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Just got done playing a completely obnoxious Bears fan on Madden, and it gave me my (100% inaccurate) prediction.
I tried to be nice and have a polite conversation, but after da' Bears went up 14-0 thanks to an early Hasslebeck pick (hmm, mostly my fault) he was letting me have it with the trash talk. Enter Leon Washigton, and a 99 yard kick return. After a Mebane forced fumble on Jay "my head hurts" Cutler, Lynch breaks a Urlacher tackle and we go into half tied 14-14. Mare remained perfect on the season after a drive to go up 17-14. Cutler apparently wasn't watching game tape , because he threw in Earl Thomas's direction for an easy pick. Carlson runs a nice little seam route over a cover 2 to give the Hawks a 24-14 lead. Cutler keeps throwing it around, and in a battle of two of the shortest men in the league, Hester outjumps Jennings for a strike, 24-21. It's clock run out time, Lynch runs for a few first downs, but on a 2nd and inches Bates (well...me) decides to ice the game right there and throw a vertical route that (appears) open to the speedy Deon Butler. Let the "we want Whitehurst" chants begin Hasslebeck (hmm, again me) throws a pick and its returned all the way to the 20. Less than a minute to go, and Cutler completes a pass to the 6 (uh oh...) first and goal, 50 seconds to go. Gus Bradley calls in an unorthadox play for a first and goal, the Hawks line up in a Nickle coverage. The d-line breaks through with little effort, and is well on there way to....uh oh, deja vu here comes the screen pass! He's got blockers out in front, but what was that blur? Tatupu appears out of no where and LEVELS Forte at the 4, forcing a fumble. Roy Lewis sheds the big ugly in front of him and promptly scoops it up and lets be honest, Cutler isn't going to catch him. I was surprised that Lewis was being so arrogent, pulling a brandon stokley and running sideways along the goal line before flipping into the end zone.
...yes I have no life, but long story short, my prediction is 31-21 Hawks. And if it happens that way, you heard it here first.
Oh and the bears fan was shouting expletives before unplugging his microphone.


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Swansea City appear to have beaten Cardiff City in the race for France striker Bafetimbi Gomis, according to SkySports.
The striker fell out of favour at Lyon and the French team are reportedly looking to sell him for the right price.
Ukranian outfit Shakthar Donstek were readying a bid for the Lyon frontman who scored 16 goals last season, however Gomis doesn't fancy moving to Ukraine at this stage of his career and was waiting for more appealing offers.
Gomis, 27, has many years ahead of him and a move to Swansea would allow him to showcase his talent on the big stage.
The powerful striker will be hoping to worm his way into the French national team, and an opportunity could come his way as they are currently lacking a genuine goalscoring forward to challenge Karim Benzema.
Lyon chairman Jean-Michel Aulas has confirmed that the club are in talks with Swansea regarding Gomis' move to the Welsh team.
He even said that their offer was superior to what Gomis earns in France.
Swansea manager Michael Laudrup will have a tough task on his hands as the player's behavioural problems are said to be behind his Lyon exit.
An in-form Gomis can be a good addition to the Premier League side and the Swans will be hoping to conclude the deal before a rival pounces on their target.
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DISCLAIMER: This article has been written by a member of the GiveMeSport Writing Academy and does not represent the views of GiveMeSport.com or SportsNewMedia. The views and opinions expressed are solely that of the author credited at the top of this article. GiveMeSport.com and SportsNewMedia do not take any responsibility for the content of its contributors.


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Each year at this time, I wish I had invented the Bradford pear tree. Millions have been sold over the past 20 to 25 years and every spring several million more are snapped up by eager gardeners. There's hardly a yard that doesn't have one or more, and they line driveways and park trails in small towns and large.
Personally, I consider them the weeds of the tree kingdom. Brittle and subject to being decimated by the now-and-then ice storms that plague the Mid-South, they're messy as the devil (and smelly!) when the miniature pears start rotting and dropping all over creation in late autumn, and a constant nuisance are the root shoots that pop up helter-skelter in the lawn, adjacent flower beds, and even in driveway cracks.
Many's the time I've berated myself for not hacking down the two I inherited when we bought our house. Then, they were small and it would've been no major chore; now, they're 30 feet tall, and I don't do chainsaws. Besides, my wife, whose only awareness of things yard-wise is when she goes from the house to the car, fancies them.
Dislike them though I may in my own yard, I nonetheless grudgingly admit that when they're in full bloom, and sited for plenty of room to grow — as in parks, commercial landscapes, or country estates — they can be strikingly beautiful during their one week of glory each spring.
This year, they're particularly lovely, as is the case after a preceding wet year and a cold winter, which encourage greater bud-set and bloom. In the bright spring sun, against a clear, blue sky, they're gorgeous. And on my last few 4 a.m. walks, in the light of a brilliant full moon, they've been luminescent, shimmering clouds of white.
One has to work at being a curmudgeon this time of year, when the earth is springing back to life from what has been a particularly dismal winter. Daffodils are a'bloom everywhere. Japanese magnolia trees, almost as numerous as Bradford pears, are enrobed in great masses of purple (in three years of five they get zapped by a late freeze when bloom is at peak, but it looks as if they'll escape this time around). Wild plums, flowering crab apples, forsythia, flowering quince, and other trees/shrubs add to the colorful palette.
In another couple of weeks or so, dogwoods should begin flowering, and as a result of the rains during bud-set last summer/fall, they should also be particularly outstanding. Unfortunately, not a lot of dogwoods are in the Delta proper — they aren't crazy about heavy clay soils — but in the hills, there should be quite a show as Easter nears.
Back to Bradford pears: A consolation is that they're relatively short-lived, only 20 to 25 years, so statistically, mine should be nearing adios-time.
And there's a guy in Texas who avers, "The best thing you can say about Bradford pears is that they make good wine." He offers recipes for both sweet and dry wines ("allow a year for the best body and flavor").
The stomach churns…
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Lives Across Cultures: Cross-cultural Human Development
Allyn and Bacon, 2002 - Social Science - 364 pages
Covering the entire lifespan, this book focuses on cultural contexts throughout the world while emphasizing links between theory, research and practical applications. This book brings a cross-cultural dimension to the study of human development across the lifespan. It focuses on major developmental topics and provides a global and multicultural perspective by introducing the reader to contemporary and classical research. Basic principles and research findings are connected to practical everyday situations in order to enrich one's understanding of and appreciation for development as it occurs in diverse cultures throughout the world. For people interested in cross-cultural issues in the fields of psychology, sociology, anthropology, education or family studies.
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Hey1226 needed a new logo design and created a contest on 99designs.
A winner was selected from 65 designs submitted by 20 freelance designers.
We need a logo for a birth network that is simple yet attractive. It must support our mission of better birthing through education, resources, and advocacy.
One of the designs we like is from our neighbor county organization: http://Birthnet.org/index.php. Perhaps you can come up with something like that (but of course different) or design something totally unique that we would like better.
- We would like to see a design with just a logo and no title.
- We would also like to see a logo with the title: Birth Network of Monterey County, and the tagline: Better birthing through education, resources, and advocacy!
- Feminine and Strong is good but not too girly or ornate.
Find out how a design contest works or learn more about our logo design services.


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It bugs the hell outa me, seeing all that lovely down getting flattened if I have a sit during the day time. It's worse with my winter quilts as they're so fluffy that they try to escape at every opportunity
Has anybody come up with an idea to avoid this without packing it away. I thought about attaching a shockcord loop at the head and foot ends which then hooks onto the hammock suspension. Then if I want to sit down I can just clip it on and chuck the quilt over the side of the hammock and it stays up off the ground.
