text:
This site is the archived OWASP Foundation Wiki and is no longer accepting Account Requests.
To view the new OWASP Foundation website, please visit https://owasp.org
OWASP ModSecurity Securing WebGoat Section4 Sublesson 04.2
4. Authentication Flaws
4.2 Forgot Password
Lesson overview
See [relative path].
Lesson solution
See [relative path].
This lesson illustrates using a weak secret password, favorite color, which can be guessed eventually. The project member chose to take a broader view in mitigating this vulnerability and using a couple of features of ModSecurity in ways not done in other lessons.
A configurable account lockout mechanism (maximum retry count) is implemented using Lua persistence. The per-user configurable parameters are: (1) the number of retries allowable before the account is locked out for further use; (2) the interval (in minutes) that time has elapsed after being locked out that the account is reactivated.
Appending Javascript to the end of the response body - an very unsung useful feature of ModSecurity - is also used to alter the response back to the user.
We will show the implementation, then after discuss how this solution can be extended and used as a temporary authentication mechanism.
First, let's go through the steps.
At the beginning of the lesson, the user is asked for their user name:
[insert figure 1, forgot-password-javascript0.jpg]
The user is asked to provide an answer to the secret question:
[insert figure 2, forgot-password-javascript1.jpg]
If the answer is wrong, the user receives an error message and is prompted again:
[insert figure 3, forgot-password-javascript2.jpg]
There is no limit on the number of retries, a scenario which exists in many web applications. A hint is given that the administrator may have an account name of 'admin' and therefore eventually the admin's secret question can be guessed.
The first step of the solution is a little tricky: we have to keep track of the user name from the request/response cycle of the first page to the 2nd page that guesses the answer to the secret question. In the real world, to take into account concurrency, we would set a cookie for this scenario, but for our purpose we we to keep it simple and show the main points of the solution.
The user name is displayed when an incorrect response; e.g. "* Incorrect response for admin. Please try again!". So at this point we have the user name and know that they have guessed the secret question; for our purpose, the retry count is technically still 0.
We are using Lua scripts and Lua persistence.
The Lua code to extract the user name from this string is:
_, _, currentuser = string.find(tbuff, "%* Incorrect response for (%w+)%.")
Let's look at the data file format:
Entry{ username = "global", retry = 2, interval = 15, lockedout = "no", current = "no" } Entry{ username = "webgoat", retry = 0, interval = 0, lockedout = "no", current = "no" } Entry{ username = "admin", retry = 0, interval = 0, lockedout = "no", current = "no" }
The 'global' entry contains the configurable values for the number of retries that are going to be allowed and the interval (in minutes) that needs to elapse before the user's account is reactivated. Here, 2 retries are allowed, and if the user's account is locked and the time interval between retry attempts is 15 minutes, the account will be reactivated.
Where the Lua scripts have to make changes to the data file, a read/write operation is performed. In one case, only a read operation is necessary. Keep in mind that the data file can be edited at any time (if using *nix, be sure to restore the original owner and group name) to observe and experiment with the values and results.
The Lua script responsible for handling the HTTP responses for this lesson is 'secret-question-result_04-2.lua'.
After obtaining the user name, we loop through all of the users in the data file: 'dofile(datafile)'
This calls the function 'Entry'; first that particular user's data is saved to local variables:
function Entry (b) local username = b.username retry = b.retry interval = b.interval local lockedout = b.lockedout local current = b.current local currentuser = currentuser
if username == currentuser then current = "yes" retry = retry + 1 if lockedout == "yes" then str1 = string.format("Luascript: current user '%s' account is locked!", username) m.log(9, str1) retstr = str1 end else current = "no" end
The user is set to current or not. If it is the current user, we increase the retry count and if the account is locked out, we set the script's return screen to non-nil, which will trigger the SecRuleAction in phase 4 of this lesson's ModSecurity configuration file; we will go over this later in this lesson - view either 'rulefile_04-2a_forgot-password.conf' or 'rulefile_04-2b_forgot-password.conf'.
The last step of the loop (the function 'Entry') is to add the user's updated information to a string buffer:
-- build buffer and write back to disk outstr = string.format("Entry{\n username = \"%s\",\n retry = %d,\n \ interval = %d,\n lockedout = \"%s\",\n current = \"%s\"\n}\n\n", \ username, retry, interval, lockedout, current) tbuff = tbuff .. outstr
When the function is over, we write the file:
local fh2 = io.open(datafile, "w+") if fh2 == nil then -- don't fail open str1 = string.format("Luascript: Error in creating file: %s;\n", datafile) m.log(9, str1) retstr = str1 else fh2:write(tbuff) fh2:flush() fh2:close() end
Finally, the return value is returned to SecRuleAction:
if retstr == "" then retstr = nil end return retstr
A nil value means nothing bad happened.
Now, let's take a look how we process the HTTP request. The Lua script, which is heavily commented, is 'secret-question-guess_04-2.lua'.
It is necessary to distinguish between 2 different types of requests that are received.
The 1st request is when the user enters the user name. The POST body parameters 'Username=admin&SUBMIT=Submit' are retrieved:
loginuser = m.getvar("ARGS_POST.Username", "none") local submitvalue = m.getvar("ARGS_POST.SUBMIT", "none")
The function for processing this request, Entry0, is called if the proper conditions are met:
if loginuser ~= nil and submitvalue ~= nil and submitvalue == "Submit" then str1 = string.format("Luascript: Entering Entry0 with user name: %s\n", loginuser) m.log(9, str1) Entry = Entry0 dofile(datafile) return retstr end
The 2nd request is when the user is making a guess for the secret question. If no other sublessons of the lesson are being used - only 'rulefile_00_initialize.conf' and either 'rulefile_04-2a_forgot-password.conf' or 'rulefile_04-2b_forgot-password.conf' - then we don't need to filter to call the 2nd function. If it is desirable to filter, add the conditional statement as done previously with the POST parameters as Color=green&SUBMIT=Submit'.
Entry = Entry1 dofile(datafile)
Let's examine what each function does.
'Entry0' loops and processes each user in the data file. First, each entry's values are copied to local variables as previously shown.
Next, we get the configurable value from the user 'global' that we need, 'interval'; note that 'global' always has to be the first entry in the data file.
if username == "global" then g_interval = interval end
The next section of the function is:
if username == loginuser and lockedout == "yes" then num1 = os.time() if num1 >= (interval + g_interval*60) then str1 = string.format("Luascript: User %s is locked out but global interval has been exceeded\n;", username) m.log(9, str1) retstr = nil else str1 = string.format("Luascript: Entry0 - User %s is locked out!\n;", username) m.log(9, str1) retstr = str1 end end
It is better to only read the data file if possible, which is done here. If the user is locked out but the interval between lock out time and now has been exceeded, we will let the user through and in the 2nd function deal with this condition so nil is returned in the function and the main body (to return nil to the SecRuleAction). If the user is locked out, we return non-nil (the string message is recorded in the audit log and the debug file, irrespective of the explicit log entry 'm.log(9, str1)' to the debug file), the SecRuleAction will trigger, and the user will receive a message that they have been locked out (which will be shown later).
For the 2nd function, 'Entry1', remember that we are on the page that is guessing the color. In this function, though, we will make changes to the data file according to the results.
First, retrieve the 'global' user's configuration parameters but this time we need the retry maximum count also:
if username == "global" then g_retry = retry g_interval = interval end
if current == "yes" then if lockedout == "yes" then -- check if time interval exceeded; if so, unlock account num1 = os.time() if num1 >= (interval + g_interval*60) then lockedout = "no" retry = 0 interval = 0 else -- question: do we want to set a new interval to the current time? IMO, yes interval = os.time() retstr = "Luascript: Entry1 - account already locked!" end end if lockedout == "no" then -- have to be real careful here that both are integers; -- if not, then function will return suddenly with nil if retry >= g_retry then lockedout = "yes" interval = os.time() -- record the second that user was locked retstr = "Luascript: account is now locked!" end end end
If the user is not the current user, nothing changes.
If the user is current, check if their account is currently locked.
If yes, check if the max interval time has been exceeded; if yes, then set the user lockout to "no", and reset the retry and interval values to 0; if no, reset the interval time to the current time (optional) and set 'retstr' so that it is denoted that the user is locked out and the SecRuleAction will be triggered.
If the account is not locked out, check if the retry count has been reached; if so, mark the account as locked out and reset the interval.
Note, that a conditional 'if lockedout == "no", then, else' was not used. If the account was originally locked out but changed to not locked out, that user is processed in the 'lockedout == "no" section as a safety check (and if one wants to add other logic here).
Also, note that the return value to SecRuleAction as currently implemented only returns boolean: either nil (nothing bad happened) or non-nil (changing ModSecurity to accept nil or a string as a return value should be possible because the return string is written to the log files). In our case, the bottom line is the same: the user is locked out, but the causes are different.
Finally, at end of the function each user's values appended to a buffer, then after exiting the function the buffer is written back for a new data file (the code for this has been previously shown).
We jump up now to the ModSecurity rules. Two alternatives have been given, 'rulefile_04-2a_forgot-password.conf' and 'rulefile_04-2a_forgot-password.conf'; they differ as to how to notify the user that they have been locked out.
First, 'rulefile_04-2a_forgot-password.conf':
Recall that the HTTP request triggers all of the processing when a user has made an incorrect guess; the error message '* Incorrect response for admin. Please try again!' (see Figure 3 at the beginning of this page) is our cue that a certain user has failed at making a correct guess.
Here is the rule:
SecRule TX:MENU "[email protected] 500" "phase:4,t:none,pass,skip:1" # parse response body and process Lua script SecRuleScript "/etc/modsecurity/data/secret-question-result_04-2.lua" \ "phase:4,t:none,log,auditlog,allow,msg:'Luascript: Writing RESPONSE \ BODY extracting user name from error message in secret-question-result_4-2.lua'"
We don't care about the result of the script (nil or non-nil) because we do the heavy lifting in the HTTP request Lua script. The rules for this are:
SecRule ARGS:menu "[email protected] 500" "phase:2,t:none,skip:2" # action is triggered if script returns non-nil value SecRuleScript "/etc/modsecurity/data/secret-question-guess_04-2.lua" \ "phase:2,t:none,log,auditlog,deny,severity:3,msg:'Authentication Flaws \ - 4.2 Forgot Password',tag:'PASSWORD_RETRY', \ redirect:/_error_pages_/lesson04-2.html" SecAction "phase:2,allow:request,t:none,log,auditlog, \ msg:'Luascript: user account not locked out'"
(Note: previously, it was explained why the lessons are filtered by menu number and the reasons for using 'ARGS:menu' in Phase 2 and 'TX:MENU' in Phase 4)
Very simply, if the user's account is locked out, they get redirected to an error page.
The 2nd ruleset, rulefile_04-2b_forgot-password.conf, offers a more elegant solution. Inside the Lua script, a non-nil value is returned when the user's account is locked out. Instead of passing through the response body and processing the result in the request body in 'rulefile_04-2a_forgot-password.conf', we do the opposite:
The Javascript appended to the response body, instead of redirecting to an error page, looks like this:
[Figure 4, forgot-password-javascript3.jpg].
Compare this with Figure 3. The original error message, in bright red color, has been replaced with '* TOO MANY RETRY ATTEMPTS; YOUR ACCOUNT IS NOW LOCKED!' and the Submit button has been disabled. The advantages of this approach are: (1) the user stays in "the same place" in the web site; (2) the look and feel of the web site is retained; the look and feel would have to be incorporated in a new error HTML page.
Conclusion and Comments
In the real world, a file locking mechanism would need to be placed on the data file which could be implemented easily by creating or checking for an empty file like 'file.lock'. There doesn't seem to be an elegant 'sleep' or 'wait' capability in Lua script, so the rare occurrence that a request file lock is already used, an error message would have to be returned to the user saying "please try again".
What has been shown in this sublesson?
- The use of Lua persistence
- A configurable account lock out (maximum retry count) mechanism
- Appending Javascript to a response body to alter the HTML page's content and behavior.
- A business logic flaw has been mitigated by a Web Application Firewall
The basic concepts demonstrated here can be extended and be used in real world examples, such as:
- A web site's authentication has no maximum retry count or account lock out mechanism.
- A web site (or areas of a web site), previous open to the public, require protection via an authentication mechanism.
The Lua scripts can be modified to tie into other authentication credential storage mechanisms (if the capability is supported in the language).


