Crosshairs Radio ep 32: Dekker! Richards! Meeusen! Powers! AusCX!
We are calling episode 32 of Crosshairs Radio "The Sampler Plate," because there is a little bit of everything on this episode and all of it is awesome. We start off the show by checking in with Jeremy Powers who gives an update on what he's up to and also gives some insight into the season ahead for him and his Aspire Racing program. But the main reason to have Jeremy on was to talk about the upcoming Jeremy Powers Washington DC Cyclocross Camp, which we would love to see you attend. For more information on this year's camp please visit: www.bikereg.com/jeremy-powers-dc-cross-camp.
Also on the show is Junior World Cyclocross Champion, Jens Dekker. At only 17 years old, Jens is not only a star in the sport but he's also a great interview. Unfortunately, the sound quality on this one is not where I want it to be. It's listenable and may even be better quality than a lot of other podcasts you are used to, but we like to set the bar high and want to do better. So just to be sure you don't miss out on any of the conversation, if you scroll down, the transcript of the chat is included in this post. A quick note on that transcript, Twitter friends: It is not a word for word recreation of the conversation. It is not admissible in court. It is not an official record. But it gets the job done.
After Jens we talk to yet another World Champ! Evie Richards, the U23 Cyclocross World Champ, joins us for a quick chat. This was originally a video interview I shot in La Bresse, France, before the last round of World Cup cross country mountainbike races. My original plan was to show some highlights of Evie on course in a nice video package. But I missed her in practice and only have race footage, which I can't show because of rights issues.
Also on the show is Tom Meeusen!! I've wanted to talk to this guy for some time and he did not disappoint. Super nice and a pleasure to talk to. Along with Richards I hope to have these two back for longer conversations. Like the Richards interview, this was also originally shot for video.
We close out the show with a segment produced by JB Hancock on Australian cyclocross. JB is joined by Scott Dedenbach of the Cyclocross Network and TDDTIE fame and Sean Couley, editor of Australian Cyclocross Magazine.
Bill: Family-wise there's a history in the sport. How did you get into cycling? Was it destined for you?
Jens: I think I started when I was seven years old, but at first I really didn't like cycling. My dad was watching on TV and I wanted to watch cartoons. But I started watching with the Tour de France in 2005 and the next year I started racing on the road.
B: So how old were you when you started racing on the road?
J: I was seven years old.
B: Seven years old, okay. So you did that for quite some time. What is your history of racing on the road?
J: I wasn't a great rider … I won a few races but not every race. I was one of the better guys but I didn't have the sprint and that's not handy when you're living in a country that's flat like Holland. I always had to attack. I think that made me quite strong and I started cyclocross just three years later … but I wasn't very good at that either. I think I won three races before I started to take cyclocross seriously.
B: Did you enjoy cyclocross more? Was it more compelling for your than road racing?
J: Not necessarily. Cyclocross in the younger age groups is quite different in Holland. Very narrow twisty courses that are not great for me because I'm not really a technical rider. I couldn't really use my strength in the racing. That's probably why I didn't really do very well in the first three years.
B: What would you say are your strengths?
J: Just power. I need a bit of room to build up speed. So when there's like 40 corners on the course I just can't build up speed.
B: It sounds similar to what most of the courses in the U.S. look like. Lots of turns. When did you start to find success in cyclocross?
J: As a first year Under 17 I wanted to do really well on the road but I had a crash and had to sit and never had the results I wanted to. Then I decided I was just going to move to cyclocross and I won nine races. Every one except the Koppenberg Cross where I was third. But I had to start in the last row. So I knew immediately I could do quite well in the sport. And then I got a contract with the development team for BKCP. It went fast. Just two or three months after I started I was already with a team.
B: Being on that team you definitely have other guys like MvdP doing great. That must be good motivation.
J: Yeah, it's great motivation to also have those guys to look up to. It also means that you don't have to win everything by yourself. If there other guys winning then the sponsors are happy and you can do your own thing. And if it's going well it's going well. But if it's not there are other guys who are doing well.
B: One thing I found interesting after reading an article where your uncle, Erik, had made the comment that you are pretty self-critical and always looking to improve. After winning the World Championship last year, what now are you looking to improve?
B: After Worlds it looked like you were starting to race the MTB and looking to compete at Worlds but you didn't compete at the European Championships, have you put that on hold or are you still doing some MTB racing?
