannah Murphy
Duxbury, senior
Making her third All-Scholastic appearance, Murphy helped Duxbury to a Patriot League title and a Division 1 South quarterfinal appearance. She matcher her school record by scoring 28 goals, and added 28 assists. Murphy is also an All-Scholastic in ice hockey and lacrosse.
Jenna O'Leary
O'Leary was a wall between the pipes, allowing only seven goals all season. She was the defensive rock that helped the Lakers to an undefeated regular season and a Division 2 South crown. She's also a member of the National Honor Society.
Meghan Richer
Monomoy, senior
The leading scorer in Eastern Mass. with 53 goals, Richer helped the Sharks to an 18-2-2 record and a spot in the Division 2 South final. She finished her career with 123 goals and 73 assists. A National Honor Society member, she also plays basketball and softball.
Allie Sardo
Sardo was a scoring machine this season, netting 22 goals and tallying 30 assists. Her efforts earned her MVP honors and helped Pingree go undefeated in the EIL. She finishes with 75 goals and 135 assists. A member of USA Futures, she will play at Michigan.
Jaclyn Torres
Andover, senior
The three-time All-Scholastic helped key the Golden Warriors' 14-3-3 season. She finished her career a two-time state champion and three-time MVC All-Conference player with 48 goals and 40 assists. A member of the National Honor Society, Torres also plays lacrosse.
Annie Villare
Chelmsford, senior
The MVP of the Merrimack Valley Conference, Villare helped lead the Lions to a 17-3-1 mark and their first conference title in six years. Also a member of the Northeast Elite Field Hockey Club, she will play for UMass-Lowell next year.
Coaches of the Year
Mae Shoemaker
Division 1: Acton-Boxborough
In her ninth year at the helm, Shoemaker has kept Acton-Boxboro a force in Division 1 North. The Colonials went 21-1-1 this year and won their third state championship in six years. An avid runner, Shoemaker has run the Boston Marathon 24 straight years.
Cindy Cuthbertson
Division 2: Apponequet
Cuthbertson guided the Lakers to a Division 2 South championship and a 21-1-1 record this season. A member of the Northeast Coaches Hall of Fame, Cuthbertson has been coaching varsity field hockey for 32 years, compiling a record of 354-104-90.
Atlantic Coast — Dennis-Yarmouth: Rachel Bunce, Elizabeth Egan, Erin Gendreau, Mary Govoni, Mariah Kelley. Falmouth: Maddi Haberl. Marshfield: Lea Viola. Nauset: Ashley Hale, Carry Miller. Plymouth North: Liz Tosi. Plymouth South: Serena Colbert, Kara Hurley. Sandwich: Sam Anderson, Megan Eccleston, Erin Gendreau, Madeline Klimm, Maggie Layo, Stephanie Smith.
Bay State — Brookline: Chaewon Hwang. Dedham: Jamie Carty, Samantha Girard, Mary St. Cyr. Framingham: Kaitlyn Wilder. Milton: Bailey McDonnell, Nicole Regan. Natick: Katie Lancaster, Meghan Pini. Needham: Lexi Quirk. Newton North: Madison Beatrice, Bridget Gillis, Rachel Hamilton. Norwood: Samatha Hayes, Jenny O'Donnell, Allison Ryan. Walpole: Caroline Feeley, Brooke Matherson, Michaela Tosone. Wellesley: Molly Connolly.
Cape Ann — Amesbury: Amanda Schell. Ipswich: Sarah Antonucci. Lynnfield: Madyson Milordi. Manchester Essex: Nicole Bradley, Brittany Smith. Masconomet: Belle Ives, Becca Phillips. Newburyport: Paige Heffernan, Kate McCauley, Lea Tomasz. North Reading: Lauren Emrich. Pentucket: Tori Spofford. Rockport: Meghan Reilly.
Dual County — Acton-Boxborough: Sarah Bentley, Eleana Cardarelli, Leah Cardarelli, Cara Conery, Colleen Fowler. Bedford: Marisa Citrano, Laura Coughlin. Concord-Carlisle: Sarah Bagley, Tatiana Grava, Caroline Kielar. Lincoln-Sudbury: Whitney Hartstone, Abby Kawola, Ellie Landsman. Newton South: Abby Coleman, Lauren Cutler. Waltham: Emily McGann, Taylor Scafidi. Wayland: Ellen Barber, Catherine Butts, Alice D'Orlando, Madison Kiefer. Westford: Allison Avery, Allia Connolly. Weston: Bianca Brueckner, Sara Coburn, Elizabeth Dennehy, Hannah Dinardo, Ayah Dweik.
Eastern Athletic — Bishop Stang: Danielle DeGrazia, Colleen Packard. Martha's Vineyard: Kathryn Antonsson, Tayla Keuhne, Kendall Robinson. Somerset Berkley: Allison Baker, Sydney Cardinal, Keighley Rockcliffe. West Bridgewater: Ashley Congdon, Emma Kincaid, Priscilla Martinez, Ally Mills. Westport: Melanie Smeaton, Jenna Willard.
EIL — Bancroft: Gabby Peterson. Berwick: Alex Wood, Anna Wright. Concord Academy: Becca Miller. Dana Hall: Caroline Ames, Jennifer Barrack, Estelle Palandjian, Hannah Piersiak. Lexington Christian: Kerri Agresti, Corrie VanderBrug. Newton Country Day: Nora DeSimone, Sophia Sgroi, Sara Taylor. Pingree: Liz Jayne, Danielle Kanter, Solina Powell, Allie Sardo, Josie Wexler, Jillian Witwicki. Portsmouth Abbey: Callie Taylor, Ally Tessier. Winsor: Grace Hanrahan.
Greater Boston — Everett: Samantha Fudge, Leanna Lambert, Lauren Mahoney, Ellina Oliveira, Gabrielle Ramunno, Cecellia Tran. Malden: Jessalynne Brown, Bridget Furlong, Marrissa Lally, Emily Moran, Amanda Ramsey.
Hockomock — Attleboro: Alexa Harvey. Canton: Casey Consindine, Alex Dillon, Meaghan McKenna, Kellie Stigas. Foxborough: Ellen Decker, Katie Notarangelo, Lindsey Venuto. Franklin: Elizabeth Alie, Hannah Magerman, Kim Pfeifle, Brenna Spolidoro. King Philip: Ashley Avery, Danielle Hamilton. Mansfield: Megan Doherty, Janet Maher, Gina Stoyle. Milford: Allie Furlo. North Attleborough: Jackie Del Bonis, Allie Ferri, Rose Mooney. Oliver Ames: Katie Eldemery, Jackie Healy. Sharon: Sarah McGrath. Stoughton: Masha Lourie. Taunton: Katelin Morrisey.
ISL — Brooks: Jill Doherty, Whitney Jones, Alesandra Miller. BB&N: Steffi Katz. Governor's Academy: Maria Krull, Natalie Sullivan. Groton: Maeve McMahon. Lawrence Academy: McKayla Blanch, Madeline Groves. Middlesex: Juliana Fiore, Clare Lyne, Sarah Tabeek. Milton Academy: Ale Gianino. Nobles: Kim Ganong, Catherine Kurtin, Emily Ott, Natasha Rachlin. Rivers: Maura Crowley. St. George's: Caroline Thompson. St. Mark's: Paige Duffy, Alexa Mackintire, Jessica Mulvey, Ally Skully. St. Paul's: Emily Bresnahan, Caroline Ferguson. Thayer: Kelcie Finn, Kelsey Poole.
Merrimack Valley — Andover: Louisa Gross, Meaghan Keefe, Bridget Morris, Mel Newton, Mikayla Panneton, Jaclyn Torres. Central Catholic: Hope Alaimo, Molly Bryant, Kendra Poulin. Chelmsford: Rachel Bossi, Kaleigh Hoffman, Alanah Melanson, Libby Mercuri, Brittany Oliver, Annie Villare. Dracut: Lauren Ramirez, Meghan Wells. Haverhill: Devyn Mangrum, Madelin Scovotti. Lawrence: Thalia Garcia, Brittney Marte. Lowell: Madison Alcorn, Tori Alcorn, Madison Casella. Methuen: Samantha Donovan, Abby Galloway-Burke. North Andover: Julie Boshar, Sara McCarthy, Kali Otis, Caroline Whalen. Tewksbury: Natalie Bourne, Adriana Brown, Riley Ryan, Hayley Sutherland.
