text:
UPDATE 3:31 UTC : JMA has not listed the current aftershocks. Other international seismological services (USGS, EMSC) are picking up the signals though.
UPDATE 3:18 UTC : As the current aftershocks are coming near to Hokkaido, here are some historical earthquakes which have struck Hokkaido in the past : The region has been rocked by an catastrophic earthquake/tsunami of Magnitude 9 in 1667 A.D., a magnitude 8.2 in 1952, a 1968 quake measuring 8.3 Mw, and one in 2008 measuring 7.1, all bearing the name Tokachi-Oki and a 1973 quake to the immediate north along the Kuril Trench plate boundary, called the 1973 Nemuro-Oki Earthquake.
UPDATE 3:10 UTC : Historical seismicity shows 2 massive shallow earthquakes to the north of the current epicenter
UPDATE 2:58 UTC : We fear that a new section of the subduction zone is becoming unstable with the risk of many aftershocks
UPDATE 2:55 UTC : The epicenter lies along the same subduction zone responsible for the massive March 11 earthquake.
UPDATE 2:52 UTC : The epicenter of the aftershocks is coming a lot closer to Hokkaido
UPDATE 2:50 UTC : Maximum intensity for both aftershocks = 3 (on a scale from 0 to 7).
2 very strong aftershocks on top of the subduction zone of northern Honshu but luckily at a safe distance out of the coast. The location of the epicenter is surprisingly more to the north of 90% of the other aftershocks.
Epicenter is at least 150 km from the coastline and this NOT dangerous.
There was NEVER a tsunami danger.
Most important Earthquake Data:
Magnitude : 6.0
UTC Time : Thursday, April 21, 2011 at 01:54:40 UTC
Local time at epicenter : Thursday, April 21, 2011 at 11:54:40 AM at epicenter
Depth (Hypocenter) : 3.7 km
Geo-location(s) :
187 km (116 miles) E of Hachinohe, Honshu, Japan
226 km (140 miles) ENE of Morioka, Honshu, Japan
Links to important maps
USGS Did You Feel It Map
Google satellite map of the area showing the kind of terrain the earthquake took place
USGS historic earthquakes map
USGS Seismic hazard map
USGS Impact on Population map
USGS Shaking map
LIVE SEISMOGRAM (nearest Seismograph station)
GDACS GREEN earthquake report
Data of aftershock 1
M 5.8 2011/04/21 00:39 Depth 15.0 km OFF THE EAST COAST OF HONSHU, JAPAN
10:39:04 AM at epicenter
Very strong aftershock on top of the subduction zone of northern Honshu but luckily at a safe distance out of the coast.
169 km (105 miles) E of Hachinohe, Honshu, Japan
217 km (134 miles) ENE of Morioka, Honshu, Japan
Satellite map of the greater epicenter area
QuakeSOS+ is an iPhone application developed by Armand Vervaeck, the creator and main contributor to Earthquake Report. The Application simplifies immediate group communication to friends and family members (with your exact GPS location) and is constantly feeding the users with œEarthquake Report news. Together with your own family and friends, QuakeSOS+ will be your closest earthquake friend. Buying QuakeSOS+ will support the activities of SOS Earthquakes.
Quake-Maps.com was also created by SOS Earthquakes. Quake-Maps.com makes it easy to let the world know which shaking people have experienced during the earthquake. Quake-Maps.com gives also the opportunity to write some additional text. Filling up the form takes only 1 minute. Quake-Maps.com gives an overview of all the resent earthquakes and let you even go back in time and retrieve earthquakes of a certain date in the past.
Earthquake-Report.com headlines on twitter
@OnlyQuakeNews : Get all the headlines of our earthquake-report.com articles + regular updates on ongoing events
@QuakeSOS : earthquake-report.com news + automatic earthquake notifications of USGS earthquakes of M 4.0 or higher with emphasis to earthquakes in the America's and the Pacific Ocean sphere (4 and up) and a lot of the rest of the world (5 and up). This account was created for our QuakeSOS and QuakeSOS+ iPhone applications
@ShakingEarth : earthquake-report.com news + automatic earthquake notifications of EMSC earthquakes of M 4.0 or higher with emphasis to earthquakes in European and Asian / Middle East sphere (4 and up) and a lot of the rest of the world (5 and up). This account was originally created to stimulate our Facebook account
@QuakeMaps : earthquake-report.com news with mapping notifications of ALL earthquakes M 3.0 and higher from all over the world via EMSC and USGS. This account was created for our http://www.quake-maps.com website


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John Georges, who took over a small family company and transformed it into a billion-dollar business, completed a deal Tuesday to buy The Advocate, the largest daily newspaper in Louisiana.
The Advocate, which dates back 171 years and serves readers from Lafayette to New Orleans, is one of the few newspapers in the United States whose print circulation is growing. It was owned by the descendants of Charles P. Manship Sr., who have been newspaper proprietors in Baton Rouge since 1909.
Georges named two veteran Louisiana journalists as senior executives. Georges said he will serve as publisher of The Advocate and he named Dan Shea as general manager and Peter Kovacs as editor. Georges said he will meet Wednesday with the newspaper's 450 employees.
He said he has been negotiating with the Manships for nearly two years.
"The Advocate is a strong brand with dedicated employees and a supportive community," Georges said. "In addition to one of the newest and most state-of-the-art print production facilities in the industry, The Advocate has impressive digital capabilities. Together, these components ensure The Advocate will thrive for a long time to come."
David Manship, who was publisher of The Advocate, said while it was a "sad day" to sell his interest in a newspaper he had been involved with for 40 years, it is going into good hands.
"John is a very capable businessman," Manship said. "He's a true Louisianian and he will do an excellent job to carry on the tradition that the paper has established."
Manship said while he will miss being publisher, he will miss the people at The Advocate more than anything else.
The purchase price was not disclosed. In addition to the newspaper, Georges' purchase includes The Advocate's growing digital operations, including theadvocate.com, the leading news website in Baton Rouge. The Manships also own WBRZ-TV, the ABC affiliate in Baton Rouge, which is not part of the sale.
Georges is a second-generation Greek-American, who grew up as part of his family's business, washing the trucks in which the firm delivered groceries to stores. Under his leadership, Imperial Trading grew from a small local operation into an industry leader that operates in a dozen states and employs 750.
In addition to the 98-year-old Imperial, Georges' other Louisiana businesses include 91-year-old Harrison Co. in Bossier. He recently bought the 108-year-old Galatoire's restaurant in New Orleans and reopened Galatoire's Baton Rouge Bistro this year.
He served on the Board of Regents and was a candidate for governor in 2007 and for mayor of New Orleans in 2010.
Georges provided a matching grant that established a Baton Rouge hotline for the Metropolitan Crime Commission. He also founded and funds Lemonade Day, which encourages young people to become entrepreneurs.
Georges is a lifelong Louisiana resident who graduated from Tulane and married Dathel Coleman, a member of a prominent New Orleans family. They have three children.
Shea and Kovacs were managing editors of The Times-Picayune when the newspaper won four Pulitzer prizes in a nine-year span. Both left the company when the newspaper ended daily publication in 2012.
Shea joined The Times-Picayune in 1993 and supervised newsroom operations, technology, copy editing, presentation and photography. He created The TP Store, an online source for the newspaper's photos, books and page reproductions, and he directed the publication of six books from The Times-Picayune staff on topics ranging from the Saints' Super Bowl victory to the 175th anniversary of the newspaper.
Prior to coming to New Orleans, Shea worked at The Record of Bergen County, N.J., first as the business editor, later as publishing technology manager, where he supervised the purchase and installation of millions of dollars of new computer technology. He also was a financial reporter at a trade paper covering Wall Street and covered local government for the Journal Inquirer and Hartford Advocate newspapers in Connecticut.
Shea graduated from Clark University in Worcester, Mass., and also studied in England and Canada. He and his wife have a son and a daughter.
Kovacs joined The Times-Picayune in 1983 and served as night metro editor and city editor before rising to managing editor. He oversaw The Times-Picayune's news-gathering staff in seven parishes, Baton Rouge, Washington and Central America.
He also led the newspaper's fights against government secrecy, including its celebrated battle to give the public access to records showing that members of the Louisiana Legislature were awarding valuable Tulane University scholarships to each others' relatives.
Kovacs was a member of the Student Media Board at LSU from 2006 to 2010.
He graduated from Brown University in Providence, R.I., and worked as a reporter and editor at The Birmingham News in Alabama before coming to New Orleans. He and his wife have two sons.
Carl Redman, The Advocate's current executive editor, will continue as senior editor and assist in the transition to new ownership.
Georges' purchase comes at a pivotal time for the newspaper industry and for journalism in Louisiana. In May 2012, the New York-based owners of The Times-Picayune announced that they were closing their newspaper company, laying off about half their newsroom staff and cutting their publication schedule to three editions a week.
The move, which left New Orleans as the largest U.S. city without a daily newspaper, provoked a storm of controversy and was criticized by Archbishop Gregory Aymond, Mayor Mitch Landrieu, Gov. Bobby Jindal and, unanimously, by the Louisiana Legislature. A group of business leaders asked David Manship, The Advocate's publisher, to expand his operations into New Orleans. Manship took the gamble, hoping to sell 10,000 copies a day and found the demand was more than double what he hoped.
Today, the New Orleans area accounts for about a fifth of The Advocate's weekday circulation of 98,000. The Sunday circulation is about 125,000.
On Tuesday, The Times-Picayune announced it will be launching a tabloid edition for three of the four days on which it ceased publication, but the company will not offer home delivery.
Nationally, newspapers have struggled as consumers turn to online information sources. But the industry's prospects have brightened recently as some newspapers have begun to charge customers for online access and the drop in the value of companies has begun to attract blue-chip investors such as Warren Buffett.
The Advocate's history goes back to The Democratic Advocate, a weekly newspaper established in 1842. By 1854, the paper had changed its name to The Daily Advocate to reflect its new publishing schedule.
In 1904, William Hamilton, of Shreveport, bought the Advocate and changed its name to the Times. One of the reporters hired at the Times was Charles P. Manship Sr. That year, another paper started in Baton Rouge, The State.
By 1907, the State and the Times had merged. Capital City Press, a company founded by Manship and James Edmonds, purchased the State-Times in 1909 for about $28,000.
Five years later, Manship was the sole owner of Capital City Press, along with being editor and publisher.
In 1925, Manship began publishing another paper, The Morning Advocate, to go along with The State-Times. The State-Times closed in 1991.
In 2005, The Advocate moved out of downtown Baton Rouge into an office at 7290 Bluebonnet Blvd. that is owned by the Rev. Jimmy Swaggart's Family Worship Center. The next year a new printing plant opened off Siegen Lane, giving the firm one of the most modern production facilities in the newspaper industry and the capacity to meet demand from Baton Rouge, Lafayette and New Orleans.