Any other ideas or is it just me?


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Create the perfect nursery for your little blessing from above. In soothing grey, ivory and white, this gender neutral set has rich tones that are subtle and elegant. The crushed satin bed skirt is textured like ripples on water. 100% cotton print has a repeating motif of cherubs surrounded by bows and freesias, which symbolize innocence and friendship. Woven grey fabric has a texture of interlocking rectangles that mirror the medallion in the print. Quilt is trimmed with petite silver piping, and backed with super soft fabric. Dot sheet and changing pad are 100% cotton and fully elasticized for a secure fit. Bumper is patched by hand. Bedding that is Heaven Sent for your bundle of joy.
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Why Lil Wayne Named His Clothing Line "TrukFit"!
JackThreads co-founder Jason Ross grabbed the one and only Dwayne Michael Carter, Jr. at MAGIC Marketplace in Las Vegas to talk about TRUKFIT, Weezy's new skate-inspired line.
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CHICAGO – A former Chicago store owner who fled the U.S. in 1979 after being accused of killing a shoplifter was arrested at O'Hare International Airport while trying to return to the country to attend a graduation ceremony, authorities said Saturday.
Ata Yousef El Ammouri, 65, was taken into custody Friday after arriving on a flight from Jordan, where he has been living, the Cook County sheriff's office said in a statement.
El Ammouri is accused of shooting 31-year-old Joe Harris on the morning of July 22, 1979, after Harris walked out of El Ammouri's store on Chicago's South Side without paying for a can of beer.
El Ammouri was charged with murder but posted $100,000 bail and disappeared. He received additional charges for jumping bail in November 1979 after he failed to show up for court proceedings.
Authorities believed at the time that he had fled to avoid prosecution.
El Ammouri was brought to bond court Saturday and ordered held without bond. It was not immediately clear if he had an attorney. His next court date was set for Monday.
The operation to track and arrest him also involved the U.S. State Department's Diplomatic Security Service, the Department of Homeland Security's Immigration and Customs Enforcement and the U.S. Embassy in Jordan.
Cook County Sheriff Tom Dart said the man's arrest after 34 years "should send a message that the simple passage of time does not eradicate our commitment to bringing fugitives to justice."


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Question Types for this quiz is: Multiple Choice
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At the end of the quiz you may print a PDF with your personal results and be awarded with a CERTIFICATE if you pass the quiz.


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It is a moot point to say if any year is a good or bad one in cinema, especially if one watches films on theatrical release, as I do, even more so if one is considering films from all corners of the Earth, and only a tiny sampling at that. That said, there were long stretches this year when I wondered whether I was going to see anything of note again; the better releases mostly seemed to come in clumps in the spring and the autumn, with long stretches of unremarkable fare in between. In the end, though, it was a decent enough year, with more than a few films that will be remembered in years to come as classics.
On the awards front, 2012 was a year when nobody was happy with anything. The Artist was a surprise Academy Award winner (or maybe not such a surprise) with many in the US complaining that the Academy was becoming increasingly detached from the concerns of ordinary filmgoers (that a film as ultimately unchallenging as The Artist might be considered an avatar of elitism just shows how alternative a universe the Oscars actually do inhabit). At Berlin, though the Taviani brothers' Caesar Must Die was in many respects an admirable film, few people expected Miguel Gomes's Tabu to be overlooked for the Golden Bear in its favour. Michael Haneke picked up a second Palme d'Or at Cannes for Amour, and there was much grumbling about the overweening deference to realist dramas shown by Nanni Moretti's jury; in truth those films that were rewarded were, by and large, quite good but, like many others, I think it might have been a shot in the arm for unconventional cinema to have given the top prize to Leos Carax's wonderfully barmy Holy Motors. The Mostra's arcane rules prevented Paul Thomas Anderson's The Master from winning the Golden Lion at Venice, Kim Ki-duk's Pieta being a surprise winner instead. All of these controversies are piddling in the wider scheme of things but it was curious how resistant to (qualified) popular opinion the voters were throughout the year.


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Originally part of Little Italy, this neighborhood North of today's Little Italy has transformed into an upscale, coveted area of the city to call home. Nolita's brick and cast iron buildings are historic, defining the famous architecture the area is known for. The streets are lined with...
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ATEM Production Studio 4K switchers are portable and easy to connect, perfect for dedicated television studios, community town halls, churches and schools. You get a compact design that is also ideal for outside broadcast vehicles and portable road cases where space is limited. ATEM gives you the flexibility to work in virtually any resolution including SD, HD or incredible Ultra HD. So that means you can switch to Ultra HD at any time and capture incredible detail because you're working in the television format of the future!
Capture the excitement of live sports!
Imagine covering live sports with multiple cameras positioned at all the best angles to capture the action. Live sport is the perfect event for live production switchers because you can capture the excitement of the event and then instantly cut to close ups of the action. Use Photoshop CC and the built in media players to instantly update scorecards and graphics to help viewers understand what's happening in the chaos of the game! ATEM is the perfect live switcher for all types of sporting events.
Broadcast the excitement and energy of live music events!
There is nothing more exciting than live music where the emotions and energy erupts in combination with the crowd! ATEM is perfect for live concert production. You can place your cameras around the stage for wide and close up angles of the musicians. Some of the most legendary music events in history were live concerts and your production could become a milestone in music history! The color and energy that can only be experienced live on stage will create fantastic finished programs!
The fastest way to produce live television programming.
The fastest way to create professional television programming is to switch it live! You can set up cameras in your studio and then produce content live so you get energetic programing that has the exciting unpredictability of a live event. Interview and chat shows, cooking shows and even instructional programing are fast to produce and much lower cost than shooting scenes and manually editing. Live programming is fantastic for children's television shows where the excitement and fun of kids playing naturally in front of a studio audience can be captured live!
Live news coverage of historic events!
The ultimate live event is real-time news! Live production is the only way to cover live news because there is simply no time to shoot and edit. Live news can be broadcast or streamed over the internet for a worldwide audience. Even specialist news like tech news, sports news, or other specific news coverage can be completed with ATEM. You have all the graphics power and keys needed to present information professionally with the same high production values as the biggest broadcast networks.
Multi camera weddings produce romantic results!
ATEM Switchers are perfect for producing beautiful real-time wedding videos! Imagine delivering the completed program in time for the couple to take it on their honeymoon! Multi camera wedding productions capture the emotion of the event in a way that can not be done with a single camera! With romantic crossfades between wide shots and the close ups, and if you're connected to a television or projector in the venue, you can switch to a camera outside to show the wedding party arriving!
Broadcast to your community anywhere in the world!
ATEM Production Studio 4K switchers are perfect for broadcasting services to giant screens and off site campuses, so that every member of the community can see the minister, choir or congregation, no matter where they are in the world. ATEM Production Studio 4K switchers give you multiple program outputs and auxiliary outputs so you can broadcast live footage of the service to one screen and send lyrics to another screen while you are recording the final program for future use!
Create television programs from speeches!
Turn speeches into television programs with your ATEM switcher! You can capture the speaker with multiple camera angles and even position a camera on the audience to capture their reaction to important speakers statements. Connect the speakers' slide presentation computer to the HDMI input of the ATEM and then connect the aux output to the projector. This means the presenter can show slides to the audience and because it's looped via the switcher, but you also get access to the slides to cut them into the program.
