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|The subject of this article was either removed from World of Warcraft or is no longer available due to the devastating Cataclysm.
|Usable by
|Casting time
|Instant cast
|2 min
|Talent tree
|Fire, Tier 4
|Other information
|Related buff
- For the new version of this ability, see Combustion.
Combustion is a mage ability that when activated, gives increasing critical strike chance with Fire spells until 3 criticals occur. Each time a fire spell is cast, the chance to get a critical strike with fire is increased by 10%. This effectively guarantees at least 3 critical strikes from Fire spells within the next 13 casts. This ability is talent trained, requiring 31 points in the fire tree, making it popular with fire mages.
Activating this ability does not invoke the global cooldown, as such it can precede a spell, often with other non-GC abilities such as trinkets, as part of a macro. The cooldown of Combustion does not start until after all charges have been expended.
It is very valuable when intelligently coupled with the Fire talent Hot Streak.
Measuring the value of the talent
Combustion is a means to increase damage, but compared to other damage-boosting abilities (like for example arcane power), the payoff is indirect and its value harder to quantify.
Firstly, combustion is a delayed effect. The first shot sees no benefit at all, and there is no guaranteed benefit until the cumulative crit % reaches 100, forcing a crit on the remaining charges. Combustion's "sweet spot" lies somewhere after the talent has had a chance to build up some, but before its charges are spent. This sweet spot varies according to the underlying stats of the mage. Combustion "peaks" sooner on a high-crit mage than a low-crit mage.
Secondly, the total value of the payoff is variable and depends on the underlying stats of the mage -- and in more ways than one. Consider for example the extreme cases: a hypothetical mage with zero base crit chance would get 3 crits from the talent every time. A hypothetical mage with 100% base crit chance would see no benefit from activating the talent. These edge cases clearly demonstrate the existence of a gradient in the talent's potency. But the gradient is not linear; natural crits not only reduce the value of artificial crits ("I would have crit anyway"), they also waste "charges" on the talent. The more natural crit a mage has, the less total payoff they can expect to see. So a mage with 50% crit gets substantially less than 50% of the maximum benefit.
So what exactly is the value of combustion? How does it compare to other boosters? Say for example a fire mage anticipated the need for burst damage in an upcoming fight, and wanted to maximize the leverage of combustion as a "mini arcane power" by skewing his nominal gear selection to intentionally suppress crit in favor of damage. Obviously there would be a difference, but would the difference be significant or trivial? At what point would the reduction in sustainable baseline dps negate the improved burst coefficient? In order for the mage to find his prefered balance of burst vs sustainable dps, we need some numbers.
The following two graphs were obtained by writing a simple script that mimicks the ruleset of combustion -- namely:
- non-crit damage is defined as 1.0 per shot.
- crit damage is 2.1
- cast 13 times, increasing crit chance by 10% per cast until 3 crits are obtained, at which point crit chance reverts to normal
The script was run 50,000 iterations, and recorded the average damage of each cast in the sequence. The test was repeated at various levels of base crit, from 0% to 50%.
The first graph is raw data. The X axis is casts (which can be interpreted as "time"). The Y axis is how much damage this spell did, on average, relative to the same spell cast without the combustion talent. Arcane power is also graphed as a reference curve. For the sake of argument, AP is assumed to last for 5 casts since we're comparing fireballs. It does not account for other ways an arc mage could pack more hits into his boost duration, like pompyro or icy veins. If you want to assume more or fewer hits during AP, simply shift the curve right or left correspondingly. Also keep in mind the graph does not factor in other differences in talents etc. It's intentionally as abstract as possible, rating each talent only in terms of how it modifies the baseline damage of the mage who uses it.
Two things are immediately obvious: as expected, AP is very strong from the start, but also -- perhaps surprisingly -- for mages with low crit there's a brief period where combustion is (on average) an even stronger boost than AP, once it's had a few shots to wind up and accrue a decent crit bonus.
Of course, by this point AP has already been running strong for a while, and already raked in most of its total effect. In order to grade Combustion fairly as a boost, we probably ought to measure the total damage delivered, starting from the first cast (again, measured relative to the damage that would be delivered regardless of the talent). Thus the following graph:
Some observations:
Combustion is nothing compared to AP during the first 15 seconds. However in the time period immediately following, Combustion catches up impressively.
A mage with 20% crit or lower actually gets more total damage increase from Combustion than AP, if the fight lasts long enough for him to catch up. He catches up around cast #8 (24 sec), where the deep purple band overtakes the red line.
A mage with 20% crit can think of Combustion as a 20% boost over 21 seconds casting fireball.
A crit-heavy mage approaching 50% can think of Combustion as a 10% boost over 15 seconds, which still isn't half bad.
Since the horizontal axis is Casts and not Time, the Combustion graph stays the same whether you're casting Fireball or Scorch. But if you wanted to compare against AP using scorch, you'd need to imagine keeping the red line constant while compressing the rest of the graph horizontally by half. The Combustion scorchist will accelerate through the ranks of combustion faster than his fireball cousin, resulting in an earlier peak, but the combustion scorchist will also run out of charges even sooner, reducing the total value-over-time of his Combustion compared to a fixed-duration boost like AP.
Patch changes
- / Patch 4.0.1 (12-Oct-2010): This ability was completely redesigned.
- Patch 3.3.3 (2010-03-23): The cooldown on this spell is now 2 minutes, down from 3 minutes.
- Patch 3.2.0 (04-Aug-2009): Fire spell misses will no longer trigger this talent.
- This ability was redesigned in Patch 1.11. Previously, it increased the critical strike chance of the next fire spell by 100%, only guaranteeing one critical strike. The cooldown was 10 minutes.
External links


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3 - UHF (403-470 MHz)nrghound wrote:Can't figure out how to post a new topic so I'm posting this model decode request as a reply. Please decode 242-5378-271. I just picked up more than 10. Thanks in advance.. KE6TCE
7 - Intrin Safe, DTMF keypad (all models)
8 - 800 MHz (that doesnt make sense because the radio is a UHF low, far from 800mhz)
Thats all I can decode...Do you have a few pics of these? send me a message plz


text:
Items: Daisy Stamp by Elizabeth Bell for Sugar Nellie, White A5 textured card blank, Pink Bazzill card, Patterned papers from Stash, Memento Tuxedo black inkpad, Fancy Frame dies by Little Claire,white paper flowers coloured with ProMarkers, Brads, large crystals from Hobbycraft, ProMarkers
I am also entering this card into the following challenges:
MAWTT - Use ProMarkers. This week they have a fab prize of a set of ProMarkers sponsored by Letraset
Wild Orchid Challenge - Pastel colours. Another fab prize from Wild Orchid Crafts
Allsorts Challenge Blog - Spots and Stripes. This week they are sponsored by Jackie from the Crafty Garden and the prize is a Martha Stewart deep edge punch.