text:
pull (someone) down a peg (or two)(redirected from pulling him down a peg)
pull (someone) down a peg (or two)
To reduce or damage someone's ego or pride; to humble or humiliate someone. I'm really glad that pompous oaf lost his court case—maybe that will pull him down a peg or two. It's about time that someone pulled Sarah down a peg. Her snotty arrogance is intolerable!

subset: commoncrawl


text:
* 1 inch=2.54cm; custom order of special size is available.
* Please click "?" if you have question.
The painting Picasso will be ready to hang after stretching.
You may click "Big Image of Framed Art" to see details.
The Pablo Picasso oil painting reproduction of Femme assise dans un fauteuil 3 1940 can be ordered on canvas in any sizes.
The artwork Femme assise dans un fauteuil 3 1940 in quality of Museum Quality for Collectors will be painted for collectors by teachers or professors from colleges and universities; in High Quality will be painted by commercial artists for wholesale market.
If you want to buy originals instead of purchasing the Pablo Picasso painting reproduction Femme assise dans un fauteuil 3 1940, please contact us.
Home | About AMA | Contact Us | Terms | Sell Your Picasso's
Powered by . Help You Sell and Buy Pablo Picasso Artwork!
Copyright © 2003 - .


text:
First National Bank will soon have a new name, new insignia and new ownership.
First National Bank will soon have a new name, new insignia and new ownership.
But some of the company�s top leaders say they believe the emphasis on community involvement and hometown banking will remain the same.
First National will merge into Bank of the Ozarks after the Arkansas-based bank�s purchase of the Shelby-headquartered company is final later this year.
�They are very familiar with the types of communities and the customers that we serve,� said Helen A. Jeffords, president and CEO of First National. �And that�s what we want. We�re extremely pleased we�re able to align with a bank of the reputation and values of Bank of the Ozarks. They are one of the strongest banks in the U.S., with $4 billion in assets.�
Jeffords and First National board chairwoman Adelaide Austell Craver talked about the bank deal with The Star on Friday.
Why did First National make the move?
The financial uncertainty of the time and banking industry challenges made it important for First National to look for ways to stabilize operations, Jeffords and Craver said.
�We weren�t forced to sell,� Jeffords said. �We were encouraged by our regulator that he could see a bright future for us.�
�We felt this was the best for the long-term,� Craver said.
How long has a change been in the works?
�It has always been the board�s responsibility to look out for best interests and grow in its sphere of influence,� Jeffords said.
The board has been specifically looking at possibilities for about six months, Craver said.
�This has not been a quick process,� she said. �We wanted to do the right thing for everyone involved.�
What�s the next step in the merger process?
The next step is approval by the Securities and Exchange Commission, which may come in 10-30 days, Jeffords said.
That will be followed by a shareholder vote and then approval of the state of Arkansas bank regulators, regulators here and FDIC approval.
What can customers expect when the merger is final?
�The same familiar faces serving our customers will be here, and the customers will see the same friendly service. There may be possibilities of new products, with their size and innovation,� Craver said.
Like First National, Bank of the Ozarks offers trust and investment services.
�We expect to grow those services,� Jeffords said.
�We�ll be able to make larger loans and offer more services,� she added. �The customer should feel very comfortable and secure with deposits. (Ozarks) is one of the strongest banks in the country.�
What can employees expect?
�(Bank of the Ozarks) will want good people and need good people,� Jeffords said. �We have told them of the talents of our good people. Every effort will be made to find good positions for all of our staff.�
How will First National�s operations and leadership structure change?
�We�re a little premature with that,� Jeffords said.
Will First National�s name change?
Yes, the name will change to Bank of the Ozarks, expected by late second quarter of this year.
Will First National locations close?
Jeffords said no.
What happens to First National�s board?
Once the deal is finalized, the First National board will no longer operate.
Will First National�s community involvement, with programs such as the Santa house on South Lafayette Street, change?
�(Ozarks officials) came to Shelby at Christmastime and were impressed with what they saw,� Jeffords said.
�They said they weren�t sure they could jump as high as First National but would like to,� Craver said. �We think their interest in community involvement is one of the reasons they wanted (to purchase) us.�
�Our community interest is perpetual,� Jeffords said.
Reach Matthew Tessnear at 704-669-3331, at firstname.lastname@example.com or on Twitter @MatthewTessnear.
First National leaders comment
�I am proud of the institution that First National Bank is, with its 139-year tradition of hometown banking, because of our wonderful customers, our outstanding and dedicated staff and committed shareholders and board of directors. I also love and appreciate the communities we serve.
�But banking has changed and the longtime future of a standalone community bank with assets under one billion dollars and limited market exposure is not certain. I am very pleased that we have found as a partner a very successful $4 billion bank, evidenced by outstanding financial performance in these difficult banking times, that has diverse markets and strong management that believes in community banking.�
-- statement from Adelaide Austell Craver, director and chairwoman of board at First National
�Bank of the Ozarks has a long history of operating in markets similar to Shelby, as well as metropolitan areas. Because of their financial strength, track record and disciplined approach, Bank of the Ozarks has a wonderful opportunity to expand in North Carolina and surrounding areas. The recent troubles of Wachovia and Bank of America have created opportunities for a regional/community bank to be very successful in the markets First National Bank serves.�
-- Helen A. Jeffords, First National president and CEO, in remarks to employees Thursday
�We are very fortunate that a bank as strong as Bank of the Ozarks was considering coming into North Carolina about the time our board of directors was responsive to a possible merger. They are rated the top-performing bank in America of their size and they have the hometown bank culture that fits in well with ours. What a beautiful marriage it will be.�
-- statement from Ed Hamilton, chairman emeritus


text:
Starting Friday, May 1st we will be open! Our new hours will be from 7A - 6P with 7-8AM reserved for higher risk members of our community.
You don't have any saved vehicles!
Look for this link on your favorites:
Once you've saved some vehicles, you can view them here at any time.
Pacific Blue Pearl Mica 2013 Hyundai Sonata GLS FWD 6-Speed Automatic with Shiftronic 2.4L 4-Cylinder DGI 198 hp camel Cloth.
Recent Arrival! 24/35 City/Highway MPG
* 2013 KBB.com 5-Year Cost to Own Awards
Pre-owned vehicle pricing includes all offers and incentives. Tax, Title and Tags not included in vehicle prices shown and must be paid by the purchaser. While great effort is made to ensure the accuracy of the information on this site, errors do occur so please verify information with a customer service rep. This is easily done by calling us at (740) 653-7678 or by visiting us at the dealership.
**With approved credit. Terms may vary. Monthly payments are only estimates derived from the vehicle price with a 72 month term, 5.9% interest and 20% downpayment.
*Number of views in last 30 days
† Based on EPA mileage ratings. Use for comparison purposes only. Your mileage will vary depending on driving conditions, how you drive and maintain your vehicle, battery-pack age/condition, and other factors.
Let us introduce you to our staff, show you some of our special vehicle offers, and take you through our complete line of new and pre-owned inventory. We can help you find exactly what you are looking for.
We know your time is valuable. We are sure you will find our site a fast and convenient way to research and find a vehicle that's right for you. If we can be of any assistance while visiting us online, send us an email and we will promptly reply.
When you pair honest and attentive customer service with affordable options, you get the Buckeye Honda experience. The moment you walk through our doors in Lancaster, OH you become an integral part of our Buckeye Honda Family. Offering exceptional new and pre-owned vehicles, our accomplished team of experts is ready to assist you no matter your qualifications. Serving Lancaster, Newark, Columbus and beyond, we consistently value and put our customer interactions first at Buckeye Honda.
You don't have any saved vehicles!
Look for this link on your favorites:
Once you've saved some vehicles, you can view them here at any time.
(740) 653-7678Call Now
2615 N. Memorial Dr. • Lancaster, OH 43130Get Directions
Open Today! Sales: 7am-6pm
Open Today! Service: 7am-6pm
Open Today! Parts: 7am-6pm
Phone: (740) 653-7678http://maps.google.com/?q=2615%20N.%20Memorial%20Dr%2C%2C%20Ohio%2043130%2C%20United%20States%2C%20Lancaster%2C%20OH%2043130