subset: commoncrawl


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Après le déluge: The relief goes on
After Hurricane Katrina rocketed ashore, Charlottesvillians, 900 miles away, watched in horror– and sprang into action. Within days of the August 29 deluge, locals were on their way to the storm-ravaged Gulf Coast, and they're still doing damage control for this nation's worst natural disaster.
Not everyone could write a $5-million check, as John and Renee Grisham did to prime the pump for their Rebuild the Coast Fund.
But $895,000 in donations poured in at the Central Virginia Chapter of the American Red Cross for hurricanes Katrina, Rita, and Wilma, the bulk of which was designated for Katrina, according to local spokesman Lonnie Kirby.
"There's been a tremendous outpouring," says Kirby. "Even though there's been a significant amount received, there still a need for continued relief."
In fact, for the first time in its history, the national Red Cross has borrowed money– $340 million– to cover costs. Even with $1.3 billion in donations so far, the organization is anticipating a shortfall.
The local chapter also deployed 200 disaster workers to the Gulf Coast– some of whom are still there.
Kirby estimates the Central Virginia chapter has helped 170 evacuated families, often in conjunction with ad hoc organizations that sprang up. Kim Kuttner found housing for eight families in conjunction with the Starlight Express effort. Robert Tobey's Charlottesville Hurricane Relief Initiative has helped 74 families with housing, furniture, and gift certificates.
"I think we have 15 families housed here," estimates Katharine Sandridge with the Initiative, which initially gathered a warehouse of donated goods to refurbish shattered lives. But Sandridge notes, "We're still looking for donations."
Of the families here, whether their future will be in Charlottesville is still to be determined. Says Sandridge, ""From hour to hour, they change their minds."
Pyramid Construction/Wolfie's owner Allen Powell, a Hattiesburg, Mississippi, native, was on the scene with heavy equipment and a crew of 30 within days after Katrina struck.
Now he's working with Delegate Rob Bell to raise funds for the Long Beach Elementary School near the Mississippi Gulf Coast town where Bell spent part of his childhood.
"The school has no building," says Powell. "They lost all their computers, VCRs, and books," and the children are going to other schools in shifts. Worse, the town lost 70 percent of its tax base, and 60 percent of the students are on free and reduced lunches. "The principal is very proud of his school," says Powell– which has high scores despite its low-income demographics.
Pearlington, Mississippi, was unofficially adopted during the Starlight Express relief mission in September. When no one wanted to leave Pearlington to return to Charlottesville, Charlottesville returned to Pearlington and now it's been adopted by another local group: Building Goodness.
People in the construction industry founded the nonprofit in 1996 to send skilled craftspeople on 12 to 15 international building trips a year.
Pearlington is its first domestic project. "I've been to Haiti ten times and Guatemala twice," says Howard Pape, a Building Goodness founder and owner of Central Virginia Waterproofing, following his return from Pearlington in October. "What struck me with Mississippi is how much I identify with these people. Those folks are people just like us."
Building Goodness constructed 11 shelters, which measure 12' by 16'. With winter approaching, "People are living in tents and under blue tarps," says Pape. A second team left November 5, and the group has raised $45,000– enough to build 25 shelters at a cost of $1,600 each.
Pape describes a town almost "completely destroyed" by a 28-foot storm surge that left no electricity, no telephone, little running water, high unemployment, and a "shell-shocked" citizenry.
"One day they woke up and they had jobs and houses and automobiles, and the next day they didn't," he says.
"People have short attention spans," Pape notes. "That's why our efforts are ongoing. It's not the kind of problem you write a check for and forget."
American Red Cross, Central Virginia Chapter, 1105 Rose Hill Drive, Charlottesville 22903, 979-7143
Building Goodness Foundation, PO Box 2246, Charlottesville 22902, buildinggoodness.org
Charlottesville Hurricane Relief Initiative, C/O the nonprofit Entrepreneurial Village, 414 Third St. NE, Charlottesville 22902
Long Beach Elementary School donations, call 434-591-1080
Rebuild the Coast Fund, Inc., PO Box 450, Tupelo, MS 38803 rebuildthecoastfund.org
Building professionals Chris Davis, Howard Pape, and Michael Gray take a break from building shelters in devastated Pearlington, Mississippi.


text:
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text:
Digital Learning and Media Design is fully equipped to handle a wide range of location field productions, multimedia and video projects.
With four Panasonic HPX-170 cameras and a wide range of
location lighting and audio equipment, we are capable of filming programs in
high definition (1280:720p) in any situation or location. We can cover
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recorded on-site directly through a camera for a simple production or pre-mixed
separately for more complicated productions.
In addition to location field equipment we also have the
capability of producing high definition (1280:720p) multi-camera coverage of
events with on-site live switching and live audio mixing.
With three manual cameras and three robotic cameras, our
department is capable of providing a full six camera setup on location. The program can be switched live and mixed live while recording to P2 media as
well as output to external monitor sources.
For more information regarding field production services, contact Josh Young firstname.lastname@example.com or 708.235.2826.
We offer a fully operational, high definition (1280:720p) production studio. It is set up for a three-camera production with the capability of being switched live from the control room next door. If required, the studio can be converted to accommodate up to six cameras, which can also be switched live.
The studio is equipped with a wide range of professional lighting instruments and a state-of-the-art lighting board to provide a versatile lighting setup for any production. The lighting control systems can also be programmed for multiple lighting setups in a single production.
Sound for studio productions is recorded and mixed using a high-end sound board located in the control room audio suite.
Media is recorded onto P2 cards and can then be transferred to any one of our three Edit Suites for post-production editing.
Edited programs can be exported for audio sweetening and DVD authoring for the final complete distribution package.
Studio B
We also offer a professional-grade production studio designed for a wide range of standard definition (720:480p) programs, with the same amenities as Studio A.
For information regarding Studios A and B services, please contact Josh Young firstname.lastname@example.com or 708.235.2826.
Digital Learning and Media Design has long maintained a standard for capturing and ensuring the best quality of audio and video. With the addition of the new high definition room for Pro Tools, the DLMD is capable of audio post, sweetening and voice over.
With our new editing room we can take your project from Media Composer and sweeten the mix with industry-standard Avid software, Pro Tools and Media Composer. Aphex Mic pres are assigned at the front end of our signal flow along with the Aphex Anaconda's analog/digital ins and outputs via optical cable or fiber link. This feature places the high definition room into a unique position of being versatile in the analog and digital world of audio. We have a private, voice-over booth capable of doubling as a Foley room.
With our beautiful campus as a backdrop, our entire high definition Room is 100 percent portable, allowing us to capture your performance from anywhere on our grounds where a fiber cable is accessible.
DLMD takes media to the next level through DVD authoring. Our DVD authors create products that increase the ease and usability of media. Our Apple DVD Studio Pro is one of the top authoring systems on the market. We create a simple "play only" DVD or a multi-menu, interactive DVD with video, glossaries, commentaries and self testing.