ATEM Production Studio 4K switchers feature unique and revolutionary design because you get cutting edge technology and attractive design all miniaturized into an incredibly small size. The ATEM front panel is machined from a solid block of aluminum so its an attractive design but also strong enough to withstand the bumps and shocks when its installed in broadcast trucks and portable racks. With ATEM you get the most advanced technology and more creative features than any other solution!
Elegant design looks great in your studio
ATEM Production Studio 4K switchers have an elegant machined aluminum design that's optimized for live production. Designed with the features complex production demands, the elegant front panel includes illuminated buttons for aux switching as well as built in video display for live status! The built in 6G-SDI and HDMI 4K connections mean you get the latest technology for a future proof design that will work for you for years to come. Its compact size means you can install anywhere!
Select aux outputs quickly from the front panel
ATEM Production Studio 4K switchers include independent auxiliary outputs which are perfect for driving big screens at live events, because your switcher has access to all the video sources and camera feeds. This means your aux outputs are part of the event and you can use the front panel aux control buttons to instantly select cameras and other sources to the aux output. You get the choice of outputting video inputs, media players, key masks, clean feeds, program, preview, test signals and more!
Standard connections for quality and reliability
ATEM uses industry standard BNC connections for SDI video and XLR connectors for balanced analog audio so you get robust broadcast quality connections that maintain signal quality and support years of reliable operation. For compatibility with consumer cameras and computers HDMI connections are built in, eliminating the need for cumbersome external converters. Because the video connections support 6G-SDI and HDMI 4K you get a future proof design and the latest video technology.
A model for your workflow
Choose from three exciting models of ATEM Production Studio 4K based on the needs of your workflow. The ATEM Production Studio 4K has 4 HDMI and 4 SDI inputs for a total of 8 inputs. For larger installations, the ATEM 1 M/E Production Studio 4K includes 10 SDI inputs and the ATEM 2 M/E Production Studio 4K includes 20 SDI inputs, with input 1 able to be switched to HDMI. All SDI and HDMI inputs can switch between SD, HD and Ultra HD television standards.
Broadcast to your audience
No matter if youre broadcasting to your audience, connecting to your mastering recorder or streaming over the internet, ATEM has all the audio and video outputs you need. You get a 6G-SDI and HDMI main program output plus a down converted program SDI output. For easy monitoring on any HD-SDI or HDMI display, you get support for program, preview and 8 video source views using the built in multi view. Depending on the model you get up to 6 independent aux outputs!
The audio connections you need for great sound
ATEM has been designed for true professional broadcast quality audio. You get a built in audio mixer that lets you live mix the embedded audio from all video inputs. All inputs feature audio sample rate converters for clean sound even when the video input from non genlocked sources is being resynchronized. Balanced analog XLR audio inputs and HiFi RCA audio inputs are included and connect directly into the built in audio mixer. The built in audio mixer lets you manually mix sources or you can set mixer inputs to 'audio follow video' so your audio crossfades as you switch between sources. Your program audio is embedded onto all video outputs and also output to balanced analog XLR audio connections.
Raise the production standard of any live event with the amazing built in features of ATEM Production Studio 4K switchers! You get upstream luma, linear, pattern and chroma keying for special effects, as well as downstream keying for logos and lower thirds. You also get 2 built in media players with media storage in the switcher for professional broadcast graphics! The ATEM 1 M/E and 2 M/E Production Studio 4K models also include a world class DVE for picture in picture effects and exciting stinger transitions.
Choose from a wide range of built in transitions!
ATEM Production Studio 4K switchers have an amazing choice of transitions including Cut, Mix, Dip and Wipe patterns. The advanced 1 M/E and 2 M/E models also give you key frame based DVE moves, flying graphics and animated stingers!
Every transition is instantly available and you get full control of the transition type, pattern, length and more. With so many creative options you can always find the perfect 'on air' style, so there's no limit to the combination of exciting effects you can create!
The cut transition is the most simple and widely used of all transitions and you will use it continuously! When you press the cut button, ATEM instantly changes from current program source to the preview source precisely at the moment you hit the button. Cuts can be performed by directly selecting sources on the program bus or more commonly by pressing the cut button to transition to the next source lined up on the preview bus. Cut is easily the most popular transition!
One of the most elegant transitions in live production is the dissolve or mix transition. Gradually transitioning from one source to the next by creating a smooth blend between the sources brings out the emotion in your production. You can simply press the auto transition button to automatically trigger a mix between shots at a pre-set transition rate. You can use the t-bar to manually blend the transition for the perfect live mix.
Similar to mix transitions, a dip transition is a gradual blend from source to source however, the transition dips to an intermediate third source before completing the transition to the next shot. You can choose to dip to any color, a graphic from the media players or even a live video source. Use black or white for the intermediate source for incredible creativity! For sponsored live productions like sports events, use dip transitions to flash up a sponsor's logos during the broadcast!
Wipe Patterns
ATEM Production switchers have 18 built in wipe patterns, which let you create over 100 different styles of wipe transitions! You can use circles, diamonds, squares and more to transition from one source to the another as you gradually expand the shape to reveal the next source. Patterns can be inverted, softened or have customized colored borders. You can also insert live video into borders creating wipe pattern transitions that include three live video streams at the same time!
The advanced ATEM 1 M/E and 2 M/E Production Studio 4K models have a powerful built in Digital Video Effects processor or DVE. You can push, spin, squeeze and swoosh your live video from one camera to the next with incredible built in DVE transitions. DVE transitions can be flip flopped and reversed giving you even more transition options. You get over 35 exciting DVE preprogramed moves to choose from. Using the DVE for transitions will increase the production value on any live production!
When you want to combine sponsor logos with transitions during a live production, graphic transitions are the perfect solution! Use the DVE to create amazing flying graphic effects and logo wipe transitions. You can create high resolution logos in Photoshop CC using the included plug-in to load directly into the ATEM media pool. Photoshop CC graphics with premultiplied keys are perfect for smooth flying logos in the highest quality, as your logo moves across the screen, the shot transitions with a hidden wipe under the flying graphic!
You can create exciting eye popping Stinger transitions by combining live video with animated graphics and sound effects. When you trigger a Stinger, your animation is instantly played back from a media player and keys over the live video as it wipes to the next shot. You also get simultaneously mixed sound effects with the live program output. Stingers are widely used for live sports broadcasts as great transitions to instant replays and back to the live action!
Amazing multi layer live action
All ATEM Production Studio 4K switchers include powerful upstream keying for amazing broadcast effects! Layer live video, titles, graphics and animation over live video or graphic backgrounds with incredible quality using chroma, luma, linear and pattern keying. You get 4 built in upstream keyers and a DVE in the ATEM 1M/E Production Studio 4K so you can create mind blowing broadcast multi layer effects for your production.
Luma Key
Luma keys are sometimes known as a self key because the same video source is used for cutting the key and overlaying the video image. You can do this with live video from a camera, prerecorded video from a HyperDeck or graphics loaded in the media pool. Luma keys work the best with high contrast images like white elements on a black background, so that you can use the contrast to cut the black background and replace it with live video or broadcast graphics.
Linear Key
Get incredibly clean, high quality results with Linear keying by using two separate sources for the fill and the key to create one video image! The fill signal contains video to be stacked over the background, while the key signal contains a grayscale mask to cut out or mask the area to be filled. Fill and key signals can be graphics from the media pool, live motion video, or video and key from an external character generator or graphics system.