J: I was going to but I crashed in Italy when I had to qualify. I crashed the first day there before the races even started. I bruised my hand and I couldn't race. So I started in Albstadt two weeks ago. I think I started in 92d position, quite a bit back, yeah. And I finished 18th. So that was quite good and last weekend I was second in a race here in Belgium, so, still going to hope for the team for Worlds.
B: That's interesting. I'll have to go back and look. I was doing some film work at Albstadt. I'll have to see if I have you on there anywhere.
J: I wouldn't think so. I was only there for two or three days because I had my exams at school. So I had to go travel six hours there just to pass my exams the day before the race. So it really was not the optimal situation.
B: Tell me a little bit about your background on your half Dutch, half Australian. What's the Australian part.
J: My mom's Australian. So that's the Australian part.
B: Do you spend any time in Australia?
J: I've been there twice now, I think. But only for three weeks. Not much time but I have half my family there so I tend to go soon … but I don't know when.
B: As far as the last year, you pretty much couldn't ask for a better year as far as results go. Talk me through going into that World Championship. How you were feeling and what your strategy was for that race.
J: I knew I was probably going to be the best because Jappe Jespers was feeling sick the last few weeks before Worlds and he was the only guy who had really beaten me. So I knew I was probably going to be the strongest.
The first lap is kind of dangerous. And the first corner is very slippery, especially with all of the rain that had come down the night before the race. So I knew I had to start full on riding, don't crash, and then take the lead when it was possible. I did just that and I think I already had 30 seconds after the first lap. So … yeah.
B: So what does that do, winning the World Championship? How does that set you up for this season? What level are you racing and what are your goals?
J: It's always different. I'm fortunate to still be able to race in a separate category, the under-23 in Holland and Belgium. I think in America you race with the elites immediately but that's not the case here. I have a few years to develop. But I really don't know what I'm going to be able to do because I've finished high school and I'm not going to college. So I've got loads more time to train. To work on my skills and everything. So It's hard to know what I'm going to be able to do.
I hope that I'm going to be able to come close to Eli Isertbyt because he's very strong. I think it would be nice to be able to beat him once .. and more of that would be awesome.
B: We always hear stories about guys having success in cyclocross and then wanting to move over to the road. Are you done with that or are you not sure.
J: I still have time. I'm only seventeen and I don't know yet. I like racing on the road, it's just a bit boring to do the training. Long hours on the bike … I don't know, it's far away. I think a lot can happen in a few years and if there's a road team that wants to offer me a contract I can't say what I would do … but for the moment I'm really happy with cyclocross. I will still continue to do this for a few years.
B: For people listening who hear your story and success but are just getting into the sport at the amateur level, what do you think is a good piece of advice you can pass on to a new racer?
J: It's very important to stay smooth and don't crash. I see a lot of riders in Europe and especially in Belgium who go into corners racing as hard as they can and then they crash. I think it's more important to stay smooth and upright because otherwise you lose a lot of time. And your health is also important. That's how I do it: don't crash and don't have mechanicals … (laugh) yeah.
B: One big difference we see in the racing in the U.S. and European racing, especially at the pro level, is that it's a lot more physical and there's a lot more contact in Europe. Can you give people a better picture of what that's like?
J: I don't know how it is in America because I've never been there. But if you're not the first off the line, if you don't have the holeshot, there will be guys who try to knock you off the bike to gain a spot in the top 10. The first lap is really physical. That's why I said with Worlds I just had to get through the first lap because a lot can happen and it's really hard to stay upright, really.
B: Worlds excepted, since I'm sure that track has a special place for you, what is your favorite race? What's your favorite course?
J: I've been to Koksijde for the first time this year, and I really love the sand, so I think that's probably going to be my favorite track. But also Zonhoven is really nice with the crowd and the sand. I don't know how many people are there but more than a thousand are already cheering for the junior race at 11 o' clock in the morning. It's amazing to go down there.
B: You obviously like riding in the sand and it plays to your power. Do you think that is one of your specialties or where you hope to build?
J: I think so. I don't know why exactly. My technical skills really aren't amazing but, yeah, I like the sand and I'm quite good at it.
B: Any tips you can give folks for being successful for riding through the sand?