Middlesex (Freedom) — Burlington: Holly Brouillette. Melrose: Maddie Sullivan. Stoneham: Allie Mahoney, Sarah Muolo. Wakefield: Bailey Finocchio, Marie Peduto. Watertown: Melissa Butler, Rachael Campbell, Alyssa Carlson, Allie Doggett, Emily Loprete, Maddie Rocklin, Lauren Sutherland. Wilmington: Emily Colosimo, Katherine McKenna, Amanda Richards.
Middlesex (Liberty) — Arlington: Eva Colarusso, Analis Kechejian. Belmont: Kendal Brown, Catherine Noone. Lexington: Carolyn Avery, Abby Grant, Erin Murray. Reading: Sarah Hart, Kate McCarthy. Winchester: Talene Bush, Tori Castro, Megan Miranda, Bella Mortenson, Catherine Pitts, Emily Savage. Woburn: Meghan O'Riordan.
Patriot — Duxbury: Ally Hammel, Alex Michelson, Hannah Murphy, Meredith Wright. Hanover: Taylor Graf, Meghan O'Brien. Hingham: Kristina Hill, Caitlin Sullivan, Katie Sullivan, Maggie Watson. Middleborough: Traci Perry, Erin Ward. Pembroke: Sophia Nogueira. Scituate: Nikki Bengal, Sarah Hoffman, Zoe Ryan. Silver Lake: Allie Boyle, Sam Pecinovsky.
South Coast — Apponequet: Nicole Dion, Jenna O'Leary, Cara Storms. Bourne: Emily Cheney, Amber Prevey. Case: Steven McCarthy, Jared Neville. Dighton-Rehoboth: Megan Duffy, Cassidy Morrow. Fairhaven: Melissa Berry. Old Rochester: Abby Offringa, Ally Saccone, Katie Wilbur. Seekonk: Lucy Belt, Ally Whitelaw. Wareham: Elizabeth St. Germain.
South Shore — Carver: Jordan Gray, Brooke Rodrique. Cohasset: Mackenzie Axelson, Sara Campedelli, Caty Gilman, Giselle Hart. East Bridgewater: Sophia Cacciatore, Lizzy Leblanc, Maddie Vlachos. Hull: Nikki Twombly. Mashpee: Taylor Chicoine, Sean Mahony, Rashida Plummer. Monomoy: Gabby Crowell, Madison Lucarelli, Kelly Murphy, Meghan Richer. Norwell: Kaylyn Allahyarian, Julianne Mariano, Kellie O'Leary.
Tri-Valley — Ashland: Jaclyn Chirico, Nicole Wenzell. Bellingham: Taylor MacGowan. Dover-Sherborn: Mollie Brach, Abby Gannon, Molly McGill. Holliston: Caroline Sheib. Medfield: Tori Brown, Carrie Cook. Medway: Katie Peters. Westwood: Kasey Keane, Bryn MacGillivary.


text:
Global utilities:
Audience menu for:
Section: Student Support
Student Support menu:
Disability Support Services is dedicated to helping students with documented disabilities access all of the educational opportunities and services offered by the College.
There are significant differences in how students obtain accommodations in college than in high school. Academic accommodations are not automatically put in place; students must be self advocates and request services. Students who wish to obtain accommodations for their classes must follow Disability Support Services (DSS) procedures:
Once registered with DSS, students will be assigned to a DSS advisor. The DSS assigned advisor will assist in developing an educational plan that considers the impact of the disability on educational and career plans. Appointments with the assigned DSS advisor are required for DSS Orientation, Academic, Career and Transfer Advising.
Information for Parents and family members of Harford students is available on our Parents pages. Designed for all new Harford parents, this information will familiarize you with Harford Community College and everything we have to offer.
Phone: 443-412-2402
Fax: 443-412-2200
Join the conversation
on social media:
Harford Community College
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subset: commoncrawl


text:
The Drama Book Shop to Host BETTER NATE THAN NEVER Book Signing, 2/5
The Drama Book Shop (250 W. 40th Street, NYC) will host a Q&A and book signing with Tim Federle, author of the Broadway coming-of-age novel Better Nate Than Ever, on February 5th at 5:30 PM. The Q&A will be moderated by Thomas Schumacher, President of Disney Theatrical Productions. Already earning rave reviews from critics and celebrities alike, Better Nate Than Ever, Federle's debut novel, is being released the same day by Simon & Schuster Books for Young Readers. The book recently launched at the Junior Theater Festival, for an enthusiastic audience of over 4000 theater-loving kids.
Better Nate Than Ever invites readers on an adventure with Nate Foster, a small-town eighth grader with big-city dreams. From the book jacket: "For Nate's whole life, all he's wanted is to be in a Broadway show. (Heck, he'd settle for seeing a Broadway show.) But how is Nate supposed to make his dreams come true when he's stuck in Jankburg, Pennsylvania, where no one (except his best pal Libby) appreciates a good show tune? With Libby's help, Nate plans a daring overnight escape to New York. There's an open casting call for E.T.: The Musical, and Nate knows this could be the difference between small-town blues and big-time stardom."
On writing Better Nate Than Ever, Federle says: "While I was on the artistic staff of Billy Elliot, I was struck by how these teenagers had to carry such a gigantic show on their shoulders-it was like Hamlet with acne-and then come offstage and be expected to finish their science homework. Ultimately, Better Nate Than Ever is for anyone who knows that the fastest way to star in your own life story is to dream big, no matter how small you are."
Better Nate Than Ever can be pre-ordered on Amazon.com now and will be available wherever books are sold beginning February 5, 2013.


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Image size: 12 3/4 x 16 3/4 Inches
Date: Later half of 18th Century
Description:Vues d'optique or "perspective views" were a special genre of antique print originating in England and widely produced in Europe during the second half of the 18th century. These prints were a form of entertainment meant to be seen through devices called "optical machines," "optiques," "zograscopes" or "peepshows." These peep boxes contained a magnifying lens which gave the viewer the impression of three dimensional perception. Many well-to-do families bought such viewing machines, collecting vues d'optique for home viewing. Since these prints were moved in and out of viewing boxes almost daily, they often show some wear and tear, unless they were handled with much care by private possessors.


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Pressie (1 member, 22 visitors)
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Member (Idle past 2301 days)
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|Topic: The Flood - Animals and their minimum food requirement
Member (Idle past 686 days)
Posts: 2544
From: boulder, colorado
All a man's knowledge comes from his experiences
obvious Child
Member (Idle past 2289 days)
Posts: 661
(shameless stolen from another user here)
Magic makes everything better. Have a problem? Magic solves it!
Posts: 713
From: Columbia Missouri
In a word NO.
Vacuum has ZERO heat capacity. It cannot and will not absorb heat under any (non magical) circumstances. Vacuum is a perfect (almost) insulator. That is why they make thermos flasks and cryogenic gas tanks with a vacuum between the layers. It keeps the heat or cold right where it is.
I have no physical problem with launching a bunch of stuff into space but it has nothing to do with heat rising in that circumstance.
What we would have then is a bunch of superheated steam being forced into space. (Of course you must realize that it would have to leave the geysers at something close to 25,000 miles per hour right?)
Now your situation is this. You have millions of cubic miles of superheated steam orbiting the earth. (original 800 degrees plus friction from the incredible velocity at which it was ejected.) When the stuff begins to fall back to earth it now has an additional (massive) ammount of energy stored up as potential energy due to its height above ground. It will release this energy into the atmosphere as it falls. That is one hell of a lot of heat!
There is nothing magical about this.
It is a perfectly well understood mechanism that any science undergrad and most high school students could explain to you.
The fact remains that you have to put energy into the system to cool the water. The system as a whole, increases in temperature.
This is not what happens in our upper atmosphere. If it did then the process itself would fry the earth with its excess heat.
Posts: 4900
Member Rating: 3.1
Oh, no problem. A Few Silly Flaws In Walter Brown's Hydroplate Theory. Now, the problem is keeping it in the Solar Syatem and getting it back to Earth. Oh, and it probably took the whole atmosphere with it, by entrainment. But we'll just direct God to do a few more miracles, no worries.
Inactive Member
No problem there except the brass still has to fit in a frame of wood and again you have the problem of the swelling in 100% humidity now closing tightly on a brass containing door.
And you have no answer for how the animals kept from overheating due to lack of evaporation of sweat.Nor for the waste that the animals produced.
Remember this is only a tiny proportion of the difficulties that arise from the flood story. We might also ask of what food did Noah and his family eat and how did they cook it on a sealed vessel?
Suspended Member (Idle past 3765 days)
Posts: 2024
I was under the impression that water becomes steam only because its under pressure remove the pressure and it cools quite quickly because its no longer under pressure.