Chroma Key
Used every day for TV weather forecasts, chroma keys are a very powerful way of combining live images together in real-time, cleanly in high quality! The presenter stands in front of typically a green or blue background, and the chroma keyer will remove only that color and combine it with another image such as prerecorded video or graphic. ATEM Switchers include multiple keyers so you can simultaneously combine multiple live, prerecorded, graphic and chroma key elements in real-time.
Pattern Key
Create amazing transitions with the pattern key! You can use any one of the 18 built in wipe patterns to combine live images or graphics with geometric shapes. The pattern keyer gives you full pattern control including softness, symmetry, size and position completely independent of the transition block. That means you can use pattern keys to create picture in picture effects that can be transitioned to as easily as any live camera source, and you don't need to tie up your DVE!
Add bugs, logos and lower thirds
All ATEM switchers feature two downstream keyers so you can insert high quality graphics like logos, bugs and titles over the live 'on air' program output. Downstream keyers are the last layers of keying so they overlay all video switched to the main program. You can also easily bypass the downstream keyers by using the clean feed aux outputs. This means you can record the clean feed as your master and use the downstream keyers for overlays that you only want on air.
Move, resize, scale and rotate live video instantly!
Perfect for live breaking news production, the DVE lets you create live crosses from the studio to the excitement on location. Create picture in picture effects with both the studio host and location reporter combined as one video output. The high quality DVE gives you control of size, position, rotation and features 3D borders, drop shadows and lighting! You can save customized DVE positions and automatically trigger the picture to animate full screen or zoom as the live interview concludes.
Mix cameras and audio inputs with the built in audio mixer!
ATEM's built in audio mixer is incredibly powerful and easy to use! Open the audio mixer control tab on your Mac or PC and you get complete multi track mixing control with level meters! You can direct camera and external audio with precision level and balance adjustments, enable and disable channels or activate audio follow video mode instantly. You can also connect to Mackie standard USB audio mixer panels, giving you hardware feedback and feel of flying faders and meter displays.
The advanced ATEM 2 M/E Production Studio 4K features an amazing built in SuperSource layering switcher! In addition to 2 full M/Es, keyers and DVE, you get an additional 4 independent DVE channels so you can resize and position live cameras, video replays, broadcast graphics and more. SuperSource is like having an additional multi layer VFX switcher built in! Imagine being able to take a satellite video feed from 4 different locations to create multi camera interviews or a picture in picture live broadcast!
Get multi camera monitoring using a single low cost TVs
ATEM Production Studio 4K switchers let you connect loads of sources and monitor them all at the same time using the built in multi view. Multi view makes it easy to see your cameras, graphics, preview and program outputs on single screen. That means you don't need lots of monitors to see all your individual cameras! You get HDMI and SDI multi view outputs so you can connect to professional broadcast SDI monitors or even low cost big screen televisions using the HDMI multi view output! The advanced ATEM 2 M/E Production Studio 4K model features 2 independent multi view outputs so you can see up to 16 cameras across 2 screens.
Switch television standards for any type of live production
ATEM gives you the flexibility to work in different standards at any time! Most live production is currently being produced in HD, now you can work in SD or in the new Ultra HD standard whenever you need. ATEM Production Studio 4K switchers are designed to operate in virtually any SD, HD and Ultra HD television format, so you can operate in the SD or HD television format you need today, and then instantly switch over to Ultra HD in the future! Thats a true future proof design!
Load on-air graphics to eliminate complex external servers!
You can store broadcast quality RGBA graphics in the media pool ready for instant playback via the ATEM media players. The two media players appear as input sources to your switcher. You can transition to graphics as full frame video or feed them to the keyers for overlaying video. Popular image formats such as PNG, TGA, BMP, GIF, JPEG and TIFF are supported. The advanced ATEM 1 M/E and 2 M/E Production Studio 4K models feature a larger media pool with live clip storage plus 32 still graphic support.
Create and download graphics directly to your ATEM
With the included Photoshop CC plug-in, you can create graphics live and then instantly download them into the ATEM media pool. Most graphic designers know and use Photoshop CC every day and now you can use their creative skills on your live production! Designers can create professional broadcast graphics such as logos, lower thirds, scorecards and other real-time graphics that can be downloaded directly to the media pool. Now you can instantly change live graphics in seconds!
Directly control your ATEM switcher from your desktop or laptop using the included free ATEM Software Control for Mac or Windows. You can load the media pool with graphics, adjust focus, iris and color balance cameras, change switcher settings, and even mix audio from your cameras. You can even run multiple copies for busy live productions when more than one person is working on the job, all from the most elegant and fastest to use software available.
Control or setup your ATEM
The ATEM Software Control panel is designed with separate tabs so it's easy to find the controls you need. The switcher tab is for switcher control and includes palettes for adjusting keys, transitions, media players and more. The settings tab changes the switcher settings and customizes the multi view, and the media pool tab manages graphics. A dedicated tab for the audio mixer control includes faders and meters for every input and master level control.
Live switch your sources!
You get the most efficient live production workflow with ATEM! The program bus is always live, so when you select a source it will immediately go on air! Take advantage of the advanced live switching workflow by using the preview bus, with selections you make appearing in the preview screen. You can see what you have ready to go on air, and take them live with a press of the cut or auto buttons! Using the preview bus helps you see the next transition source so you can confidently control your live production.
Automate complex sequences of actions
Take your program to the next level by creating macros, shortcuts that can be used to automate complex sequences of precisely timed actions on your ATEM switcher. You can record everything from transitions between video sources, key effects, graphics and more then save them for use during your live production. Macros are saved as XML files that can be edited and combined together using a standard text editor. To record a macro simply open the macro window, select record and then operate your switcher to automatically store every setting you change. When you want to trigger any of the macros you have created, simply push the macro button or you can trigger the same macro from any of the hardware control panels.
Transition Control
ATEM Switchers are designed to give you fast and flexible control during live production operation. The transition control block lets you quickly select your transition style, you can choose between mix, dip, wipe or even DVE and animated stingers if you are using the ATEM 1 M/E or 2 M/E Production Studio 4K switcher. Simply push the cut button for an immediate transition, or select timed automatic transitions that are triggered by pushing the AUTO button. You also get full manual control with the fader bar!
Transition Settings
ATEM gives you precise transitions adjustments! The switcher palettes are on the right side of the switcher control and are fast and logical to use. When you open the transition palette you can see every adjustable option for each type of transition. Simply choose the transition type and you can adjust all the individual parameters. You get so many options you will always find the perfect style for your production as there is almost no limit to the creative transitions you can create!
Wipe Transitions
Create over 100 different styles from the 18 built in wipe pattens. Using the ATEM Software control transition palette, you can select your ideal wipe pattern, change its symmetry or even invert it! Wipe patterns can be softened or have colored borders with customizable width and softness. You can even feed live video inside a wipe border creating interesting geometric patterns with three live video streams at the same time. You get amazing wipe transition flexibility with ATEM Production Studio 4K switchers!
DVE Settings
With the ATEM 1 M/E and 2 M/E Production Studio 4K models that include the built in DVE, you can push, spin, squeeze and swoosh your live video from one camera to the next with powerful built in DVE transitions. The transition palette gives you precise control over the multiple DVE transition options. Choose from over 35 dramatic DVE moves that will bring an extra level of excitement to your production. DVE transitions can be flipped and reversed giving you even more creative options.
Camera Control
Get full control of your cameras right from the ATEM software control! The new Blackmagic Studio Camera can be controlled via the SDI program feed to the camera, so you can control its built in camera settings and full color corrector, all remotely from the ATEM software control panel! There are two types of control interface, a CCU layout for traditional camera control style, or a color corrector interface which is the same as DaVinci Resolves primary color corrector so you can use all your color correction skills from DaVinci Resolve for adding incredible creativity to live production!