text:
Tap City is a brand new sketch project from stand-up comic/improviser Aaron Hertzog and improviser Luke Field, two of the most modest fellas you'll ever meet. They have zero confidence in their abilities as sketch writers (or possibly all the confidence in the world, and this entire interview was a sham). Their debut show is this Wednesday at Camp Woods Plus, and there's a strong chance that anyone, everyone or no one who comes and laughs will get a big fat kiss from Luke.
Alison Zeidman: How did Tap City start?
Aaron Hertzog: I started doing stand-up as a way to get into sketch, because I thought I would like sketch more. That's kind of backwards I guess, instead of just starting a sketch group. I was like, I'll do this, and then meet people to do sketch groups with, and then it got away from me. I liked stand-up more than I thought I would. And then eventually I wanted to do a sketch group, and Luke was the first person that I thought of that I wanted to work with and who wasn't already in a group.
Luke Field: I come from a pretty strictly improv background, and I wanted to…expand my horizons…comedically. We were originally working with a few other people, a lot of busy people, and it kind of petered out. Then we just found that we were writing some things that were almost exactly similar in tone and style, so we just started meeting together.
AZ: How did you come up with the name Tap City?
LF: We went to a website of old hobo slang.
AH: We went to a bunch of websites. That wasn't the first one we went to.
AZ: OK, what was the step before the hobo website?
AH: We were kicking around ideas, things that we liked, words, phrases, random things, just trying to keep together a short list of ideas. And I think we both liked the ring of the word "city," but never went back to it, and when we finally had to come up with a name we were looking up old slang websites—
LF: I like old people.
AH: Yeah, we both like old-timey slang and stuff like that. So we found one that was old-timey hobo slang.
AZ: And what does it mean?
LF: It means you're broke. It's a really thrilling story of discovery and excitement.
AZ: Through Google.
LF: Which is modern day Indiana Jones.
AZ: Can you talk about what sketch does for you in terms of creative fulfillment that you don't get out of stand-up or improv?
AH: I like working with other people, and bouncing ideas back and forth. I love the writing process in sketch. Like if I come up with an idea and I write a first draft, and then Luke will read it and give me ideas and jokes, and things to tighten up. I love the collaborative creative process of coming up with something together. Some of my ideas come from improv scenes that I want to make better. It's like the core of it was good, and now I want to strengthen it.
LF: I'm doing improv 3 or 4 times a week, and it's sort of disposable, but you're generating a lot of material. And I just wanted to challenge myself, too, because I had never really done any writing. Also it's just a really good way for us to just beat ourselves up emotionally, and hate the work that we're doing.
AH: It's good pressure to put on yourself…
AZ: What kind of pressure do you feel with doing sketch?
LF: In improv, the audience gives you some leeway to fail, I feel. Even though you don't want to. You want to get up onstage and put on a great show. And ultimately a great improv show will feel and sound like a sketch show. You're basically writing a sketch on your feet. I feel like if we're presenting this material that we've been working on for months and months and months, though, an audience is going to scrutinize it a lot more. So that makes for me an added level of anxiety.
AZ: Do you feel those expectations from an audience when you're doing sketch, when you're actually performing? Can you get a sense of that with the laughs or whatever feedback you're getting from a sketch audience, versus an improv audience?
AH: I think so. It's gotta be a lot tighter than an improv scene.
LF: I know for stand-up and especially for me for improv, we're trained to just hear that laugh and follow it. Well I know it's not like part of the training, but for me the first thing that I hear a laugh from, I think that's probably something interesting that can be repeated and done over again, explored more. And even with stand-up it becomes a rhythm—I guess. I don't know anything about stand- up. But it's a little bit tougher when we're just sitting together by ourselves.
AH: Yeah, to know what's funny. Stuff that makes us laugh might not make a crowd laugh and that's something that I've learned through doing stand-up for almost six years, that everything that I think is funny a lot of people aren't going to think is funny. And it's just trying to figure it out before you get onstage, and also doing stuff onstage that fails, too.
LF: That's why Sketch Up [at Philly Improv Theater] is so great.
AH: Yeah, for stand-up I have open mics. I can go to open mics almost any night a week if I have a new joke and try it out, and it's less pressure because it's just an open mic and if it doesn't go well it's probably just for other comedians. But with sketch, other than Sketch Up there's no real way to test stuff. We have a sketch in the show on Wednesday that we just did at Sketch Up because we wanted to see how a crowd would react to it, and it was good because we were able to cut the sketch down and tighten it up.
AZ: When do you feel like a sketch is finished, or in a finished enough state to be presented for your show? Do you feel like a crucial step is getting feedback from an audience and then going back and editing?
AH: Just from watching sketch and being around it, you know the beats of it and you know like an outline…you know where you want the sketch to go and how you kind of want it to end, but I don't know, as far as knowing when something is completely ready, I never feel like something is completely ready. I hate everything I do [laughs] and I work on it forever.
LF: I feel like a total fraud giving this interview.
AZ: If you hate everything you do, what drives you to keep doing it?
LF: Just a lot of self-hate.
AH: Yeah, I need the self-hate to keep going. Because I need something to hate myself about.
LF: It's the Dunning-Kruger effect. People who feel they're really good at something are usually going to be the worst at it, and then the people who [are actually good at something] will never be totally satisfied because they also [know enough about it to know] how much better it can be.
AH: So what we're trying to say is that we're really good because we don't think we're good. Right?
LF: We're determined…and it's nice to have some great sketch comedy in the city to kind of look to. and is something to strive for.
AZ: Are there specific goals that you guys want to reach as Tap City? Or is there just a general sense of always striving to be better?
AH: I don't know, I don't think we set any goals other than to just have good shows.
LF: Yeah, the goal was July 25th. And then after that it was kind of…we'll see what happens. But for me I want to just get stronger as a writer. Get in the habit of writing every day, or more than I already do, and maybe find a style. I feel like every sketch group in the city, the ones that have been around for awhile, all have their own style and voice.
AZ: And you feel like you guys are still working on yours?
LF: Yeah, we have nothing.
AH: We have things that we wrote that we thought were kind of funny, but I don't feel like there's a coherent voice yet. And like Luke said, I also want to use it as an opportunity to just make myself write all the time, every day, and to put stuff out in front of people even if it's just Luke. Even if it's just sending it to Luke and getting notes and rewriting. I'm not a good rewriter, so that's something I want to work on. I write something and then I get stuck in it and it's hard for me to change it.
AZ: This might be a really weird question and might not make any sense, but I'm going to go for it. Is it important that you know a sketch is funny when you're writing it? I feel like in improv you're told "don't chase the laugh," and just commit to your character and commit to the relationship in the scene, and the humor will come out; you'll discover the humor or the audience will discover things that they find humorous just because you're committed and you're playing the scene. With sketch, do you feel like you could just write a scene, and not necessarily write jokes, and still have it be funny? Or is it more deliberate, that it has to be funny?
AH: I think it deliberately has to be funny. I've seen some sketches from groups where it's like there's a character sketch and the joke to the audience is supposed to be either you know a person like this or it's a crazy person and look at how crazy they are, and there's not a lot of hard jokes in it, and it falls flat. I think for sketch, it has to have jokes in it and it has to be more than just—because there are a lot of funny ideas, but translating it to sketch has to have the jokes. I think I have a lot of funny ideas and premises in my head, but turning them into sketches that are actually funny is the hardest part.
LF: In improv, you might start from a real place and you can get away with that in improv, but I think in sketch you have to heighten it. Yeah, you know somebody like this, but we want to push it to the max.
AH: Yeah, I think in improv you get away with it more, or it's more acceptable, because you're making it up. But in sketch, all of the things you're supposed to be thinking of in improv, like heightening things, or "if this is true, then what else is true," since you have the time to write that out and actually think of it and prepare, you have to do it. If you don't necessarily do those things in an improv scene you can get away with being a funny character or working the relationship or the situation and it can be kind of stagnant and not go anywhere and still be funny, but in sketch if you try to do that it's just…yeah.
LF: I've seen a lot of improv shows and been like, "oh that was interesting." But if I'm seeing sketch I don't want it to be interesting, I want to think, "oh that was fucking funny."
AZ: So you can have a good improv scene that isn't necessarily funny but with sketch it has to be funny.
LF: Ultimately I think the goal in most improv–and I'm sure there will be people who disagree with me–but you're trying to make the audience laugh. And with sketch it's even more of that. At least with sketch comedy–I don't know if sketch really lends itself to tragedy.
AZ: Maybe that could be the niche you guys are looking for.
AH: It'd probably be a lot easier. And we might get more laughs, too. If we're just being serious, deadpan…I think you just helped us develop our voice.
AZ: So without revealing too much, what kind of things can people expect from you on Wednesday?
LF: You're going to see two charming, gee whiz, aw shucks fellas do their best, even though they're green…
AH: Don't sell us short, Luke!
LF: I think it's going to be…OK…
AH: Well, what do we expect or what should other people expect? Other people will expect to see a good show from Camp Woods, and a first show from Tap City.
LF: Tap City: We're first.
AH: Tap City: the openers. But no, I'm excited, I like all of the sketches that we're doing. They're all things that we have sort of tested at Sketch Up or other open mics or things that we've both taken into the sketch writing classes at PHIT, but a lot of them [aren't things we've performed] with each other, which will be interesting.
LF: I'm just ready to have fun. And until that moment when we get onstage, I'm going to be tearing my hair out in agony, and self doubt, and…
AH: I'm not going to eat, between now and the show.
LF: I just ate my last piece of food, a brownie from Cosi. By the way, plug for Cosi: The brownies are great, you should get the one with cheesecake in it.
AZ: Cosi brownies: the official dessert of Luke Field from Tap City.
LF: I have a lot of official desserts.
AZ: Just send me a list, and we can run it alongside the interview.
See Tap City this Wednesday, July 25th at CAMP WOODS PLUS!, 8:30 pm at L'etage. Tickets are $10 at the door.
3 Comments
[…] L'etage, 624 South 6th St. Philadelphia) my favorite show in Philly right now. We also did this interview about our debut on Philly comedy website Witout. Check it out. And check out Camp Woods Plus on […]
That's not an "invading" hoard of Cthulhu's Minions.
Noone gives a damn about the ACC or your pathetic program. You just had your ACC Meetings and noone even covered it. Hell your own Beat writer went there and the only thing he reported on was the All ACC Team. He doesn't give a damn either. Probably drew the short straw and had to waste a week covering this garbage.


text:
Dell Speeds Up ROI for Enterprise
By CIOinsight
Dell has announced sweeping additions to its virtualization solutions suite, paying particular attention to accelerating the delivery of benefits to its corporate clientele. In an interview with Ziff-Davis Enterprise Contributing Editor Steve Kovsky, Dell Solutions Director Anthony Dina explains that in the past, customers were frustrated by the length of time it took for a new technology investment to pay for itself. Dell's new approach emphasizes quicker returns and better measurement of each customer's ROI. "There's a lag time between when a person decides they want to get after the advantage, and when they actually get the advantage, so with this announcement, we put a lot of effort into what we call âthe fast track to efficiency'," Dina said. That fast-track approach calls for a combination of pre-configured hardware and software packages, bundled with advisory and consulting services that are designed to let companies plan, deploy and manage their server virtualization investment with a minimum of downtime or delay.