J: It's very important to stay in the rut. Because when you're out of that rut you'll probably come to a standstill. But also power is important for the sand. Sometimes there is no rut and you just need power. That's probably where I gain seconds.
B: This may seem like an odd question but it's one I ask all of the people I talk to that race. Food-wise, and especially breakfast. Race day: what are you eating for breakfast?
J: Normally I'm just in a hotel, so, I'll eat what the hotel offers. Mainly bread.
B: If you weren't in a hotel and had your choice what would it be?
J: I think still bread. I'm always in hotels … If I'm by myself maybe I'd cook some pasta … but I think just bread. I think it's going to be different this year since now it's not just three hours after breakfast but I'll be racing later so that may change what I'm eating for breakfast. But I don't know.
B: So other than cycling, what do you do with your time?
J: Cycling. I went to school until a week ago so that filled most of my time. And the rest was all training. And figuring out what I was going to do in the training. So I didn't have much time for other things.
B: So what's up next? Is it more mountainbiking?
J: I hope to make the team for Worlds for mountainbike. And after that I'll do some road racing. And then prepare for the next cyclocross season.
J: I just changed my training because I have been having a bit of a problem with hay fever. Allergies are heavy this year so I'm quite tired and it's not really helping my training. But I've trained to doing more intense work and I just got out the cyclocross bike two weeks ago cause I felt that I wasn't getting good training on the road or the mountainbike. Because you really can't train on the mountainbike here because it's really flat and that's not what a mountainbike is made for. So I got out the cyclocross bike to do my efforts.
B: So once it gets closer to the season, what does your week look like, just as far as how many days you are training on the road versus how many days you are on the cyclocross bike?
J: I mainly follow the path that many Belgian riders do. I like to train on my cyclocross bike and I really don't like putting miles on the road. Wednesdays are my main training day and that will be two or three hours on the cyclocross bike. Intense training. Efforts and sprints and everything. Also there is training that the team does, but for me it's more national team training in Holland, because Belgium is a little too far away to travel to after school.
So the big training day is Wednesday and the rest depends on what day the race will be. If it's just a Sunday race, I'll do a recon of the course the day before and after the race will be easy rides for recovery. In between I'll do shorter rides on the cyclocross bike or intensity on the road. Just depends on what part of the season I'm in.
B: Thanks for taking the time to talk and we look forward to following your progress in the coming year.
Thank you for the transcription. Good to hear the Euro pov on contact at the start of Worlds which is something I don't think we need as much of in u.s. local races. cuz local, amateur, or nah?


Hetregó Heli grey down cape is the perfect piece of outerwear for ladies who want to look both casual and smart. Ideal for mild winters if you wish to wear it over a blouse and suitable for cold temperatures over a wool jumper, this jacket features a central two-way zipper and two side zipped pockets. The grey fox trim hood adds a touch of luxury to this jacket with fixed hood: a versatile piece of outerwear suitable to be worn from day to night. Water repellent and windproof, Heli is a down A-line coat that suits curvy, plus size or petite.


Have you ever been in a heated argument with a sibling or friend, where you said some unkind words to each other. Moments after the exchange, you could sense the unpleasant emotion in the air. The silence was deafening, and you both knew you had hurt each other.
This is the context in which our theme scripture stands relevant. Misunderstandings do occur, but you must be willing to own up to your faults, and be quick to reconcile when they do. Confessing your faults or sins to one another doesn't mean calling someone up and telling them all the wrong things you've done. It simply means owning up to your errors when you've hurt someone.
This gesture, as the scripture shows, should lead the parties involved to pray for one another, so that they may be restored and refreshed spiritually. But if the other party doesn't say anything positive, after you've admitted your error, you don't need to demand a reciprocal apology. Just do your part and stay calm, and be satisfied in the knowledge that you have obeyed God's Word.
The love of God is shed abroad in my heart by the Holy Spirit. I'm walking in kindness and affection towards everyone around me. The fruit of the spirit is manifested in my life every day, and I exude humility as a hallmark of my life, in Jesus' Name. Amen.
Start learning to give preference to those around you.
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Phenix Community Dog Park - Benicia in Benicia, CA | Dog Parks Near Me | Wag!