SuperSource Control
Available on the ATEM 2 M/E Production Studio 4K, Super Source lets you add multi box picture-in-picture compositions to your live broadcasts quickly and easily! Using the ATEM Software Control its easy to choose a preset SuperSource layout, customize it, or create your own from scratch. You get all the controls you need in one place, making it super fast to choose and save presets, add artwork, and adjust individual box parameters including size, position, border, crop, shadow, and more!
Select keyers on air live!
Once your upstream settings are customized, the fastest way to bring them on air is to use the ON AIR button! The on air buttons enable or disable the key signal, plus they also indicate which keys are live on air. When youre switching live it's vital to know which keyers are active so you can select it as part of the next transition. Each upstream keyer has its own dedicated on air button so you will get 1 on the ATEM Production Studio 4K and 4 on the advanced ATEM 1 M/E Production Studio 4K model.
Get perfect multi layering
When you need fast, precision keying you can use the software controls to adjust keying with high accuracy. Key backgrounds are never perfectly flat, so its important to have easily adjustable controls that let you quickly and precisely fine tune your key settings in real-time for the best quality live broadcast results. The ATEM Software Control gives you precise control over every key parameter and you can use your mouse or trackpad to quickly adjust keys for the perfect result
Get full manual control
The most experienced vision switchers know that sometimes the only way to get a dramatic multi camera mix during live performances is with manual fader control! Automatic transitions are smooth but often do not have the subtlety needed when mixing between wide and close up angles of performances like music performances. With manual control you can mix shots together and hold the mix until the right moment before completing the transition. The fader bar also gives you manual control of wipe, key and even DVE transitions.
Simply perfect transitions!
Smooth automatic transitions are easy with the auto transition button. Simply set your preferred transition rate between 1 and 250 frames using the ATEM software control, and every time you hit the AUTO button your ATEM Production Studio 4K switcher will perform a perfectly timed, smooth transition. You can use auto transitions for every part of the ATEM switcher including dissolves, dip, mix, fading on key sources, wipes and animated DVE transitions.
Check your transitions
The PREV TRANS button lets you rehearse and preview complicated transitions before you take them on air! Your ATEM Production Studio preview video can be seen on your multi view screen or on a monitor connected to the switchers SDI preview output. Preview transition lets you verify the most complicated transition with mix, dip, wipe, DVE and even keys without affecting your program output. Preview transitions is the best way to ensure your transition is perfect before going to air.
The perfect program end!
Ideal for the start and end of your production or fading down for commercial breaks, fade to black (FTB) is the absolute last layer of the switcher and ensures all the layers are faded down together. Once the program output has been faded to black, the FTB button will flash red until it is pressed again. Selecting fade to black again will then fade up from black at the same rate. With a dedicated fade to black button, you can be sure all sources are faded cleanly in sync for the perfect program end!
Control levels, balance and more!
The built in multi channel audio mixer lets you adjust the level and balance of the audio from each switcher input, plus the additional HiFi and balanced audio input connections. Each audio input is metered so you can always see the levels of each source accurately. You can set the audio to auto fade up and down as the switcher sources are changed and the mixed audio is then embedded into all video outputs!
Save the switcher state!
No matter how complicated your switcher set up is, you can quickly save it to your computer for fast recall any time you need it. Save complete or partial switcher setups as time stamped XML files so you'll never accidentally overwrite a saved setup. Save switcher positions, keys, wipes, DVE moves and even your entire media pool content! Any updated media is added to the media folder and mapped to the latest XML as you keep saving. That's perfect for moving your job setup between ATEM switchers.
Simple drag and drop media download!
ATEM features easy download of all your RGBA graphics and clips. From the software control media tab you can manage the built in media pool and see the status of each loaded graphic. You can drag and drop frames into the media pool spaces and they will automatically download to the switcher. You can also download graphics direct from the included Photoshop CC plug in! The Media pool can be saved as part of a switcher snapshot, so you can save your switcher settings and graphics on a single disk.
Get full control over your ATEM switcher settings for any type of live production!
When you're setting up your job you can use the switcher settings tab to adjust the video format of your switcher as well as the media pool size and input labeling. You can also fully configure the multi view output by arranging the camera inputs and program view into 4 different arrangements. Setting up your switcher is so easy with the ATEM software control because everything has been laid out so that settings are fast to change as required. That makes setting up for new jobs easy!
The most portable switcher control software available!
Now you can take your ATEM Production Studio 4K switcher on the road because the included ATEM Software Control runs from your laptop. You get complete switcher control that includes live switching, keyer and transition control, loading the media pool, all switcher settings and even audio mixing control. The ATEM switcher and laptop are so small you can fit them all in a bag or backpack. Now you can go to any event as there is no more portable solution than the ATEM!
For the ultimate in professional control you can add an optional ATEM Broadcast Panel to your ATEM switchers! Nothing beats a dedicated hardware control panel when you are switching complex live performances! Made from the highest quality components, the ATEM 1 M/E and 2 M/E Broadcast Panels are designed for extreme speed, incredible reliability and ease of use. There is no faster way to run live production than with a dedicated hardware control panel!
The super compact control panel for 1 M/E switchers!
ATEM 1 M/E Broadcast Panel is a professional hardware control panel with smooth acting controls, buttons and knobs for precise control of your ATEM switcher. The ATEM 1 M/E Broadcast Panel is compact and fits within a standard equipment rack width so you can install it on a sliding rack shelf, perfect for 'fly away kits' portable mobile racks and compact broadcast vans. You get full control of your switcher, including camera inputs, transitions, keyers, fader bar, settings, DVE positioning and more!
The ultimate broadcast grade panel for true professionals!
The incredible ATEM 2 M/E Broadcast Panel has the power for the most complex live broadcast events. The ATEM 2 M/E Broadcast Panel features an amazing design that perfectly positions all controls just where you need them for the ultimate creativity on complex multi layer live production. Featuring separate control sections for every part of the 2 M/E switcher, you can find the controls you need quickly with every control at your fingertips.
Switch camera to air instantly!
ATEM Production switchers are designed to give you the most advanced live switching workflow! The switcher control panel has separate program and preview buses that you can use together to quickly and accurately switch sources on air. Selections made on the preview bus will appear on your preview screen, so you can see what you have ready to go on air, then take it live by pressing the cut or auto buttons. Switching sources on the program bus go live immediately as it is always on air!
Select your favorite transition
ATEM Broadcast Control Panels give you total control over your transitions. All creative transitions are instantly available on the dedicated hardware panels and include the same cut, mix and wipe transitions that you can also control from the ATEM software control panel. You can cut directly, use the mix and wipe buttons and fader bar or just press AUTO to trigger the selected transition! With ATEM Broadcast Panels you get precision switcher control with the buttons you need at your fingertips.
Transitions at the push of a button!
ATEM gives you a huge range of transition styles and loads of options to control them. Immediate source to source transitions can be selected by simply pushing the cut button. For more interesting transitions you can choose mix, dip or wipes, and if you are using the advanced ATEM 1 M/E and 2 M/E Production Studio 4K model you also get exciting programmable DVE or animated stinger transitions. Take manual control with the fader bar or select auto transition button for smooth timed transitions.
Standard wipes made easy
ATEM Broadcast Panels give you fast and flexible wipe transition control! You can select wipe patterns directly from the broadcast panel and customize them to suit your production style. You get complete control over wipe, symmetry, softness and also adjustments for colored borders with variable width and softness, you can even use the joystick to position the centre of a wipe. With dedicated joystick, fader and control knobs you get precise wipe pattern positioning.