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text: 2013/2014 Tidewater Mortgage Services, Inc. Great Performance Series - ALL TICKETS ON SALE NOW!Friday, July 26, 2013The Sandler Center for the Performing Arts, Virginia Beach's premier cultural venue, is pleased to announce the on sale of the 2013-2014 Tidewater Mortgage Services, Inc. Great Performance Series. The upcoming season features concerts by music legends, comedy, dance, holiday, and family entertainment. This season is packed with world-renowned performers and student matinees, and there are still more great additions that will be announced in the coming months. Tickets On Sale Now by calling 1-877-YNot-TIX, logging onto YNotTix.com, or visiting the Sandler Center Box Office. Alejandro Escovedo & Shelby Lynne An evening of stories and songs with two critically acclaimed singer/songwriters. Sept. 25, 2013, 7:30 p.m. $29, $38, $45, $50 The Doobie Brothers The Vocal Hall of Fame rock group reunited for their newest album, "World Gone Crazy". Oct. 11, 2013, 8 p.m. $50, $60, $65, $90 Aladdin & Other Enchanting Tales – Family Series Discover and experience the tales of Genii, princesses, and wizards. Oct. 17, 2013, 10 a.m. and noon $10, $15, $20, $25 Bale Folclorico de Bahia Dancers, musicians, and singers make up this extravagant 38-member troupe performance based on "Bahian" folkloric dances of African origin. Oct. 20, 2013, 7:30 p.m. $23, $29, $39, $49 Dr. John The six-time Grammy Award Winner American singer-songwriter who merges blues, pop, jazz, zydeco, and rock-and-roll to create his own musical fusion. Oct. 22, 2013, 7:30 p.m. $45, $50, $55, $65 Marcolivia – Violin Duo - Miller Studio Series Marc Ramirez and Olivia Hajioff together make up the collaborative and creative pair. Nov. 6, 2013, 7:30 p.m. $20 Aaron Neville His incredible career has seen him move seamlessly back and forth between solo work and his role in the first family of New Orleans music, the Neville Brothers. Nov. 9, 2013, 8 p.m. $34, $38, $48, $60 Alton Brown Live! Food Network star Alton Brown brings his brand of quirky humor and culinary science antics to the stage in a show with a unique blend of stand-up comedy and food experimentation. Nov. 10, 2013, 7:30 p.m. $35, $45, $55, $125 Bill Cosby One of America's most beloved comedians of all time, Cosby talks about being a grandfather, his first love, and much more in his humorous and insightful manner. Nov. 21, 2013, 7:30 p.m. $45, $50, $60, $80 Joe Ely, Ruthie Foster & Paul Thorn Joe Ely's voice is that of a man who speaks fluently of honky tonks and jook joints, Ruthie Foster can burn down any stage with her combustible blend of soul, blues, rock, folk, & gospel, and Paul Thorn's distinctively soulful voice makes his concerts feel like "taking a 6-pack to church." Nov. 22, 2013, 8 p.m. $30, $35, $40, $45 Natalie Cole - Holiday & Hits Multiple Grammy-winning R&B and Jazz recording artist Natalie Cole brings holiday classics as well as her greatest hits for an unforgettable night of music. Dec. 13, 2013, 8 p.m. $55, $60, $70, $100 IONA – Traditional Celtic Music - Miller Studio Series This outstanding Celtic band brings a sense of tradition and excitement with their take on traditional Celtic music. Using traditional instruments, IONA presents the rich musical elements of all Celtic cultures. Jan. 15, 2014, 7:30 p.m. $20 Padmarani – Classical Indian Dance - Miller Studio Series Padmarani, who was born in Sri Lanka, combines versatility with an international reputation as a dancer and teacher par excellence and performs and teaches Bharatha Natyam, an ancient form of Indian temple dance. Jan. 29, 2014, 7:30 p.m. $20 X Out Bullying presented by Virginia Stage Company In this brand new production, students will learn how to recognize, understand, and stop bullying in their own schools and obtain important and valuable lessons on how to "X OUT" bullying in their classrooms. Feb. 3 – 5, 2014, 10 a.m. & noon $10, $15, $20, $25 Pat Metheny Over the years, Metheny has won countless polls as "Best Jazz Guitarist" and awards, including three gold records and 20 Grammy Awards in 12 different categories. Feb. 11, 2014, 7:30 p.m. $41, $50, $60, $85 Dinosaur Train: Live! – Family Series Dinosaur Train - Live! will bring the beloved stars of the hit PBS series. From giant King to teeny Tiny, the show's stars will be brought to life in an exciting, original, musical story created just for the stage. Feb. 20, 2014, 10 a.m. and noon $10, $15, $20, $25 Chris Botti This world-renowned trumpeter is known for his soulful reimagining of beloved jazz standards and a talent for the stage that cannot be matched. March 13, 2014, 7:30 p.m. $45, $50, $55, $75 Jim Belushi and the Chicago Board of Comedy With more than thirty years of experience and an alumnus of "Saturday Night Live" and Chicago's famed Second City, Jim Belushi is now bringing to the stage an improvised comedy sketch show featuring members of the Chicago Board of Comedy. March 14, 2014, 8 p.m. $35, $45, $55, $65 Rain – A Tribute to the Beatles Hailed as "The Next Best thing to Seeing the Beatles" by the Associated Press, RAIN performs all of the band's best-loved songs from throughout their discography. March 18, 2014, 7:30 p.m. $50, $60, $65, $100 Keb' Mo' Three-time Grammy Winner for Best Contemporary Blues Album, this singer and guitarist passionately combines jazz, R&B, and blues to create a sound uniquely his own. April 4, 2014, 8 p.m. $40, $45, $50, $65 My Heart In A Suitcase – Family Series This powerful performance tells the true story of Anne Lehmann, a young Jewish girl growing up in Germany who is sent away by her family to live with strangers in England during the outbreak of World War II. April 7, 2014, 10 a.m. and noon $10, $15, $20, $25 TAO: Phoenix Rising A new production by world-renowned TAO, known for their unique fusion of traditional Japanese Taiko drumming with cutting-edge choreography and costuming that is sure to leave audiences breathless. April 14, 2014, 7:30 p.m. $25, $35, $45, $50 Ben Folds Among the most distinctive and inventive musicians of the alternative era, beloved for kinetic live shows and piano-powered popcraft. April 30, 2012, 7:30 p.m. $35, $45, $55, $65 Another new addition to this Season is our "Out of the Box" Emerging Artist Series. We will be working closely with WHRV host Paul Shugrue to bring some of the best regional acts to the Sandler Center for this weekly after-work social. Be on the lookout for "Out of the Box" this winter every Thursday in January and February 2014. .…And we are not done yet! There are more great artists still to be announced this season. Look out for new artist updates on Aug. 6. Create your own experience! Subscription packages are still available when you select five or more events. By choosing 5 or more events, patrons will receive a 10 percent discount on each ticket purchased. Visit www.sandlercenter.org or call the box office at (757) 385 – ARTS for additional details. Upgrade to a Membership and receive up to 20 percent off. For more information on membership visit www.sandlercenter.org/membership. About the Sandler Center for the Performing Arts With over 1,300 seats, the Sandler Center is an adaptable, acoustically superb space suited for virtually every kind of live performance. In addition to performances for audiences of all ages, the Sandler Center enriches the life of the Virginia Beach community with arts education programs, including student matinees, in-school performances, and master classes with renowned artists. ### Page Content Contact InformationVB311(757) firstname.lastname@example.com Site SearchSearch by Date RangeStart End View News by Category All NewsAgricultureBudget & Management ServicesCity AttorneyCity AuditorCity ClerkCity ManagerCity TreasurerCommissioner of the RevenueCommonwealth's AttorneyCommunications OfficeConvention and Visitors BureauCourtsCultural AffairsEconomic DevelopmentEmergency Communications & Citizen ServicesEmergency ManagementEmergency Medical ServicesFinanceFireHousing & Neighborhood PreservationHuman Resources (City)Human ServicesInformation TechnologyParks & RecreationPlanningPolicePublic HealthPublic LibrariesPublic UtilitiesPublic WorksReal Estate AssessorStrategic Growth AreaVirginia Aquarium & Marine Science CenterVirginia Beach CourtsVolunteer ResourcesVoter Registration & Elections


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Home / Products / Quark Web-to-Print System
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Quark Web-to-Print System™ helps marketing organizations, advertising agencies, marketing communications firms, and print service providers reduce cycle times and production costs in creating personalized marketing materials.
Our solution lets your field offices create marketing materials for multiple media types — print, Web, and digital — while preventing changes that violate your branding and design guidelines. Your internal and external stakeholders start with a template you create, and then edit text and images through our easy-to-use Web applications.
This approach significantly reduces production time and eliminates review cycles. The solution provides:
Source: InfoTrends, "Trans Meets Promo — is it more than market hype?" 2008
Source: InfoTrends, 2009
Estimates based on productivity improvements and cost savings using a Web-based, on-demand system.
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"Quark Web-to-Print System allows our designers to create templates, while enabling users with no previous design experience to customize templates for their particular location or business requirements through the Web."- David Farmer, Founder and CEO, Ad GiantsDownload case study