Please explain black radiation making it not possible for steam to cool quite quickly in the natural once its pressure is removed as in a vacuum as stated in the article that it cools quite quickly to 46 degrees F to a clear chilled water vapor.
Explain why I need to keep heating my hot water heater if this black radiation takes so long to dissipate its heat.
The Hydroplate senerio critic that JonF brought up is a good analogy however it does not mention that the water blasted laterally out from beneath the earth so the water would of not of been necessarily been blasted out of orbit.
Here is a different article about the making of snow which hopefully will explain how water vapor coming down from above the atmosphere and meeting with the compressed atmosphere below would produce snow.
This explains the rapid glatiation of the northern hemisphere in that what was happening is quite similar to how they make snow in the natural world.
The compressed air enters the nozzle at ambient temperature but as it expands into the open air, this high-density air cools dramatically. It is doing work on the open air, pushing that open air out of its way to make room for itself as it expands to normal density and pressure. Doing this work takes away a good fraction of the compressed air's thermal energy, so it becomes quite cold. Heat flows into it from the water droplets and those water droplets freeze into artificial snow.
Edited by johnfolton, : No reason given.
Suspended Member (Idle past 3765 days)
Posts: 2024
Water vapor is clear even at 100 percent humidity, if the temperature is cooler there would not be a problem within the ark given the ark was pitched within and without.
I couldn't find in genesis saying the ark was a sealed vessel, it mentions a window a cubit to fashion it above. Normal air circulation would of supplied fresh clear air from above by the water being diverted away.
If the window was running a cubit the length of the roof was closed but not sealed, then by normal air convection would drive the hot air out and the cooler air within the ark.
Edited by johnfolton, : No reason given.
Edited by johnfolton, : No reason given.
Posts: 713
From: Columbia Missouri
Oh I see where your misunderstanding is coming from now.
Water becomes steam (converts from liquid to gas phase or boils) depending on pressure and temperature. At sea level, (one atmosphere) it becomes steam (gas) at 100 degrees C. If you move it up a high mountain then it boils at a much lower temperature.
Put it in a vacuum and it instantly boils no matter what the temperature is. Pressure is the only thing that keeps it liquid.
Have a look at the phase diagram for water/ice/vapor
As for the temperature, that is down to the rate of molecular vibration and is independent of pressure entirely. The water molecule can only get rid of its heat (vibration) by passing it on to something else. In a vacuum there is nothing to pass it on too except for infrared low energy photons (black-body radiation) so it will remain very very hot for a long long time.
Gasses always want to expand to fill up all available space around them in order to equalize pressures. In space the volume to fill is pretty much infinite so the molecules will continue to move away from each other until they no longer interact with each other in any way. The vast majority of the stuff would never return to earth at all once it gets into space.
because your hot water tank is NOT in a vacuum and can therefore lose heat to its surroundings by conduction. The pipes that come out of it feel hot right? That is conduction.
This is basic physics. Nothing tricky here.
and incidentally this is not the entire quote from your site. it makes more sense with the entire thing included.
First it asks the question.....
then it goes on to answer the question...
The jet of air absorbs heat from the jet of water as it expands.
In this example the air starts out at ambient temperature (which is actually Zero degrees C) then gives away heat to the surounding air as it expands (by conduction). It then absorbs latent heat from the water to re-equilibrate itself with the ambient temperature. This forces the water to go through a phase change (to ice) but without actually changing temperature at all.
As I said, basic physics. (and horribly over-simplified physics too)
Inactive Member
If the temperature dropped it would become fog. Nonetheless the wood still expands and has nothing to do with the pitch.It is the reason a gap is left in doorways of your home ,to permit for expansion in high humidity.The humidity aboard the ark cannot fluctuate since there is no where for it to go.
One window does not a circulation make. So even the bible shows that this is not possible. Regardless the 100% humidty would prevent them from lighting kindling as it owuld be saturated after a few days.
Edited by sidelined, : added extra comment
Suspended Member (Idle past 3765 days)
Posts: 2024
It appears that infared energy works quite well for cooling water in these heat exchangers rejecting infared radiation into space.
Basically the steamed water molecule in space would be cooling by releasing infared radiation(especially on the dark side of the earth).
REMAINING A VAPOR because its liquid state is only based off pressure and not temp with no pressure it remains in this chilled water vapor state until it is pressurized by the atmosphere.
In the northern hemisphere being in a winter this chilled water vapor pressurized primarily to snow, the evidence is all the glaciation in the northern hemisphere. In the southern hemisphere based on the lack of glaciation returned primarily as rain.
How is there differences in principle in respect to these heat exchangers to the water molecules rejecting infared radiation into space?
In space, objects heat up by absorbing sunlight and can only cool off by emitting infrared energy, transferring the heat by radiation.
First we remove excess heat by this very efficient liquid heat-exchange system," said Gene. "Then we send the energy to radiators that reject the heat into space."
Posts: 4754
From: Vancouver, BC, Canada
Others: I'm considering suspending those who reply to whatever/JohnFolton etc. When warned of who he is really when he tries to hide behind a new alias please do NOT respond.
Archer Opteryx
Member (Idle past 1771 days)
Posts: 1811
From: East Asia
Top creation researchers estimate that Noah could take 55 representative dinosaur 'kinds' onto the ark. If he took less than full-size adults for the largest kinds, everyone could ride in cross-ventilated comfort with plenty of leg room.
Edited by Archer Opterix, : Clarity.
Edited by Archer Opterix, : Typo.
Edited by Archer Opterix, : Typo.
All species are transitional.
Member (Idle past 686 days)
Posts: 2544
From: boulder, colorado
I also question that figure. reason being--what effect do all the support beams and everything else needed to support a ship that size on the inside volume.
oh, and a
All a man's knowledge comes from his experiences
obvious Child
Member (Idle past 2289 days)
Posts: 661
Archer Opteryx
Member (Idle past 1771 days)
Posts: 1811
From: East Asia
Most would have trouble. But legendary ships can be pretty sturdy.
All species are transitional.
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GNLP necesitaba un nuevo diseño de camiseta y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 35 diseños de 13 diseñadores freelance.
Global NLP Training
Global NLP Training sells immersion training teaching NLP and life coaching. Tools relating to psychology, personal development, verbal and non-verbal communication. We sell mainly to motivational/life coaches, public speakers/educators in the field of self-help/empowerment, people in the wellness/fitness industry. Our courses are described as life changing and having an amazing positive impact. The tools we teach are described as "the user's manual as to how to use your brain."
Website: http://www.globalnlptraining.com (though this will website + graphic design will be changed.)
We are holding 3 contests, for 3 different T-shirts.
T-Shirt with just our company name: Global NLP Training
Optional is using the slogan: Passionate about CHANGE!
Location: front of T-shirt
T-shirt fabric color: we want it to be able to print on white to dark color T-shirts by changing out the color scheme (which we need to be able to do easily.)
The T-shirt needs to incorporate:
1. the company name
2. The T-shirt design has to incorporate our branding. And have to contain the element of a globe + tree. Doesn't have to be identical to our logo.
3. Stick to our branding colors: darker purple and/or various shades of grey for a design on a light colored shirt. White and/or light grey's for a design on a dark colored shirt.
4. Optional: for the back of the T-shirt we need a very small print of our logo and the word T R A I N E R, which will go right on top of the shirt near the neck. Very clean and simple
Clean, professional, but smart. Possibly fun & happy. Without being boring, stiff, and business like.
The best indication of what we want is this feel:
T-shirts we like, and a very good clue as to what we want to choose for:
Details T-shirt + printing:
1. the design is for the FRONT of the shirt.
2. We want minimal color use here, either single, 2 or maximum 3 colors. We want for the design to be easily change in color, at a flick of a few buttons to work for a light colored fabric T-shirt to dark. Stick to our branding colors: darker purple dominant + various shades of purple + various shades of grey for a design on a light colored shirt. White and light grey for a design on a dark colored shirt.
3. We will favor a designer whom will give us both the version for on light color/white T-shirts + dark color/black T-shirts.
3. Will be printed and worn by males + females of different sizes.
4. We need a high as possible DPI/resolution. 300 at the very very lowest, the higher the resolution the better.
College educated males + females age 27 - 45, into wellness, personal development, healthy life styles, North-American + Western European.


text:
After a few glasses of Cristal (compliments of adidas), Michigan Athletic David Brandon put down his thoughts on the preferred seat donation program…
Dear Bryan,
Hey buddy! How are things in your neck of the woods? Well, I have to say things are pretty swell here! I mean, apart from that 8-4 football season (who would have known that all those away games would have been so darn difficult) and the hockey team taking a dive. But hey, have you SEEN that basketball team? WOW!