text:
Under the command of Captain Matthew Flinders, the HMS Investigator was a survey ship most celebrated as being the first ship to circumnavigate the continent of Australia.
The ship was built in Sunderland and launched initially in 1795, entering service with the Royal Navy in 1798.
It was on the Investigator that Flinders had made his epic and momentous journey around the Australian coastline from December 1801 to June 1803. That journey, sanctioned by the Admiralty was to study the plant and animal life of the new continent and to explore its coastline.
It was on the Investigator where Thomas Earnshaw' Chronometer - E520 and E543 were on board – and were crucial in the navigation and mapping of the ship on this landmark journey.
Available Soon


text:
If you think a local TV channel like London Live has already been tried before, you haven't been paying attention.
From 6.30pm on Monday, the London Evening Standard's new venture will become the capital's first 24/7 TV channel, enjoying prime real estate across all the major platforms and with social media baked into its DNA.
A small management team has been responsible for bringing London Live to life, led by chief executive, Andrew Mullins – best known as the architect behind the Standard's move to a free newspaper and for driving the launch of the first concise quality daily, i. The TV channel is Mullins' biggest gamble yet.
Up to £1 million has been invested in new studios within Northcliffe House – three overlook Kensington High Street and one the Standard and The Independent's newly integrated newsroom. An additional £18 million has been ring-fenced for London Live's first three years.
Speaking days before launch, Mullins, a former Diageo and Unilever marketer, maintains his trademark calm exterior, but there are signs of pressure: there is no time for niceties, a scrap of tissue suggests an all-too-quick morning shave and he's keen to stay away from his new studios ("too much on show").
London Live will offer comedy, drama, music, live events and factual entertainment, as well as news, current affairs and sport.
The vision is clear: the new channel has to stand out. There is no point in producing the same as what is already available but with a smaller budget.
"When you see the presenters and the content, it's all so different," Mullins says. "The way social is feeding into the programming and the talent we're using – it's all incredibly diverse, multicultural and on the edge."
Not everyone is convinced – London Live's landlord, Daily Mail and General Trust, rumoured to be among them. Memories of DMGT's own foray into London TV, Channel One, still linger. Sources suggest the 1998-2001 venture cost Lord Rothermere's group more than £40 million.
But the media landscape has changed immeasurably since then. Digital and technological developments have smashed barriers to entry, while analogue terrestrial channels no longer exist.
At the same time, the advent and meteoric rise of global networks that are already household names – YouTube, Facebook and Twitter – offer new opportunities around distribution, talent, content management and marketing.
Government help
Then there's the incentives created by Jeremy Hunt in his role as the Culture Secretary. It's easy to forget local TV formed a key part of Hunt's media policy for the newly elected Conservatives. During his tenure, the Department for Culture, Media & Sport secured local channels prominence on EPGs, £25 million in start-up costs from the licence fee and £5 million a year for the first three years for new channels.
"When Hunt first announced the idea, we were not interested," Mullins admits. "In those days, linear TV looked like it was coming off the boil. ITV was in trouble and it looked like it was a potential area where audiences would be leaving."
At the time, Mullins was navigating the transition of newspapers into digital assets. He describes the Standard and The Independent as being "behind the game online" with a lack of video content – an area that was starting to gain traction with advertisers.
"All of a sudden, we flipped around [on the London TV idea] – could this be our way to enter into video creation and start with a helping hand from Ofcom? We realised we could invest massively and, instead of chasing everyone else, we could try to leapfrog them."
Full steam ahead
It was February 2012 when Mullins and others put the idea of a multiplatform London media strategy to Evgeny Lebedev. The Standard had completed its second year as a free proposition, reduced annual losses from £30 million to £7 million and was on track to become profitable later that year. The Independent, however, was still losing more than £1 million each month.
Mullins says: "We put the idea before Evgeny: this is how the portfolio could evolve, what do you think? I think he's always been attracted by TV, and I think his father [Alexander] has as well. Put within the portfolio positioning, everyone thought: yeah, let's give it a crack."
The group then hired its first full-time TV member of staff – Tim Kirkman, the chief operating officer – to compile the launch submission for Ofcom. As the proposition developed, and wider market trends continued, it took on new urgency. Mullins reveals: "In the months beforehand, I realised: if we don't win it, we could be in trouble."
Ripping up the rule book
By the time we reach the main studio space, Mullins' reticence to follow appears justified as Campaign stumbles into a photoshoot taking place with Russian owner Lebedev for The Guardian.
He looks so immaculately turned out – charcoal shirt blended with black sheen tie and leather jacket, and the most precisely trimmed beard you're ever likely to see, that the ensuing piece rightly picks up on his "unreal" quality. However, the article's preoccupation with the fact he doesn't look like a newspaper man is indicative.
Trying to judge people based on appearances can be a loaded occupation. How do you change the status quo without breaking from convention? If the press is going to survive this current communications revolution, it needs to look well beyond its past.
London's new local television channel will not be like anything else we've seen before. Many of the people in front and behind the cameras do not represent your usual TV fare, and those that are old broadcast hands [Jane Mote, Vikki Cook and Jonathan Boseley] all talk of a remit to rip up the rule book.
Its daily evening programme Not The One Show, for example, promises to provide an irreverent and unpredictable lowdown on the day's events, encompassing views of local residents, comedians, writers, DJs and bloggers. It forms part of five and a half hours of daily news and current affairs programming, which start at 6am with Wake Up London – a breakfast show punctuated by "bite-size" news, travel, sport and weather for the day ahead.
Outside of news, there's Food Junkies, a series made by Jamie Oliver's production company Fresh One about London's secret foodie hotspots. More offbeat is Drag Queens of London, a docusoap celebrating the dynamism of London's drag scene. The original content will sit alongside more familiar acquisitions such as Peep Show, Spaced, Twenty Twelve and White Teeth.
"Evgeny wants exciting, dynamic things," says Mullins. "He doesn't want boring, staid going no-where type propositions."
Serving a city like no other
London Live is one of 19 local TV channels launching this year, but enjoys distinct advantages. The capital is a city like no other, generating a quarter of the UK's GDP, with a population of around 9.2 million. Like it or not, the economic gap between London and the rest of the UK is widening. According to think tank Centre for Cities, it is now sucking in talent like never before, with almost a third of people aged between 22 and 30 who moved cities heading for London last year.
London Live's target market is 16- to 34-year-olds and, in terms of reach, there is talk of 0.7 per cent of London viewers being a realistic target. For primetime shows, that is roughly 60,000 viewers. Mullins admits: "Frankly, I'll be totally disappointed if we have those levels of share, but you have to be realistic – we've never done it before."
Brand interest
Jon O'Donnell, the group commercial director, says clients are interested in multiplatform conversations. London Live's launch advertisers include BT, Vision Express, Halfords and Homebase, and it is attracting new brands to the Standard too in the form of KFC and Coca-Cola.
The channel has also established longer-form content partnerships with L'Oréal (via Maxus) and Westfield (through Arena). London Live is free from the restraints of Ofcom's ad minutage rules, paving the way for branded content opportunities.
London Live's website will have the ability to view news and features packaged around individual boroughs of the capital. This will create clear verticals for local brands to advertise around or for national brands wanting to run highly targeted campaigns.
But O'Donnell is savvy enough not to overplay his hand. His 145-strong team are treading carefully: "Clients want things to be as simple as possible. It's about creating multimedia efficiencies and smarter distribution platforms that can reach our young, upwardly mobile audience of social explorers at different times of the day."
Mullins, who turned 50 last week, has a picture of Albert Einstein in his office along with the quote: "Insanity: doing the same thing over and over again and expecting different results." Judging from the way the chief executive and his team have shaken up the press industry in recent years, it is clearly something he has taken to heart.
London Live is the latest strategic play from a group trying to reposition itself. "The sum of the whole is many more times the sum of its parts," Mullins points out. "If, in three to four years' time, we've found a way to cost-effectively migrate the business into a digital video business, we'd have done a bloody good job."
London Live will be on Freeview channel 8, Sky 117, Virgin 159 and online


text:
TEDx Cooper Union: Knowledge in a Contextual World
POSTED ON: August 6, 2012
There is a part of human nature that loves a world that can be explained in unequivocal terms. People working in the sciences, for example, often seek to describe nature in atomistic, mechanistic, and timeless language. We want to know the universe and ourselves in ways that are stable and unchanging. Who would want otherwise, to live in a world of uncertainty?
On the other hand, it's hard to deny that today we live in a world of context. "We are always already in the world," Heidegger reminds us—as does philosopher Maria Brincker in her TEDx Cooper Union talk below—the third in our web video series. Brincker, who has a dual background in philosophy and cognitive science, argues passionately for an understanding of human subjectivity as a contextual process. Rather than being defined by our DNA or inherited traits, every human being is an evolving process of interconnected forces both internal and external that relate both to others and a changing world around us. Brincker describes herself in these terms as a "cyborg"—a product of social forces and technologies (birth control, the education system) that allowed her to attain her professional life.
In her talk, Brincker proposes the model of interdisciplinarity and translation—the former term being the theme of this year's TEDx Cooper Union—as foundational to all forms of knowledge that must evolve in an increasingly connected world. Contextual and socially-driven disciplines, regardless of whether they are closer to design or science foundationally, become ethical and political with implications for other forms of knowledge. And care for the environment in a contextual world becomes by implication care for individuals.
Maria Brincker received her Ph.D. in Philosophy and Cognitive Science from the CUNY Graduate Center in 2011. She is currently an Arts & Neuroscience fellow at the Italian Academy for Advanced Studies in America at Columbia University and will be Assistant Professor of Philosophy at UMass Boston starting Fall 2012. Brincker has previously taught philosophy at the Fashion Institute of Technology, City College, Long Island University and LaGuardia Community College.