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This ain't no Mudd Club, but it is CBGB.
The legendary New York music club referenced in a song by the Talking Heads is now the subject of a feature film, opening today, and titled, appropriately enough, CBGB.
Directed by Randall Miller, the often-funny film captures a time and place in which a New Wave of music for a disillusioned decade swept over an eager audience. With a large ensemble cast led by Alan Rickman as eccentric club owner Hilly Kristal, the movie portrays the passion, innovation, and diversity — including the occasional gay element — of the downtown New York punk scene in the 1970s.
Kristal was an unlikely impresario, and CBGB was an unlikely success. He'd gone through two bankruptcies and a contentious divorce by the time he opened the club in 1973 in a run-down section of lower Manhattan. He was a poor businessman who tended to waive cover charges and give away drinks, especially to the bikers who provided a sort of security service, and he often didn't pay his bills. His primary source of financing was his mother.
CBGB's neighborhood was rather dicey — on any given day, there might be someone passed out or even dead just outside the front door — but inside the club in its early years, the environment was pretty dodgy as well, at least according to the film. The primary food offering, "Hilly's Chili," might be seasoned with cigarette ashes or bodily fluids courtesy of the cook, who also kept a pet rat. Giant cockroaches infested the space too. The restrooms were a public health hazard, and Hilly's beloved dog, Jonathan, left droppings anywhere and everywhere, including on the stage. The wiring could get a performer electrocuted.
But what drew the crowds to CBGB and kept them coming back was the music — the chance to hear up-and-coming acts like the Ramones, Patti Smith, Blondie, and yes, Talking Heads perform hard-rocking, rebellious, sometimes angry songs that constituted a distinct and, for many listeners, welcome alternative to mainstream pop.
And Kristal, despite his unconventional business practices, had a kind heart and an eye for talent. He originally planned to present country, bluegrass, and blues, hence the "CBGB" name. When that didn't work out, he was happy to offer a platform for the innovative sounds of punk and New Wave. He eventually added "OMFUG," standing for "Other Music for Uplifting Gourmandizers," to the club's signage.
While Rickman's Kristal is at the center of the film, CBGB is very much an ensemble effort. The movie portrays many other denizens of the club, with a cast including Donal Logue as Kristal's likable business partner, Merv Ferguson; Richard De Klerk as Taxi, the none-too-skillful electrician who handled the sound system; Freddy Rodriguez as Idaho, the rat-keeping cook, a composite of several homeless men to whom Kristal gave jobs; Ashley Greene as Kristal's daughter and club manager Lisa, whose business acumen kept her father from financial ruin; and Johnny Galecki as Terry Ork, manager of the band Television, which featured punk legend Richard Hell (Evan Alex Cole).
Ork happened to be gay; audiences are clued in to this when he casually offers oral sex to Iggy Pop (Taylor Hawkins). The film depicts CBGB, and the punk scene in general, as an anything-goes pansexual paradise, but did the laissez-faire attitude apply to Ork as well? Big Bang Theory star Galecki says he didn't do much research on Ork's sexuality, as it didn't seem that important to the story. What did stand out to him about Ork, who died in 2004, was the man's devotion to his musicians and their work. "I loved his passion for these artists," Galecki says.
Indeed, more than anything, CBGB is about the music. The cast is full of capable young actors portraying the performers who graced the club's stage in the '70s, among them Malin Akerman as Blondie's Debbie Harry, Mickey Sumner (daughter of Sting) as Patti Smith, Joel David Moore as Joey Ramone, and Rupert Grint, wearing a dog collar as Cheetah Chrome of the Dead Boys, a self-destructive band Kristal thought he could mold into the next big thing. The soundtrack, meanwhile, offers a smorgasbord of songs by the original artists.
Jody Savan, who wrote the screenplay with husband Miller, admits they made some dramatic and musical choices that weren't "chronologically accurate," but they went for what best conveyed the feeling of being at CBGB in the early to mid-'70s. They used Smith's "Because the Night," for instance, because it was about the downtown scene. And she did introduce it at CBGB, but not until 1977. Among the many other iconic songs featured in the film are Talking Heads' "Psycho Killer" and "Life During Wartime," the latter of which features the CBGB reference; Blondie's "Denis"; and Joey Ramone's "I Got Knocked Down (But I'll Get Back Up)."
Likewise, some of the actors playing famous musicians say they weren't trying to impersonate them precisely but instead set out to offer a more emotional experience. "What we tried to do was create the essence of the Ramones," says Moore.
The filmmakers, though, made plenty of effort to get the big things right, going so far as to reconstruct the club's interior using original pieces of the bar and other fixtures — even the actual toilets — that had been kept in storage since CBGB closed in 2006. (The site now houses an upscale menswear store.) Some exteriors were shot in New York, but most of the filming was done in Savannah, Ga., where several storefronts were made over to look like the street where CBGB stood, as it appeared in the 1970s.
Among those consulting on the film to ensure authenticity were Punk magazine founder John Holmstrom, who also appears as a character in CBGB, played by Josh Zuckerman. The real Holmstrom contributed some original artwork to the movie, and he expresses satisfaction with the overall project. "I think it's a very accurate reflection of what the club was like," he says.
Hilly Kristal died in 2007, but his daughter Lisa, now a lawyer, had a great deal of input on the film. And as played by Greene, she's a significant character in the movie, one of several strong women on the scene; one of the refreshing things about CBGB, especially compared to other movies about the music business, is that the women aren't there to be groupies or girlfriends but to pursue their own careers and passions. Besides Lisa Kristal and the various female musicians, the gutsy real-life women portrayed in the film include music producer Genya Ravan (Stana Katic), journalist (and later filmmaker) Mary Harron (Anna O'Reilly), and Hilly's supportive but no-nonsense mother, Bertha Kristal (Estelle Harris of Seinfeld fame).
All in all, the movie's an enjoyable ride to a back to a time when a new kind of music flourished in a gritty concrete garden. Eventually that music won over the mainstream, but the early, outsider years appear to have been the most fun for all concerned. It wasn't a disco, but it certainly was a party.
CBGB opens in general release today. Click through for more pictures from the production. All photos by Beau Giann.
Rupert Grint (left) as Cheetah Chrome of the punk band Dead Boys and Freddy Rodriguez as Idaho, a homeless man who worked at CBGB


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If I could choose any animal to grace my family's coat of arms, it would be this trunktacled elephant/octopus hybrid (which we will refer to as the cthulhuphant), created by Puerto Rican artist Alexis Diaz.
The mural, which was unveiled in London this week on Hanbury Street off Brick Lane, took one week and thousands of brush strokes to complete. Close up photographs over at Street Art News reveal the minute detail on this piece. It's outstanding:
For more info, visit Street Art News. For more photographs and other examples of Diaz's work, check out his website.
[Spotted on COLOSSAL]


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Great Neck, NY – Great Neck and Mid-Island Dental Associates, a highly skilled group of Great Neck dentists, operates with the mission of "blending the art and science of dentistry to meet the unique dental health needs of patients." In their ongoing pursuit to provide patients with state-of-the-art technology, the practice has embraced the use of lasers in a variety of dental treatments ranging from gum disease procedures to cavity care. According to the dentists at Great Neck and Mid-Island Dental Associates, laser dentistry is reshaping the way that both doctors and patients approach dental procedures.
For periodontal treatments, Great Neck and Mid-Island Dental Associates are utilizing laser technology on almost 100% of their patients. The dentists say the lasers are great tools, allowing the removal of tissue and tooth decay without the use of a drill. Using a laser also makes it possible for dentists to perform procedures, which heal 30-40% faster than traditional incisions. In addition, the dentists say they are using lasers to manipulate and reshape bone.
Laser dentistry is a much more conservative form of treatment than traditional methods. Instead of open procedures where the inner gum is exposed, the dentists say laser treatments can reach beneath the surface of the gums to kill off bacteria and even reshape the bone. They add that prior to laser dentistry, this would not have been possible without surgically opening the gums. There are many benefits associated with laser-assisted dental treatments, including significantly less trauma and gum recession with pain reduction of about 80%. Since no incisions are necessary, the dentists say the healing process becomes uneventful because there is virtually no pain, no swelling, and no inflammation after treatment. The dentists at Great Neck and Mid-Island Dental Associates add that patients are healing so quickly that they are no longer delaying or avoiding dental treatments, which in the past have involved much more pain.
For patients concerned about the safety of laser use in dental procedures, Great Neck and Mid-Island Dental Associates say the laser is entirely made up of light, which poses no danger to personal health and does not contain harmful radiation. The dentists add that these lasers are designed to operate at specific wavelengths that are set to target water molecules residing in bacteria and in soft tissue and bone. Great Neck and Mid-Island Dental Associates, a Great Neck cosmetic dentistry practice, say that lasers can also be used to remove any abnormalities found in the mouth, such as canker sores and many different kinds of growths that are often completely healed within a few days.
About Great Neck and Mid-Island Dental Associates
Great Neck and Mid-Island Dental Associates has been serving patients' dental needs for over thirty years. The team consists of top dentists in every area, including general, cosmetic, reconstructive and sedation dentistry, who are dedicated to providing each patient with individualized care using the highest quality materials and state-of-the-art technology. The practice focuses on all areas of dentistry, including periodontal care, endodontic treatment, pediatric dental care, and dental care for elderly patients. The practice also offers a wide rage of cosmetic dental procedures including dental implants, teeth whitening, porcelain veneers, and orthodontics.
To contact Great Neck and Mid-Island Dental Associates, visit their website at greatneckdentalassociates.com. The Great Neck office is located at 611 Northern Blvd., Suite 100, Great Neck, NY 11021, and can be contacted for appointments at 516-708-4019. The Mid-Island office is located at 400 South Oyster Bay Road, Suite 201, Hicksville, NY 11801, and can be contacted for appointments at 516-960-5619. The center's Facebook page can be found at facebook.com/Greatneckdentalassociates.