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Destination Highlight : Victoria, Australia
Charming Victoria
It might be Australia's second-smallest state but it is also arguably Australia's most scenic and most exciting travel destination. Welcome to Victoria -- where you can discover a wealth of regional areas and attractions; ranging from the sweeping coastlines and pristine beaches of Mornington Peninsula, to the wildlife and wineries of Kyneton, and the charming cafes and streets of Mildura.
Located just hours south of Melbourne, Mornington Peninsula is home to numerous sandy coves and quaint seaside towns offering an array of activities. Here you will be able to go hang gliding on the steep cliffs overlooking Point Nepean, surf the sun kissed waves of Port Phillip, tee off on one of the area's many highly-ranked golf courses, and explore 19th century dive wrecks.
The Beaches
Families and beach bunnies alike will love the area's many diverse swimming beaches. Of these, Rosebud and Rye are the most family-friendly and laid-back, with calm waters and soft sands. Portsea, while rockier, boasts of wonderful coastal views.
Arthurs Seat
Rising 305 metres above sea level, Arthurs Seat is a must-see with its natural bushland and magnificent views of Port Phillip. Its many attractions include the McCrae Homestead -- a historic property located at the foot of the small mountain. Built in 1844, it is one of Victoria's oldest homesteads and is a reminder of how early Aussie pioneers worked, farmed and lived.
Fort Nepean
This is a former defensive facility, built in 1873 to protect the narrow entrance to Port Phillip. Used right up until World War II, the fort is now a national park where visitors with a thirst for history can view and learn more about Australia's military past.
Mornington Peninsula National Park
One of Victoria's most popular and well-loved natural attractions, Mornington Peninsula National Park is a sanctuary to many forms of Australian wildlife.
Moonlit Sanctuary Wildlife Conservation Park
This 25-acre sanctuary showcases the fauna that existed on the Mornington Peninsula prior to European settlement. The park's nocturnal animal walks are very popular.
Where To Stay: Nepean Country Club & Day Spa
Rest and relax at the impressive Nepean Country Club & Day Spa while exploring Mornington Peninsula. Great for guests of all ages and during all seasons, the resort promises plenty to keep you (and your loved ones!) occupied. These include twice weekly tai chi classes, aqua aerobics four times a week, and daily yoga sessions -- all conducted by fully qualified instructors.
Still want more? The Day Spa is sure to please with its extensive and affordable spa menu. Here you will be able to treat your body to a range of therapeutic massages, facials, and other holistic body treatments.
Located only an hour's drive from Melbourne, the historic town of Kyneton draws visitors looking to escape the daily grind and gourmet food aficionados. After all, the area is famous not just for its stunning bush vistas but also its many gourmet food producers.
The Kyneton Farmer's Market
Held every second Saturday of the month, the Kyneton Farmer's Market at St Paul's Park becomes a hub of activity for the town. Both locals and visitors gather to socialize, shop fresh produce, and sample regional offerings such as award-winning olives, olive oils and preserves.
Gold Rush History
Kyneton was originally a gold rush town -- and evidence of these halcyon days still abound on its buildings and streets. Take a walk through the town centre and check out the beautiful old bluestone churches and buildings, many of which still boast their original facades and ornate verandas.
Hanging Rock
It is one of Australia's most enduring mysteries -- the as yet unsolved disappearance of several schoolgirls and their teacher during a picnic at Hanging Rock on Valentine's Day in 1900. Today, you too can picnic at Hanging Rock and then explore the majestic peak of Mount Macedon nearby.
Wine Tours
It's not just the food that draws visitors to Kyneton -- it's also the dry climate wines of the region. Here's your chance to visit one (or more!) of the region's many family-operated boutique wineries dotting the countryside.
Where To Stay: Kyneton Bushland Resort
Close to town, the Kyneton Bushland Resort is a perfect base for discovering the gourmet secrets of Central Victoria. The resort also offers plenty of on-site activities to keep families and individuals busy. You are welcome to take a hike through the resort's 50 hectares of natural bushland, swim in the resort's pool, play tennis, or unwind in the spa. You can also hire a rod and go fishing for your supper in the resort's own five acre lake!
Located in the far northwest of Victoria, Sunraysia is known for its sunshine, grapes and oranges. Its centre -- Mildura -- is known for its mediterranean charm, set as it is on the sandy banks of the idyllic Murray River and surrounded by vineyards.
Things to see and do include:
The Chaffey Trail
Discover the history and architecture of Mildura with this self-guided walk that will bring you to all the highlights of the town; including the Old Mildura Homestead and the original Rio Vista House. Both were built in the 1800s and offer a good peek into life back then.
Paddle Boats on the Murray
Paddle steamers and paddle boats have plied the Murray River since 1853. Today you too can experience this bygone era by taking a paddle boat ride down the Murray. Starts at various locations.
Perry Sandhills
The Perry Sandhills make up 10 hectares of striking red sandhills that were once part of the huge Willandra Lakes System and date back to an ice age 40,000 years ago. There have been bones found in the sandhills that reveal that huge kangaroos, wombats and other creatures once roamed this region!
Where To Stay: Sunraysia Resort
The perfect place to call your home away from home. This resort features luxury self-catering apartments scattered amidst tranquil native vegetation. Settle in and take advantage of the unique tropical saltwater pool, play a spot of tennis on the courts, or hit the gym. The resort also has many barbecue spots where you and your loved ones can indulge yourself in this very Australian dining experience.


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cash edit: All you OSX guys out there I have written a nice guide for you, it takes a little time but i tried to be as detailed as possible.
Click here for the Downgrade from 1.1.1 to 1.0.2 complete guide including baseband via osx
Revan has made the windows guide click here
All right! If any of you have "bricked" iPhones from upgrading unlocked iPhone's to 1.1.1, you are now able to downgrade without paying a dime!
The guys over at RDGaccess.com have put together a guide on how to do it, here it is:
How To
0. Download firmware 1.0.2 from apple: http://appldnld.apple.com.edgesuite....8_Restore.ipsw
1. rename it to iPhone1,1_1.0.2_1C28_Restore.zip and unpack.
2. extract the ramdisk file from it by typing
dd if=694-5259-38.dmg of=ramdisk.dmg bs=512 skip=4
3. mount the ramdisk by doubleclicking it (on mac). On windows use some HFS tools to peek inside it or get the files from someone who extracted it already.
4. Put your phone into DFU mode and do option-restore in iTunes. This will reflash everything to 1.0.2. You will get an error at the end because it couldnt reflash the baseband. You will end up with a yellow triangle.
5. Quit iTunes, launch iNdependence and quit it again, relaunch iTunes. Press the power button on the phone for 3-4 seconds. After like 10 seconds you end up on the activation screen.
6. Complete the Downgrade by Jailbreaking / Activating, Installing SSh on to the phone etc. There are tons of wiki's about that so I won't repeat. (probably also true for step 4,5)
7. Extract the baseband firmware and EEPROM files of 3.14 from the ramdisk of firmware 1.0.2. The files are named ICE03.14.08_G.eep and ICE03.14.08_G.fls and are located under /usr/local/standalone/firmware.
8. Get the Secpack of baseband firmware 4.0. Its at the bottom of this post.
9. Download ieraser2 from http://www.fink.org/ieraser/ or from Geohot's blog.
10. Install all the tools on to the phone (i use the location /usr/local/bin)needed to get ssh access to the 1.0.2 firmware phone and upload ieraser2, the secpack, the firmware 3.14's FLS and EEP file and anySIM 1.0.2.
11. ssh to the phone. Stop CommCenter? by typing:
launchctl remove com.apple.CommCenter?
12. run bbupdater -v. it will tell you you run version 4.01 of the baseband.
(bbupdater is a tool by apple which is also on the ramdisk)
13. run ieraser2. This will WIPE your baseband, given a file "secpack" is in the same directory and this is a version 4 secpack.
14. run " bbupdater -v " again. it will not find any firmware now. 15. run " bbupdater -e ICE03.14.08_G.eep -f ICE03.14.08_G.fls " 16. run " bbupdater -v " it will tell you you run version 3.14 At this point in time you will still have a IMEI number starting with 004999... and its not of use yet. So still bricked but at least downgraded to version 3.14.
17. run anySIM Version 1.0.2 (note that older versions might not be good here as 1.0.2 has a lot of fixes for this kind of stuff).
Now you have a unlocked 3.14 baseband with IMEI being your original one! Congratulations you now fully recovered from your update 1.1.1 and are back to 1.0.2.
If you want to return to virgin state again you can stop the commcenter again and repeat " bbupdater -e ICE03.14.08_G.eep -f ICE03.14.08_G.fls " again to reflash the "locked" version of the baseband. "
All files needed are here
1.1.1 Baseband Downgrade Achieved!


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Classes Suspended Until Further Notice:
Due to COVID-19, we are unable to offer any of our in-house classes. However, our online course is still available and can be taken at any time. Thanks for your understanding during this difficult time.
- This event has passed.
Minnesota Multi-State Permit to Carry Class
January 29 at 12:00 pm - 3:00 pm$99.00
The Minnesota Multi-State Permit to Carry Class is designed for first time students as well as for those looking to renew their permits. This 3-4 hour class covers all of the basic safety principals and laws regarding the Minnesota Personal Protection Act in order to safely and responsibly carry a firearm for self defense.
Upon successful completion of the classroom training and live fire exercise, you will receive a certificate that will be needed when applying for your Minnesota Permit to Carry at your county Sheriff's Office.
Range Fee:
- A $15 range fee is required – You may pay the range fee the day of your class or add it to your cart during the checkout process.
Students Must Bring:
- A handgun of any caliber. Please no sharing. (Rentals are available)
- 1 box (30 rounds) of brass-cased ammunition. (Rentals are available)
- Eye and ear protection (Rentals are available at online checkout)
- Pen and notepad
- Valid I.D.
- Receipt from online payment
- Gun and ammunition rental can be provided at $40 per student.
- Florida and Utah multi-state permit upgrades are also available at checkout.
*Scheduling and Cancellation Policy: Due to the limited number of seats available, your purchase is non-refundable. However, you may attend a later class date if needed. If you need to reschedule your class date, please call Mike Briggs at 612-644-8864.