You and all of your other fellow pals in the end zones are great people. Really you are! You're loud, wild, crazy, and you throw some really cool tailgate parties. I know they're not as fancy as the ones in the Crisler parking lot, but a hot dog is a hot dog, and you guys know how to cook them just how I like them. The problem is that I've made a lot of promises lately. Crazy promises. We've got about 600 or something other sports programs (I forget them all – I can't remember everything), and face it, this one and basketball are the only ones that are paying the university's bills right now. I know in 2004 that the message was sent that you wouldn't have to pay anything for a seat donation where you sit. Sure, we've tripled our revenue from bowl games proceeds and we're rolling in cash from that Big Ten Network revenue and all of these luxury boxes. I also know that your ticket stub for the MSU game this year at $95 is a little different then that stub you may have saved from the 1995 MSU game that read $35….but our new tickets are really shiny now!
Basically, we're strapped. I'm counting on you pal! And don't think you're alone. We made sure to stick it to those rich folks that sit everywhere else (yeah, those jerks). We have to get some money, and fast! We just got a deal that we couldn't pass up. We met this guy at a Legitimate Businessmen's Social Club meeting and he told us that if we build 10 buildings with his company, he'll throw the 11th and 12th structures in for free! How can you pass that up? Plus, with the price of gas so high and my recent addiction to candy cigarettes, $800,000 a year is just not going to cut it as a salary.
Anyway, we need to get this done quickly and it costs a lot of money. We figured an extra $10 million a year in perpetuity should just about cover it. And the good news is, we aren't raising ticket prices this year. Not one cent!! I know you were expecting it, but I'm just that kind of guy. It's just like a tax cut! We accept cash, check or Diner's Club cards only. Make sure you get this in quickly, or we're going to give your tickets to some random Ohio State fan….and we really don't want that happening. Could you live with the fact that YOU let that happen?
Anyway, we'll be expecting your $75 soon. The heated yellow brick road in front of Crisler has already broken ground and I had to front my 11th Bentley as collateral. Those builders are relentless!
Maybe I'll see you some Saturday…..
P.S. I've enclosed a picture showing how dire the situation is here at the Athletic Department. Send help quick!
Special Thanks to Bryan Smitt for passing this along!


text:
A Build System for Complex Projects: Part 1
A Build System for Complex Projects: Part 2
A Build System for Complex Projects: Part 3
A Build System for Complex Projects: Part 4
A Build System for Complex Projects: Part 5
Build systems are often a messy set of scripts and configuration files that let you build, test, package, deliver, and install your code. As a developer, you either love or loathe build systems. In this article series, I present a different approach to build systems, with the ultimate goal of completely hiding the build system from developers. But first, let me start with some personal history.
Early in my programming career I was a pure Windows developer (with the exception of my very first job, where I wrote Cobol programs for publishing Australia's Yellow Pages). While there was no build system to speak of, there was Visual Studio and Visual SourceSafe. I built Windows GUI clients, messed around with COM components, and picked up some nice C++ template tricks from ATL. And because automated unit testing wasn't very common back then, we created various test programs before passing code on to QA. This wasn't too painful since I worked for a small startup company and the projects weren't too big.
But I then moved to a company that developed software for chip fabrication equipment in the semi-conductor industry and BOOM! Life-critical and mission-critical real-time software running on six computers that controlled custom-built hardware in clean-room conditions. The software ran on several operating systems with about 50 developers contributing code. The development environment consisted of two machines running Linux and Windows/Cygwin. The deployment environment was Solaris and LynxOS RTOS. No more Visual Studio. After reading about 1000 pages of documentation in the first week and getting my .profile and .bashrc in order, I was assigned my first task -- designing and implementing a build system to replace the existing one, which was a nasty combination of Makefiles and Perl scripts that actually worked but nobody was sure why (the original author had left the building). There were a few bugs (for example, the build system didn't always follow the proper dependency path) and a big requirements document. Clearly it would be impossible to evolve the current build system, so I had to create a new one from scratch. This was lucky because I had zero experience with Makefiles and Perl, coupled with the tolerance threshold of a Windows developer to gnarly stuff. I still have the same tolerance, but I now know something about Makefiles.
Some of the requirements were pretty unusual, like running a commercial code generator that produces code from UML diagrams on a Windows machine, then uses the artifacts to compile code on Linux, Solaris, and LynxOS. The bottom line is that I decided to take an unusual approach and wrote the entire system in Python. It was my first big Python project and I was really surprised at how well it went. I managed everything in Python. I directly invoked the compiler and linker on each platform, then the test programs, and finally a few other steps. For instance, I implemented friendly error messages that provided helpful suggestions for common errors (e.g., "FrobNex file not found. Did you remember to configure the FrobNex factory to save the file?").
While I was generally pleased with the system, it wasn't completely satisfactory. In lieu of Makefiles, I created build.xml files, a la Ant. That was a mistake. The XML files were verbose compared to Makefiles, big chunks were identical for many subprojects, and people had to learn the format (which was simple, but something new). I wrote a script that migrated Makefiles to build.xml files, but it just increased code bloat. I created a custom build system without regard for the specific environment and its needs. I created a very generic system, with polymorphic tools that can do anything as long as you write the code for the tool and configure it properly. This was bad. Whenever someone says, "You just have to ..." I know I'm in trouble. What I took away from this experience is that Python is a terrific language. It's really fun when you can actually debug the build system itself. Having full control over the build system is great, too.
Background: What Does a Build System Do?
The build system is the software development engine. Software development is a complex activity that involves tasks such as: source-code control, code generation, automated source code checks, documentation generation, compilation, linking, unit testing, integration testing, packaging, creating binary releases, source-code releases, deployment, and reports. That said, software development usually boils down to four main phases:
- Developers write source code and content (graphics, templates, text, etc.)
- The source artifacts are transformed to end products (binary executables, web sites, installers, generated documents)
- The end products are tested
- The end products are deployed or distributed
A good automated build system can take care of steps 2-4. The distribution/deployment phase is usually to a local repository or a staging area. You will probably need some amount of human testing before actually releasing the code to production. The build system can also help with that by notifying users about interesting events, such as successful and/or failed builds and providing debugging support.
But really, who cares about all this stuff? Actually everybody -- developers, administrators, QA, managers, and even users. The developers interact most closely with the build system because every change a developer makes must trigger at least a partial build. When I say "developer" I don't necessarily mean a software engineer. I could be referring to a graphic artist, technical writer, or any other person that creates source content. When a build fails, it's most often because a developer changed something that broke the build. On rare occasions, it would be an administrator action (e.g., changing the URL of a staging server or shutting down some test server) or a hardware problem (e.g., source control server is down). A good build system saves time by automating tedious and error-prone activities.
Think about a developer manually building and unit testing a program. Without a build system, he has to very carefully build it properly, test it, and hand it over to QA. The QA person needs to run his own tests, then hand it to the administrator for deployment to a staging site, where more tests are run against the deployed system. If anything goes wrong in this process, someone must determine what happened. Automated build systems eliminate a whole class of errors. They never forget a step and they can pinpoint and resolve other errors by verifying that the source artifacts and intermediate artifacts are available and by scanning through log files and detecting failures.
Managers can also benefit from build systems. A passing build is the pulse of a project. If you have an automated build system with good test coverage (at the system level), managers can monitor project progress and be ready to release at each point. This in turn enables more agile development practices (if you are so inclined).
A build system can even help users in some cases. Think about systems that incorporate user-generated content and/or plug-ins. In most cases, you need to go over the content and ensure it doesn't break your system. A build system that automates some/all of these checks allows for shorter publish/release cycles for user-generated content.


text: MCCORMICK TRACTORS will now be manufactured and marketed by ARGO Tractors, which also handles the Landini brand products. ARGO Tractors was created by ARGO S.p.A., the company that owns both brands as well as other machinery brands around the world, such as Fella, Gallignani, Laverda, Pegoraro, Sep and Valpadana. This company has global sales of more than $950 million and more than 3,200 employees.


text:
The Hope Summer Repertory Theatre announces a 38th season that will be sure to please. Follow HSRT as they bring new shows paired with old classics to the Holland community. The season begins on June 19th and runs through August 15th at three Hope College locations, DeWitt Theatre, the Knickerbocker Theatre and DeWitt Center Studio Theatre, and the Baker Lofts at Til Midnight.