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Medical Physiology/Cellular Physiology
- Cell structure and Function
- Membrane Dynamics
- ATP and Energy Production
- DNA and Reproduction
- Gene Expression and Protein Synthesis
- Cell junctions and Tissues
All living things are composed of cells which fall basically into two types eukaryotic, or prokaryotic. Bacteria are prokaryotic cells. Typically there is no nucleus, and the intracellular structure lacks organules.
Animals and plants are composed of Eukaryocytic cells, These cells contain a nucleus and are characterized by several different intra-cellular organules. This section deals mainly with animal eukaryocytic cells, although prokaryotic metabolism is touched on because of its importance in antibiotic action.
The thumbnail on the right shows the typical features of a cell as seen under with a light microscope using a standard stain. The chief features are a cell membrane, a granular cytoplasm, and a nucleus with in most cases a darker staining nucleous.
To see other features usually requires special stains, or an electron microscope.
The chief constituents of the cytoplasm are water, electrolytes, fats, carbohydrates and proteins. Water constitutes about 80% of the cell.
The chief electrolytes are potassium, phosphates sulfates, magnesium and bicarbonates. In smaller concentrations are sodium, calcium and chlorine. Sodium and chlorine are found outside the cell in the interstital fluid, in the same proportions as sea water, but less concentrated. It is hypothesized that the concentration seen probably represents the concentration of sea water when multicellular animals first evolved from single celled animals.
Fats include the fat soluble phospho-lipids and cholesterol. Phospholipids are of importance because they makeup the membrane of the cell wall, the nuclear membrane, and of the various organules found in the cell.
Carbohydrates include glucose and glycogen. Most cells have some glycogen - about 1%. Muscle cells have about 3%, and the liver up to 7%.
Apart from water, proteins are the next bigest constituent, between 15% and 20%. They fall into two categories, structural proteins and functional proteins. The structural proteins provide the skeleton of the cell, the functional proteins include numerous 'working' polypeptides including enzymes. The cell wall is studded with specialized proteins, indeed the cell wall is about 70% protein. Membranes of organules also have these specialized proteins in their wall. Many of these are concerned with transport of substances in and out of the cell.
In the next section we will look at the makeup and structure of the cell in more detail, and then we will look at how structure is married to function.
Cell AnatomyEdit
Cell Functions and Energy RequirementsEdit
Cell Membrane StructureEdit
Cell Cytoplasm FunctionsEdit
Polypeptide SynthesisEdit
Cell Membrane DynamicsEdit
Diffusion and Active TransferEdit
Cell Membrane Receptors and LigandsEdit
Channels, Pumps & GatesEdit
Symports & AntiportsEdit
Na+/K+ pumpEdit
Membrane PotentialEdit
Na/Glucose CotransporterEdit
Ligands and ReceptorsEdit
Nuclear FunctionEdit
DNA, mRNA & tRNAEdit
Wikipedia article on tRNA[1]
S. H. Kim,1 J. L. Sussman,1 F. L. Suddath,2 G. J. Quigley,2 A. McPherson,2 A. H. J. Wang,2 N. C. Seeman,2 and Alexander Rich2
1Department of Biochemistry, Duke University School of Medicine, Durham, North Carolina 27710
2Department of Biology, Massachusetts Institute of Technology, Cambridge, Mass. 02139
Protein SynthesisEdit
Mitochondrial FunctionEdit
Citric Acid CycleEdit
Hydrogen Transfer SystemEdit
Centrioles and Cell DivisionEdit
Wikipedia article[2]
Wikipedia article[3]


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iPad Photoshoot
This is a little off-topic for me, but I find this very
annoying, over-the-top, pretentious interesting:
Stop me if you've heard this one before. A restless mind… or maybe too much late night pizza has you laying awake in bed. You decide that if you can't sleep you might as well do something productive, so you fumble in the darkness for your iPad for one more round of Angry Birds. You power up and are instantly struck blind by a beam of light so bright that it burns "slide to unlock" into your retinas. You squint, roaches scatter, wife stirs, "Damn, that's bright."
Sound familiar? This happens to me too often. Eventually, it dawned on me that, given the right context, the iPad screen is actually pretty bright. I know that for a fact because I measured it with my light meter (1/60, f1.4 at ISO800 from about 1.5 feet). You know once the light meter has come out of the bag, there's no going back. Naturally, we needed to do a photoshoot using iPads as the light source.
Luckily, I have friends who are very generous with their time and electronics and was able to scrounge up nine iPads. I mounted them onto plywood using some cheap hardware store brackets. This gave me three lights consisting of three iPads each. The light from an iPad is quite soft and diffuse. This makes the light fall-off steep. Adding more iPads didn't translate to more brightness, but did mean we could light a larger area. Since the 'Pads would need to be used somewhat close to the subject to get enough exposure, a simple, portrait style shoot seemed like the best option.
Now before the haters start commenting let me first agree with you, yes, this is totally impractical (sidenote: most of my best ideas are often also my worst ideas). Nine iPads will set you back around $4,500. That amount of money can buy you a LOT of lumens in the form of a generic monobloc. This is not intended to be an exercise in excess, but rather a self-imposed limitation to help flex the creative muscles, and to make a point.
Think about it. One 60 watt bulb can put out more light that a truckload of iPads. And you don't have to spend truckloads of cash to find a 60 watt. This whole making art thing is all about what you do with what you have. We just happened to have a bunch of iPads laying around so we went with that. Today's dSLR sensors are sensitive enough that you could easily do this with some flashlights, headlights, headlamps, real lamps, or even – heaven forbid – real strobes! Now go forth and do!
(Here's a link to his post with more photos from the shoot.)
Idea spawn from boredom?
What do you think?....


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Reuters, Getty Images
Campaigning with Mitt Romney and Barack Obama, voting and election results.
The campaigning is over.
After months of intense — and often negative — campaigning between President Barack Obama and his Republican opponent, former Massachusetts Gov. Mitt Romney, voters headed to polls across the country on Tuesday to render their verdict in America's presidential election.
The election would settle the question of which man would lead the United States for the next four years, but a great deal of uncertainty awaited the winner of the election. Either Obama or Romney will almost immediately have to face the so-called "fiscal cliff," the cocktail of automatic spending cuts (especially to defense) and tax hikes set to take effect at the beginning of the year unless Congress acts.
1st Election Day votes cast at midnight -- and it's a tie in Dixville Notch
Those challenges, the prospect of a "grand bargain" to address mounting national debt, and a variety of other issues confronted both the candidates and the tens of millions of voters expected to cast ballots on Tuesday.
But both campaigns fought hard for months for the right to face those challenges.
President Obama and Mitt Romney's travel schedules reveal the states that would help them attain the necessary amount of electoral votes to take the White House. NBC's Chuck Todd reports.
The dominant issue of the election was the economy — specifically whether Obama had done enough in four years to improve upon the profound recession that had just begun to take hold in the closing weeks of his 2008 campaign.
Romney argued that his business acumen uniquely qualified him as an alternative to the president, an assertion which Obama and his supporters challenged throughout the campaign.
Romney, Obama hit must-win states in 'barnburner' campaign day
The election played out in recent months amid green shoots of economic recovery; the U.S. added almost 1.6 million jobs so far during the 2012 calendar year, according to the Bureau of Labor Statistics.
Still, Republicans, led by Romney, argued that this wasn't enough, pointing toward the far rosier projections of recovery issued in the early days of the Obama administration.
The question of whether Obama had earned a second term, or if Romney was a sufficiently competent replacement, played out across a handful of battleground states that will decide the election's outcome.
Your Election Day photos: Show us what you see at the polls
Some of those states — Iowa, New Hampshire, Florida and Ohio — were familiar battlegrounds that have swung between Democratic and Republican candidates in recent presidential elections.
Pollsters divide the state of Ohio into five regions: coal country, northeastern Ohio, the auto belt, the Columbus area and the Cincinnati region. Currently, Obama is doing well in the north and has also made inroads in coal country – but the real area to watch is the auto belt where Romney will return to campaign Tuesday. NBC's Chuck Todd reports.
Other swing states reflected slow changes in political demographics; Obama has put states like Virginia, North Carolina, Colorado, and Nevada into play partially due to changes in those states' populations.
Romney, meanwhile, pressed the GOP cause in Wisconsin, a more reliably Democratic state in national elections that has emerged as an unlikely hotbed for a new generation of reform-minded, conservative politicians (including Romney's running mate, Rep. Paul Ryan).
Both Romney and the president spent much of the final few days making multiple stops in those few battleground states, repeating a refined and practiced speech to crowds numbering in the thousands — sometimes the tens of thousands.
From Afghanistan to Venezuela, Obama vs. Romney battle captivates
Obama's schedule for the final day took him to Wisconsin, Ohio and Iowa – the states comprising his Midwestern "firewall," which his campaign hopes will insulate the incumbent against GOP victories in other battleground states.
"We've made real progress, Ohio, but the reason why we're here is because we've got more work to do," the president told a crowd in Columbus on Monday.
The President traveled more than 1000 miles Monday, visiting the three Midwestern battleground states critical to his re-election. NBC's Kristen Welker reports from Des Moines, Iowa.
"Our fight goes on because America always does best when everybody gets a fair shot and everybody does their fair share and everybody plays by the same rules. That's what we believe. That's why you elected me in 2008. And that's why I'm running for a second term for president of the United States."
Romney's last day on the campaign trail featured stops in arguably the three most critical battleground states: Ohio, Virginia, and Florida.
He wrapped the day with a rally in New Hampshire, the state which served as the cornerstone for Romney's bid for the GOP presidential nomination earlier this year and which neighbors Massachusetts, where he served as governor and where his campaign is headquartered.
Telling crowds in Florida that 'this nation is going to change for the better tomorrow,' GOP presidential candidate Mitt Romney rallied voters by saying he would break the gridlock in Washington. NBC's Peter Alexander reports from Columbus, Ohio.
Romney has leaned upon his experience as governor – and, before that, as a venture capitalist – to make the case as to why voters should expel Obama and elect him instead.
"The president promised change but he just couldn't deliver it," Romney told a crowd in northern Virginia on Monday. "I not only promise change, I have a record of achieving it."
Full coverage from NBC Politics
Many voters were set to endure a time-honored tradition – waiting in long lines – on Election Day, though the portrait of the electorate tomorrow might not tell the full story of the 2012 election.
Many voters, encouraged by both the Obama and Romney campaigns, have cast their ballot prior to Nov. 6. Thirty percent of voters said in this weekend's NBC News/Wall Street Journal poll that they had already cast a ballot, a proportion that could be even higher in battleground states.
Final national NBC/WSJ poll before the election: Obama 48 percent, Romney 47 percent
Polls often show that Obama leads Romney among early voters, meaning that the Republican nominee must perform better among voters who actually head to the polls Tuesday.
The president's campaign has also sought to take advantage of changing demographics throughout the campaign, a strategy that could pay dividends. Obama has courted young voters and gay and lesbian voters, but especially Latino and women voters.
Analysts are predicting that the new Senate may be even more narrowly divided than it is now. NBC's Kelly O'Donnell reports.
The president has made a point of assailing Romney's approach to contraception and abortion rights and his campaign has sought to link the Republican nominee to remarks about rape by several Republican Senate candidates. Obama led Romney, 51 percent to 43 percent, among women in the final NBC/WSJ poll.
Obama also seized upon Romney's hard-charging rhetoric toward illegal immigrants during the primary, and announced new regulations over the summer ceasing efforts to deport undocumented citizens who were brought to the U.S. as children.
Six splitting headaches for the next president
The unifying issue among all those voters, however, was most certainly the economy.
Romney entered Election Day with an advantage over Obama on the raw question of which candidate voters said was better prepared to create jobs and boost the economy; 47 percent of voters in the final NBC/WSJ voters said that candidate was Romney, versus 42 percent who said that for the president.
Full coverage of NBCNews.com's The World is Watching series
But Obama also leads Romney by 11 percentage points on the question of which candidate better looks out for the middle class. Fifty-two percent of likely voters also said they thought the economy was improving, a sign that the U.S. has finally begun to climb out from the depths of the recession.
NBC's Tom Brokaw speaks with young voters grappling with a distrust of the political system.
But as the hours on campaign 2012 ticked down, Obama seemed on Saturday night to acknowledge a hard truth: much of his and Romney's fates were out of their hands at this point, left to voters who would ultimately have their say on Tuesday.
"We're props," Obama recounted telling a top adviser during his campaign travels that day. "Because what's happened is that now the campaign falls on these 25-year-old kids who are out there knocking on doors, making phone calls, and then we realized, you know, pretty soon after they do their jobs then they're not relevant either because it's now up to you."