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Exploring Hydrocarbon Depletion
What do you think of the major spill at the British facility earlier this week?Devil wrote:Firstly, reduce the quantity of waste by recycling the fuel. US reactors use the stuff once and are left with high level waste in large quantities. Many European and Japanese reactors recycle 96% of the fuel and the remaining 4% is medium level waste.
Wow what a great post. Got a link to support that so I can steal it in the future?gt1370a wrote:The whole point to a repository like Yucca Mountain is that it is RETRIEVABLE so that the fuel can be reprocessed once that becomes economical.
Did you know that all of the spent fuel assemblies from every power reactor in the US, if you stacked them up side-by-side, would take up about 1 football field? Imagine that! 20% of this country's power for 40+ years, and that small amount of waste... Kind of makes you think this "waste disposal problem" is blown out of proportion.
So you're completely not believing in this little Peak Oil problem we've been discussing on this board for so long, either that, or you're not understanding it.
But you're a dumbass, so that's not surprising!
Dezakin wrote:But as for actual energy, we have enormous amounts of it. We have at least tens of thousands of years of nuclear fuel,
He was referring, I believe, to energy for nuclear fusion. Of course, he's gambling his life on the probability that nuclear fusion will be usable by the time it's necessary. To tell the truth, I really couldn't care less if he loses that bet.
Wildwell wrote:Renewable energy is nearly 10% world wide,
Ludi wrote:Wildwell wrote:Renewable energy is nearly 10% world wide,
I do not consider nuclear and hydroelectric "renewable." Nuclear is based on a non-renewable resource and most hydroelectric sites are taken. Also large dams are harmful to the hydrologic cycle, hence not sustainable.
Please give a citation for your 10% figure.
http://encarta.msn.com/media_461518118/ ... ource.html
I do not consider nuclear and hydroelectric "renewable." Nuclear is based on a non-renewable resource and most hydroelectric sites are taken.
Also large dams are harmful to the hydrologic cycle, hence not sustainable.
Dezakin wrote:There is enough recoverable uranium and thorium in the crust to run at least that long with a much much larger civilzation than we have today.
Doesn't the 'hydrolic cycle' adjust over the decades? What do you mean by this?
That's debatable.
Large dams intercept the flow of nutrients from upstream, and change the amount of water available downstream, having sometimes severe impacts on ecosystems. Concentrating a large area of water where there previously wasn't one can have impacts on the local climate. Downstream, fertility of floodplains can be severely impacted.
No point debating me about nuclear energy, it's irrelevant to me whether we have 1 year's worth of uranium, or ten thousand years' worth, I'm against the technology for esthetic and philosophic reasons.
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www.First TV Drama.com Home PageWelcome to First TV Drama.com. A website to gather support for a Science-Fiction Television Series I created and am exploring the options of getting it into production.
Created in 1989, I started doing research on how to get it into production in 1997 and started writing the Business Plan in 2003. The Business aspects of it are solid and sound as I struggle to get around closed minded people who actually believe "only Hollywood can produce a TV show".
Originally researched for PBS, many new avenues opened up starting in March 1997 with the premiere of DVDs, beginning with the first television series released on DVD ("The X-Files") in May 2000. In October 2005, Apple ITunes made possible the purchase and downloading of television series, among the very first was the science-fiction series "Lost". This was immediately followed by streaming on demand. Both the Motion Picture Association and Pew Research shows more than half of American homes have broadband capable of downloading and streaming television shows. Within less than 10 years of the premiere of DVD (1997) already half the science-fiction series ever made had been released on DVD (and rising). At least 68% (and rising) of all hour-long science-fiction series have seen second-run syndication on cable, all of which are available through Dish services such as one of the Dish Network Packages, which are currently in 14 million homes. In 2009, television switched from analog to digital, allowing network and cable stations to multiply with secondary channels which continue to broadcast science-fiction programs to fill air-time.
Unfortunately, being Science-Fiction means numerous unnecessary obstacles are being placed in my path. You can help clear that path by generating fan support while my proposal is being submitted to certain people who can play a part in moving these forward into production.
- Richard Whettstone.
|First TV Drama | Series One | Series Two | PBS | Enterprise | Help Us | Fun Stuff | Sci-Fi Central | About Us
|Privacy Statement
I have a solid Business Plan written.
Illinois has the largest television and movie production tax credit in the entire United States of America and one of the largest television and movie production tax credits in the entire world, yet astonishingly, I am STILL struggling to get around closed minded people who refuse to take a television production in Illinois seriously (even after recent productions have been to nearby towns or even in their own town itself). After declaring themselves to be "community leaders" and "economic development experts", they have actually flat-out told me "People around here are too stupid to do these types of jobs." I've also caught some lying to me. Other than the stigma of it being a "TV Show", not a single one of them will tell me a legitimate reason why they refuse to do their job (unless you want to count their claim that the local populations being "too stupid" as a legitimate reason).
(the past 90+ days)
|First TV Drama | Series One | Series Two | PBS | Enterprise | 24 | Help Us | Fun Stuff | Sci-Fi Central | About Us
|Privacy Statement


text:
|"Are you a wizard or not?"
The title of this article is conjectural. Although it is based on canonical information, the actual name is a conjecture and may be supplanted at any time by additional information released from canonical sources. If this occurs, please move this page to the appropriate title.
These letters were written by Sirius Black to his godson Harry Potter during the summer of 1995. As Hermione and Ron's letters were vague about details of Voldemort's activities because of orders from Dumbledore, Harry hoped Sirius's letters would be more informative. They did not contain any information, but held words of "caution and consolation"[1], instead of the "tantalizing hints"[1] that Hermione and Ron's letters had contained.
Letter one
I know this must be frustrating for you…
Letter two
Keep your nose clean and everything will be okay…
Letter three
Be careful and don't do anything rash…
Notes and references
- ↑ 1.0 1.1 Harry Potter and the Order of the Phoenix, Chapter 1 (Dudley Demented)


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Aptilo Named Best Mobile Offload Solution Two Years In a Row at Global Broadband Traffic Management Congress
Nov 08, 2012, 02:00 ET
STOCKHOLM and LONDON, November 8, 2012 /PRNewswire/ --
Aptilo Networks, the leading provider of mobile data offloading solutions, announced today that Aptilo's Wi-Fi offloading solution, Aptilo Mobile Data Offloading, has once again been named "Best Mobile Offload Solution for Enhancing Customer Experience" in the Broadband Traffic Management Awards, given at the 4th Annual Global Broadband Traffic Management Congress.
(Logo: http://photos.prnewswire.com/prnh/20120910/559670 )
The Awards were established to recognize the quality, innovation and leadership made by those in the traffic management industry. Winners were announced at the Royal Garden Hotel, London.
"We are proud to win this prestigious best mobile offload award for the second year in a row. What we have learned during the last year is that mobile operators do not see our solution only as a quick fix to capacity challenges. Wi-Fi has become a long-term additional radio access method for them in order to deliver an exceptional mobile broadband service and gain much-needed additional spectrum," said Johan Terve, VP Marketing, Aptilo Networks.
Aptilo Mobile Data Offloading provides operators with a carrier-grade solution for shifting mobile data to Wi-Fi. The Aptilo SIM Authentication Server™, optimized to deliver an automatic, secure and seamless mobile data offload experience, is one of two pillars of Aptilo's mobile data offloading solution. The award-winning Aptilo Service Management Platform™ -- currently enabling carrier-class Wi-Fi networks for more than 90 operators worldwide -- is the other.
The pre-enabled integration between these two systems and the 3GPP mobile core provides users with an "invisible" and uninterrupted transfer from the mobile network to Wi-Fi. For mobile operators, this tight integration means that they can optimize resources across their mobile and Wi-Fi networks as users will automatically flow between the two and policy and charging control will be maintained.
For more information about Aptilo's Wi-Fi offloading solution please visit: http://www.aptilo.com/solutions_mobile-data-offloading.htm
For more information about the awards please visit:
About Aptilo Networks
Aptilo Networks is a leading provider of systems to manage mobile data services for Wi-Fi, WiMAX and 3G/LTE networks, including mobile data offloading. Aptilo's carrier-class solutions boast pre-integrated authentication, policy control and charging functions to maximize functionality and fast-track deployments while minimizing impact on existing systems. Aptilo's solutions are currently in operation in more than 60 countries. For more information, please visit http://www.aptilo.com
For further information please contact:
Hillary Call, Public Relations Manager
Aptilo Networks AB
c/o Call Communications
[email protected]
SOURCE Aptilo Networks


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Evolution of the Martian Crust
- John C. BridgesJohn C. BridgesLeicester Institute for Space and Earth Observation, University of Leicester
This is an advance summary of a forthcoming article in the Oxford Encyclopedia of Planetary Science. Please check back later for the full article.
Mars, which has a tenth of the mass of Earth, has cooled as a single lithospheric plate. Current topography gravity maps and magnetic maps do not show signs of the plate tectonics processes that have shaped the Earth's surface. Instead, Mars has been shaped by the effects of meteorite bombardment, igneous activity, and sedimentary—including aqueous—processes. Mars also contains enormous igneous centers—Tharsis and Elysium, with other shield volcanoes in the ancient highlands. In fact, the planet has been volcanically active for nearly all of its 4.5 Gyr history, and crater counts in the Northern Lowlands suggest that may have extended to within the last tens of millions of years. Our knowledge of the composition of the igneous rocks on Mars is informed by over 100 Martian meteorites and the results from landers and orbiters. These show dominantly tholeiitic basaltic compositions derived by melting of a relatively K, Fe-rich mantle compared to that of the Earth. However, recent meteorite and lander results reveal considerable diversity, including more silica-rich and alkaline igneous activity. These show the importance of a range of processes including crystal fractionation, partial melting, and possibly mantle metasomatism and crustal contamination of magmas. The figures and plots of compositional data from meteorites and landers show the range of compositions with comparisons to other planetary basalts (Earth, Moon, Venus). A notable feature of Martian igneous rocks is the apparent absence of amphibole. This is one of the clues that the Martian mantle had a very low water content when compared to that of Earth.
The Martian crust, however, has undergone hydrothermal alteration, with impact as an important heat source. This is shown by SNC analyses of secondary minerals and Near Infra-Red analyses from orbit. The associated water may be endogenous.
Our view of the Martian crust has changed since Viking landers touched down on the planet in 1976: from one almost entirely dominated by basaltic flows to one where much of the ancient highlands, particularly in ancient craters, is covered by km deep sedimentary deposits that record changing environmental conditions from ancient to recent Mars. The composition of these sediments—including, notably, the MSL Curiosity Rover results—reveal an ancient Mars where physical weathering of basaltic and fractionated igneous source material has dominated over extensive chemical weathering.