The Phenix Community Dog Park in Benicia, California is in a bedroom community of San Francisco – just north and east of San Fran -- Fog City. It sits adjacent to the Carquinez Strait that connects Suisun Bay to San Pablo Bay, which goes, respectively, inland, if you're going that way, and off to the Pacific Ocean if you want to find deep water. The park is known as very friendly and community oriented, as well it might be.
Not only was the park begun and upgraded through community efforts, but the entire one-acre park was re-sod in 2000 with the help of 40 volunteers and about 10 city workers who unloaded and planted three and a half semi-trucks of sod during one busy and very industrious July morning. The park, which opened in 1993, is fenced with both large and small dog sections and has two swimming areas.
There are restrooms available, as well as drinking water, benches, some shade and "poop bags" on supply. On top of that, the park is named, well, for a dog and dedicated to service dogs everywhere. The dog whose name graces the park was a Benicia city police dog who retired the same year as the opening of the park – so he was a local hero who was around at the right time.
"During his spare time," the Benicia Dogs website says, "Phenix competed in the 1993 Police Olympic Games." Out of that, it is interesting to note that a service dog had some "spare time" at all. Now we know. Phenix, however, took home a bronze medal in the competition: Pizza and biscuits for everyone!
Moreover, the City of Benicia has a Canine Coalition comprised of local dog lovers who take their mission of public outreach and dog park creation very diligently. Since the opening of The Phenix Community Dog Park, the group has pushed to open up three other dog walking areas and helped to write the city's local ordinances concerning canines.


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MoJ denies sex offender research 'cover-up'
By Danny Shaw Home affairs correspondent
Image caption Kathryn Hopkins told an employment tribunal she was "bullied" by the Ministry of Justice after producing her report
The government has denied covering up research that found a treatment programme for sex offenders in England and Wales increased reoffending.
Kathryn Hopkins's study was given to officials in 2012, but the flagship scheme was only scrapped in 2017.
She has told an employment tribunal that she was "bullied" by the Ministry of Justice after producing the report.
But the MoJ denied trying to cover up the findings, saying it would not "waste" money on ineffective treatment.
Sex offence researcher 'was bullied' by officials
Sex offender therapy in prison 'fails'
Freed sex offenders 'not monitored enough'
The MoJ commissioned Ms Hopkins, a senior researcher in its analytics unit, to study the effects of the Sex Offender Treatment Programme, which had been used since 2000.
The programme involved group sessions with prisoners and those serving community sentences, as well as cognitive behavioural therapy, to increase the offenders' motivation to steer clear of crime.
The initial results, in February 2012, suggested prisoners who took part were more likely to reoffend than those who had not.
However, the programme was allowed to continue until March 2017 while Ms Hopkins's study was reviewed, checked and reworked before it was published three months later.
The Central London Employment Tribunal has been considering Ms Hopkins's claims that she was "sidelined" after presenting her findings - and unfairly left off the list of research authors - for suggesting that "vested interests" did not want the study to be made public.
Paul Skinner, representing the MoJ, said there had been no attempt to prevent or slow down the release of the results.
"The Ministry of Justice and the secretary of state wouldn't want to be giving people treatment that they thought didn't work," he said at the end of the seven-day hearing.
"It's a complete waste of money."
'Asking stupid questions'
Earlier, the tribunal heard that prison and probation officials at the MoJ had expressed concerns about the methods used in Ms Hopkins's study and wanted the research to stop.
Rebecca Endean, the department's then director of analytical services, said she had refused to do that but had agreed to work with officials to address the problems.
Ms Hopkins, who is representing herself at the hearing, believed that amounted to an attempt to "fix" the results so the treatment scheme would not be seen as a failure.
She also claimed Ms Endean "bullied" her.
Ms Endean denied the allegations, saying that, as it was her responsibility to present the findings to ministers, the methods had to be "robust", even if that involved "asking stupid questions and making everyone's lives miserable".
"I wanted to be absolutely sure we hadn't made a mistake," she said.
Treatment programmes for sex offenders
Sex offenders can receive therapy in prison and in the community
Core programme devised in 1992 - but revised over years as evidence of effectiveness complex
Main SOTP scheme rolled out to more prisons in 2000s - but now found to have failed
Two new schemes have been accredited as replacements, having been devised from latest research
However, the tribunal was told that it led to a breakdown in relations with Ms Hopkins who complained that in one meeting Ms Endean had shouted at her: "Wipe the smile off your face."