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Anniversary Angel Food
"For my daughter's first birthday, I baked this tasty cake—and I've been happily doing so ever since," grins 78-year-young Sarah Curci of San Jose, California. "She's 55 now and still looks forward to her special treat each year. But it's a dessert that works for almost any other occasion, too."— Sarah Curci, San Jose, California
Total TimePrep: 15 min. Bake: 40 min. + cooling
Makes16 servings
- 1 cup cake flour
- 1-1/2 cups sugar, divided
- 1-1/2 cups egg whites (10 to 12 large eggs)
- 1 teaspoon cream of tartar
- 1 teaspoon vanilla extract
- 1/2 teaspoon salt
- 2 cups heavy whipping cream, whipped
- 6 tablespoons confectioners' sugar
- 1 teaspoon ground cinnamon
- 1/2 to 1 teaspoon ground ginger
- Fresh or silk roses or mint, optional
- Sift flour and 3/4 cup sugar four times; set aside. In a bowl, beat egg whites, cream of tartar, vanilla and salt on high speed until soft peaks form but mixture is still moist and glossy. Add remaining sugar, 2 tablespoons at a time, beating well after each addition.
- Sift flour mixture, a fourth at a time, over egg white mixture; fold gently, using about 15 strokes for each addition. Pour into an ungreased 10-in. tube pan.
- Bake at 325° for 40-45 minutes or until lightly browned and cracks feel dry. Immediately invert the pan; cool completely. Remove to a serving plate. Combine cream, sugar, cinnamon and ginger; frost top and sides of cake. Decorate with roses and mint if desired. Refrigerate or serve immediately.


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Former Cameroonian footballer Theophile Abega has died of a heart attack in Yaounde at the age of 58, state broadcaster CRTV announced on Thursday.
The former Canon Yaounde and Toulouse midfielder retired from professional football in 1987 to begin a career in politics, going on to become the Mayor of Yaounde, which he remained until his death.
Abega captained the Indomitable Lions to their first Africa Cup of Nations victory in 1984 and was also a member of the squad that participated in the 1982 World Cup.
He was selected by Caf in 2006 as one of the 200 best African footballers of the last 50 years.


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My Client is London's largest estate agency who can offer you comprehensive training, genuine career progression, uncapped commission and full market coverage.
Having been run for over thirty years our client holds thousands of properties and projects a very modern and innovative style to become well-known for embracing change. The forward-thinking, innovative attitude is designed to offer professional, efficient service on a more friendly level.
What can you expect with a career with them?
Work hard play hard culture
Staff holidays
Company car
Mobile phone
Multiple incentives
Café styles offices
Training and development
Room for promotion
Competitive packages
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Image of the Day: Human Cage, Chicken Coop?
Posted by msrb on January 10, 2009
Future in Now: Future is bleak!
The Poultry Market Economy: A fate not unlike your chicks
A man sleeps next to chickens he will sell at a poultry market in Shanghai January 8, 2009. Chinese health authorities closed poultry markets for disinfecting in a province surrounding Beijing on Wednesday after a woman died of bird flu, the first such death in the country in almost a year. REUTERS/Nir Elias. Image may be subject to copyright.


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GASTONIA � It was sometime in the second quarter when Devan Robbins told his coaches he�d be open on a pass play if they chose to call it.
GASTONIA � It was sometime in the second quarter when Devan Robbins told his coaches he�d be open on a pass play if they chose to call it.
The coaches waited for the right time, and when that time came, Robbins proved he was right.
The senior wingback caught a 30-yard touchdown pass from Jaquan Brooks that served as the backbreaker with 8:07 remaining in South Point�s 30-13 win at Ashbrook on Friday.
�I told them the safeties were a little too close,� Robbins said.
And that�s why after Brooks first sold the run and then hit Robbins in stride that Robbins was free to sprint the rest of the way to the end zone untouched.
�Jaquan had great poise and rode (fullback) Tyler (Bray), and (Robbins) was out there like he was going to block,� South Point coach Mickey Lineberger said. �It was a great completion and that was a big, big turning point in the game. They�ve got a great football team.�
The touchdown made it 23-13 and gave South Point some breathing room for the first time on a tense night at Eccles Field between Big South 3A Conference heavyweights. Four minutes later, after an Ashbrook three-and-out, Brooks scored on a 2-yard run to make the final score look more lopsided than the game really was.
South Point (7-0, 3-0 Big South) took a while to get its conference-leading offense in gear as Ashbrook (3-3, 1-2) stayed disciplined on the defensive side. But the Red Raiders eventually wore down the Green Wave defenders, finishing with 398 yards of offense.
Bray rushed for 162 yards and Brooks added 144 yards on the ground as South Point�s two workhorses.
Ashbrook�s offense, No. 2 in the league, looked sharp at times on its way to 304 yards. Tre Brice passed for 204 yards and a touchdown on 16-of-23 accuracy but left the game with 3:49 remaining with an apparent knee injury. Ashbrook coach Greg Hill didn�t know the severity of the injury immediately after the game.
Two Ashbrook receivers topped 100 yards as Grant Stafford hauled in eight passes for 107 yards and E.J. Vanderpuye had 103 yards on four catches.
South Point, though, won the turnover battle 2-0, forcing an interception and a fumble. The fumble came at the South Point 2 in the second quarter after South Point had taken its first lead.
�Shoulda, coulda, woulda,� Hill said. �I mean, we had opportunities and we didn�t capitalize on them.�
Ashbrook�s defense rose to the occasion early, holding the Red Raiders to a single first down over their first two possessions. That allowed the Green Wave to take the lead on a seven-play, 68-yard drive that ended with Brice�s 1-yard touchdown pass to Brian Jackson.
Ashbrook, looking for its first win in the series since 2005, held South Point off the scoreboard for a third series, making a goal line stand on fourth and 1. The Green Wave stopped Bray to a gain of inches on the play, but the victory was short-lived as South Point tackled Tylik Roberts in the end zone on the next play, putting the Red Raiders on the board at the 9:38 mark of the second quarter to make it 6-2.
After the ensuing kick, South Point then drove 61 yards on five plays and scored on Jaquan Brooks� 34-yard run to go ahead 9-6 with 7:32 left in the half.
South Point�s Aaron Biggerstaff intercepted Brice on the second play of the second half and the Red Raiders needed only one play to score on a 4-yard run by Bray. That put South Point ahead 16-6 but Ashbrook scored on the next series on a 1-yard run by Aveontay Armstrong, and the score remained 16-13 until Robbins� TD catch.
Ashbrook receiver Demetrius Oliver was tossed from the game, and Hill said the initial ruling was an ejection, which would require the Green Wave�s leading receiver to miss the next two games.
Phillip Gardner: 704-869-1843; twitter.com/gazettephil