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When I was a kid, Halloween was my favorite holiday. It still is. This is the night for good spooky fun. I always thought you should dress up as something scary. But my friends didn't necessarily agree. So, one year, I was a witch and my best friend was a UNICEF box. That was scary in its own way, but was not what I meant.
Danny Elfman: This Is Halloween
What then are the key elements for a great Halloween? Danny Elfman sets the mood with a catalog of scary costume ideas. This song opens The Nightmare Before Christmas, and does a great job of setting the mood. Here, it does so again.
Shivaree: Goodnight Moon
You need a properly creepy night. There should be a full moon casting strange shadows. A chill wind makes odd noises. Shivaree describes the night perfectly. The title refers back to the classic children's book, and the song gives it a great spooky twist.
Dr John: Witchy Red
There should be scary stories. Dr John tells a dandy here. I imagine that, in Louisiana at this time of year, they talk in hushed tones of Marie LeVeau. Dr John's character meets a modern-day disciple.
Rose and the Arrangement: The Cockroach That Ate Cincinnatti
And of course, there needs to be a party. Let's have great live music and dancing.
What, you may ask, does that have to do with this song? Back when my wife and I were dating, xxxx-xxx years ago, we attended a Halloween contradance. We chose our costumes carefully, making sure we had a full range of motion. The band was assembled once a year for this occasion, out of the members of several local contradance bands. So there was a piano, fiddles, guitar, banjo, a flute or two, I think an accordion... It was a giant folk dance orchestra. We knew some of the musicians from other dances we had attended, but we had never heard any of them sing. So imagine our surprise when a traditional folk-dance piece suddenly medleyed into The Cockroach That Ate Cincinnatti. There was only one possible response: we kept dancing. So this song has a special place in my heart, and must be a part of any Halloween party I have anything to do with.
If you would like to know more about contradances, (like, what are they?), you can see what I wrote about them here.
Warren Zevon: Werewolves of London
Finally, you knew this one had to be in there somewhere. There may be hundreds of blogs posting this this week, but that is one way to define a classic.
Friday, October 30, 2009
Halloween Party
Posted by Darius at 3:31 PM 1 comments Links to this post
Labels: Danny Elfman, Dr John, Halloween, Music, Rose and the Arrangement, Shivaree, Warren Zevon
Thursday, October 29, 2009
For a Song: Tam Lin
Fairport Convention: Tam Lin
Tam Lin is a song I must hear every year at this time. The threads of the tale twist like Celtic knotwork, and a chill October wind blows through the whole thing. Last year, I shared the song for the first time online, on Star Maker Machine. You can still read that post here. The song is a tale of travel between this world and the Celtic Otherworld, and that travel, according to tradition, is most easily accomplished at this time of year. The Celts called it Samhain, and it is the time when the barriers between the two worlds break down.
There is always more to learn about Tam Lin. In preparing for this post, I learned that there is an Irish reel also called Tam Lin. The reel and the ballad are clearly completely different pieces of music. I don't know how the reel got its name, but I hope to find out. I will be featuring two wonderful versions of the reel next week.
Blog business: This post is the first of two special posts I am presenting this week as my Halloween party. Look for the next one soon. Preparing for this has proven to be more time consuming than I intended; that is why there was no album review this week. That feature will resume this coming weekend.
Also, the fund drive continues. Please give whatever you can. Thank you.
Posted by Darius at 3:03 AM 1 comments Links to this post
Labels: Fairport Convention, For a Song, Halloween
Friday, October 23, 2009
Radio in the 80s
The music of the 1980s grew out of reactions to what was on the radio. Remember that, in the 1970s, radio was the main way people had of learning about music. AM radio in the 60s was all about the pop charts, but FM radio grew to fill a need to provide alternatives. In the 70s, that meant art-rock and the first wave of singer-songwriters. Meanwhile, the charts were full of lushly produced love ballads and the macho posturing of hard rock. A two word description of the music of the period might be, "artful pose".
Towards the end of the seventies, some musicians sought to break away from that. The big idea behind punk was to smash down the pose, and present something real. Coming close on its heals, new wave confronted the artful aspect, by presenting ditties, songs the reveled in their disposability, and therefore made great party music. It is ironic that punk itself eventually became a pose. And some of those disposable new wave songs were created with such love that they have become impossible to dispose of. New wave music also reacted to the overt emotionality of 70s ballads by presenting an aloof attitude, and exploring themes of miscommunication and alienation.
Meanwhile, radical changes were in store for radio itself. By the mid 80s, MTV had become the main source of new music, with radio following its lead. As MTV scaled back their music programming later, the internet took over, and radio permanently lost its primacy. Meanwhile, radio stations were being bought up, and becoming parts of large corporations. This tended to homogenize what could be heard on the air. The corporate owners also created niche programming, so that a station might only play country, or only hits of the 70s.
Songwriters were thinking about all of this as the late 70s became the 80s became the early 90s. And sometimes, they wrote music about it.
Elvis Costello: Radio Radio
Elvis Costello thought about how listening to music on the radio could limit or broaden, but mostly limit, your choices. And his conclusions became a classic. Costello considers how a musician must rely on radio to gain and hold an audience, and how this can dictate what and how you play. This is both more and less true now than it was thirty years ago. Radio formats are stricter than ever, and maximizing your reach on the internet may mean making artistic compromises too. But it is also easier than ever to seek out unusual music.
Thomas Dolby: Radio Silence
Where Elvis Costello's radio tries to dictate what kind of music he makes and sells, Thomas Dolby's serves to expose him to the world. Radio Silence is all about keeping secrets and maintaining privacy in an age of communication overload.
Wall of Voodoo: Mexican Radio
Stan Ridgeway of Wall of Voodoo presents radio in a foreign language as a metaphor. Lines of communication are open, but no communication is occurring. There must also be mutual understanding, no matter what the technology.
Chris Whitley: Dust Radio
In all these radio songs, Dust Radio gives off the most puzzling signal. Chris Whitley even emphasizes this. The song ends with a potential listener retuning the radio to try to get a better signal, and getting other stations by mistake. Whitley seems to be saying that this relationship feels so strong to him that it must be giving off its own signal, but it is nevertheless a private thing.
R. E. M.: Radio Song
R. E. M.'s Radio Song brings us full circle. R. E. M. had been a cult band throughout the 80s, never achieving mass success. By 1991, they were leading off an album with this song, about how a song can get stuck in your head. There is a definite element of sour grapes here. Ironically, the second song on this same album would get stuck in a lot of people's heads. It was called Losing My Religion.
Fund drive update: Thank you to my first donors. Your help is greatly appreciated. I have also received useful advice from someone who could not afford a donation, but wanted to help. That means a lot to me. Thank you as well.
Posted by Darius at 5:00 PM 3 comments Links to this post
Labels: Chris Whitley, Elvis Costello, R. E. M., Thomas Dolby, Wall of Voodoo
Thursday, October 22, 2009
David Grier - Evocative
What are the qualities I look for in instrumental music? As with vocal music, it must reward close listening. But instrumental must also be pleasant as background music. And, for me, there is one more test. Too long ago, I lived in a space that allowed me to indulge my love of oil painting. I also used to write fiction, and very occasional poetry. For all of these creative endeavors, I found that music helped. There could not be any words to distract me. And, the more finely crafted the music was, the more it enhanced my own creativity. Mozart and Miles Davis were favorites for this. And now, David Grier's album Evocative must be added to that list. As I gave this one repeated careful listens to prepare for this review, I actually had an idea for a painting pop into my head. Sadly, I cannot do anything about it.
It is a not very useful fact, when listening to Evocative, that David Grier has won awards for his bluegrass flat-pick guitar playing. There is very little trace of bluegrass in this music, and none of the flashy playing one might expect from an award winner. What Grier does show here is his skill as a composer and arranger, and his generosity as a band leader.
The band is Grier on electric, acoustic, and baritone guitar; John Gardner on drums; Paul Franklin on pedal steel; and Jeff Taylor on electric piano, organ, accordion, and pennywhistle. You may have noticed that there is no bass player. There are guests on bass on six of the album's ten tracks. Two more are solo guitar pieces. But that still leaves two ensemble pieces with no bass. And, on those tracks, the bass is not missed. That is because Grier gives each arrangement just what it needs, never cluttering matters or piling on instruments. Grier calls on other guest musicians to provide color and texture, and does a great job of varying these elements.
The album opens with Meditate. The acoustic guitar introduces a simple repeating pattern. Soon the drums, electric guitar, and electric piano join in, each adding to the pattern and expanding it. But the time the solos start, the original pattern has become more complex, but it is still recognizable. This builds to a climax, and then comes down just the way it built up. The same simple pattern on the acoustic guitar is all that remains at the end.
The harmonies on the album belong firmly in folk/ country territory. But many of the songs are built like jazz tunes. There will a statement of theme, usually by the acoustic guitar, followed by variations played by the other solo instruments, and then a restatement of theme in the guitar, to finish. The instruments providing support and rhythmic motion often vary their parts in subtle ways in response to the soloists.
Grier is equally adept at slow or fast numbers. Road to Hope is a beautiful ballad for guitar, accordion, bass, and drums. Four Dogs Jogging takes off at a gallop, with fiddle and banjo joining in. This may be the most purely exciting piece on the album. And Grier also paces the album well, placing As Easy As Falling Off a Log, a bluesy solo piece played on baritone guitar, in the middle of the album for a quick breather.
I should take a moment to praise the quality of the soloists. In my review of George Strait, I talked about the sweet sound of Stuart Duncan's fiddle playing, and that is equally true of the three tracks he plays on here. Scott Vestal only plays banjo on only one track, but he displays a great talent for switching without seeming effort between rhythmic background playing and solo turns. And Grier himself gives his electric guitar a smooth singing voice, while playing parts on the acoustic clearly state his ideas while also helping to provide a solid rhythm to build off of.
So here is a wonderful set of instrumental music. The moods and textures vary, but never sound fussy. The whole thing sounds like a coherent whole. And this is music that takes me places, probably a different place each time I listen. Regardless, I look forward to making my next trip.
David Grier: Road to Hope
David Grier: Four Dogs Jogging
The fund drive is still going on. If you would like to donate without having to write something, please feel free.
Posted by Darius at 3:20 AM 0 comments Links to this post
Labels: Album Review, David Grier
Sunday, October 18, 2009
Fund Drive
I would like to thank everyone who stops by here. I hope you have discovered at least one artist you never would have heard otherwise.
Now I find that I must do something that is difficult for me. Readers/ listeners, I need your help. I have an old computer that has been giving ominous signs lately, and I fear that I will soon have to replace it. To put it simply, I do not have the means to do so. So I am having a fund drive. I know times are hard, but any help you can give would be greatly appreciated.
I'd like to make this fun. Send me a message with your donation. Include a suggestion for a For a Song post. Make the case for why that song should be included. I may use your message as the post if I take your suggestion. Or I may do the song, and credit you for the suggestion.
If you would rather not send a song suggestion, send a comment about the blog. Why do you like it, or what could be better? Have fun with this. And I'll try to find a way to share the best ones.
Whatever else happens, I will not choose what to publish based on the size of your donation. I don't want anyone to feel left out because they can only help in a small way. Also, I make you all a promise. Any funds raised in excess of what I need to replace the computer will be used for expenses related to the blog.
Finally, let me thank you all for your help.
Posted by Darius at 2:53 AM 2 comments Links to this post
Friday, October 16, 2009
Street Scenes
First of all, let me give a special thank you to my fellow contributors at Star Maker Machine, for their help gathering songs for this post. And let me say that I have left plenty of street songs for a possible future theme there, if anyone is interested.
It's not hard to find songs whose titles are street names. But it is rare to find that the song is literally about the place. Rather, street names represent, in the minds of the songwriters, a state of mind associated with a place. The most successful of these songs imprint these associations into the minds of the listeners. The better known the song, the harder it becomes to ever see that street name again without making the same connection the songwriter did.
Richard Shindell: Mercy Street
Mercy Street is entirely a state of mind. The song was inspired by the author Anne Sexton. Sexton was a mental patient who suffered from severe depression. She took to writing as a form of therapy, creating poems, and eventually a play, 45 Mercy Street. This therapy created some enduring art, but did not save Sexton's life. She committed suicide in 1974. The darkness in the song represents her depression.
I could have posted Peter Gabriel's original version of the song. It is certainly worthy. But Richard Shindell is a musician who always finds his way to the emotional heart of a song, whether it be his own or a cover. I chose his version because I want more people to know about his work.
Nellie McKay: Manhattan Avenue
Manhattan Avenue is a beautiful jazz ballad. The music leads you to expect a sumptuous love story. But Nellie McKay uses this musical setting to depict an impoverished street, inhabited by both muggers and children. Despite the starkness of the setting, dreams also live here.
Gerry Rafferty: Baker Street
Baker Street addresses a character who came to the city seeking excitement, and found loneliness and alienation. After eloquently describing his state of mind, Gerry Rafferty gives him a way out. He can return to the town he came from.
My long time readers may be surprised to see this song here. The basic four piece rock band is augmented by horns and a large string section. There is extra percussion. This is the type of 70s production that I often rail against. But here, all of the elements of the arrangement make sense. The lushness of the arrangement, compared to the content of the lyrics, forms a nice irony. This is a 70s production that works. And that is why this song never sounds dated, when so many others do.
The Beatles: Penny Lane
Gerry Rafferty's character dreams of a place like Penny Lane. Here every street corner is home to a friend. The warmth of an actual nighborhood has never been described better.
Penny Lane is also a fine early example of The Beatles and producer George Martin's mastery of the recording studio. It is difficult to appreciate now just how innovative the production on this was.
XTC: Respectable Street
XTC provides a depiction of the dark side of small town life. Here, familiarity breeds contempt. Everyone knows, and judges, everyone. And these judgments include observations of all manner of hypocrisy.
I have always said that what kills a punk band is that they learn to play their instruments. That happened very quickly to XTC. Respectable Street retains the raw energy of punk, but adds a crispness in the guitar parts, and a rhythmic sophistication that is almost funk. The vocals, similarly, retain the strong emotion of XTC's punk roots, but are sung rather than shouted.
Posted by Darius at 4:20 AM 0 comments Links to this post
Labels: Gerry Rafferty, Music, Nellie McKay, Richard Shindell, The Beatles, XTC
Wednesday, October 14, 2009
For a Song: Fast Enough For You
Phish: Fast Enough For You
Fast Enough For You is almost a perfect pop ballad. It has chiming guitars and a soaring vocal line. It has just the right touch in the production: there is no wall of strings, or a horn section, or chorus vocals from a cast of thousands. Any and all of these touches would have killed this song. And it has a line that perfectly expresses how love grows over the course of a relationship: "I'd be happy just to watch you age." Of course, the song uses the standard format of verse, chorus, v- hey, what just happened?
This is, after all, Phish. In fact, there is only one verse. Then there is the first chorus, then an instrumental break, then the second chorus, then a coda to finish. The instrumental break does not contain the vocal melody, but, structurally speaking, this is the second verse. Because they are playing within a conventional song structure, this doesn't sound odd. The lyrics to Fast Enough For You are enigmatic, but they seem to describe a situation where one partner in a relationship wants things to move much faster than the other. Once the situation is stated with words, Phish elaborates on the emotions of the situation with their instruments instead of their voices. And they make it work. Most people wouldn't, and probably shouldn't, try this with their songs.
So maybe this is a perfect pop ballad after all. But only because it's Phish.
Posted by Darius at 2:36 AM 3 comments Links to this post
Labels: For a Song, Phish
Monday, October 12, 2009
Raina Rose - End of Endless False Starts
There is a singer/ songwriter I know of. She has a limited vocal range, and her vocal lines sometimes seem limited as a result, but she manages within these limitations to be remarkably expressive. Her guitar playing doesn't call attention to itself, but, on rare occasions it comes out that she is a fine player. But the main draw is her words. She writes the kind of enigmatic lyrics that can make close friends get into heated discussions about their meaning, but, with no agreement reached, the conversation is fascinating.
No, I'm not talking about Suzanne Vega. I'm talking about Raina Rose.
End of Endless False Starts is Raina Rose's latest release. Rose sings in a voice with a deceptive sweetness to it. I kept expecting the album to dissolve into new-age vapidness, but it never happens. In fact, Rose's voice has a strength to it that creeps up on you slowly as you listen. Her guitar playing is a highly rhythmic strumming, with occasional fingerpicking mixed in. Producer John Elliott creates varied textures for the songs, starting with mostly acoustic instruments initially, then adding distorted electronics in the middle part, and pulling back to the softer sound at the end.
Before I go on, I want to tell you a little about myself. I mentioned that Rose's lyrics are enigmatic, and I interpreted them through the filter of my own experience. I am the youngest of three boys. When I turned eighteen, my father gathered the family together to tell us that he was leaving my mother. My mother nursed her hurt for several years, and my parents never got back together. But eventually, they became friends again. In due time, I got married. My wife and I had four years together before my daughter was born. Eventually, we also had a son. We are still together, and I don't foresee that changing.
Now, let me tell you what I hear in Raina Rose's words. End of Endless False Starts describes the evolution of a relationship. The album begins with Are You Still in Love With the World? When the two characters meet, one or both are on the rebound from a painful breakup. As they set aside the emotional baggage, Desire, physical, emotional, and intellectual, takes over. They become an item. Blind Cyrus reveals that she is a traveling musician, one who suffers a sudden attack of homesickness in the middle of a performance. Air & Water skips ahead in time. Now they have had a son and a daughter, and the children are ready to go off on their own; the couple are about to get reacquainted, after living for the children for so long. The River backs up, to look at their hopes and fears from when their son was born.
Suddenly, in Misaligned Tires, the music changes abruptly. What had been a sunny sound, with only occasional clouds, abruptly turns dark and threatening. The song describes a wild and dangerous ride. He leaves her all of a sudden, as she wrestles with her pain and anger. It's an amazing and startling moment on the album. After some time has passed, she realizes that she still loves and misses him. This is eloquently expressed in This Ain't My House. Finally, in Not Not Love, they get back together. The relationship now has a sense of fragility that was never there before, and this is captured beautifully.
The album closes with Starts With a Low Hum. Everything seems to be in turmoil again, and the lyrics here were the most opaque to me of any on the album. But what I think may be happening is that the mother is seeing her experiences repeated in her daughter's life. All of the old feelings come back in a rush.
Sprinkled throughout all of this are religious allusions and images that I cannot interpret. So there could be a whole other layer of meaning that I am completely missing. What I know is that the words are fascinating, and the album as a whole is compelling and emotionally real. Raina Rose is hard at work on her next one. I hope to have a report here when it's done.
I should also mention a peculiar thing. There are ten songs listed on the album cover. But, if you pop the disc into your computer, you will discover that there are twelve tracks. Track eleven is a minute and a half of silence followed 20 seconds of odd noises. But track twelve is an extra song called I Would Like to Kiss Everyone. I was strongly tempted to post it here, to make sure everyone got to hear it. It has a great groove, and a very imaginative arrangement. I don't think it fits in with storyline of the album, but it is a treat.
Raina Rose: Blind Cyrus
Raina Rose: Misaligned Tires
Posted by Darius at 3:48 AM 0 comments Links to this post
Labels: Album Review, Raina Rose
Friday, October 9, 2009
Corners of the World: Women of Africa
Australia and North and South America are conquered lands, their native peoples relegated to a minor role in their societies. Asia and Europe have cultures that have resulted from the shifting of power through a series of wars, but their native peoples, the winners among them, have defined their cultures. Africa is different.
Africa is a land of tribal people who have been exploited by a series of slave takers and colonizers who have taken what they wanted and then left, or have been forced out, leaving chaos in their wake. Her people are often displaced. And tyrants rise and fall, while the African people endure. So there is a tremendous amount of material for songs. The traditional cultures of Africa are no longer pure, but their values remain. And the history of the people is preserved in song, as is the record of important current events. This is true in many tribes, both north and south of the Sahara Desert.
There is a running argument among aficionados of world music about "cultural imperialism". The idea is that Western people are somehow destroying traditional cultures by infiltrating their societies with the evils of Western music. So, you might just as easily hear Michael Jackson or King Sunny Ade on the streets of Lagos. But the musicians of modern Africa do not see this as a problem. They embrace good musical ideas from anywhere, and fold them into what they do. Many travel to Paris to record, taking advantage of the superior recording facilities there, and some even stay. But their music always retains qualities that are uniquely African.
The stories to be told, and the cultural cross-pollination, are key elements of the work of the female African artists I am featuring here. And they also possess five of the finest voices on the planet, in any culture.
Miriam Makeba: Pata Pata
Miriam Makeba was known among her fans as Mama Africa. Her international success was partly an accident of politics. She was an outspoken opponent of Apartheid in her native South Africa, and she found her self exiled from her native land when she left the country on a tour. When she tried to come home, she found that her passport had been revoked in absentia. So began her journeys throughout the world, spreading her music wherever she went. Along the way, she always made a point of preserving something of her heritage in her music, but she was also influenced by the music she found wherever she went.
Pata Pata was one of Makeba's first hits, and one of the songs that made that fateful tour possible. Musically, the song combines the traditional music Makeba grew up with and American doo-wop, which was very popular in South Africa at the time. South African musicians would continue to develop this vocal style in there own way. The music of Ladysmith Black Mambazo was perhaps the ultimate flowering of this trend.
Oumou Sangare: Saa Magni
Oumou Sangare's mother was a sumu, a professional singer who performed at ceremonial occasions. Her father abandoned the family to take a second wife when Oumou was two. Her mother became depressed, and was often unable to perform. So, at age five, Oumou began helping her mother with her performances. She also sang as she sold bottles of water on the streets. In short, she used her voice to do whatever was necessary to raise money so that her family could eat.
It's hard to imagine that ever being an issue for Sangare again. She has become one of Mali's best known singers, and established herself with international audiences as well. But her early concerns are still with her. Sangare is known for songs that break with tradition by addressing the plight of women in Africa. In particular, she has taken a strong stand against polygamy and arranged marriages.
Musically, Sangare takes traditional instruments and rhythms and combines them in nontraditional ways. More recently, she has begun to work with Western musicians and sounds, blending them seamlessly into her music.
Rokia Traore: Sabali
Rokia Traore also hails from Mali. Her father was a diplomat, so she grew up traveling to many countries, and was influenced by everything she heard. But Traore also had a solid grounding in the traditional music of Mali. So she plays guitar, and puts balafon, (a wooden xylophone-like instrument), and n'goni, (a small three-stringed lute), together on the same song; traditionally, this is never done. Traore's later work has included collaborations with the Kronos Quartet and a cover of Billie Holliday's The Man I Love. She also appeared in a play about Billie Holliday.
Traore writes most of her own material, and her songs are about interactions between people. Childhood is a topic that particularly interests her.
Mariem Hassan: Magat Milkitna Dulaa
The Saharawi tribe gave the Sahara Desert its name. They once lived what is now Morocco, when it was under Spanish control. But the Saharawi still talk about the "Marcha Verde", the green march, when the Saharawi were forcibly exiled to refugee camps in Algeria. This happened when Mariem Hassan was 17. That was about 26 years ago.
Musicians in these camps have the job of preserving the traditional culture, and they are also charged with spreading the word of the Saharawi's plight to the world. Mariem Hassan has become the best known of these musicians. It's easy to hear why.
Angelique Kidjo: Voodoo Child (Slight Return)
Finally, we have Angelique Kidjo, from Benin. Kidjo was a self-taught singer at first, learning by singing along to James Brown records. Later she added formal voice training. The result is one of the most powerful voices in the world. But Kidjo can also sing with great subtlety when the material calls for it.
Kidjo was inspired to begin writing songs by the example of Miriam Makeba. Eventually, the two would meet, and Makeba would declare Kidjo to be her musical sister. Like Makeba, Kidjo used her fame to speak out against injustice, and Apartheid in particular.
Kidjo's music starts in Africa, and follows the journey around the world. So she has explored the music of Brazil, the Caribean, and of course the United States. Wherever Africans were taken, their music has evolved, and Kidjo has incorporated those evolutions into her music. So it seemed appropriate to feature her unique take on Voodoo Child (Slight Return). Jimi Hendrix's original is transformed into a showcase for Kidjo's unique blend of influences.
Posted by Darius at 6:48 PM 1 comments Links to this post
Labels: Africa, Angelique Kidjo, Corners of the World, Mariem Hassan, Miriam Makeba, Music, Oumou Sangare, Rokia Traore, World Music
Wednesday, October 7, 2009
For a Song: Shining Star
Earth Wind and Fire: Shining Star
My week has gotten off to a dark start. I posted for my last review a tragic tale of doom. And our theme at Star Maker Machine this week is Domestic Violence and Sexual Abuse. Not exactly light listening or reading. It's very important stuff, but it hasn't exactly lightened my mood. So I wanted this week's For a Song to be something up. I needed the breather.
Shining Star certainly fills the bill. But I hated the song when I first heard it. It was all over the radio when it first came out. I was a kid, and my friends and I used to like to make fun of the falsetto vocals.
But I eventually came to love funk. And Shining Star is a fine example of the form. Take the drums and bass, add keyboards for color. Add to the rhythm with the guitar parts. And then punch the whole into the stratosphere with the horn parts. Just try to sit still as you listen to this.
The words to Shining Star express encouragement that life is full of boundless possibilities. Just what I needed right now. "Shining star for you to see, what your life can truly be."
Posted by Darius at 4:32 AM 0 comments Links to this post
Labels: Earth Wind and Fire, For a Song
Monday, October 5, 2009
Hector MacIsaac - The Legend of the Black Donnellys
This may well be the most unusual CD I have reviewed here. Hector MacIsaac's The Legend of the Black Donnellys is what might be called a folk opera. MacIsaac has set out to dramatize in words and music a tale that is as well known in his native Canada the tale of Jesse James is here in the United States. The album consists of alternating tracks of narration and song, all telling the tale of almost 60 years of the Donnelly family. For my review, I have taken two songs and presented them out of context. This will give my readers a sense of the sound of the music, but some of the words will not make as much sense as they should. I have chosen the two songs I am presenting mostly to showcase the different singers, with one solo and one ensemble piece. I will try to fill in the blanks, but there is no substitute for listening to the entire album. MacIsaac has told the tale far better than I could hope to.
The tale of the Black Donnellys is as much a part of Canadian folklore as Jesse James is here. The Donnellys were a Catholic family from Tiperrary in Ireland. In Ireland, they were called Blackfoots, or Blackfeet, which I gather was a derogatory term for those who sympathized with the Protestants, and by extension, who favored British rule. The Whiteboys were a secret society who committed acts of violence against Blackfeet. The Donnellys fled to Canada, hoping to find a life free of fear where they could persue their dreams. But the "troubles" followed them to the new world. Budelph Township, in Ontario, was an Irish enclave, and a lawless one in the manner of the American West. The Donnellys started to make a good life here, but the tale ended tragically.
To tell all of this, MacIsaac his created a work for four singers and one narrator, each portraying a different character.
Hector MacQuarrie plays Johnny O'Connor, the narrator; he has the most to do, but does not sing. But his speaking voice carries the necessary emotional range without ever overacting. Much of what he narrates is what the Donnellys told him of their history; the character Johnny O'Connor enters the story fairly late, and the emotional tone of his performance changes as he begins to relate his personal recollections.
Brian Farrell sings the part of Jim Donnelly, the patriarch of the family. His performance must convey the hopes of the move to the New World, the sense of hardships endured, and eventually, the premonition of his own death. And Farrell does all of this beautifully.
Emma MacIsaac has the most important role, that of Johannah Donnelly, the family matriarch. And she delivers an outstanding performance. You can feel the strength of this woman, and sense that she is the glue that holds the family together. Her sorrow is palpable. Late in the proceedings, there is a duet between her and William Donnelly which is an emotional tug of war between a mother's all too real fears and her son's righteous anger; the song, Why Should I Give a Damn?, is an emotional high point of the album.
Hector MacIsaac himself sings the part of William Donnelly, the son who becomes the leader of the family. MacIsaac shows the greatest emotional range of any of the singers. His character falls in love. William survives the tragedy at the center of the story, and goes through a range of survivor's emotions. His love of Maggie Thompson, the woman he hoped to marry, has a different quality than the love he has for his parents. William goes through several different kinds of anger. And MacIsaac brings this character to life, using different tones of voice for different feelings.
Finally, Junior Fraser sings one song as Constable James Carroll. This is the only character voiced on the album who is not on the side of the Donnellys. In his only song, Fraser must portray a man attempting to justify something that he knows, at a deep level, is wrong. Fraser does a fine job with a character that we mostly do not like. It's something of a thankless task, but he does it well.
The music is acoustic, with electric bass, and Celtic flavorings. There is tasty fiddle work, and occasional pipes and whistles. But mostly, the instrumental work does not draw attention to itself; the focus is on the words and the singers.
To fully appreciate what MacIsaac has accomplished here, you need to set aside the time to actively listen to the entire album in a single sitting. This is a complex, and very powerful, kind of story telling. You will find it time well spent.
Hector MacIsaac: Maggie Thompson
Hector MacIsaac: Ride William! Ride!
Posted by Darius at 4:45 AM 0 comments Links to this post
Labels: Album Review, Black Donnellys, Hector MacIsaac, Music
Thursday, October 1, 2009
For a Song: The Road
Danny O'Keefe: The Road
I was looking at the moon, and I noticed that there was a bright object close by it in the sky. I speculated that, with the moon almost full, the object must be a planet. Checking into it, I found that this was Jupiter. And I thought of the line, "You're right about the moon, but you're wrong about the stars."
Of course, the line comes from the song The Road. And here is the original version, by Danny O'Keefe. Most people, if they know the song, think Jackson Browne wrote it. It was on Browne's album of songs about touring, Running on Empty, and it fit right in. But Browne saw no reason to write a new song about a musician's hopes and fears of his life on the road, when such a perfect example already existed. Although Browne turned in a fairly faithful cover, the song, in his hands, came off almost as ironic. After all, Jackson Browne was famous enough then, and to this date, that no one was ever likely to forget who he was.
But far too few people know the name Danny O'Keefe. O'Keefe was a "songwriter's songwriter". His work was known mainly to other songwriters, many of whom championed him by performing his work. His other well known song is Good Time Charlie's Got The Blues. Usually, a songwriter's songwriter eventually has a breakthrough and becomes known in his own right. Tom Waits and John Hiatt are fine examples of this. But, for Danny O'Keefe, that breakthrough never came. And I have no idea why not. Happily, O'Keefe is still working. Maybe his break will still come.
In the meantime, his version of The Road still rings true. As fame continues to elude him, O'Keefe still writes his songs, and takes what joy there is in giving others even momentary pleasure through his music.
Posted by Darius at 4:03 AM 5 comments Links to this post
Labels: Danny O'Keefe, For a Song, Music