text:
An Electronic Export Information form or EEI is a U.S. Customs form required If the value of any item in your package is over $2,500 USD. If the value of the shipment's contents exceeds $2,500 USD, we can only ship DHL or FedEx due to import and export regulations.
If you are used to the term SED form, the Shipper's Export Declaration is the former name of what is now an EEI form.
We charge a $40 USD flat fee if you'd like us to prepare your EEI form.
The import limit for a personal shipment with more than one item in the package is 1,000CNY. Items valued at greater than 1,000CNY with multiple items in the box must clear as commercial import. Items with a value greater than 1,000CYN and declared as personal use will be returned to the US if the package contains more than one item. If the shipment has only one item, there is no value limit, however Chinese customs reserves the right to approve the importation of a package or deny and return to the US regardless of whether it has 1 item or many in the box.
If you are importing items valued at 20,000 CYN or more per year, then all shipments must be cleared as a commercial import.


text:
Future Tunz necesitaba un nuevo diseño de otro y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 66 diseños de 17 diseñadores freelance.
Super Starts Plant Tissue Culture
Super Starts has been in business for 4 years making plant tissue culture kits. Their website is http://www.planttc.com. Commercial propagators use systems similar to this one for suppling large volume plant starters like what you will find at Home Depot and Lowes. It is a fast and cost effective way to root plant clippings into small viable plants ready for transplanting in larger containers such as pots or flower beds. Super Starts has brought this product to the consumer marketing adding proprietary ingredients to make this possible, without a labratory or expensive equipment. Small plant pieces can be rooted in a sterile jar with hormones and plant food all self contained. These plants create its own eco system and thrive for a period of 3-6 months and are ready to be moved into a more common grow media in as short as 1 month.
Indoor gardeners, hydroponic and hobby gardeners.
We want to establish a vey clean cutting edge look. These pieces will set the table for web design feel and look and will more than likely be posted on 99designs as an additional contest. The brochure will need to be a tri-fold. 8.5x11 or 8.5x14. The overall look and feel is more important than size. The box label needs to be 5.5 tall and 8.5" wide and should be cohesive with the other elements. I will post a link to the files we have for this product (word document) which contains any needed text and information. Their company site is http://www.planttc.com. Mini plants will need to be featured in some way in the logo and materials. The logo is important so lets focus on that first. Thanks designers.
Global Gardens Marketing Group


text:
Are Disc Drives An Endangered Species
(Doug Gross CNN) -- Could the phrase "burn a disc" soon be interred in the computing graveyard, resting peacefully alongside 8-bit graphics and the chirping, buzzing hum of a dial-up modem?
- New innovations could spell beginning of the end for DVD drives
- Apple's new iMac shipped last week with no optical drive
- Cloud storage, streaming and faster downloads paved the way
- Apple was first to can the 5-inch disk and floppy disk
Some technology analysts, along with some of the most influential computer makers in the world, say yes. Optical disc drives take up precious space in our ever-shrinking gadgets, and the ability to stream music or movies on demand has made CDs and DVDs less essential.
The disc drive's spin into obscurity may have started swirling faster last week.
Apple's new iMac, its flagship desktop computer, was released Friday. For the first time, it has no disc drive. This marks a trend that has already begun on some laptops, like Apple's MacBook Airs, and of course with mobile devices like smartphones and tablets.
"Over time, an optical disc will be as much of an historical curiosity as a floppy disk," said Michael Gartenberg, a tech-industry analyst with research firm Gartner Inc.
According to Apple, where sleeker, thinner designs are always en vogue, dumping the disc drive was a no-brainer.
"These old technologies are holding us back," Phil Schiller, Apple's head of marketing, told CNN sister publication Time. "They're anchors on where we want to go. We find the things that have outlived their useful purpose -- our competitors are afraid to remove them. We try to find better solutions -- our customers have given us a lot of trust."
If the company's track record on such things holds, the optical drive may be doomed. The original Mac dumped the 5-inch disk for a 3.5-inch floppy, and the first iMac was one of the first desktops without a floppy disk drive.
"It's clearly a long-term trend, but Apple's always been aggressive about making moves like this sooner as opposed to later," Gartenberg said.
The company's tiny Mac Mini, for the record, has been disc drive-free since last year.
Sony has already announced that it will stop making optical drives itself. And the release of Microsoft's Windows 8, an operating system that works on disc-free smartphones and tablets as well as laptops and PCs, suggests that computing giant would be well positioned for such a move as well.
For some users, Web habits have already begun trending away from actions that require external media.
CDs? There's music streaming or digital downloads. DVDs? Netflix, Amazon or a host of other online movie sites. Video games? There's digital distribution like Steam and, increasingly, downloads from the major console and game makers.
"As personal cloud services become ubiquitous and broadband speeds increase, there's very little reason for many consumers to use an optical drive on their computer going forward," Gartenberg said.
There are always USB ports available on the occasion that an external device is needed (Apple, for what it's worth, offers an external optical disc drive for $79).
Much as Google has with its Google Drive service, Apple has embraced cloud computing with its iCloud offering, which lets users store documents, photos, music and movies on Web-based servers. A move to the cloud could mean internal storage is less of a concern for users going forward.
Combined with advances in "solid state" internal storage and quicker broadband speeds that make downloads and streaming less painful, a post-DVD era could grease the skids for Apple and its competitors to make increasingly thin, light and inexpensive computers.
Witness the new Chromebooks, laptops that run Google's Chrome system, that rely almost exclusively on the cloud and sell for around $250.
To be sure, the transition may be rough on some users.
"For those who still own DVDs and want to watch them on their computers, the iMac isn't the ideal solution," Fortune's JP Mangalindan wrote in a review of the new iMac. "Sure, there's a $79 external SuperDrive that connects via USB cable, but that means shelling out extra for -- let's face it -- a feature that still comes standard on most PCs. It also means messing with the iMac's minimal-looking setup."
But like it or not, folks who still pop in a disc may not have long to keep doing so.
"While it may be too early to say for certain that the optical drive is absolutely dead," wrote Chris Pirillo, founder of blogging network Lockergnome, "it is certainly showing all the early warning signs of a technology that is past its prime."
Read More - Click Here!
- Printer-friendly version
- Log in to post comments
- 1771 reads


text:
Creative Commons: What is it? Should I apply this to my music?January 30, 2009
Creative Commons has been described as being at the forefront of the copyleft movement, which seeks to support the building of a richer public domain by providing an alternative to the automatic "all rights reserved" copyright, dubbed "some rights reserved.
David Berry and Giles Moss have credited Creative Commons with generating interest in the issue of intellectual property and contributing to the re-thinking of the role of the "commons" in the "information age". Beyond that Creative Commons has provided "institutional, practical and legal support for individuals and groups wishing to experiment and communicate with culture more freely"
Example 1
Jamison Young is a full-time artist who has refused to sign up with big record labels. Instead, he believes in giving away his music for free using Creative Commons, and that has surprisingly helped him sell more records. Now, this may sound contradictory but Jamison says that by giving away your music for free downloads, it vastly increases the number of people who listen to your music and they in turn refer to their friends. This spreads word about the album and quite a few of them buy the album off the store shelves. This is actually a good technique to give a fighting chance against the most established artists.
Jamison has written, sung, produced and marketed his own album, called Shifting Sands of the Blue Car, the music for which is freely available for download on his website and at MySpace.
Jamison is an Australian now living Europe. Over the past year, he has performed in Australia, France, Germany, Czech Republic, Austria, Thailand, Switzerland and the U.S.
Jamison launched a new project called Hungry Artists Feed Hungry People, with portion of the sales proceeds going to help poor people in third world countries.
Example 2
A Creative Commons license was first tested in court in early 2006, when podcaster Adam Curry sued a Dutch tabloid who published photos without permission from his Flickr page. The photos were licensed under the Creative Commons Non-Commercial license. While the verdict was in favour of Curry, the tabloid avoided having to pay restitution to him as long as they did not repeat the offense. An analysis of the decision states, "The Dutch Court's decision is especially noteworthy because it confirms that the conditions of a Creative Commons license automatically apply to the content licensed under it, and bind users of such content even without expressly agreeing to, or having knowledge of, the conditions of the license."
The six standard Creative Commons licences use from one to three licence elements, selected from four available elements: Attribution, NoDerivs, NonCommercial, and ShareAlike. Attribution is common to all six 2.0 licences. There are several 1.0 licences which don't include the Attribution requirement, but Creative Commons decided to drop them in the 2.0 round of improvements, because stats indicated that 97-98 percent of CC-licenced works used the Attribution element.
Basically, Attribution says that the licensee must give you credit as the original author of the work. They can't pass it off as their own, and if they make a derivative work (where permitted) they have to credit you for your contribution.
Which brings us to NoDerivs. If you don't want anyone to make any use of your work beyond listening to it and copying and sharing it, then you need to choose a licence which specificies NoDerivs. Incidentally, the synchronisation of a music- or sound-based work to a moving image is considered derivative for the purposes of the licence!
The third element is NonCommercial. If you don't want anyone to make money off of your work without first doing a deal with you, then you need to choose a licence which specifies NonCommercial. The Commons Deed simply states: "You may not use this work for commercial purposes." The Legal Code, as you would expect, is more wordy on the subject of commercial use: the licensee can't use the work "in any manner that is primarily intended for or directed toward commercial advantage or private monetary compensation." It also says file-sharing is OK, "provided there is no payment of any monetary compensation in connection with the exchange of copyrighted works." In addition, depending on whether or not you select the NonCommercial element, the Legal Code has a section on performance, mechanical and web-casting rights and statutory royalties where you as licensee either waive or reserve the exclusive right to collect, either individually or via a relevant collecting society, any royalties for the work. Interestingly, Textone, while using a licence with a NonCommercial element, explicitly state at one point on their web site (but not next to the licence button) that they allow playback and mixing of their releases during a for-profit DJ performance "since so much of the underground scene is dependent on DJ/performance fees for subsistence."
The final, fourth licence element is ShareAlike. In the concise terms of the Commons Deed, this means: "If you alter, transform, or build upon this work, you may distribute the resulting work only under a licence identical to this one." So with an Attribution-ShareAlike licence, someone could use your work in their own and release the result commercially, but their work would then fall under the same licence. So you, or anyone else, could use their work in turn.
The CC Music Sharing licence has its own button ('Share Music' CC) and its own Commons Deed which states that "The owner of this music retains his or her copyright but allows you to: download, copy, file-share, trade, distribute, and publicly perform (eg. web-cast) it." It also specifices Attribution, NonCommercial and NoDerivs. In other words: share it but don't sample it, alter it, or make money from it, and don't take away my credit. The Legal Code is the usual Attribution-NonCommercial-NoDerivs 2.0 licence, but if you want to make it clear that your music's shareable (and that's all) then this is the one to use.
If you want to make a living out of your (copyright-owned) music, it's more complicated. There's no hard and fast business case for going the Creative Commons route. If you're looking to build a fan base, it could be something to try. You could always dip a toe in the water by licensing one or two tracks. Read the Magnatune box on the previous page and look over their web site. CC-licensed music doesn't have to mean no-pay music; also, look at the way the NonCommercial CC element feeds into a commercial licensing revenue stream on the site.