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Brand: Converse
Price: 74,99 €
74,99 €
Free delivery over 59 €30 day returns
Free delivery over 59 €30 day returns
74,99 €
The classic black and white combination like this iconic model of Converse sneakers features will never become old-fashioned. The white sole lining is decorated with a black stripe and the rubber upper is typical for this model. Wear them with jeans or skirts and combine with various outfits.
Article number: 589-6279 Brand: Converse Color: black
Nothing stands in the way of your comfortable buying. Orders from 59 € have free shipping! You can choose from the widest range including limited collections.
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Occupying a prominent position in Wakefield, Cartwright Pickard's Wakefield One uses a small palette of robust materials
The architect's view
Wakefield One represents the future of socially responsible public buildings. The scheme combines a diverse programme of uses into a new model for value-focused civic architecture, encompassing a museum, café, library, one-stop-shop and civic offices. The building occupies a prominent position in Wakefield,
next to the Grade-I listed County Hall.
Its simple, rectilinear form, together with the selection of a small palette of robust materials and the adept utilisation of a standardised pre-fabricated 'kit of parts' have all contributed towards the lean design. The entire project takes a holistic view of sustainable design so that structural, environmental and architectural elements all contribute to its achieving an 'Excellent' BREEAM low-energy rating.
Colour at Wakefield One plays an important part both internally and externally. The deep reveals to the windows are clad in richly coloured glazed terracotta tiles, which complement the warm, natural colours of the main elevations. These colours were inspired by those used in the stained glass windows at County Hall, providing a subtle reference to its historic neighbour.
Wakefield One manages to save costs but still promotes its own distinctive brand of design quality, realised by streamlined simplicity and measured restraint.
- Andrew May, project director, Cartwright Pickard Architects
Project data
Start on site August 2010
Completion January 2012
Gross internal floor area 14,063m²
Procurement Design and construct, novated to the contractor
Construction cost £15 million
Construction cost per m² £1,022
Architect Cartwright Pickard Architects
Client Muse Developments/English Cities Fund
Structural engineer Buro Happold
Quantity surveyor/CDM coordinator Gleeds
Acoustic engineer AEC
Landscape architect Estell Warren
Access consultant Qequality
Project manager Ward Robinson
Building inspector Wakefield Metropolitan District Council
Main contractor Morgan Sindall Construction
CAD software used MicroStation
Annual CO2 emissions 25.83kg/m²
Specified products
Terracotta cladding
Bespoke units, 200 x 1500mm (approx), natural and glazed finishes
Timber/aluminium curtain walling system; 160mm timber mullion with clear coat lacquer finish and special T-bar shaped capping, anodised finish
Chilled beam rafts
Passive chilled beam integrated service modules, mesh samples: 8063 PERF, 1820 PERF
Schindler 5300 MRL passenger lift, glazed back wall with stainless steel to other walls, terrazzo floor finish (from atrium)
External paving
La Linia textured paving, light granite and Indian granite
Atrium flooring
Duracryl terrazo system, bespoke colour incorporating recycled glass crystals
Staircase carpet
Milliken Essentials Laylines, colour ref 5161 Nstd
Bronze anodising
Anolok 547
Mineral paint
Ecosil ME, White obliterative paint RAL 9010 to horizontal surfaces, Concretal Lasur CL018, two-coat system to vertical surfaces
Green washroom finish to IPS
Johnsons Wellfield, Crosland Hill Hard Yorkstone, Diamond Sawn Finish
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Cory Monteith's Dad Remembers Son on the Anniversary of His Deathby Thomas Chau | PopCrush
One year ago, 'Glee' fans were shocked when news was released that Cory Monteith had passed away as a result of a drug overdose. Cory's father, Joe Monteith, recently spoke to ET Canada about his son.
"I still miss him very much and I still have the empty feeling," he told the news program.
While Cory and Joe had been estranged for most of Cory's life, Joe says that the two rekindled their relationship during Cory's last years. Unfortunately, however, Joe was not able to attend Cory's funeral when Cory's mother and Joe's ex-wife did not send him the memorial service plans.
"Cory was a likeable young man and if he was in the room, you'd be smiling," Joe remembers of his son. "He enjoyed life. That's why I was so shocked about the outcome of everything."
When asked about 'Glee' co-star Lea Michele, who was dating Cory at the time, Joe spoke highly of her. "She's a beautiful young woman, she's just getting to the top of her career and I don't expect her to go out and do it alone. She should enjoy life. She had a good time when she was with Cory, from what I understand, but life's gotta go on."