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When we first met Peggy Fortson we knew right away that beyond the warm, welcoming smile, we were facing a knowledgeable, candid woman. She made sure that we understood what we were purchasing and the security we would have for the remainder of our lives. It wasn't a sales meeting…it was an educational meeting. Peggy has done an outstanding job this past year by effectively communicating with us regarding our LTC plan and successfully solving a couple of issues that were critical financially. Peggy is clearly a people person and is always looking out for her clients. She has demonstrated an eagerness to work and always a positive attitude with us and she did an excellent job demonstrating to us how a worthy company can produce great results. Jill and I are able to count on Peggy to always go above and beyond the norm to demonstrate how excellent and pleasant customer service can be. Peggy possesses a high standard of ethics; it seems that being her colleague would be a pleasure based on her leadership and ability to strategically direct and manage.
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The Doctor of Physical Therapy (DPT) Program is a 3-year (10 semester) full-time program. The curriculum is built on a strong basic science foundation with emphasis on evidence-based physical therapy practice, and integrated part-time experiential learning activities and 42 weeks of full-time clinical education. Graduates of our Program are prepared to examine and treat musculoskeletal and neuromuscular problems and to develop injury prevention and health maintenance programs for people at all stages of life. Graduates are prepared to apply scientific knowledge, humanistic values, critical analysis and a systematic approach to patient care when making clinical decisions.
In short, a Jefferson education moves students beyond the skills and knowledge of physical therapy to becoming professionals who can be responsive within a dynamic healthcare environment.