text:
LILIAN cable blanket grey
€ 127
Choose number of items and add to cart?> ?> ?>
apero_knit +79993009035
Set for the bedroom - a great way to update the interior without making big renovations and creates a delicate atmosphere of softness and comfort in your bedroom!
Your can complete your look with matching pillowcases. Just select the size.
- we use only eco-friendly merino wool, so it can't provide allergy;
- unique merino wool's features provide healthy sleep;
- feature of hygroscopicity keeps wool dry even at high humidity;
- designed in Paris, produced in Siberia;
- every bedcovers is packed in a brand bag.
- Composition
50% merinos wool|50% acrylic
- Color
- Vendor code
- Composition
We deliver our products all over the world and we offer different types of delivery.
Your order is shipped within the next 2 to 14 days after the payment
Choose the delivery method that suits you best
You can pay your order by: Credit card (visa, master card, maestro), PayPal
Hand wash recommended. Recommended water temperature 30°C MAX
Gentle or wool circle. 30°С MAX.
Do not use chlorine bleach
Use a mild soap or a human hair shampoo.
Lay flat to dry in the shade. Reshape the blanket into its original dimensions. Do not stretch it.
Do not tumble dry
Do not use iron
Can use a gentle steamer


text:
22 February 2013 at 5.58pm | 5 Comments
Song for Marion, starring Vanessa Redgrave and Terence Stamp, can be seen in UK cinemas from today.
Written and directed by Paul Andrew Williams, the film follows Marion (Redgrave), who is terminally ill but loves singing for a local chorus, and her husband, Arthur (Terence Stamp), who grumpily disapproves. When tragedy strikes, Arthur has to revise his ideas about the choir.
Only a handful of the choir members in the film were professional actors. They were picked from a community chorus in Newcastle, where the film was shot.
Watch the trailer of Song for Marion here:
Arthur's skepticism about the choir is mirrored by the gender imbalance in many singing groups around the country. Our community choir, the Royal Opera House Thurrock Community Chorus, had a drive for new male members in January, and the number of men taking part has doubled since then.
ROH Thurrock Community Chorus member Eric Smith tells us:
'I have been singing for 50 years but had never considered myself to be a "serious" singer so it was with some trepidation that I joined the ROH Thurrock Community Chorus in January 2012. I need not have worried. At our collective best, we sound amazing - it's our passion and commitment that allow that to happen. So bring it on for 2013!'
Find out more about our ROH Thurrock Community Chorus here:
The ROH Thurrock Community Chorus will be performing live on 29 and 30 June as part of FUSED Thurrock Choral Festival. During this event, there will be workshops and performances and the chance to find out more about the choir. For information about tickets, contact firstname.lastname@example.com
Education charity Damaris has created a number of resources to encourage people to think about personal, everyday life issues raised in Song for Marion.
Are you a member of a choir? Let us know what the experience has been like for you.


text:
We use cookies to make your experience better. To comply with the new e-Privacy directive, we need to ask for your consent to set the cookies. Learn more.
Discover our range of decorative accessories & homeware created by the finest craftsmen from across the British isles
View as Grid List
Products 1-15 of 55 found
- Jochen Holz, Philippa Craddock£250
- Jochen Holz, Philippa Craddock£380
- Jochen Holz, Philippa Craddock£440
- Jochen Holz£95
- Jochen Holz£170
- Jochen Holz£240
- Jo Waterhouse£120
- Jo Waterhouse£120
- Jo Waterhouse£120
- Jo Waterhouse£120
- Adam Ross£170
- Adam Ross£170
- Geoffrey Fisher Design£12
- Jochen Holz, Philippa Craddock£8,000


text:
Thursday, September 25, 2008
Cheap Food Tips
At the Indian spice shop I frequent, they label the ingredients with the packed on date, so I know that the spices haven't been sitting on the shelf for years. Also, can you believe those prices (see pics below)??? I kind of screamed when I saw the citric acid. I had just paid $5 for a quarter of that amount at a health food store (I use citric acid to make cheese, but I've read that it is useful for sprouting whole beans).
For the Mexican spices, I can find them at any big box grocery stores around here, as well as some specialty Mexican stores. The spices are in clear, plastic bags and they are in the store's "International Foods" section, not the usual spice section. Just the other day, I had to buy cloves for an applesauce recipe. They were on "sale" in the regular spice section for $3 for a small jar. I reluctantly put them into my basket. As I was perusing the other aisles, I stumbled across the cloves in the Mexican spices section - $.075 for the same amount of cloves. Crazy cheap.
At the Indian grocery store, I load my basket with mustard seeds, cumin, coriander, chili, cinnamon, cardamon, turmeric, and garam masala. I also can't resist buying bags of fragrant basmati rice and lots of dried beans.
The Mexican spice sections are usually stocked with pantry staples like oregano, cinnamon, coriander, cumin, whole dried chilies, and cloves.
For those of you who live near Berkeley, you must visit my favorite Indian store: Viks Distributors. As an added bonus, you can go next door and eat bhatura chole (boy's head in the background provided for size reference). We were sitting right under a sky light, which gives these photos a funny halo effect.
Or you can eat a masala dosa! (They used to only serve dosas on weekends, but now they serve it all the time.)
Is it time for lunch yet?
7 comments:
Must you torment me with pics from Vics? *sob*ReplyDelete
what do you think about the berkeley bowl bulk spice section?ReplyDelete
I like BB for their organic spices, but I haven't gone there in awhile because Monterey Market has started selling bagged, organic spices. The spices are not in bulk, but they suffice, and the price is right. Plus, Berkeley Bowl's parking lot is a fricking nightmare. I used to bike there, but now I live pretty far away, bikewise.ReplyDelete
- AnonymousSeptember 26, 2008 at 8:57 AM
I go to Rainbow Foods in the mission in San Francisco, they have great bulk spices and the prices are great too.ReplyDelete
Vik's has started doing dosas all the time? Sweet!ReplyDelete
Dude! Havent you ever heard the old adage "never eat anything bigger than your head"??? Ha! I looove Vik's chai, too.ReplyDelete
Holy crap, I totally know that guy. Damn you Viks eaters, I need to drive 100 miles to get to an Indian market...also this passes for ethnic in NM:ReplyDelete


text: Given the wide variety of customer applications for our SoC FPGAs, our software stacks require rigorous and comprehensive testing. Imperas' M*SDK has proven to be an outstanding environment for the validation and analysis of operating systems, drivers and firmware. Verification using the Imperas solution not only accelerates software bug discovery, but also provides a rapid understanding of the root cause of problems.


text:
I don't use a debit card very often these days, but when I do I almost always have to spent several moments staring off into space trying to remember my PIN. Unless it's something stupidly easy, numerical passwords slip my mind far more easily than letter-based ones do.
Based on a recent study from the tech consultancy company DataGenetics, I'm not the only one who has trouble with these numeric passcodes. DataGenetics looked at almost 3.4 million four-digit passwords ("condensed from released/exposed/discovered password tables and security breaches") and found that out of the 10,000 possible combinations that the digits 0-9 can be arranged to form a four-digit password, the most common PIN is ...
1234. Yes, really.
If your PIN number is too predictable, it obviously puts you at a target for hackers and thieves -- so you might want to make sure your password isn't anywhere near the top of this list.
Here are the top 20 passwords that account for nearly 27 percent of those 3.4 million PINs studied:
As you can see, the vast majority of people choose numbers that fall into easily-remembered patterns. Why use up valuable brain-space with a random sequence of digits when you can just mash the 2 button a bunch of times, right?
WRONG. If it's that easy for you to remember, it's that easy for a data-or-money-stealing jerkface to figure it out. Mashable recently reported that if a marginally clever thief were to steal enough wallets, he or she would be able to successfully access a bank account with every 10th victim, assuming the cards within came from banks that allow you to choose your own PIN.
So! Long story short: stop using easy numbers for your password. If you're having trouble coming up with a truly random PIN, try one of these ideas:
• Create it from a word. Use the numbers/letters on a phone keypad to come up with a four-letter word you'll remember.
• Base it on a significant date. But not, say, your birth year. Get creative -- maybe your birth month plus your kid's? Your anniversary year plus 8008, because haaa, boob?
• Use a fake cell number. This one's a bit risky considering your phone might be stolen someday, but you could make a fictitious contact with the PIN hidden in the fake number. Just don't name it Passwordia VonRememberMe.
Did you have any idea this many people use such common PINs?
Image via catatronic/Flickr


text:
"My aim is to create pieces that are of contemporary design and still retain the craft and skill of traditional jewellery techniques. Driven by quality and craftsmanship I enjoy the meticulous process of jewellery making, and derive a great sense of achievement and satisfaction from bringing a piece through from design concept to a finished article. Inspired by fluid forms and soft clean lines I am drawn to sensuous objects. I strive for elegant simplicity in my jewellery that I hope will be ageless and endure the fickle nature of fashion."
Jessica Poole
Fluid forms and soft clean lines. A delicate twist or curve emphasised with delicate micro pave set gemstones. Jessica aims to create timeless collections that will endure the fickle nature of fashion.
Engagement, wedding and bespoke jewellery commissions are Jessica's specialty. Jessica will work closely with you throughout the design and making process.
Find out about the specialised skill of micro pave diamond setting. Jessica trained in this beautiful technique in Antwerp, Belgium and uses it thoughout her work.