Amazing digital video effects
The ATEM 1M/E and 2M/E Broadcast panels give you fast and precise control over all the DVE transition options. You get an incredible quality joystick, soft knob and key frame control so you can quickly design your own DVE moves with adjustments for lighting and drop shadow effects that add depth to your animated graphic composition. You can also enable the DVE key mode to fly high quality graphics into frame or select any of the pre programed push, spin, squeeze and swoosh transitions.
Trigger macros at the touch of a button!
When youre running one of the ATEM hardware control panels selecting macros is faster because you can access all the switchers macros, and you have full control to record and play back macros at the push of a button. This means that you dont need to use a computer to work with macros because you can operate them from the same hardware panel you are switching from. If you edit or modify a macro the change will appear on all connected control panels because the macros are stored in the switcher itself. The 2 M/E Broadcast Panel has dedicated macro buttons because of its larger size so you can set up different macros under different buttons and trigger them instantly at the push of a button and in the same way that you can cut between video sources.
Get perfect green screens.
Hardware control is ideal when doing chroma keying because you can finely adjust the parameters for clean key edges to get layering that looks seamless. The ATEM 1 M/E and 2 M/E Broadcast Panels give you precision control knobs so you can create the perfect chroma key quickly and accurately. Easily adjustable controls at your fingertips means you can adjust live key settings instantly if lighting or shadows change during the broadcast so you will always deliver incredible results.
Exciting manual transitions
Amazing live performances often require transitions that need to be controlled manually. The ergonomically designed T bar control lets you ride transitions perfectly as part of the live performance! Sometimes the emotion of a live event means you need to feel a transition to get it perfectly in sync with the camera operators and talent. Like a conductor, the vision mixer is part of the performance and drives the mood as the production unfolds.
Fully automatic transitions
Just below the ATEM broadcast panel fader bar is the auto transition button. Selecting auto will instantly perform the next transition you have setup in the transition block. You can use auto transitions for every type of transition including dissolves, keying, wipe patterns and animated DVE transitions. Automatic transitions can be pre programed for any duration from 1 to 250 frames and are ideal for smooth constant mixing between cameras.
Check your transition is perfect!
You get a dedicated preview transition button on both the ATEM 1 M/E and 2 M/E broadcast panels. The PREV TRANS button helps you avoid on air mistakes when preparing live transitions by displaying the result on your preview video output and on the multi view screen. With the preview transition button you can verify the most complicated transition with mix, dip, wipe, DVE and even keys without affecting your on air program output.
Fade to Black
The broadcast panel fade to black button controls the entire output of the switcher! Selecting FTB will smoothly fade your program output to black at a preset transition rate. FTB is very useful for the start and end of your production or for fading out to commercial breaks. Because fade to black will always override your live program output, button guards have been designed to stop accidental triggering. This means you only hit fade to black button when you intend to!
Get perfect DVE control
Move elements around the screen just like a video game using the Joystick! With full 3 Axis control you can adjust the symmetry of wipe patterns and control your DVE. The joystick control with the DVE is ideal to position live video over video. Scale the size, position up down or left and right for the perfect picture in picture effect. You can also use the joystick to move the DVE and enter start and end keyframe screen positions for your own customized animated DVE moves.
System Status
In live broadcast stations that demand 24/7 operation, you need to know all systems are online and working well. Thats why ATEM broadcast panels have built in redundant power supply inputs and status lights for both the control panel and the switcher chassis power supplies. If you have a power supply failure, the back up power supply will take over plus you will be notified on the status lights of the failure so you can arrange for repair while staying on air uninterrupted!
System Control
Quickly find the setting or adjustment you are looking for with a dedicated system control menu with 12 LCD buttons. You get a large data display window above 4 sets of soft keys and control knobs to help you make precise adjustments quickly. The system control matrix of menu is organized into a multi level tree structure that is easy to navigate. Adjust keys, wipes, DVE, media players, color generators, switcher settings, aux outputs and more!
Set aux outputs fast and live!
The amazing full featured layout of the ATEM 2 M/E Broadcast Panel has dedicated buttons for auxiliary output control. Conveniently located in the top button row called the select bus, you can quickly set your auxiliary destination and switch its source. The select bus also lets you directly select inputs for the up and downstream keyers and the DVE. When youre switching a live production you need to find things quickly and the ATEM 2 M/E Broadcast panel has the dedicated buttons you need at your fingertips.
Built in graphics and titles
Selecting stills from the media pool, ready for on air is quick and easy with the ATEM Broadcast panels. You can select any loaded still or clip to the output of either two media players directly from the system control menu. Get complete stills selection control independent from the media pool control on your computer. You can advance stills from the panel, decide between stills and clips, play and or loop the clips directly from your ATEM Broadcast control panel.
2 M/E Panel can control 2 x 1 M/E switchers
The incredible ATEM 2 M/E Broadcast Panel features an amazing design that lets you control 2 ATEM switchers from the single panel. Simply connect to any two switchers and then you can control them from each M/E row on the panel! That means you get double the switcher power and you can build your own multi M/E switcher by connecting one switcher to the other and running them both together!
Setup for jobs faster and easier!
Use the ATEM broadcast panel system control section to change and update all the settings on your ATEM switcher. You can map any source to any cross point on the panel, so you can group commonly used sources together for faster switching. You can also set panel button brightness as well as other switcher features such as traditional program/preview switching mode or direct mode switching styles. Most ATEM switcher settings can be changed from the panel, making setup easy.
Connect hardware audio panels!
All ATEM switchers are compatible with Mackie protocol USB control panels for live audio mixing! Simply connect a third party USB fader panel to your Mac or PC computer to get real-time fader control of every audio channel. As you adjust levels on the panel the virtual software faders move in sync with you. You can even use the mouse to adjust levels on your computer and the flying faders will track your movement. Combining a fader panel with the built in mixer gives you the highest quality audio mixing experience.
Control your ATEM worldwide!
ATEM switchers use a standard ethernet connection for control so you can connect ATEM to Mac or Windows computers running the ATEM software control. You can also connect a powerful ATEM broadcast panel for greater control, or multiple combinations of both software and hardware control simultaneously! You can even connect ATEM to your network and control your switcher from anywhere in the world or use the included SDK to develop your own solution!
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GP Access After Hours provides free comprehensive and quality after hours medical care and advice to people of the Newcastle, Lake Macquarie and Maitland areas on weeknights, weekends and public holidays. We are open after hours when your GP is closed.
GP Access After Hours is staffed by over 250 qualified and experienced local family GPs, Registered Nurses and fully trained administration staff.
Our service operates from five clinics across the Hunter with four of these clinics located in public hospitals.
- Maitland Hospital
- John Hunter Hospital
- Calvary Mater Newcastle Hospital
- Belmont Hospital
- Westlakes Community Health Centre (Toronto Polyclinic)
Being located within hospitals gives us easy access to x-rays, pathology and specialist services if required. It also allows us to transfer patients to the Emergency Department if their condition deteriorates.
GP Access After Hours clinics operate on a phone appointment system and when you call 1300 130 147 our qualified and experienced staff will provide advice or if required, arrange an appointment at one of our clinics. Visits to GP Access After Hours are fully bulk billed to Medicare and DVA card holders.