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The music world has always been something very mysterious to me. It is allusive in its nature daunting and terrifying and oh so intriguing. Musicians themselves have an intoxicating presence. They collect such followings because of the quality of their profession. They rip open their chests, pluck out their hearts, and hold them out in their hands for us all to watch, as they beat and bleed. They make themselves vulnerable in the most personal way, the good ones do at least. This can be a musician's success, but it can also be their downfall. Vulnerability coupled with celebrity and then criticism has killed so many young stars. We watch them climb to the top and fall down, as we point and laugh at them.
I myself have fallen in love with countless rockstars. With their brooding, sad eyes, broken hearts, and strong hands, what woman wouldn't love one? They make great company, often smart, and speaking in lyrical whispers, constantly tapping away at the wall between you and them with their drum sticks and guitar strings and soft voices. They will break your heart, only if you let them. But it's so much more fun to let them.
A look comes with being a musician, a certain cool and stage presence, a knowledge of how to carry yourself. They walk down the street and you know who they are. Marc Jacobs described it best when he said, "I like looking at the people who listen to the music I like. I like looking at the people who make the music I like… As a teenager growing up in NYC… I was seduced by punk. Not at first by the sound, but by the visual noise that came from it, from the scene, from the different styles of the bands and the styles of their fans." Because with rockstar's confidence, or at least their facade of confidence, they can get away with wearing almost anything. This is something that people who don't look like Mick Jagger or Joan Jett cannot always do. So for an art project I designed a line of clothes that brought rock star style down from the nether sphere and into a more reachable grasp. I inserted them into images of 1970's New York, because I wanted to reflect the dirtiness and grittiness of the clothing. I believe that not only should everyone get the chance to look like a rockstar, but everyone at some point in their lives has wanted to be a rockstar. And you're lying if you say you haven't.
Designers like Marc Jacobs have ventured down this path before. In his 1992 collection for Perry Ellis, Jacobs epitomized the LA rock 'n' roll queen by way of Courtney Love. This was also the collection that subsequently got him fired from the brand. More recently companies like Saint Laurent Paris, the re-branded name of Yves Saint Laurent, with their new head designer Hedi Slimane sent models down the runway in over-sized flannel shirts, babydoll dresses, and fishnet stockings for their Fall/Winter 2013 collection. Up and coming designer Christian Benner beat me to the chase a little bit when he said he wants people who buy his clothes to know that they can "own it, their own, it might sound corny but, rockstar, in a sense." It doesn't sound corny at all.
I love music so much, but I don't play an instrument, and I can't sing, and I don't like performing, so this is my way in. To make and design rockstar clothes for the average person. To cultivate a brand and a name that is known for its ability to create a feeling, a vibe, not just clothes.
– Sophia