text:
Dems want deeper look into school shootings
Leader wants bipartisan commission on mass shootings
MADISON, Wis. — State Assembly Democrats are calling for a deeper look into what has caused a spate of mass shootings around the country, including two in the last five months in Wisconsin.
Assembly Minority Leader Peter Barca, a Kenosha Democrat, said the time for action has come after Adam Lanza killed 20 children at Sandy Hook Elementary School in Newtown, Connecticut on Friday. The shooting comes after attacks at a Sikh temple in Oak Creek in August and a Brookfield spa in October.
Barca said he plans to talk to Republican Governor Scott Walker on Tuesday about setting up a bipartisan commission to examine mass shootings.
Representative Fred Kessler, a Milwaukee Democrat, meanwhile said he's working on several bills to address mental health, ammunition and assault weapons.


text:
This is the book that I found at the garage sale.
That clause modifies book. It tells is what book it is. Because "that" is not the subject of the clause, it can be omitted.
This is the book I found at the garage sale.
Even with out "that" it is a restrictive relative clause.
This book, which was written by John Henry, is the best reference for
This clause modifies "book" but is not necessary for the sentence to have meaning. In this case "which" functions as the subject of the clause.
More here: Clauses - Restrictive and Nonrestrictive
Unfortunately, there are differences of opinion about phrasal verbs. These are combinations of a verb and a preposition or an adverb. IMO, "phrasal verb" only applies to combinations that have an idiomatic meaning, that is, the meaning of the unit is different from what one would understand from the individual words. Unfortunately, there are those who see almost every sequence of Verb + prepostion/adverb as a phrasal verb. This causes a lot of confusion. There are also those who say that "phrasal verb" applies only to verb + adverb. When a prepsotion is involved, they call it a prepositional verb. I don't find the distinction to be very useful.
Because phrasal verbs are idioms, their meanings must be memorized as if they were vocabulary words. There are many phrasal verbs here:
I hope this helps.


text:
UnNews:Israeli rocket hits White House
This article is part of UnNews, your source for up-to-the-microsecond misinformation.
16 October 2006
|UnNews Audio (file info)
|Listen to this story!
WASHINGTON, D.C. -- Six Bush Administration interns and security redshirts have been killed in an Israeli air strike in Washington, D.C., Homeland Security officials say. The officials said that at least four of the dead were members of the militant right-wing nutjob group, al-GOP. They added that the men were in a large, white house which was hit by a rocket north of the Potomac River along the Maryland-Virginia border.
The Zionist Entity confirmed that there had been an exchange of fire in the area after "President Bush made an anti-Semitic joke and Condi refused to cook us Hummus." The army said at least one Republican intern had been killed.
UnNews's Middle Eastern correspondent, Mordillo likened the situation to the Star Trek: Deep Space Nine episode "Trials and Tribble-ations", "only without the intrigue, well-written dialogue, Ferengi comic relief, and gratuitous cleavage."
Nineteen Republicans have been publicly humiliated by their connections to this recent attack, the Foley Scandal, Hurricane Katrina, and the War in Iraq over the past 48 hours. The shame is the worst in Washington since 1998, when the Republicans, jealous of the success of then-President Bill Clinton's sexual escapades, launched a foolhardy scheme to try to impeach the studly head of state.
- Billy Britain "Jews attack US" BBC, October 13, 2006
- Plato "Atlanteans, Republicans fall into shame" Victoria's Secret, September 45, 2006


text:
Chloe's Chemoo Cows was set up in September 2011 in memory of Chloe Alexandra McNeil. At 11 years of age she lost her fight with an inoperable and incurable brain tumour just 9 months after her initial diagnosis.
We hadn't started out to set up a charity, like all good things it evolved naturally and really is a reflection of Chloe.
The inspiration behind Chloe's Chemoo Cows was Chloe's love of art, her teddy 'Chewits', who was never far from her side in hospital, and her love of all things cow related! A strange obsession, but one she relished, from bookmarks to socks and from toys to jewellery...if it had a cow theme she loved it!
Our mission is to raise awareness and much needed funds to brighten the lives of children with cancer, to do this we work alongside Clic Sargent, the Macmillan outreach nurses and the play therapists at the Schiehallion Ward, Yorkhill Children's Hospital.
One of the first things Chloe's Chemoo Cows does is provide all children receiving chemotherapy with their own Chemoo Cow gift box containing a soft toy cow, bookmark, sticker and certificate.
We then liaise with the staff to buy much needed activities, crafts, toys, DVDs and other items for the children or the ward. We deliver these huge parcels of crafts & activities (weighing 20-25kg) to the ward 3 times a year as well as making additional deliveries with other gifts at special points in the year including Christmas and Easter.
The charity is going from strength to strength and to date we've raised over £200,000 but we couldn't do this without your continued support and fundraising!
Chemoo-therapy is udderly serious but Chloe would always try to find the Cow-mical side of things!!!
Her positive attitude has inspired us to create something we know she would be proud of.
Chloe's Chemoo Cows is a registered charity, founded by Chloe's parents, and is fully committed and focused on our aim to brighten the lives of children and young people living with cancer.
Charity Registration Number SC042649.


text:
The first Sony Xperia i1 'Honami' system dump is here, and it shows off the new and improved Sony UI. Also, the system dump reveals that Honami packs a 20 MP camera capable of recording 4K video.
Sony's hotly-anticipated Xperia i1 Honami flagship system dump got leaked last night. The dump revealed lots of new features such as an overhauled UI.
Augmented Reality App, new Camera icons
Here are the changes which we observed:
- Tweaked Camera UI
- Updated Sony WALKMAN Music Player App
- Tweaked Xperia Home Launcher
- Updated Sony ALBUM App
- Updated Sony MOVIES App
- Updated Sony Keyboard
- Tweaked Small Apps UI
- Updated Sony Messaging App, UI
- Updated Clock, Calculator, Calendar App, UI
- New Augmented Reality App (AR)
Sony's Xperia i1 Honami is said to pack the powerful Snapdragon 800 chipset by Qualcomm. Also, the phone packs the ability to capture 20 MP camera shots (resolution of 5248 x 3936), a new Super Resolution algorithm, 4K video recording (3840 x 2160).
The system dump itself isn't brand new, but
more than a month old dated June 2. It is entirely possible that Sony continued tweaking the UI, making more changes, adding new features and apps since then. After all, Honami's launch date is still a little bit away.
I have to admit, with all the new information popping up of late, I am more excited than ever about Honami. Can't wait to get my hands on the phone!
Source: XDA-Developers Forum via Xperia Blog


text: Mohit Jhawar is a Vice President of Morgan Stanley. Mr. Jhawar joined the Firm in 2011 and focuses on the group's private equity transactions in India. Prior to joining Morgan Stanley, Mr. Jhawar worked with Sabre Capital, where he focused on growth transactions in the health care and infrastructure sectors. He has been a key member on deals like investment in Super Religare Limited and was responsible for managing influential stakes in Man Infraconstructions and ECI Engineering. Prior to Sabre Capital, he worked with MAPE Advisory Group in advising various SMEs on M&A and fund raising. Mr. Jhawar is a native of India and is based in Mumbai. Mr. Jhawar received his bachelor's degree in chemical engineering from the Indian Institute of Technology, Kanpur and holds an M.B.A. from the Indian Institute of Management Bangalore.