Ms Endean denied using the phrase or shouting but accepted that Ms Hopkins had felt "intimidated".
An internal grievance investigation was conducted into the way managers had handled the analyst's claims of "bullying" and the stress-related mental health problems that she said it had caused.
The inquiry found against her but in a witness statement submitted to the tribunal, a former senior MoJ official acknowledged the department's shortcomings.
Osama Rahman, who headed the analytics unit between 2014 and 2018, said it was clear Ms Hopkins's mental health had suffered.
"Given how [she] had felt, including claiming that she had felt suicidal, I believed that we had failed her," Mr Rahman said.
A ruling on the case is expected in the next few weeks.
Sex offence researcher 'was bullied' by Ministry of Justice
Sex offender treatment in prison led to more offending
Sex offenders: Public not protected enough, say inspectors
UK Sections

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Official: Jagiellonia's Klimala Signs with Celtic FC
Celtic have finalized the transfer of Patryk Klimala from Jagiellonia / Celticfc.net
GLASGOW, Scotland. January 14 (PSN) – Patryk Klimala has officially signed with Celtic FC – the Scottish champions have announced via their website.
The 21-year-old striker has joined the popular 'The Bhoys' on a four-and-a-half year contract, valid until the end of June 2024.
The Polish U-21 international made 17 appearances this season in the colours of Jagiellonia Bialystok in the PKO Ekstraklasa, having scored 7 goals – the best season record he's had to date.
In total, Klimala, nicknamed 'The Devil', has 42 games and 8 goals scored for the Bialystok outfit since arriving in 2016 from Legia Warsaw.
Celtic took advantage of a buyout clause, which was included in Klimala's contract with Jagiellonia. It amounted to 4 million euro.
"It's a big moment for me and I'm very excited," said Klimala. "I'm very happy to be here at such a massive club.
"The last 24 hours were intense. I was waiting for the decision to be finalised so I could finally come here and meet everyone. I had the chance to see the stadium and I felt the atmosphere. It was amazing so I'm looking forward to playing here in front of the fans. I'm very happy that everything is finished now and looking good."
Celtic is currently the leader in Scottish Premier League table with 52 points. They have a two point advantage over second place Rangers FC in the standings. However, the 'Gers' still have one game in hand.
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Strategy and Communications Intern, High Lantern Group - Atlanta, GA
Summer 2023 President's Undergraduate Research Award's Fund
Summer 2023 Sustainable Communities Internship Application, GT SLS - NOW OPEN!
Asian Investment Infrastructure Bank Graduate Program
Federal Jackets Fellowship
INTA Advising Blog
Villgro Fellowship 2012-2013
April 20, 2012 Vince Pedicino
As a Villgro Fellow, you will work with a social enterprise for 1 year, applying your skills to create real impact in rural India. Many Villgro fellows have gone onto work/consult for social enterprises or pursue further studies in the social sector.
3-4 years experience in any of the following areas – Strategic Planning, Finance and Accounting, HR, Sales and Marketing, IT and Operations.
What is the Villgro Fellowship?
Villgro works with social entrepreneurs who are changing rural India with innovative ideas such as Bee-Keeping that increases farm yield and financial returns for farmers, cost-effective anaemia testing machines to prevent maternal mortality, to name a few. You expertise helps the social enterprise at a critical stages in its journey. Working hands-on with the social enterprises opens your mind to different possibilities. Villgro will provide training and financial support.
Fellowship Process:
May 20th Last day for Application
Sept 12th Fellowship Begins
Sept 12th – Oct 6th Fellowship Induction
October 10th – Aug 17th 2013 Work at Incubatee Organization
Aug 20th – Sept 7th Off-boarding
www.villgro.org/index.php/fellowship
Call Sucharita – 09381516767
Rawi Abdelal Talk
Graham Sweeney: I am Liberal Arts Award Winner
January 25, 2023 Stephanie Jackson
Accepting applications now! 2023 CBCF Scholarships and Fellowships
As a reminder, all Congressional Black Caucus Foundation (CBCF)'s 2023 Scholarships applications are now open! We...
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Marketing and Outreach Fellowship, AMP Global Youth (Spring 2023)
Calling students with an interest in communications and social marketing for a cause. AMP is recruiting...