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It's both the blessing and the curse of plants - they grow. Take this specimen - a nice potted mandrake - for instance.
This fine example of the knitter's - erm, gardener's - care clearly needs to be dealt with. He's grown leafy and fine, but he might be getting a little too big for the pot that he currently calls home. He either needs to be bumped up into a bigger pot or...
...he needs to be split in two, and each half provided with a pot of their own. Trust your gardener's instinct - you'll know what to do.
Ahh...that feels so much better!
Hello, KNITSONIK Blog Tour!
My dear friend, the very talented and wonderful Felicity Ford has recently embarked on a campaign to produce a new knitting book unlike any knitting book that has ever come before. Currently entitled The KNITSONIK Stranded Colourwork Sourcebook, this tome aims to be the go-to resource for taking those everyday things and places that make up all our little worlds and turning them into colourwork knitting patterns. Word of this project - as well as the Kickstarter campaign to fund it - has been making the rounds on social media as of late, and today I am honoured that TODAY my blog is the designated stop on the KNITSONIK Blog Tour!
In your podcasts and descriptions of this project you really deliver a strong sense of place regarding Oxford and Reading. I think it's important to show knitters who aren't used to thinking that way that their own cities and towns, and the weird little things that they love, are ready to be celebrated in their own right. Do you think that this is an idea whose time has come?
Earlier I had the chance to throw a few questions in Felix's direction about her VERY EXCITING colourwork sourcebook. This is what we said.
I know that you do a lot of work with sounds – especially everyday sounds. How does this influence your work / HOW (or) WILL you incorporate this into the book?
Listening gives you a new way of seeing things. Working with sounds deepens my appreciation for the distinctive character and texture of places. This is a general influence on the themes for The KNITSONIK Stranded Colourwork Sourcebook: if I had not spent hours of my life leaning against walls and trees, listening, I doubt I'd have noticed the things I decided to knit in this book.
My good comrade in sound - Patrick McGinley - said the stranded knitting swatches are like "visual field recordings" and that is a pretty astute observation. To make a field recording you have to stand still, pay attention, be present, and open to noticing details in your environment. The woodpecker you hear on the way to work; snow melting in a drain and dripping in a beautiful way. Making field recordings of these moments turns them into something - a RECORD - that can be shared with the world! Knitted swatches can also document things and textures noticed in daily life, and - like working with audio - our knitting can be rooted in a slow, mindful process of noticing.
The book also contains some swatches rooted specifically in my soundwork. I'm making a swatch based on my EDIROL R-09 - my little digital recorder, for instance. This wonderful device has survived a fall into a pond, and is held together with duct tape; it's my favourite tool and poses particular challenges for colourwork because it is black, shiny, plasticky and not exactly picturesque! But I love this device and reckon most knitters own a tool which they treasure and would love to celebrate in the medium of stranded knitting, so I think it's a useful case study to include in the book. I'm also making a swatch based on my commute along the A4074 road which was the subject of a documentary radio show I made some years ago for the BBC. Many things I noticed in the process of recording traffic, wind in cropfields, night-birds and weather need to now be celebrated in colourwork!
Whilst working on this book, I am simultaneously producing an album - The KNITSONIK Audible Textures Resource - which knitters will be able to buy through iTunes when the book comes out, if they choose. This album will convey sounds from the places in Reading which have inspired the book, and also sounds from the specific landscape of Shetland, where the Jamieson & Smith 2 ply I'm using was grown. So you can listen to the source of the wool, and my sources of inspiration while you knit, if you like! Or you can just get the book. My 2-part KNITSONIK podcast - "Finding The Fabric of The Place" give a good sense of how these ideas fit together in sound!
This book is rather concept-y, but I think it's an easy concept for most knitters to "get." How will you make this book accessible to the knitter who is new to this concept?
The book is concept-y, but the general idea of finding inspiration in our lives is already present in the knitting world, so I'm hoping it's not such a radical jump to imagine a sourcebook which really unpacks that idea - and specifically which does that in relation to stranded knitting.
In terms of communicating concepts, it's an old cliche, but a picture really does paint a thousand words. I knew from the start of this adventure that getting the images and design exactly right are key to the success of this book. My system for developing colourwork based on everyday life is largely based on seeing things in a certain way, and reams of words will not communicate this as clearly as meaningful images. For this reason, I have found the best designer in knit-publishing and the best photographer I know of to work with me on the book: Nic Blackmore and Fergus Ford.
I'm encouraged that even in the short time that the Kickstarter campaign has been live, the beautiful video that Fergus shot and editing and the promotional images I've made seem to be really speaking to people. Knitters are talking about their bricks, the new way they are looking at the world after watching the Kickstarter video, etc. This is all really encouraging and confirms my instinct that amazing production values and a precise focus for the pictures will make this book make sense!
In your podcasts and descriptions of this project you really deliver a strong sense of place regarding Oxford and Reading. I think it's important to show knitters who aren't used to thinking that way that their own cities and towns, and the weird little things that they love, are ready to be celebrated in their own right. Do you think that this is an idea whose time has come?
Thanks so much for your kind words on my descriptions and podcast, I really do try to get a strong sense of place into my work. I am passionate about celebrating my everyday reality, and I love to transmit that enthusiasm wherever I can, because I think we need it!
I definitely do think that the time has come to celebrate - as you so nicely put it - "the weird little things" people love. That's one reason why the EDIROL R-09 is in the book! I wanted to show that whatever is personal and precious and special TO YOU can be embedded in your knitting, and deserves to be celebrated.
Giving my "Quotidian Colourwork" class at Shetland Wool Week last year consolidated my instinct that this idea really should become a book. What I loved about that class was how people held and spoke about the things they had bought in as inspirations - their photos, their pictures, their treasure. We had great conversations in the course of figuring out how to knit them. I am grateful for the energy and enthusiasm that knitters brought to that class, and want to infuse the book with the same sense of mutual respect, playing with colours, and valuing daily life that we enjoyed there!
Are you familiar with the term "psychogeography?" I've heard you as much define it in your podcasts with your sticks-on-railings and field recordings in and around Oxford. Psycho-geography – the added layers of personal experience and memory laid out upon the geographical plan of a place. How much do you think that this has influenced your work and this book?
I've come across that term and am definitely inspired by the idea that we map concepts and memories over our environments, and that where we live is both a layer of physical geography, and mental geography. Recording sounds creates a special relationship with memory - you remember where you stood with the recorder, where exactly you were in relation to the sounds you were documenting, whether it was cold or there was a wind - and the recording can bring the whole sensation of being somewhere immediately into my mind. In the same way, knitting is a record of time. I can always remember where I was when I was knitting a sweater or a hat, and what was going on then... so I think there is a sort of KNITSONIK psychogeography that I am practicing; a mixing-up of places with sounds, knitting and memories.
For instance when I walk past St. Mary's Butts Church in Reading, I always remember harvesting black walnuts from the tree in the grounds, dyeing yarn with them in my kitchen, photographing the brickwork on the church, and then knitting that brickwork. Sounds, stitches, surfaces, places... they are all combined and after working on this book I am sure all of Reading will seem to me like a giant collection of KNIT and SONIK impressions, overlaid on the actual physicality of the streets. And I will feel closer to this place I think for creating those associations.
I think it's important to celebrate and appreciate the things we are surrounded by each day – especially the little things that we are around so often we hardly notice them anymore. To me it's a natural urge to want to turn them into knitwear because that's my medium of choice. We are material beings in a physical space. What do you make of our need to MAKE THINGS?
I love your celebrations of the everyday in knitting! ALL your designs are amazing, but my particular favourites include the Guardian Building Mittens, Circuit, and Polska; I gasped out loud when I saw Polska on Ravelry and it made me run to the cupboard to see if we still had a bit of crockery I remembered which had been painted in that style.
That's the thing: the effort and imagination invested in MAKING THINGS from the real world makes you look with fresh eyes back at that same world. I was re-enchanted with that style of pottery after seeing your fabulous knitted rendition of it, and - likewise - if I ever am lucky enough to see the Guardian Building I should like very much to visit with my mittens on, creating an imaginative and celebratory connection with the building which would massively enhance my experience of being there.
For me the need to MAKE THINGS based on daily life has a dual function. Firstly, the process of observing THE THING - whether it is the tilework of the Guardian building in your case or the crumbling old deco factory in mine - sort of impresses it into your mind. I've gone back and forth on the exact shades of pink for that swatch many times, and love to notice how the light changes the way that pink stucco glows whenever I pass it... so there is that thing where you just gain this lovely, complex appreciation for the world and its charms through the process of very closely observing it. Then if you KNIT those observations, you kind of embed them back into daily life? I love to paint and draw, but as soon as you frame a piece of paper and stick it on the wall it loses some of its connections to the mundane and to the everyday. But if it becomes socks or mittens, it continues to circulate there! The inspiration starts sneaking into your laundry basket, onto your radiator, into your sock drawer, and it's right there on your hands or your feet when you look down. I love that. For me, wanting to keep that rich cycle going of inspiration, daily life, inspiration, daily life, is at the very heart of my urge to MAKE THINGS.
I think it makes life better.
What would you say to someone who thinks that knitting buildings is silly?
I would probably give them my copy of "Knitting Architecture" by Tanis Gray and something super, super precious from my personal stash to make a project from it. Seriously, I would be very keen to win that person over, because I think they would be missing out on a lot of fun!
Translating a big, public thing, like a building, into a small, personal item like a pair of woolly mittens, is something very close to my heart. Moreover, it's something that I simply CAN'T NOT do (if that makes sense.) What has drawn you towards this (some might say odd) way of seeing things?
I think it comes back to what I was saying before, which is that the whole process of observing something closely enough to turn it into a coherent, knit-able chart really causes you to appreciate its details. I am drawn to the process of deepening my connection with my environment, falling in love with the little things in life, and then putting my celebrations back into the everyday places which inspired them by making them wearable.
I could achieve the same sense of deep observation through drawing, but drawing and painting do not have the same provocative and exciting connections with clothing, social history and land-use that the medium of hand-knitting possesses. Knitting has associations with economies of dress; the history of labour (usually women's labour); and the politics of land use. Hand-knits are a site of meaning, and I am incredibly drawn to the richness of that site as a place to play and explore as a maker.
I also love that knitting is useful.
You incorporate a rather diverse collection of things into a colourwork patterning style that is clearly not Fair Isle but somehow evokes a sense of Fair Isle. It's like a modern take on traditional patterns. How do you see your work fitting into the Grand Tradition of knitwear/knitting?
That is a super question. In simple terms, I love that Fair Isle knitting and the stranded colourwork of Estonia underline connections between knitters and where they are from. Looking at those Grand Traditions of knitwear - and listening to knitters from Shetland and Estonia speaking about their knitting - has made me long to create connections in my own knitting between where I live and where I come from in culture.
Growing up in Croydon on the outskirts of London, with non-knitting parents, in the suburbs, and living now in Reading, 40 miles west of London, I can't really lay claim to any great textile traditions! But my little Felix-shaped place in the world is nevertheless full of references. I love the things that have shaped the texture of my life like A-roads and dandelions and crumbly old buildings at the edges of Britain's industrial estates. Since I do not have a specific textile tradition to draw on, why not draw on these sources and share what I discover through that process? And perhaps other knitters - similarly not born into specific, Grand Traditions - might enjoy an adventure with me, exploring what happens when we make up our own? That's a big theme for the KNITSONIK Stranded Colourwork Sourcebook.
All photographs kindly supplied by Felicity Ford. Don't forget to check out her blog, The Domestic Soundscape. You can support the KNITSONIK Stranded Colourwork Sourcebook via Kickstarter here. Get more info on the KNITSONIK Blog Tour and a list of all the previous and future stops here.
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The Vampire Diaries Review: One Wrong TurnMatt Richenthal at .
Let me start by saying this about "The Departed," The Vampire Diaries season three finale that most definitely gave fans plenty to talk about for the next three months:
That was a beautifully shot, very well done concluding few minutes.
From a bloody Damon Hulk Hogan-ing up and fighting back against Dark-laric; to Dark-laric falling dead and Damon realizing why; to Actual Alaric proving, via a pep talk to Jeremy, that not all ghosts on TVD are useless; to Stefan swimming to Matt's rescue; to Elena dying; to... yes, the awakening that ended it all.
Great stuff all around. But a bit of a mess to get there.
Indeed, the finale felt a lot like the back half of season three. There was A LOT going on, but without much of a direction.
Elijah popped up and offered the group a deal. Sheriff Forbes and Mayor Lockwood told Tyler and Caroline they had to flee Mystic Falls. We jumped back in time here and there. Dark-laric apparently used the non-corrupt police force to track down Damon.
Rebekah made an appearance. Bonnie cast a spell. Matt drugged his ex. Elena acted far too happy for 6:45 a.m.
It felt like disjointed chaos. It was never clear where everything going, especially as one seemingly big event after another - Elena choosing Stefan, Tyler revealed to be Klaus - took place long before the closing scene. There's nothing wrong with mystery, of course. I'm certainly not advocating that the show telegraph its conclusion.
But there is something wrong when the season finale, the episode to which the past number of weeks should have been building, lacks a flow, like a great many recent storylines were really nothing more than a giant bait and switch to get us to that final moment:
Elena as a vampire.
To me, that's where Julie Plec and company set their sights a long time ago - and everything else was merely a distraction. This is a fascinating development to be sure; I positively cannot wait for the season four premiere, but one terrific payoff doesn't necessarily make up for weeks on end of Elena oscillating between brothers, or the confusing use of Esther, or the back and forth on when or why the Salvatores wanted to kill the Originals.
Again, Elena is a vampire. It doesn't get more intriguing than that. But, man, it took some serious red herrings to get us there.
What will it all mean? Will she remember Damon's shocking flashback cameo now that she's turned? Will that influence her choice of Stefan? Will she embrace the change and grow more self-confident, like Caroline?
Or will she fall into a stupor, robbed of her future and made into something she never claimed she wanted to be? Questions, questions and more questions abound.
In other, WTF-did-that-really-just-happen-news from the finale?
- Alaric was killed.. again! Man, TVD. What did we ever do to you? It wasn't enough to say goodbye to Matt Davis once, in one of the greatest scenes in show history, you had to force us to do it again.
I think this one may stick, however, and while Alaric is simply The Man, he hadn't been featured in any main storyline until he went dark and, once that took place, it was really only a matter of time.
- Klaus was saved... again! Color me confused on this one. Bonnie chose to save the Original because that meant her loved ones would stay alive. Makes perfect sense. So she body-switched him into Tyler? Where does that put Tyler? Is it just some kind of soul thing? And Klaus is in Tyler's body, but Tyler is still there somewhere, too, and if/when Klaus ever is removed from Tyler, then he'll die... because his body has burned up?
That's how I read it at least. It's far from clear.
Know what else wasn't clear? My TV screen as I tried to watch through tears caused, of course, by Caroline's tears. Candice Accola blubbered away brilliantly here, just moments after cracking us all up with her curling iron line. If Tyler is actually dead, I fear for this beautiful vampire's mental well-being.
- Elena chose Stefan. This was overshadowed by that whole turning-into-a-vampire thing, but I bought her reasoning. She played it safe, essentially, selecting the guy who made her "glad to be alive," not the one who "consumed" her being. Fair enough. There's fear that goes along with total consumption, while there's safety in mere happiness.
But the love triangle was laid on a little too thick once again. I'm sorry, but Stefan thought he and Damon were dying and one of his first thoughts was how he felt bad Damon wouldn't make it back in time to say goodbye to Elena? Sort of cheesy, sort of hard to believe.
- The scene where Elena was "forced" to choose because she happened to be in the car was, well, lame. And nonsensical. Was she equally far from each? If so, couldn't the brother have just met her someplace in the middle? And don't vampires run REALLY fast anyway. Quite contrived just to prompt a decision from poor E.
Talk about a great deal to digest, Vampire Diaries fans. We'll go through it all tomorrow again in our TVD Round Table.
My overall take for now: the show stumbled a bit this season, it wobbled a lot on the finale in order to get where it wanted to go, but... Klaus as Tyler; Bonnie harboring (and responsible for) this dark secret; Alaric dead and gone; Elena as a vampire. All shocking moments, all leaving me wanting a lot more Mystic Falls. Is it September yet?
What did you think of the finale?
Matt Richenthal is the Editor in Chief of TV Fanatic. Follow him on Twitter and on Google+.