text:
Thursday, May 24, 2012
Alex Katz Prints
Orange Hat, from the portfolio Alex and Ada: 1960s to 1980s, 1990, Alex Katz (American, born in 1927) Screenprint. Graphische Sammlung Albertina, Vienna. Photograph © Albertina, Vienna; Peter Ertl. Art © 2011 Alex Katz/Licensed by VAGA, New York, NY. Courtesy, Museum of Fine Arts, Boston
The Green Cap, 1985, Alex Katz (American, born in 1927) Woodcut. Promised gift of Alex Katz © 2012 Alex Katz/Licensed by VAGA, New York, NY. Photograph © Museum of Fine Arts, Boston
Dog at Duck Trap, 1975–76, Alex Katz (American, born in 1927). Lithograph. Graphische Sammlung Albertina, Vienna. Photograph © Albertina, Vienna; Peter Ertl. Art © 2011 Alex Katz/Licensed by VAGA, New York, NY. Courtesy, Museum of Fine Arts, Boston
Alex Katz's bold portraits and lyrical landscapes are among the most recognizable images of contemporary art. Quintessentially American and characterized by cool detachment, his works spark a dialogue between abstraction and representation.
Alex Katz, Self-Portrait (Passing), from the portfolio Alex and Ada: 1960's to 1980's, 1990, Screenprint, Graphische Sammlung Albertina, Vienna, Photograph © Albertina, Vienna; Peter Ertl. Art © 2011 Alex Katz/Licensed by VAGA, New York, NY. Courtesy, Museum of Fine Arts, Boston.
In celebration of the 60-year career of Katz (born 1927), and the promised gift of an archive of the artist's prints from the 1960s to today, the Museum of Fine Arts, Boston (MFA), presents Alex Katz Prints, on view through July 29 in the Ann and Graham Gund Gallery. This retrospective—conceived and drawn from the collection of the Albertina Graphic Collection in Vienna, which received the gift of a major Katz print archive—will showcase approximately 125 works. Included among them will be portraits of Ada, Katz's wife and longtime muse, family members, and figures from the worlds of art and culture; landscapes of Maine; portfolios; and illustrated books of poetry. In Boston, additional works from the MFA's collection and promised archive will be included, and a special highlight will be Rush (1971), a series of 37 paintings given by Katz to the MFA in 2011, which will make its Boston debut during the exhibition.
"New York artist Alex Katz, who has spent his summers in New England since the 1950s, has a longstanding relationship with the MFA," said Malcolm Rogers, Ann and Graham Gund Director of the Museum. "Over many years, he has been exceptionally generous, helping us to build our contemporary collections in exciting and meaningful ways. We are delighted to celebrate his long and distinguished career as a printmaker, as well as his promised gift to the Museum of an archive of his prints with this beautiful exhibition."
The Boston showing of Alex Katz Prints is curated by Clifford Ackley, Chair, Department of Prints, Drawings, and Photographs, and Ruth and Carl J. Shapiro Curator of Prints and Drawings at the MFA, together with Edward Saywell, Chair, Linde Family Wing and Arthur K. Solomon Curator of Modern Art at the MFA. The exhibition showcases Katz's distinctive style as a printmaker through which he distills his subjects down to their essence with an arresting simplicity of line, color, and form. His works are notable for their radical cropping, dramatic close-ups and expressive color, from vibrant hues to subtle greys and bold blacks. The images are crisp and clean, devoid of non-essentials. Katz's portraits are iconic and intentionally avoid anecdote and psychological interpretation. Drawing on the language of billboards and films, his works bridge the worlds of art, advertising, and fashion.
The exhibition will begin with a "family room" featuring prints of the artist, his wife Ada, poet and art critic son Vincent, and daughter-in-law Vivien. The centerpiece will be the dramatically cropped image Orange Hat (1990). For more than five decades, Katz's wife has been his muse, her elegant visage captured in a variety of poses. Throughout the exhibition, in works such as Blue Umbrella (1979-80), Ada assumes many different guises and costumes, evoking the ever-changing fashions and styles of recent decades. An adjoining space will feature portfolio images of Alex and Ada, including Self-Portrait (Passing) (1990) and the life-size, free-standing silkscreened aluminum cutout Ada (1999). Elsewhere in the exhibition, additional images of Ada will be showcased, including Brisk Day (1990), three identical, sequential portraits of her in a red coat printed in woodblock, aquatint, and silkscreen.
"Alex Katz's prints are brilliant interpretations of his paintings," said Clifford Ackley, co-curator of the exhibition. "When distilling the paintings to their very essence, fine tuning of luminous color and precision of tone become vital to these concentrated images that pack a terrific graphic punch."
A focal point of the exhibition will be Rush (1971), on view in a separate space dedicated to the portrait series. Given to the MFA in 2011, it comprises 37 painted aluminum silhouetted heads, which will be hung side-by-side at eye level like a continuous frieze, suggesting a roomful of people gathered at a cocktail party. Among them are key cultural figures of the 1960s and '70s, including artists Rudy Burckhardt, Al Held, Brice Marden, and Yvonne Jacquette; writers Ted Berrigan, Thomas Disch, and Larry Fagin; critics Edmund Leites, Robert Rosenblum, and Irving Sandler; and, from the world of dance, Edwin Denby and William Dunas.
"Rush is a remarkable work of art and we are thrilled that it will have its MFA debut within the context of this exhibition," said Edward Saywell, co-curator of the exhibition. "To be faced—literally—in the round by some of the great cultural figures of the 1970s is a startling experience."
Throughout the Gund Gallery, visitors will discover a wide range of prints by Katz that capture various facets of everyday life in both city and country. A hallmark of Katz's work is its evocation of the New York cultural scene with the artist drawing heavily on the worlds of art, dance, and poetry. Of special note is the series Pas de deux (1994), prints of five couples in high-fashion dress, including artists David Salle, Red Grooms, and Francesco Clemente; Face of the Poet (1978), a portfolio of 14 aquatints from shaped plates consisting of portraits and poems by leading poets, such as Ann Lauterbach and Ted Berrigan; and Night: William Dunas Dance 1-4 (1983), a sequence of four lithographs that draws upon Katz's interest in the world of dance. Even animals will be part of the mix, as seen in the whimsical life-size cutout Cow (2006), or in Dog at Duck Trap (1975–76), an image of the Katzes' shaggy-haired Skye Terrier, Sunny, looking out at visitors from a Maine landscape.
Among the highlights of Alex Katz Prints are the artist's evocative landscapes that capture the quiet majesty of Maine, where the Katzes have summered for decades in Lincolnville. The woods, beaches, and ponds of Maine have provided rich subject matter for Katz since he first visited the state in 1949. Many of the works show his keen interest in the effect of changing light and shadow on a particular setting, such as the early Luna Park (1965) and Twilight I, II, and III (1978). In addition, Katz's large painting Poplars (2003), a 2009 gift to the MFA from the Alex Katz Foundation, will be on view as one leaves the Gund Gallery.
Alex Katz Prints, a 240-page catalogue with more than 200 color illustrations accompanies the exhibition. Produced by Hatje Cantz Albertina, it features four essays on Alex Katz's work in prints. The catalogue, available in hardcover for $60, and other books featuring Katz are available in the MFA Bookstore and Shop, or on line at www.mfa.org/publications.


text:
Steve Nesser Skater Profile
Sponsors: Spitfire, Familia Skateshop, IPath, Independent, The High Five, Adeline Apparel, Swiss
Hometown: Minneapolis MN, Stance: Regular, Age: 41, Status: Pro
Last Update: Wednesday, January 4, 2012 Submit an Update
Sorry, no twitter feed for Steve Nesser was found.
Steve Nesser Comments
Other Skater Links
- Full Skater Database - 6000+ skater profiles.
- Skateboarders on Instagram - browse your favorite pros and ams on Instagram.
- Skate News and Videos - daily skate news and videos from around the web.
- Media Coverage - we log all major magazine coverage by skater and photographer.
- Skate Photographers - we log all major magazine coverage by skater and photographer.
- Contest Results - over a decade's worth of contest history.


text:
Bringing Balance to the Force
. Please
1 Hour
1 Day
1 Week
1 Month
Login with username, password and session length
JediDefender.com Forums
Photonovels and Movies
Jesse James
) »
Rykrof Enloe Chapter 31 - BROKEN ORDER
« previous
next »
Pages: [
Topic: Rykrof Enloe Chapter 31 - BROKEN ORDER (Read 3593 times)
Jedi Sentinel
Posts: 14616
Rykrof Enloe Chapter 31 - BROKEN ORDER
February 3, 2012, 02:31 PM »
Now that I'm getting started on "THE ENLOE TRIALS" series, figured I ought to post the last chapters to
"THE ENLOE CHRONICLES" series...
In a sharp turn of events, Supreme Chancellor Palpatine has revealed himself to be the Dark Lord of the Sith and seized complete control of the Republic!
Immediately issuing a command for all Jedi to be terminated at once, Jedi on the front lines of battle are confronted by their own clone troopers!
They are caught totally unaware of the betrayal...
...and the Jedi Temple burns.
On the remote world of Braatos VII, a clone trooper garrison searches for Jedi survivors.
A group of concerned onlookers watch as Republic troops scatter throughout the capital city of Unitos...
"What's happening?" an elderly Arcona wonders.
"Some sort of rebellion," a Nikto male responds.
"They're hunting
"Listen!" the group's small companion screeches.
Laser blasts
"We best stay out of this; this is the Jedi's problem to deal with. Not ours."
In an adjacent district several troops converge on a battered Jedi desperately fighting for his life... Redwind!
The clones then work together to unleash a deadly barrage of fire...
Within moments the clone troopers have eliminated the noble Jedi!
"Restrict any transports from leaving the city," the commanding officer says while standing over the dead Jedi.
"Amazing he survived the initial blast," one trooper observes.
"All the more reason to believe another Jedi may still be out there," the commander continues.
"Double your search and begin questioning the locals."
Soon after, an Ithorian peasant makes his way past the adjacent alley...
...creeping out from behind a droid factory crawler, a badly injured Jedi pulls himself to his feet!
Kala Mly Shundi cautiously emerges, knowing he must get off the planet if he is to survive.
Meanwhile, on Dantooine...
...the 334 Siege Battalion, unaware of the order to kill the Jedi, has broken into a fortress held by Badoo Corba terrorists...
The team has saved Rykrof's longtime friend, Freelo.
But the primary goal of the mission is to eliminate the leaders of the Badoo Corba. Once the team has begun to move toward the upper levels...
...it has met strong resistance from the organization's Separatist allies!
In spite of the enemy's superior numbers, Rykrof's unit has been trained for this moment...
...the elimination of the Badoo Corba!
Beings from all corners of the galaxy are represented by the evil organization...
...including horrifying machines created for tearing victims apart!
But against all odds, the strike force is relentless in their assault!
And Rykrof is determined to bring down the terrorist organization once and for all!
However, Jedi Master Teltuu Stabo has sensed a terrible disturbance in the Force.
Uncertain of what has happened; he reveals nothing to his comrades.
Soon it becomes apparent that the squad is overmatched by the superior numbers of the enemy forces!
Commando Drake quickly realizes that reinforcements are needed if the unit is to survive...
...he and his men then break off from the main group to shut down the Badoo Corba jamming signal!
Meanwhile, Rykrof presses on in search of the Badoo Corba leader, Mubaas Fuuda.
Splitting into several squads, a small team of Rykrof's men remain on the lower level to provide cover for Rykrof's advance...
...as the others press forward.
Soon, the team gets pinned down by a group of deadly Separatist Lancer Droids!
Led by one of the Trade Federation's military leaders, General Snodd!
"Wait... behind the droids..." Rykrof observes.
! The Badoo Corba's second in command!"
"No sign of Mubaas," Teltuu adds.
"We'll need to take Troffar alive!"
Rykrof's headset suddenly comes to life with a transmission from Commando Drake!
"Commander Enloe, this is Drake. I've reached the comm center."
"Good work!" Rykrof shouts.
"See if you can break through the jamming signal and contact Admiral Gere! We need reinforcements!"
"Bad new, Sir... detonator went off in here," Drake reports.
"Behind us!" one of Rykrof's troopers warns.
Rykrof then turns to find a group of Battle Droids approaching his position from behind!
"We're caught in a cross fire here Drake!" Rykrof shouts.
"How bad is it?"
"My men are down... equipment is useless... but our communications to Admiral Gere are
being blocked somehow. Schematics indicate a secondary comm unit in the east wing..."
"I'm headed there to shut down the override."
"Damnit," Rykrof curses as the Badoo Corba continue to pin his group down.
"Alright, you're going to have to fall back to the hangar bay so nobody escapes," Rykrof tells his Jedi friend.
"I can handle Troffar."
"Rykrof, the situation has changed," Master Teltuu insists.
"Right now we need those reinforcements. Establishing communication to Admiral Gere's men is vital."
Rykrof then realizes that both Troffar and General Snodd are gone!
"Fine, go help Drake establish contact! Do what you have to do!"
"But I'm going after the Gran!"
Rykrof then strikes a direct hit in the chest of one of the Lancer Droids!
"Very well, Commander. We'll do it your way," Teltuu relents as he turns in response to the Battle Droid advance.
Rykrof then springs forward in pursuit of Troffar and General Snodd!
He quickly rounds a corner...
...and finds himself face to face with Troffar!
Acting on instinct, Rykrof blasts the Gran's weapon out of his hand!
"Get on your knees and get your hands where I can see them!" Rykrof insists.
Rykrof then removes his helmet to reveal his identity to the evil terrorist.
"You Infidel Slime," Troffar laughs upon recognizing his captor.
"You have won nothing,
Rykrof Enloe
Rykrof then shoves his blaster against the Gran's neck!
Where's Mubaas
"You'll never find him," he growls.
"The Badoo Corba's allies stretch across the galaxy... we will bathe in your family's blood!"
Troffar then reveals a dagger, and lunges forward!
"Die! In the name of
Rykrof quickly fires a single shot at the Gran!
He then looks down at the body of Troffar in disgust.
"Descend to an eternity in hell," he says.
Observing his surroundings, Rykrof then shifts his attention to contacting Admiral Tylin Gere.
"I might be able to use this equipment to shut down their jamming signal..."
"That won't be necessary," the admiral then announces as he enters the room.
"Tylin?" Rykrof asks with suspicion.
"What's going on?"
"I've taken command of this operation," Tylin explains.
"Orders came down from the top. We are to ensure they are followed without question."
"What orders?"
"Executive orders," his friend replies.
"The Jedi attempted to overthrow the Senate and must be dealt with. Now, where is Teltuu Stabo?"
Tylin then turns in response to laser blasts and an anguished scream coming from a nearby room.
Rykrof then races past his friend into the adjacent hallway to investigate!
There he finds a dead clone trooper lying on the ground...
"Light saber wound," Tylin observes.
"Your Jedi friend must still be alive."
"He's gone, Admiral," a trooper reports as he runs into the room.
"Brought down several more of our squad on his way out."
"Would somebody please explain what in the hell's going on?" Rykrof asks.
The conversation is then interrupted as General Snodd is escorted into the chamber by a pair of Admiral Gere's troopers.
"General Snodd," Tylin nods smugly.
"What may I ask is the Trade Federation doing dealing with the Badoo Corba?"
"I demand to speak with the Separatist Council
at once
!" Snodd replies.
"I'm afraid I can't allow that," the admiral says as he raises his blaster.
"Our orders are to eliminate all the terrorists in this facility; and since you have joined forces with them..."
"...that makes
one of them!"
"Tylin!" Rykrof protests.
"He was an unarmed prisoner!"
"I think the Chancellor will agree with me in this... matter," Tylin coolly replies.
"What about Teltuu?" Rykrof asks.
"He won't get far," Tylin insists.
"My men will handle the situation from here."
Several kilometers away, Teltuu Stabo safely observes the Republic activity surrounding the Badoo Corba complex.
"This can't be happening," he laments.
"The order to kill the Jedi was sent to all clone commanders," Commando Drake replies.
"Palps has gone mad."
"No, this was planned in advance," the Duros Jedi argues.
"The Jedi were deceived... we should have seen this coming."
Teltuu then turns to the veteran Commando.
"So, why did you help me?" he asks.
"I don't shoot friends in the back," Drake replies.
"When they find out what you've done, they'll be after you as well," Teltuu points out.
"I'm well aware of what awaits me if I'm caught," Drake admits.
"So, what's our next move, General?"
"We need to find out if any other Jedi survived," Teltuu says as he raises the macro binoculars again.
"And see which side Rykrof takes."
The Enloe Trials: Chapter 10
Jedi General
Posts: 7959
I aim to misbehave.
Re: Rykrof Enloe Chapter 31 - BROKEN ORDER
Reply #1 on:
February 20, 2012, 04:21 PM »
It's nice to revisit these. I can't wait to see the next series!
This is the way.
I have spoken.
Dressel Rebel
Jedi General
Posts: 8461
En Sabah Nur
Re: Rykrof Enloe Chapter 31 - BROKEN ORDER
Reply #2 on:
February 20, 2012, 09:24 PM »
Awesome as usual - enjoyed this.
This is what happens when you invade Wakanda
Jedi Sentinel
Posts: 14616
Re: Rykrof Enloe Chapter 31 - BROKEN ORDER
Reply #3 on:
February 22, 2012, 04:00 PM »
Thanks gents!
The Enloe Trials: Chapter 10
Pages: [
« previous
next »
JediDefender.com Forums
Photonovels and Movies
Jesse James
) »
Rykrof Enloe Chapter 31 - BROKEN ORDER
Simple Machines
Page created in 0.054 seconds with 18 queries.