Internships Scholarships and Fellowships
January 4, 2023 Stephanie Jackson
Mickey Leland International Hunger Fellow for 2023-2025.
Be a change-maker in the movement to end global hunger: apply now to be a Mickey...
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Strategy and Communications Intern, High Lantern Group – Atlanta, GA
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Updated Book News - August 2014
It's been an extremely busy few weeks as we wored on five different Fleet Handbooks. The first covering East Yorkshire Motor Services and its Midlands-based Whittles subsidiary was published last Friday and we are encouraged with early sales, so if you have ordered or bought a copy Thank You.
Of the remaining four books, a new and enlarged edition of our Norfolk Green Fleet Handbook will be published in late September in time for the Omnibus Society's Presidental Weekend. This edition will include changes to the fleet that are currently taking place and will also detail the vehicles that are due to be transferred in September/October to replace the remaining Agoralines in the fleet.
However, you may be wondering what is happening with some of our publications that we sought photographs for several months ago. We have rescheduled several books pending delivery of new vehicles, and other fleet changes (both in and out of the fleets) that we have been advised will be happening.
The biggest delay will be to the Stagecoach North East book, which will now not appear until January 2015. We have replaced this in our Autumn/Winter 2014 schedule with a book covering the Stagecoach Cumbria & North Lancashire fleet. Unless we are expecting further images from you, we now have all the photographs we need for these books.
The revised publication schedule is:
East Yorkshire Motor Services (2014 Big Bus Day Edition) now published
Norfolk Green - Due end September
Stagecoach Oxford - Due end September
Stagecoach Cumbria & North Lancashire - Due early November
Stagecoach North East - Due late January 2015
We are planning a new edition of our Stagecoach East Midlands Fleet Handbook in early 2015. We are seeking images for this book, but as there are a large number of fleet changes taking place - and new vehicles due for delivery this Autumn. We would want the majority of photographs to reflect the fleet after these changes have taken place. Additionally we would want photographs to be taken in the Grimsby/Cleethorpes area to represent the new service network (and route numbers). We appreciate that it may be necessary to illustrate some vehicles prior to the changes to ensure that we have a representative selection of images.
We are currently looking at whether we will be in a position to publish a Fleet Handbook covering the Stagecoach Manchester fleet during the first part of 2015 and expect to make a decision within the next couple of months.
We are also able to announce that we have increased our payment for photographs used to £4 per image and we hope to be able to increase this amount again next year. Correspondents whose images are used in the books will also receive two complimentary copies of the book.
We will announce more details, publication dates and prices for these books on our 'Publications and Collectables' page as soon as they are available.


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Гастгаус () — готель в німецькому стилі або таверна з баром, рестораном, бенкетною залою та готельними номерами, які здаються в оренду.

Готелі цього типу, як правило, зустрічаються у невеликих містах і часто є родинним бізнесом. Часто можна зустріти три покоління сім'ї, які працюють разом в такій установі; багато установ належать тій самій сім'ї протягом поколінь.

Готелі типу «Гастгаус» поширені в Німеччині, Австрії, Швейцарії та інших європейських країнах навколо Німеччини. Деякі з них прикрашені розписами (так звані lüftlmalerei), які зображують казкові історії або місцевих легендарних діячів.

Етимологія
Гастгаус в перекладі з німецької мови означає «гостьовий дім». Gasthof — це варіація слова, Landhaus означає «заміський будинок» (хоча по суті, обидва слова мають однакову концепцію, проте друге означає будинок в сільській місцевості) та Pension означає «пансіонат» або невеликий готель. Обід та вечеря (Mittagessen und Abendessen) зазвичай подають громадськості, але сніданок (Frühstück) зазвичай зарезервований для гостей, що залишаються на нічліг. Такий готель також часто буде мати відкрите місце для пивного саду (Biergarten) навесні та влітку.

Примітки

Типи готелів
Культура Німеччини

redpajama_set_name: RedPajamaWikipedia


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Sumthing Else Music Works Announces Release Of The Halo 3 Original Soundtrack From The Blockbuster Xbox 360 Video Game
FROM THE MOST SUCCESSFUL ENTERTAINMENT LAUNCH IN HISTORY, COMES THE MOST ANTICIPATED VIDEO GAME SOUNDTRACK OF THIS HOLIDAY SEASON
News by GamesIndustry International Contributor
Published on Nov. 12, 2007
New York - October 17th, 2007 - Sumthing Else Music Works, Inc., through its licensing relationship with Microsoft Game Studios, proudly presents Halo® 3 Original Soundtrack. The highly anticipated original soundtrack comes in a 2-CD set featuring the game's original music score and will be released on November 20th to US retail outlets through Nile Rodgers' Sumthing Else Music Works label www.sumthing.com and via digital download at Sumthing Digital www.sumthingdigital.com.