Opening the season on June 19th is Room Service, by John Murray and Allen Boretz, a hit Broadway show, later adapted into a Marx Brothers movie. Watch what happens as nineteen starving actors are holed up in a hotel room as the director of a new play tries to avoid eviction. Tension builds as the bills keep piling on, the opening of the show is fast approaching, and a businessman finds an interesting discovery in the bathroom. Performances are at 8:00 p.m. on June 19, 20, 25, 30, July 2, 7, 9, 14, 16, 22, and 25.
Suds:The Rocking 60s Soap Opera Musical created by Melinda Gilb, Steve Gunderson, and Bryan Scott will open on June 26th in Holland's picturesque downtown Knickerbocker Theatre. Cindy the Wash-O-Rama attendant is visited by three guardian angels that attempt to teach her lessons about life, love, and Mr. Right. Hit songs include "I Will Follow Him," " It's My Party," "Please Mr. Postman," " Respect," "Secret Agent Man," " Shout," and "Wishin And Hopin." Additional performances are at 8:00 p.m. on June 27 July 1, 8, 27, 30, August 5, 8, 10, and 13.
The season continues with The Cmplt Wrks of Wm Shkspr...Abrdgd by Adam Long, Daniel Singer, and Jess Winfield, an HSRT favorite last performed in 1998, opening on July 10th. Come watch as three actors take a high speed trip through Shakespeare's works and be ready for a night pratfalls, puns, willful misreadings of names and dialogue, clunky female impersonations, clean-cut ribaldry, and broad burlesque. This show is sure to keep you laughing while enjoying a little song and dance. Performances continue on July 11, 15, 29, August 1, 3, 7, 11, and 14 at 8:00 p.m.
Six generations have read the story. This one will sing it! Little Women (the musical) with music by Jason Howland, lyrics by Mindi Dickstein, and the book written by Allan Knee, brings a new twist to the traditional story and will open on July 17th. Watch as the four March sisters try to overcome their character flaws while taking care of their family and each other, all the while learning about life's journey. Performances continue on July 18, 24, 28, 31, August 4, 6, 12, and 15.
New from the creators of Chaps! comes the musical DogPark by Jahnna Beecham, Malcom Hillgarner, and Michael J. Hume with songs by Malcom Hillgartner opening on July 23rd. This brand new musical, performed at the Baker Lofts at Til Midnight, comes straight from the Milwaukee Repertory Theatre. Meet Daisy, Champ, Bogie and Itchy at the coolest place in town, the dog park. Performances begin at 8:30 p.m. on July 23, 24, 28, 31, August 4, 6, and 12.
Also watch for our upcoming Children's Troupe shows opening on June 24th. CPT will be performing Click Clack Moo on June 24, 29, July 1, 6, 8, 27, 31 August 5, 10, and 14 at 10:30 a.m. and July 29, August 3, 7, and 12 at 1:30 p.m. Charlotte's Web is at 10:30 a.m. on July 15, 20, 22, 29, August 3, 7, and 12 and 1:30 p.m. on July 20, 22, 27, 31, August 5, 10, and 14.
Tickets are on sale through the DeVos Fieldhouse ticket office. The DeWitt Theatre Ticket Office opens May 27. Prices range from $8-$26 for musicals, and $8-$18 for plays. Season tickets, ranging from $45-$85, are also available.
The ticket office is open from 10 a.m. to 5 p.m. Monday through Friday. Beginning June 14 the ticket office is open on Saturday's at noon. On performance dates, the DeWitt Ticket Office will be open through intermission. The ticket office is located in DeWitt Cultural Center at 12th Street and Columbia Avenue. For tickets call the ticket office at 616-395-7890. For more information visit the HSRT website at www.hope.edu/hsrt.
The DeWitt Theatre is located at 141 East 12th Street. The Knickerbocker Theatre is located in Holland's downtown on 8th St. and Till Midnight is located at 171 East 24th Street.


text:
Frequent Links
Television program
|This article needs additional citations for verification. (December 2011)
|The examples and perspective in this article deal primarily with the English-speaking world and do not represent a worldwide view of the subject. (March 2015)
A television program, television programme, or television show is a segment of content intended for broadcast on television, other than a commercial, channel ident, trailer, or any other segment of content not serving as attraction for viewership. It may be a single production, or more commonly, a series of related productions (also called a television series).
A television series that is intended to comprise a limited number of episodes may be called a miniseries or serial. Series without a fixed length are usually divided into seasons or series, yearly or semiannual sets of new episodes. While there is no defined length, US industry practice tends to favor longer seasons than those of some other countries.
A one-time broadcast may be called a "special," or particularly in the UK a "special episode." A television film ("made-for-TV movie" or television movie"), is a film that is initially broadcast on television rather than released in theaters or direct-to-video.
A program can be either recorded, as on video tape or other various electronic media forms, or considered live television.
- 1 Formats
- 2 Development
- 3 Production
- 4 Budgets and revenues
- 5 Distribution
- 6 Seasons/series
- 7 Running time
- 8 See also
- 9 References
- 10 External links
Television programming may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television movies), or historical (as in the case of many documentaries and fictional series). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows.[citation needed]
A drama program usually features a set of actors in a somewhat familiar setting. The program follows their lives and their adventures. Except for soap opera-type serials, many shows especially before the 1980s, remained static without story arcs, and the main characters and premise changed little. If some change happened to the characters' lives during the episode, it was usually undone by the end. (Because of this, the episodes could be broadcast in any order.) Since the 1980s, there are many series that feature progressive change to the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television series to have this kind of dramatic structure, while the later series, Babylon 5, is an extreme example of such production that had a predetermined story running over its intended five-season run.[1]
In 2012, it was reported that television was growing into a larger component of major media companies' revenues than film.[2] Some also noted the increase in quality of some television programs. In 2012, Academy-Award winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: "I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television."[3]
Scripted entertainment
- Animated
- Award shows (partially scripted)
- Drama, which includes:
- Miniseries and Television movies
- Comedy
Unscripted entertainment
- Infomercials – Paid advertising spots that are up to an hour long
- News programs
- Documentaries
- Television news magazine – Dealing with current affairs
United States
When a person or company decides to create a new series, they develop the show's elements, consisting of the concept, the characters, the crew, and cast. Then they offer ("pitch") it to the various networks in an attempt to find one interested enough to order a prototype first episode of the series, known as a pilot. Eric Coleman, an animation executive at Disney, told an interviewer, "One misconception is that it's very difficult to get in and pitch your show, when the truth is that development executives at networks want very much to hear ideas. They want very much to get the word out on what types of shows they're looking for."[4]
To create the pilot, the structure and team of the whole series must be put together. If the network likes the pilot, they pick up the show to air it the next season (usually Fall). Sometimes they save it for mid-season, or request rewrites and further review (known in the industry as development hell). Other times, they pass entirely, forcing the show's creator to "shop it around" to other networks. Many shows never make it past the pilot stage.
The show hires a stable of writers, who usually work in parallel: the first writer works on the first episode, the second on the second episode, etc. When all the writers have been used, episode assignment starts again with the first writer. On other shows, however, the writers work as a team. Sometimes they develop story ideas individually, and pitch them to the show's creator, who folds them together into a script and rewrites them.
If the show is picked up, the network orders a "run" of episodes—usually only six or 13 episodes at first, though a season typically consists of at least 22 episodes. (The midseason seven and last nine episodes are sometimes called the "mid-seven" and "back nine"—borrowing the colloquial terms from bowling and golf).
United Kingdom
In contrast to the US model illustrated above, the UK procedure is operated on a sometimes similar, but much smaller scale.
The method of "team writing" is employed on some longer dramatic series (usually running up to a maximum of around 13 episodes). The idea for such a program may be generated "in-house" by one of the networks; it could originate from an independent production company (sometimes a product of both). For example, the BBC's long-running soap opera EastEnders is wholly a BBC production, whereas its popular drama Life on Mars was developed by Kudos in association with the broadcaster.
However, there are still a significant number of programs (usually sitcoms) that are built around just one or two writers and a small, close-knit production team. These are "pitched" in the traditional way, but since the creator(s) handle all the writing requirements, there is a run of six or seven episodes per series once approval has been given. Many of the most popular British comedies have been made this way, including Monty Python's Flying Circus (albeit with an exclusive team of six writer-performers), Fawlty Towers, Blackadder and The Office.
The executive producer, often the show's creator, is in charge of running the show. They pick the crew and help cast the actors, approve and sometimes write series plots (some even write or direct major episodes). Various other producers help to ensure that the show runs smoothly.