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Latest Healthy Kids News
Study Finds Only Children Are 50% More Likely to Be Overweight
By Denise Mann
WebMD Health News
Reviewed by Louise Chang, MD
Aug. 30, 2012 -- Only children may be as much as 50% more likely to be overweight than kids who have siblings, a new study suggests.
Even if there is more than one child in the family, the longer the age gaps between siblings, the greater the risk that the first born will be overweight. These findings held even after researchers took into account other factors, including parents' weight and the child's birth weight.
It isn't very clear why only children are more likely to be overweight. Yes, they may play outside less often and have televisions in their bedrooms. But there appears to be something about being an only child all on its own that makes a child more likely to be overweight. The findings appear in Nutrition and Diabetes.
The study included 12,720 children aged 2 to 9 from eight European countries. Only children aged 6 to 9 were 70% more likely to be overweight. By contrast, younger only children were 32% more likely to be overweight. Now researchers are planning a follow-up study of the same families to get a better picture of why only children are more likely to be overweight.
Understanding Family Dynamics and Obesity Risk
Brian D. Elbel, PhD, reviewed the study for WebMD. He is an assistant professor of population health and medicine at New York University Langone School of Medicine in New York City.
"We should start thinking about family dynamics and what it means for obesity," he says.
More research is needed to validate the findings and understand why this may occur. "We are not going to say that having a second kid soon after the first is a solution."
Richard Gallagher, PhD, says that Europeans have smaller families than Americans. He is an associate professor of child and adolescent psychiatry at NYU Langone Medical Center.
"There may be more only children in Europe than children with siblings, which could be driving the study findings," he says. But, he says, there may be more time for physical play when there are siblings around.
Evan Nadler, MD, co-director of the Children's National Obesity Institute in Washington D.C., says the study suggests an association, but does not connect the dots between being an only child and risk of being overweight.
"If your parents are obese, you have the highest risk, regardless of whether you are an only child or one of many," he says. "If your parenting style is to use food as a reward or pacifier, your children are more likely to have weight issues as they grow older."
In this sense, the advice is the same for only children and their parents as it is for children from large families and their parents: "Work on eating a healthy diet, living a healthy lifestyle, and exercising."
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MOSCOW - Russian President Vladimir Putin's spokesman says French actor Gerard Depardieu has flown to Sochi, where he is likely to meet with Putin and receive a Russian passport.
Putin on Thursday approved the actor's application for Russian citizenship, causing a scandal in France, where Depardieu has been fighting a proposed 75 per cent income tax on the superrich.
Putin's spokesman Dmitry Peskov was quoted by the state RIA Novosti news agency as saying Depardieu arrived Saturday in Sochi, the host city of the 2014 Winter Olympics, and could meet with Putin on Saturday evening.
Peskov said "it cannot be excluded that during the meeting Depardieu could receive a passport."