Halo 3 is the conclusion to the epic trilogy and picks up where Halo 2 left off, answering questions about the fates of the beloved protagonist Master Chief and his artificial intelligence sidekick Cortana as they struggle to save humankind from destruction at the hands of the alien coalition known as the Covenant.
The official Halo 3 Original Soundtrack features the new symphonic compositions by Martin O'Donnell and Michael Salvatori, the award-winning composers behind the best-selling Halo: Combat Evolved, Halo 2 Volume One and Halo 2 Volume Two soundtracks. In addition to new original tracks written for the Halo 3 video game, the Halo 3 Original Soundtrack also includes new arrangements of the game's musical themes that Bungie's audio director and composer Martin O'Donnell recorded with a full live orchestra and chorus. The 2-CD set amounts to two hours of original music from the game Halo 3.
Developed by Bungie Studios and published by Microsoft Game Studios, the critically acclaimed Xbox 360® exclusive, which was released worldwide on Tuesday, Sept. 25, is the fastest-selling video game ever and already one of the most successful entertainment properties in history. The Xbox 360 title beat previous U.S. sales records set by blockbuster openings for entertainment events such as the release of "Spider-Man 3" and "Harry Potter and the Deathly Hallows." Halo 3 was released in 37 countries and 17 languages. To date, more than 20 million copies of the games in the Halo trilogy have been sold worldwide. For more information visit www.halo3.com.
About Sumthing Else Music Works, Inc.
Nile Rodgers started Sumthing Else Music Works (SEMW) as a nationwide record label and creative outlet for independent artists and unique musical projects. Through its affiliated company, Sumthing Distribution, SEMW prides itself on its ability to rapidly and effectively deliver to the marketplace many innovative products. In view of the successes of its previous game soundtrack releases, the company is now recognized as the leader in this newly emerging musical genre. Accordingly, SEMW has bolstered its commitment to enhancing gamers' overall experience by acquiring many new titles to complement its current catalog of releases. For more information visit www.sumthing.com and www.sumthingdigital.com.
Sumthing Else Music Works and Sumthing Distribution logos are copyright of their respective companies. All other names of products mentioned herein may be the trademarks of their respective owners.
www.halo3ost.com
Sumthing Else Music Works Press Contact:
Greg O'Connor-Read
greg@topdollarpr.com
GamesIndustry International
GamesIndustry International is the world's leading games industry website, incorporating GamesIndustry.biz and IndustryGamers.com.


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When a rapper named Bad Baby Rapper Raps for Cash
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It is a story that will make you want to curl up on the couch and cry. It is one that will get you talking to…
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Swiss Institute
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SI Reading Room | Heman Chong & Ken Liu: Legal Books (Shanghai)
Jun 23 - Aug 19 2018
Swiss Institute is delighted to present Legal Books (Shanghai), an exhibition and bookshop by Heman Chong and Ken Liu. This marks the inaugural library exhibition in SI's Library and Reading Room at Swiss Institute's new home at 38 St Marks Pl, in the heart of the East Village.
Legal Bookshop (Shanghai) is a selection of books relating to the legal system in China. For this project, originally conceived as part of Heman Chong's 2016 solo exhibition at the Rockbund Art Museum, Shanghai, the artist invited and hired Ken Liu, who works as a lawyer, translator, programmer and speculative fiction writer, to make a personal selection of books that informs Liu's understanding of the law in China.
Via email, Chong wrote: "I would like you to select books that are readily available in bookshops in Shanghai that touch on the idea of the law; including both fiction and nonfiction books. They can be textbooks that law students use for their studies, books that lawyers use for reference, copies of the legal acts, novels where characters get entangled with the law, books that touch on the history of the law, maybe even books on scientific laws. I want you to interpret the idea of 'the law' when you think about this list." Liu's resultant selection of books is available to browse and purchase at Swiss Institute.