GP Access After Hours clinics provide a range of services including:
- Assessment by experienced, qualified General Practitioners and registered nurses
- Caring for people of all ages
- Caring for babies and children e.g. sore throats and ears, high temperatures
- X-Rays
- Pathology as needed
- Plaster/back slabs
- Wound review and dressings
Originally set up in Maitland in 1999 and later expanded across the region, GP Access After Hours is a not for profit and locally operated service providing high quality after hours care.
Call GP Access After Hours today on 1300 130 147.
GP Access After Hours Patient Information Brochure


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Blumenthal calls rail officials before Senate subcommittee
U.S. Sen. Richard Blumenthal, D-Conn., will preside early next month over a hearing with federal rail regulators about boosting inspection protocols and potential heavier fines against railroads like Metro-North when deteriorating tracks or violations of safety rules are found, he said Tuesday.
The hearing will be held June 3 in Washington, D.C., and will include testimony from the Federal Railroad Administration officials about their enforcement policies, Blumenthal said.
"My goal is to hold accountable these federal agencies that are supposed to be safeguarding riders, rail workers and freight operations because they've been asleep or AWOL," Blumenthal said.
The senator, who is chairman of the Senate Commerce subcommittee on surface transportation and merchant marine infrastructure, safety and security said the hearing was prompted by data released by the Federal Railroad Administration showing it had issued only $552,000 in fines for Metro-North over the past decade for more than 7,000 track and other defects the agency found.
Blumenthal said he believes the Federal Railroad Administration needs to make more frequent track inspections and impose higher fines to ensure passenger and worker safety. He also said he wants to learn when the FRA will hire additional track inspectors with money provided as part of a congressional appropriations bill passed earlier this year.
Late last year, Federal Railroad Administration and U.S. Department of Transportation officials told Connecticut and New York lawmakers that their current funding levels limited them to inspecting only about 1 percent of the nation's 145,000 miles of railroad track annually.
"I want to know what they are doing to intensify inspections of tracks and equipment and what any of the results have been," Blumenthal said.


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"I better dream if I have to struggle" Story of 19 year old Mary Alice Brandon
Disclaimer- i own nothing Story is finished, so posting should be done regularly :) i started this last winter and haven't told a single person about it until a couple of months ago-which was hard for me, as you can imagine :) i finished two days ago
1. Chapter 1
Rating 5/5 Word Count 1154 Review this Chapter
~As darkness quickly steals the light
that shined within her eyes
she slowly swallows all her fear
and soothes her mind with lies
well all she wants and all she needs
are reasons to survive
a day in which the sun will take
her artificial light.... her light~ Paradise, Vanessa Carlton
Watching puddles gather rain, Mary Alice sat on the dirty floor in her personal hell.
There were bars on her window, but at least she had one. Are the bars to keep us from going out, or to keep people from coming in? She didn't know the answer.
Part of her hoped that they were to keep other people out, that way she wouldn't have to face the fact that her family had not come to visit her in the whole 8 years she had been in this horrifying place. But she knew why her family hadn't come in so long; they thought she was an odd…crazy…delirious girl. And so she had to keep filling her mind with useless lies so that she had some reason to fight and survive.
A small tear escaped her eye, sliding down her face slowly like the rain drops on the window. Suddenly an image ran through her mind, blocking anything else she was thinking or seeing out-
It was Dr. Sacks; he was tapping her on the shoulder to get her attention while she stared out the window, and a small pitiful smile was placed on his pale face as she turned around. He looked at the tear that escaped her eye, and the small smile that had rested on his lips vanished quickly.
Alice made a gasping sound before coming back to reality, escaping her reverie. She shook her head slightly, as if that may help clear her mind. She had a premonition, or a vision. She continued to sit there, now waiting for Dr. Sacks to come from behind her.
She had started getting premonitions when she was around nine years old, and her sister six.
Cynthia was playing with her small little ball with Mary Alice, when it suddenly rolled down the driveway, into the street. Cynthia was headed to go get it, being a six year old she didn't have that much common sense. But Mary Alice had known better then to go after it in the street, and she was heading to stop her little sister when suddenly she froze. It was almost like a motion picture that went through her mind, one where Cynthia was running into the street and a car was coming fast towards her, completely unaware of the little child that was about to be hit.
Little Mary Alice didn't know what it was at the time, but after snapping back into the real world, she ran after Cynthia and grabbed her by the back of her dress, yanking on it so that she would move out of the street. Mary Alice had done it just in time so that the car missed them by inches. She had thought it was nothing but her imagination, that whatever the little 'motion picture' inside her mind was just the outcome of adrenaline inside her body.
But that theory changed when she had another vision a month later, at her tenth birthday party.
In this one, the maids in her house were cooking, when the food caught fire, sending flames onto the kitchen cabinets. The flames licked the kitchen and swallowed it whole, sending heavy black smoke, looking like death itself, up into the air.
Mary Alice had gotten scared, and ran to the kitchen, away from her family and friends. When a maid was about to light the stove, Mary Alice screamed for her to stop. She had gotten scolded by her parents for screaming, and had gotten a chiding look from the maids. She had no choice but to explain that the house would catch on fire.
The maids simply said that that was silly and that she had no proof, until the house did catch on fire-just like Mary Alice's vision.
The damage wasn't bad, they had gotten the fire out in time to save most of the kitchen, but everyone was in shock. That was nothing compared to how little 10 year old Mary Alice felt. She knew that her small motion pictures weren't just inside her head and playing tricks on her. They were real. They weren't normal. They were visions of the future.
Now, back in her present day, Mary Alice still sat on the floor with her knees tucked in, rolling into a small ball. She wasn't at all surprised when there was a small tap on her shoulder. She turned around and saw, just like in her vision, Dr. Sacks. His faint smile vanished from sight once he saw the tears resting on her cheeks.
"Alice," he said to her (he had always called her Alice, from the beginning), "wipe those tears away. Everything is going to be just fine." He said to her. Dr. Sacks was her only friend-or only sane friend- here at the asylum. He was younger than most doctors here, a little older then Mary Alice herself. He knew that Mary Alice wasn't using witchcraft and wasn't crazy. It seemed like he was the only one who knew. If only everyone knew, Mary Alice thought.
"I saw you coming." she said to him, whispering as she wiped the tears off of her face."You're still having visions." He stated rather then asked.
She nodded, "They won't go away. They can't go away." She told him in her high soprano voice.
"With the treatments we are giving you they should-"
"Sorry for interrupting, Dr. Sacks, but the treatments you've been giving me don't help. They hurt." She said to him, begging for him to understand. Shock treatments were Mary Alice's nightmares. They were immoral and torture.
Each day she was scared of them, she had nightmares of them. They involved being strapped to an uncomfortable gurney, unable to move. They involved having wires attached to your head. They involved burns where the wires were. They involved breaking bones because of the flowing of electricity, or needles shoved deep within the tissues of her skin to stop the bones from cracking. They involved shaking uncontrollably, painful convulsions making her writhe in pain due to the current surging through her body, unnatural. They involved a buzzing sound that was painful to her ears. It just involved pain. They stunted her growth and prevented her raven black hair from growing back fast.
"I know, Alice. But I can't do anything-I tried. Until those visions go away…" his voice trailed off.
"The visions are a part of me, they won't go away." She knew she was stuck in here forever. She was stuck within the walls of her personal dark abyss. Why was she being punished for something that was a part of her? For something that she wasn't in control of? The visions came when they came, they couldn't be turned off nor on, no matter how much she wished them to.