As with filmmaking or other electronic media production, producing of an individual episode can be divided into three parts. These are:
Pre-production begins when a script is approved. A director is chosen to plan the episode's final look.
Pre-production tasks include storyboarding, construction of sets, props, and costumes, casting guest stars, budgeting, acquiring resources like lighting, special effects, stunts, etc. Once the show is planned, it must then be scheduled; scenes are often filmed out of sequence, guest actors or even regulars may only be available at certain times. Sometimes the principal photography of different episodes must be done at the same time, complicating the schedule (a guest star might shoot scenes from two episodes on the same afternoon). Complex scenes are translated from storyboard to animatics to further clarify the action. Scripts are adjusted to meet altering requirements.
Some shows have a small stable of directors, but also usually rely on outside directors. Given the time constraints of broadcasting, a single show might have two or three episodes in pre-production, one or two episodes in principal photography, and a few more in various stages of post-production. The task of directing is complex enough that a single director can usually not work on more than one episode or show at a time, hence the need for multiple directors.
Principal photography
Principal photography is the actual filming of the episode. Director, actors and crew gather at a television studio or on location for filming or videoing a scene. A scene is further divided into shots, which should be planned during pre-production. Depending on scheduling, a scene may be shot in non-sequential order of the story. Conversations may be filmed twice from different camera angles, often using stand-ins, so one actor might perform all their lines in one set of shots, and then the other side of the conversation is filmed from the opposite perspective. To complete a production on time, a second unit may be filming a different scene on another set or location at the same time, using a different set of actors, an assistant director, and a second unit crew. A director of photography supervises the lighting of each shot to ensure consistency.
Post production
Once principal photography is complete, producers coordinate tasks to begin the video editing. Visual and digital video effects are added to the film; this is often outsourced to companies specializing in these areas. Often music is performed with the conductor using the film as a time reference (other musical elements may be previously recorded). An editor cuts the various pieces of film together, adds the musical score and effects, determines scene transitions, and assembles the completed show.
Budgets and revenues
Most television networks throughout the world are 'commercial', dependent on selling advertising time or acquiring sponsors. Broadcasting executives' main concern over their programming is on audience size. Once the number of 'free to air' stations was restricted by the availability of channel frequencies, but cable TV (outside the USA, satellite television) technology has allowed an expansion in the number of channels available to viewers (sometimes at premium rates) in a much more competitive environment.
In the United States, the average broadcast network drama costs $3 million an episode to produce, while cable dramas cost $2 million on average.[5] The pilot episode may be more expensive than a regular episode. In 2004, Lost's two-hour pilot cost $10–$14 million, in 2008 Fringe's two-hour pilot cost $10 million, and in 2010, Boardwalk Empire was $18 million for the first episode. In 2011, Game of Thrones was $5–$10 million, Pan Am cost an estimated $10 million, while Terra Nova's two-hour pilot was between $10 to $20 million.[6][7]
Many scripted network television shows in the United States are financed through Deficit financing: a studio finances the production cost of a show and a network pays a license fee to the studio for the right to air the show. This license fee does not cover the show's production costs, leading to the deficit. Although the studio does not make its money back in the original airing of the show, it retains ownership of the show. This ownership retention allows the studio to make its money back and earn a profit through syndication and DVD and Blu-ray disc sales. This system places most of the financial risk on the studios, however a show that is a hit in the syndication and home video markets can more than make up for the misses. Although the deficit financing system places minimal financial risk on the networks, they lose out on the future profits of big hits, since they are only licensing the shows.[8]
Costs are recouped mainly by advertising revenues for broadcast networks and some cable channels, while other cable channels depend on subscription revenues. In general, advertisers, and consequently networks that depend on advertising revenues, are more interested in the number of viewers within the 18–49 age range than the total number of viewers.[9][10] Advertisers are willing to pay more to advertise on shows successful with young adults because they watch less television and are harder to reach than older adults.[11] According to Advertising Age, during the 2007–08 season, Grey's Anatomy was able to charge $419,000 per commercial, compared to only $248,000 for a commercial during CSI, despite CSI having almost five million more viewers on average.[12] Due to its strength in young demos, Friends was able to charge almost three times as much for a commercial as Murder, She Wrote, even though the two series had similar total viewer numbers during the seasons they were on the air together.[9] Glee and The Office drew fewer total viewers than NCIS during the 2009–10 season, but earned an average of $272,694 and $213,617 respectively, compared to $150,708 for NCIS.[13]
After production, the show is turned over to the television network, which sends it out to its affiliate stations, which broadcast it in the specified broadcast programming time slot. If the Nielsen ratings are good, the show is kept alive as long as possible. If not, the show is usually canceled. The show's creators are then left to shop around remaining episodes, and the possibility of future episodes, to other networks. On especially successful series, the producers sometimes call a halt to a series on their own like Seinfeld, The Cosby Show, Corner Gas, and M*A*S*H and end it with a concluding episode, which sometimes is a big series finale.
On rare occasions, a series that has not attracted particularly high ratings and has been canceled can be given a reprieve if DVD sales have been particularly strong. This has happened in the cases of Family Guy in the US and Peep Show in the UK.
If the show is popular or lucrative, and a number of episodes (usually 100 episodes or more) are made, it goes into broadcast syndication (in the USA) where rights to broadcast the program are then resold.
The terminology used to define a set of episodes produced by a television series varies from country to country.
North American usage
In North American television, a series is a connected set of television program episodes that run under the same title, possibly spanning many seasons. Since the late 1960s, this programming schedule typically includes between 20 and 26 episodes. (Before then, a regular television season could average out to at least 30 episodes.) Up until the 1980s, most (but certainly not all) new programs for the broadcast networks debuted in the "Fall Season", which ran from September through March and nominally contained from 24 to 26 episodes. These episodes were rebroadcast during the Spring (or Summer) Season, from April through August. Because of cable television and the Nielsen sweeps, the "fall" season now normally extends to May. Thus, a "full season" on a broadcast network now usually runs from September through May for at least 22 episodes.[14]
A full season is sometimes split into two separate units with a hiatus around the end of the calendar year, such as the first season of Jericho on CBS. When this split occurs, the last half of the episodes sometimes are referred to with the letter B as in "The last nine episodes (of 'the Sopranos') will be part of what is being called either "Season 6, Part 2" or "Season 6B,"[15] or in "Futurama is splitting its seasons similar to how South Park does, doing half a season at a time, so this is season 6B for them."[16] Since the 1990s, these shorter seasons also have been referred to as ".5" or half seasons, where the run of shows between September and December is labeled "Season X", and the second run between January and May labeled "Season X.5". Examples of this include the 2004 incarnation of Battlestar Galactica, ABC's FlashForward, and ABC Family's Make It or Break It.
Nowadays, a new series is often ordered (funded) for just the first 10 to 13 episodes, to gauge the audience interest. If it is "picked up", the season is completed to the regular 20 to 26 episodes. A midseason replacement is an inexpensive short-run (10–13 episode) show designed to take the place of an original series that failed to garner an audience and has not been picked up. A "series finale" is the last show of the series before the show is no longer produced. (In the UK, it means the end of a season, what is known in the US as a "season finale").
UK and Australia usage
In the United Kingdom and other countries, these sets of episodes are referred to as a "series". In Australia, the broadcasting may be different from North American usage; however, the terms series and season are both used and are the same. For example, Battlestar Galactica has an original series as well as a remake, both are considered different series with their own number of individual seasons.
Australian television does not follow "seasons" in the way that U.S. television does; for example, there is no "fall season" or "fall schedule". For many years, popular night-time dramas in Australia would run for much of the year, and would only go into recess during the summer period (December–February, as Australia is in the Southern Hemisphere), when ratings are not taken. Therefore, popular dramas would usually run from February through November each year. This schedule was used in the 1970s for popular dramas including Number 96. Many drama series, such as McLeod's Daughters, have received in the majority of between 22 and 32 episodes per season. Typically, a soap opera such as Home and Away would begin a new season in late January and the season finale would air in late November, with 220–230 episodes per season. However, during the Olympics, Home and Away would often go on hiatus, which is referred to as an "Olympic cliffhanger". Therefore, the number of episodes would decrease. This is no longer the case, as the Olympics no longer broadcast in winter on the Seven Network as of 2012. Australian situation comedy series' seasons are approximately 13 episodes long and premiere any time in between February and November.