text:
DURHAM — The Oyster River High School boys hockey team had already tied four times in 2013. They probably would have liked a fifth one after the way Saturday's game ended.
Visiting Bow scored with 25 seconds remaining in overtime to break a scoreless tie and beat the Bobcats 1-0 in a Division II matinee at the Whittemore Center.
"Our goalie and our team defense has been playing really well," Oyster River coach Griff Richard said. "We just need to start putting the puck in the net. We need to focus on getting shots on goal, (and) stop trying to be so pretty."
Bow's Michael Fanaras took a centering feed from Jake Rand and popped it past Oyster River goalie Brennan Young, ending Young's bid for his first shutout of the season.
"They brought it out from behind the net and put it right in," Young said.
The Falcon goal came on a brief lapse for a team that was tired of skating to ties, and might have been trying too hard to score the game-winner. It was a tough break for a defense that had played strong all afternoon.
"I think we were thinking offense the whole time," said Young, who made 16 saves. "That hurt us. That's not to say they gave up or anything. Our defense absolutely played a good game."
"It's never easy to win here," said Bow coach Tim Walsh, who played his college hockey at the Whitt as a member of the University of New Hampshire men's team from 1996-2000. "And it always seems to come down to a game like this. The kids competed until the end. Our kids kept going until there was 25 seconds left."
It was Oyster River's first D-II loss since Dec. 22, when it fell 5-0 at home to division-leading Merrimack. The Bobcats began the calendar year with four straight 1-1 ties, then had won three straight for a seven-game unbeaten streak.
"I think both teams were a little tired at the end," Richard said. "They had momentum and some adrenaline in the tank. (We) had just shaken off three penalties in a row. We got back in the game, but we didn't catch a momentum swing."
Oyster River fell to 5-3-4 on the season while Bow improved to 7-3-2. It was a key game for two teams fighting for one of the top four spots in the division. The top four earn a bye in the upcoming state tournament, which is expanded to 12 teams from eight last year.
Bow outshot the Bobcats 17-15, although Oyster River held a 3-2 shot advantage in the extra frame.
"We just came out thinking offense," said Oyster River senior forward and co-captain Patrick McDonough. "We played a solid game all day, and we were exhausted. We know how to play tired, and thought we could use that to our advantage, but we just didn't come out really thinking defense at the end."
Oyster River could not catch a break in the penalty department, and as a result struggled to stay out of the penalty box. The Bobcats were called for seven penalties to the Falcons' two, and still had 36 seconds of a penalty to kill when overtime started. There were no penalty whistles for the rest of overtime.
"The power-play disadvantage, obviously, put us on our heels a little bit," Richard said. "We were forced to (penalty kill), which took some of our momentum away. It stresses your team to get through all that. And then to collapse in front of your own net, it's kind of a disappointment."
The Bobcats return to action Thursday at home against Kingswood.
Bow, 1-0
Bow (7-3-2) 0 0 0 1 — 1
Oyster River (5-3-4) 0 0 0 0 — 0
Scoring: First period: None. Second period: None. Third period: None. Overtime: B-Fanaras (Fournier, Rand) 7:35.
Goalies: B-Simpson (15 shots, 15 saves); O-Young (17, 16).


text:
Welcome to Taylor's Maid-Rite!
Taylor's Maid-Rite has been serving its single sandwich menu to central Iowa for 80 years. Each loose meat sandwich is made from the finest 100% choice beef available in Iowa. Ground fresh every day, Taylor's Maid-Rites are a favorite of local patrons and visitors alike.
Taylor's Maid-Rites can be shipped anywhere in the United States. Click Send A Maid-Rite for more information.
Thank You and Welcome!


text:
Interesting note at today's keynotes at the Telematics Update 2011 Show in Detroit…
David Strickland, Administrator for the National Highway Traffic Safety Administration, made it very clear to the telematics/auto industry conference that technology curbs will be explored to prevent distracted driving. This comes despite a March 2011 move for additional study on the problem of distracted driving before government action.
Perhaps his most clear statement in regards to the NHTSA's focus on safety relating to distracted driving was:
"A car is not a mobile device. A car is a car."
This reminded me a story that I heard from an active US observer with the German auto industry. The story goes that many German automotive engineers refused to put cup holders in their luxury cars. "Cars are for driving and not for drinking" was the stance from those German engineers. The US observer asked those same engineers "Do you want to sell cars in the US or stand by your position on cup holders?" Today, my German car has very nice cup holders…
Administrator Strickland… you might want to tell your boss, Secretary LaHood, this story about markets…. Also, it might help to toss in a couple of stories about iPhone "jail breaking" and estimate exactly how long any hardware/software regulation would last in the face of a determined hacker community.
Would you risk "jail breaking" your wireless device to use if there was a regulation against it? Would you accept the regulation?
Post your comments below or email (firstname.lastname@example.com) / twitter (@BlueBuffaloGrp) me directly.
Posted June 9, 2011 10:35 AM
Permalink | No Comments |


text:
Louisiana Toyota Dealers:
If you're interested in finding Toyota Special Offers & Inventory in the Bayou State, look no further than Buyatoyota.com. From North and Central Louisiana, through Acadiana, to Greater New Orleans—finding the right car, truck, minivan, SUV, or hybrid from Toyota is a breeze at Buyatoyota.com. Surf Buyatoyota.com with your computer, smartphone, or tablet, and we'll steer you towards the Toyota vehicle that's just right for you. There's no better way to experience our Sportsman's Paradise than in a new or used Toyota ve-hicle. At Buyatoyota.com you can do it all: Locate dealers convenient to you. View inven-tory and explore your options. Request a quote. Or simply get directions to nearby deal-erships. It's all things Toyota, all in one convenient place. At Buyatoyota.com.