- Author
- awsomealice94
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New faculty join University of Hawai'i Cancer Center
Expertise will strengthen Cancer Biology ProgramUniversity of Hawaiʻi at Mānoa
Cherry Pascual, 808-356-5758
Communications Intern, University of Hawaii Cancer Center
Sharon Shigemasa, 808-586-3011
Public Information Officer, University of Hawaii Cancer Center
Communications Intern, University of Hawaii Cancer Center
Sharon Shigemasa, 808-586-3011
Public Information Officer, University of Hawaii Cancer Center
Posted: Nov 2, 2011
The University of Hawaiʻi Cancer Center announced it has expanded its faculty with the additions of Peiwen Fei, MD, PhD, associate professor, and James Turkson, PhD, professor, to the Cancer Biology Program.
Dr. Fei was most recently an associate professor with the Hormel Institute at the University of Minnesota. Fei's research interests focus on the function of tumor suppressors and what can be learned from cancer susceptibility syndromes. She received her medical degree from Xu Zhou Medical College in China and her doctoral degree in pathology and cell biology from Thomas Jefferson University in Pennsylvania. She held fellowships with the Howard Hughes Medical Institute at the University of Pennsylvania and the National Institute on Aging at the National Institute of Health in Baltimore, Maryland.
Dr. Turkson was most recently an associate professor in the department of molecular biology and microbiology at the University of Central Florida's Burnett School of Biomedical Sciences. Turkson's research focuses on developing novel anticancer drugs based on targeting signal transduction and apoptosis pathways. He earned his doctoral degree in pharmacology from the University of Alberta, Edmonton in Canada.
The UH Cancer Center is actively recruiting world-class scientists to enhance its position as one of the leading cancer research centers in the nation. Through collaborations with the local clinical community, these individuals help advance the level of cancer care offered in the state. They also bring federal grant funding to Hawaiʻi that supports the conduct of cutting-edge research and growth of the state's developing biotech industry.


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Thursday, 20 September 2012 12:27 AM
Federal Reserve Bank of Dallas President Richard Fisher said the central bank's third round of bond purchases will probably fail to create jobs while risking higher inflation.
"I do not see an overall argument for letting inflation rise to levels where we might scare the market," Fisher said Wednesday on Bloomberg Radio's "The Hays Advantage" with Kathleen Hays and Vonnie Quinn. "We have seen a sharp rise in inflation expectations. If you let this get out of hand, then I think we will have a market reaction."
Fisher, who doesn't vote on monetary policy this year, opposed the Federal Open Market Committee decision last week to expand its holdings of long-term bonds with open-ended purchases of $40 billion of mortgage debt every month in a new round of quantitative easing. The Fed, led by Chairman Ben Bernanke, is seeking to boost growth and reduce 8.1 percent unemployment.
Editor's Note: Economist Unapologetically Calls Out Bernanke, Obama for Mishandling Economy. See What They Did
"A sustained increase" in inflation expectations "would suggest incipient doubts about our commitment to the Bernanke doctrine of sailing on a course consistent with 2 percent long- term inflation," Fisher said in a speech in New York.
The five-year, five-year forward break-even rate, which projects the pace of price increases starting in 2017, rose to 2.88 percent on Sept. 14, the day after the FOMC decided on QE3. That was up half a percentage point from July 26. It dropped to 2.80 percent on Sept. 17.
Congress's inaction on fiscal policy and excessive government regulation are holding back businesses from spending on hiring and investment, Fisher said in a Bloomberg Television interview. The Fed's stimulus efforts, or so-called quantitative easing, won't work because the central bank can't address those obstacles to growth, he said.
Employment Impact
"I question the efficacy of these large-scale asset purchases," Fisher said. "What we are doing is not having the impact on employment."
The U.S. economy is "growing at sub-optimal speed," though residential real estate has emerged as a bright spot recently, he said.
"As we saw this morning, the housing market is on the move," Fisher said.
Purchases of existing houses increased 7.8 percent to a 4.82 million annual rate, the most since May 2010, figures from the National Association of Realtors showed Wednesday in Washington.
On inflation, "if you look at some of the long-term indicators, it is indicating a little nervousness," he said. "If you were to see a sustained rise, then I would start to get worried."
Trader Expectations
The difference between yields on 10-year notes and same- maturity Treasury Inflation Protected Securities, a gauge of trader expectations for consumer prices over the life of the debt, widened to 2.67 percentage points on Sept. 14, a four-year high.
Some economists, including Nobel Prize winner Paul Krugman, have said tolerating higher inflation could lead to an acceleration in U.S. growth. That position has been echoed by Chicago Fed President Charles Evans, who has called for accommodation as long as unemployment remains above 7 percent and the inflation outlook is under 3 percent.
"I appreciate the arguments made by Mr. Krugman and others," Fisher said, praising the Princeton University professor's work on trade. If you allow higher prices, "how credible are you in clawing them back?" he said. "The question is at what point do you lose credibility?"
Current measures of inflation have remained under control and in line with the Fed's 2 percent target, he said.
'Immediate Threat'
While "nobody sees an immediate threat of inflation," Fisher said, "we are going to have to monitor this very closely."
Stocks halted a two-day drop yesterday as an improving outlook for the housing market bolstered confidence in the U.S. economy. The Standard & Poor's 500 Index rose by 0.1 percent to 1,461.05.
Fisher has been among the most vocal within the Fed of its decisions to ease policy. He dissented twice last year against moves to push down long-term borrowing costs and to keep the benchmark interest rate near zero until at least mid-2013.
Editor's Note: Economist Unapologetically Calls Out Bernanke, Obama for Mishandling Economy. See What They Did
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Products weighing up to 75 lbs. will typically be allowed to ship via UPS Ground. If multiple products are purchased and together exceed the maximum Ground Shipping weight limit, the shipping quote will transition from Ground to Freight. In some cases a product may have exterior dimensions which require Freight shipping, in which case this will be clearly marked in the Specifications tab on the product information page.
Freight Shipping
Products weighting over 75 lbs., or products with oversized exterior dimensions, will ship Freight via an 18-wheel truck. Assembly or set-up is NOT included with freight shipping. Due to the large size of many of our products, some or all of the following may be part of a Freight delivery:
1) Lift Gate Fee - Fee required for the Freight delivery truck to arrive with an "elevator" to lower the shipment to ground level. This is often necessary to safely lower a shipment, often containing hundreds of pounds of equipment or more, to ground level. If this option is pre-checked in the cart, it is highly recommended not to alter this choice. If you feel the Lift Gate Fee has been applied in error, please feel free to call our Sales Team at 1-888-332-0123.
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3) Inside Delivery Fee - Delivery to the inside of your building is NOT included on curbside freight deliveries. Inside delivery is available at an additional charge, ONLY if your building is accessible to palletized freight deliveries made with a pallet jack. For more information or to request inside delivery service, please contact our sales team at 1-888-332-0123.
4) Pallets & Crates - Many of our larger products are packaged in boxes with protective wood crates. Both oversized boxes and wood crated products are typically placed on wood pallets for delivery. Shrink wrap is also placed around the perimeter of these larger shipments.
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Our goal, simply put, is to provide quality salon equipment that is both original and affordable. We are currently based northeast of Atlanta, GA and have customers throughout the United States, Canada, and many other countries.
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Forum Veteran
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Heard of it, saw it on paper on Discovery and the net, but the question is MiG gonna make it, it's called the MiG-.....??!! can't remember, all I know is that lots of experts are calling it the Russian F-22, the F-22sky!
What are its characteristics just curious!!
What are its characteristics just curious!!
The fighter is not what counts, it's the one who's flying it that matters!