British shows have tended toward shorter series in recent years. For example, the first series of long-running science fiction show Doctor Who in 1963 featured forty-two 25‑minute episodes, which had been reduced gradually to fourteen 25‑minute episodes in 1989. The revival of Doctor Who has comprised thirteen 45‑minute installments. However, there are some series in the UK that have a larger number of episodes, for example Waterloo Road started with 8 to 12 episodes but from series three onward, it increased to 20 episodes, and series seven will contain 30 episodes. Recently, American non-cable networks have also begun to experiment with shorter series for some programs, particularly reality shows such as Survivor. However, they often air two series per year, resulting in roughly the same number of episodes per year as a drama.
This is a reduction from the 1950s, in which many American shows (e.g. Gunsmoke) had between 29 and 39 episodes per season. Actual storytelling time within a commercial television hour has also gradually reduced over the years, from 50 minutes out of every 60 to the current 44 (and even less on some networks), beginning in the early 21st century.
The usage of "season" and "series" differ for DVD and Blu-ray releases in both in Australia and UK. In Australia, many locally produced shows are named differently on home video releases. For example, the television drama series such as Packed to the Rafters and Wentworth are referred to as "season" ('The Complete First Season' etc.), whereas drama series such as Tangle would be known as a "series" ('Series 1' etc.). However, British-produced shows such as Mrs. Brown's Boys is referred to as "season" in Australia for the DVD and Blu-ray releases.
In the UK, most British-produced shows are referred to as "series" for DVD and Blu-ray, except for shows such as drama series' Hex and Echo Beach, which are known as "season". "Season" is only used for releases of American, Australian, and international shows. Although, in the past when an American series was released, it was referred to as "series", (for example, Friends: Series 1). However, any subsequent re-release are now known as "season".[citation needed]
Running time
In the United States, dramas produced for hour-long time slots typically are 39 to 42 minutes in length (excluding advertisements), while sitcoms produced for 30-minute time slots typically are 18 to 21 minutes long. There are exceptions as subscription-based TV channels (like Showtime) have episodes with 45 to 48 minutes of program, similar to Britain.
In Britain dramas run from about 45 to 48 minutes, with 57 to 59 minutes on BBC1. Sitcoms vary greatly and are between 22 to 27 minutes generally and 27 to 29 minutes on BBC1. The longer duration on the national television channels (BBC1 and BBC2) is due to the lack of advertising, requiring time only for bridging commentary and trailers in each program slot.
See also
- List of television programs by name in alphabetical order
- Lists of television programs
- ^ "Hill Street Blues A Cop TV Turning Point". http://www.mysterynet.com.
- ^ Lang, Brent (June 6, 2012). "Why Television Is Trouncing Film at Major Media Companies". TheWrap.com.
- ^ Zakarin, Jordan (June 29, 2012). "Steven Soderbergh Hints at Switch to Television". The Hollywood Reporter.
- ^ "The Oral History of SpongeBob SquarePants," Hogan's Alley #17, 2010
- ^ Carter, Bill (April 4, 2010). "Weighty Dramas Flourish on Cable". The New York Times. Retrieved October 18, 2011.
- ^ Fernandez, Sofia M. (September 26, 2011). "'Pan Am' Among Season's Priciest Pilots". The Hollywood Reporter. Retrieved October 19, 2011.
- ^ Barnes, Brooks (August 28, 2011). "Prime Time Ambitions". The New York Times. Retrieved October 19, 2011.
- ^ Lotz, Amanda (2007). The Television will be Revolutionized. New York and London: New York University Press. pp. 82–85.
- ^ a b Storey, Michael (2009-04-23). "THE TV COLUMN: Not in 18–49 age group? TV execs write you off". Arkansas Democrat Gazette. Retrieved 2008-05-02.
- ^ Carter, Bill (April 6, 2010). "An 'Idol' Ratings Loss, but Not in Its Pocketbook". The New York Times. Retrieved April 8, 2010.
- ^ "ABC, "Dancing with the Stars" Again Top Monday Television Ratings". City News Service (Beverly Hills Courier). Retrieved October 19, 2011.
- ^ Santiago, Rosario (2007-10-03). "For Advertising Purposes, 'Grey's Anatomy' May Well be Colored Green". BuddyTV. Retrieved 2009-05-03.
- ^ Steinberg, Brian (October 18, 2010). "Simon Who? 'Idol' Spots Still Priciest in Prime Time". Advertising Age. Retrieved October 28, 2010.
- ^ Schneider, Michael (July 8, 2011). "Networks Put in Short Orders for Next Season". TVGuide.com. Retrieved August 14, 2012.
- ^ March 25, 2007 Milwaukee Journal Sentinel article entitled, "Vacation's Over; 'the Sopranos' Returning for One Last Shot.[1]
- ^ June 24, 2011 Anniston Star article entitled, "Pop Cultured: When summer and the Braves get you down, just flip around.[2]
External links


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These Terms and Conditions (Terms) are the terms and conditions on which Campbell/Crafts Vintage agrees to sell Products on its Website.
Campbell/Crafts Vintage office address is, 146 Wey House, 15 Church Street, Weybridge, Surrey, KT13 8NA
1. Definitions
In these Terms the following expressions shall have the following meanings:
Agreement means any contract entered into pursuant to clause 2 which shall be governed by these Terms.
Product means any item of clothing or any accessory sold via the Website.
We means Campbell/Crafts (and our and us shall be construed accordingly).
"Website means our website at www.campbell-crafts.com
You means the person to whom a Product is sold on these Terms (and your shall be construed accordingly).
2. Formation of Contract
2.1. The display of Products and prices on the Website constitutes an invitation to treat. No Agreement shall come into existence unless and until we accept your order. We reserve the right to accept or reject any order in our absolute discretion.
2.2. As and when we accept your order, the Agreement shall be to the exclusion of all other terms, conditions and representations whether written or oral.
2.3. We reserve the right to withdraw any Product displayed on the Website at any time before your order is accepted.
2.4. While we make every effort to describe and display every Product as accurately as possible, you should be aware that the colour and appearance on your PC may be at variance with the actual colour and appearance.
3. Prices, Payment and Delivery
3.1. All prices on the Website are in Pounds Sterling.
3.2. All prices are exclusive of postage and packing.
3.3. Payment must be made in Pounds Sterling by one of the following debit or credit cards: Visa, Visa Electron, Mastercard, Maestro or Solo. via our PayPal link. You do not require a PayPal account to pay.
3.4. All sales and promotions are temporary, once promotions have expired all items will return to the original price.
4. Cancellation
4.1. If for any reason you wish to cancel your order you may do so up to the expiry of 7 days beginning with the day you place your order. You have 10 working days from placing your order to return the item to us for a refund.
4.2. You must return the Product to us at the following address : Campbell/Crafts Vintage, suite 146, 15 Church street, Weybridge, Surrey KT13 8NA . You must pay for the cost of returning the Product. We recommend that you send it via Royal Mail Recorded or Special Delivery. The Product must be returned to us in the same condition as in which you received it.
4.3. We will refund the price and the original delivery charges to you within 10 working days of our receiving the returned product if the goods are deemed to be faulty or we have made a gross misinterpretation of the condition of the item.
5. Returns Policy
In addition to your right of cancellation under clause 4. and your other statutory rights, we will refund to you the price for the Product less postage and packing on the following conditions:
5.1. You must complete the returns form online and indicate the service you require.
5.2. we have received the Product from you with all security tags still affixed and in the same condition as the Product was sent to you including all packaging.
5.3.We do not accept returns for jewellery, and that is strictly for hygiene purposes. We cannot offer refunds or exchanges for the following due to sanitation issues; any beauty items, underwear, hairpieces, swimwear & hosiery.
5.4 Upon receipt, we will issue a full refund or exchange the item for a different size or colour, depending on your instructions.
5.5 Items that are returned to us after 10 working days of receipt or fall outside our return policy will not be refunded.
5.6 Delivery charges are non-refundable on postage that has been paid.
5.7 Please ensure you dont wear deodorant or perfume or anything else that could leave a mark/scent when trying on the clothes. Items that appear to have been worn or are damaged and are not fit for resale are not eligible for refund or exchange, without exception.
5.8. Anything bought from us at an Event , Festival or Fair is strictly NON REFUNDABLE.
5.9. Any item bought with a gift certificate are only available as an exchange only
5.10. Any items that have been 'special orders' or requested specifically by the customer, and are not stocked by C/C are strictly NON REFUNDABLE
5.11. All returns will be processed and credited back to the original form of payment within 10working days. An excahnge will be processed within 10 working days or a credit note issued as per your instructions.
6. Limitation of Liability
6.1. Nothing in these Terms shall exclude or limit our liability for death or personal injury due to negligence.
6.2. To the fullest extent permitted by law, we shall not be liable to you under these Terms for any loss of profits, business, contracts, anticipated savings, wasted expenditure, goodwill or revenue or for any indirect or consequential loss or damage whatsoever howsoever arising out of or in connection with the performance of the Agreement or any breach by us thereof.
6.3. Subject to clause 6.1., our liability under these Terms shall be limited to a sum equivalent to the price paid by you.
7. General
7.1. The privacy of your personal data is important to us and we shall ensure that we comply with all relevant data protection legislation. However, the transmission of information via the internet is not completely secure. Although we will do our best to protect your personal data, we cannot guarantee the security of information transmitted to the Website and any transmission is at your own risk. Once we receive your information, it will be stored on our secure servers and we will use strict procedures and security features to try to prevent unauthorised access.
7.2. We may send newsletters and other marketing communications to you from time to time. Please let us know if you would prefer not to receive these.
7.3.All items are offered subject to availability at time of ordering. However, should an item be out of stock there may be short delays in delivery and we will notify you immediately. Campbell/Crafts Vintage will have no liability for failure to deliver goods you have ordered or any delay for any damage or defect to goods delivered that is caused by any event or circumstance beyond our reasonable control including, without limitation, strikes, lock-outs and other industrial disputes, breakdown of systems, failures or sub-contactor transport or network access, flood, fire, explosion or accident


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The axolotl is a kind of salamander found in Central America, but they kind of look like they come from a glaxay far, far away. Ok so they aren't really extra-terrestrials, but what do you squeeps think - are they creepy or cute?
Life's too short to avoid the *SPLORT*! Visit Daily Squee for your daily cuteness!


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text:
The Levy County Fair is ongoing at Airport Industrial Park in Williston. Saturday morning saw the finale of the last three months' karaoke contests, and the stock barn was the scene of a poultry show. Williston Horseman's Park, adjacent to the fairgrounds, had hairpin racing in all age groups, from peewees on up.
Cedar Key is well-represented at the fair, with Sam Beckham and Naomi Couhurs placing second and third in the karaoke final and Joshua Wilson bringing his hydroponic systems into the agricultural vendor area.
If you currently subscribe or have subscribed in the past to the Cedar Key Beacon, then simply find your account number on your mailing label and enter it below.
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I know I've mentioned it before, but I need to mention it again. I love the blogging world and everything it has bought to me. It helps me express my creativity, it gives me a huge amount of support when I'm totally freaking out about working on my own, and most importantly it gives me a wonderful group of friends all over the country!
One of my favorite parts of the day is logging on and checking out if I received any comments on a post. I love seeing that people enjoyed what I took the time to put together. It makes me want to continue to do it even more. Another huge plus to comments is that it helps me learn about other blogs that I may not know about it.
A while back a Ms. Kate from California started commenting on my blog. Now you know I love a good DIY project and from time to time I've done some, but Kate puts me to shame.
She has done it all and blogged about it all. So if you ever have a question on a DIY project she is the perfect go to person. Not only is she amazing with home projects, but she is a wife and mom as well along with also having a small law practice.
Whew I'm tired.
I loved hearing about her day and I'm sure you will too! Kate, next time I'm in Cali I'm looking you up!!!!
So, sit back, relax and enjoy!
7:45 Awake to kicking three year old who snuck into my bed at some point last night and I was too tired to return him to his rightful place.
7:50 Make coffee ASAP. Nothing happens until I've had my Peet's coffee in my favorite coffee cup.
8:00 Make breakfast for groggy children. Bring coffee to Mr. CG who was up late last night watching "Fourth and Long", his new favorite TV show.
8:30 Kiss hub goodbye, then start my first load of laundry. I write my To Do list of errands for the day. Have a bit more coffee, water the plants in the courtyard, and then clean the kitchen.
9:00 Sit down momentarily at laptop to check emails and read blogs. Immediately interrupted by request for cartoons. Request is rejected with a reminder of how many toys questioning child has in her room.
9:30 I'm an attorney with a tiny law practice, but have only client right now. I return his phone call and set up a future court date. I usually go to the gym on Friday morning, but I have too many errands today. I help make beds and get the kids dressed. I notice my son has again dumped all his toys out on the playroom floor. Grrrr.
10:00 Make a mid-morning snack for the critters, then take a quick shower. On a non-court day, my beauty routine is quick: hair in my daily pony tail, sunscreen, tinted moisturizer, and lip gloss. I dress in my capris and a tank top. I'm always bare foot in my home.
11:00 Throw on my Sketchers, and I'm out the door to return some bedding at Target, then a stop at the hardware store for more paint. The kids insist on one of those giant blue carts with miniature steering wheels, so I am forced to haul them around in those humongous carts. In between my errands, I return a few emails. I love my iPhone and I couldn't live without it.
12:30 Home for lunch with the kids. PB&Js for them, falafel for me. I am really into Greek food lately. I've made the same lunch for three days straight: falafel (from Costco) with cucumber yogurt dressing over mixed greens. It's so good!
1:00 Put the 3 year old down for his nap. My five year old can have a movie after we practice reading a few books.
2:00 Another load of laundry, then out to my "shop" in my garage to mix paint for the staircase revamp. I didn't like the original color I chose because it was too dark, so I am blending my newest quart of paint with some white to color match my wallpaper treatment.
2:30 Finish taping off chair rail and molding with painter's tape. I repaint the wall up the staircase with the lighter color.
3:15 Take a break with some lemonade with my daughter outside – we play a game called "Make This Face" where I give her an emotion and she makes the face. I think she's better than most Hollywood actors at communicating with facial expressions, but I'm a little biased.
4:00 My 3 year old son is awake now, so I drive both kids to back-to-back swim lessons. A make a quick stop at my PO Box to pick up my mail.
5:30 Home to start dinner for the kids, and fold laundry. On my laptop, I check my blog, and make comments on other favorite blog posts.
7:00 On many nights, we take a family walk around the neighborhood, and afterwards I write a new article for the following day. But tonight is date night! I greet the babysitter and hurry upstairs to primp.
7:45 We drive 20 minutes to downtown Sonoma and splurge on one of our favorite restaurants. With dark jeans, I am wearing my new summer date night shoes – these lovely white peep toes from the nearby Nine West outlet.
8:00 A lemon drop cocktail for me, then a glass of sauvignon blanc with dinner. Mr. CG has oysters. I have the sesame encrusted salmon. We talk about our week, and we vow to finish the trim on the staircase this weekend. My peep toes are just comfortable enough for one quick stroll around the Sonoma plaza after dinner.
11:00 Home to relieve the babysitter and watch our favorite Friday night show "The Soup" on E. I catch up on a few more blogs while cracking up at the show in the background.
12:00 I grab some water and my new copy of 'House Beautiful' and go upstairs. I check on the children and tuck them in, then we're off to bed. Mr. CG is reading 'Lindbergh' while I peruse my new magazine. I barely make it to the monthly paint colors article and I'm ready for sleep. Zzzzzzzzz.
Wow what a fun day! How cute are Kate's kids! Omg too adorable for works. Plus a husband that watches the Soup and 20 mins away from downtown Sonoma.
Sign me up! Kate, if you ever want to switch lives for a week I'm totally game!
A big thank you to Kate for participating!
I hope you all enjoy the lovely weekend. We are having a hot day here in NY and since my IL's are in Scotland for vacation their pool is all by itself. So, I'm off to make sure it has some company.


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Illinois: African Refugee Dies From AIDS Medication
A US District Court judge has awarded $4.5 million to the family of a woman who died after doctors at a federally funded clinic failed to notice she was having a bad reaction to an AIDS drug.
Jacqueline Makombe, 39, contracted HIV after being gang-raped by Congo's military. With her husband and three young children, she traveled across Africa as a refugee before coming to the United States and settling in Chicago.
David Pritchard, who represented the family at trial, argued that lactic acidosis "was a known side effect of the drug," Zerit, that Makombe had been prescribed. "She kept coming in with all these symptoms. All they would have had to do was to switch her to another medication, and she would have lived." Pritchard filed the suit under the federal tort claims act, which provides for a verdict by a judge, rather than by a jury.
Judge Rebecca Pallmeyer rejected the government's argument that the side effect was not widely known. "Mrs. Makombe was receiving state-of-the-art HIV treatment; and her treatment was working," the judge wrote. "That she died from the very medication that was helping her, at a time when her life was full of promise, is wrenching."
A spokesperson said the US attorney's office was reviewing response options, including appeal. The judge awarded $1 million to each of Makombe's children, $1 million to her estate and $500,000 to her husband, Innocent Kasongo.