Though some of the choices may seem obvious, such as Laws and Regulations of the People's Republic of China in Common Use, and The Comprehensive Explanations on the Laws of the People's Republic of China, in addition to books that introduce the idea of laws and their histories in China and other countries, others are more idiosyncratic, for example: a chess manual; a book that touches on prosody in poetry; a book on programming algorithms and game development; a book on urban planning; a guide for LEGO builders; a book on principles of physics and laws of nature; a book on the governance of a nation and rules of economic development; a book on social norms and etiquette; and a book on philosophy enquiries concerning human society. A full list of books is readily available upon request.
Together, as literature and as objects, these various books describe a collection of limits, rules and systems whilst offering a glimpse of a cultural imaginary.
Heman Chong envisions the bookshop as an open-ended platform, which he has consistently utilized within his practice. Other bookshops include: LEM1 (2012), a collection of 3000 science fiction and fantasy books sold for 1£ at Rossi & Rossi Gallery in London; LEM2 (2016), a nomadic curbside retrospective of the Polish science fiction writer, Stanisław Lem at the 20th Sydney Biennale; and Because, The Night (2017), a nocturnal bookshop that is installed in 72-13, a major theatre venue in Singapore that is open only between 10PM-4AM.
For full Legal Bookshop Catalog, please see here.
About Heman Chong
Heman Chong is an artist who lives and works in Singapore. He has developed solo exhibitions at Calle Wright (Manila, 2018), 72-13 (Singapore, 2017), the Rockbund Art Museum (Shanghai, 2016), South London Gallery (London, 2015), Art Sonje Center (Seoul, 2015), P! (New York, 2014), The Reading Room (Bangkok, 2013), NUS Museum (Singapore, 2012), Kunstverein Milan (Milan, 2010), Vitamin Creative Space (Guangzhou, 2007), Art in General (New York, 2007), Project Arts Centre (Dublin, 2006), The Substation (Singapore, 2004), Künstlerhaus Bethanien (Berlin, 2003).
He has also participated in numerous international biennales including 1st Yichuan Biennale (2016), 20th Sydney Biennale (2016), 10th Gwangju Biennale (2014), Asia Pacific Triennale 7 (2012), Performa 11 (2011), Momentum 6 (2011), Manifesta 8 (2010), 2nd Singapore Biennale (2008), SCAPE Christchurch Biennale (2006), Busan Biennale (2004), 10th India Triennale (2000). He represented Singapore in the 50th Venice Biennale (2003).
In 2006, he produced a writing workshop with Leif Magne Tangen at Project Arts Center in Dublin where they co-authored PHILIP, a science fiction novel, with Mark Aerial Waller, Cosmin Costinas, Rosemary Heather, Francis McKee, David Reinfurt and Steve Rushton. Between 2012-2014, he designed and directed Moderation(s), a floating program that was shared between Witte de With Contemporary Art (Rotterdam) and Spring Workshop (Hong Kong), which involved more than fifty artists and took form as a conference, three exhibitions, three residencies, and a book of short stories. In 2016, he co-founded (with Renée Staal) The Library of Unread Books, which has been installed in NTU Center for Contemporary Art (Singapore, 2016), The Museum of Contemporary Art and Design (MCAD) (Manila, 2017), and Casco (Utrecht,2017). He is currently working on a novel, "The Book of Drafts," which will be published by Polyparenthesis in 2019.
About Ken Liu
Ken Liu currently works as a litigation consultant for intellectual property cases. In addition to his legal practice, Liu is an author of speculative fiction, as well as a translator, and programmer. A winner of the Nebula, Hugo, and World Fantasy awards, he is the author of The Dandelion Dynasty, a silkpunk epic fantasy series (The Grace of Kings (2015), The Wall of Storms (2016), and a forthcoming third volume) and The Paper Menagerie and Other Stories (2016), a collection. He also wrote the Star Wars novel, The Legends of Luke Skywalker (2017). In addition to his original fiction, Ken also translated numerous works from Chinese to English, including The Three-Body Problem (2014), by Liu Cixin, and Folding Beijing, by Hao Jingfang, both Hugo winners.
SI Programming is made possible in part with public funds from Pro Helvetia, Swiss Arts Council, The New York State Council On The Arts, with the support of Governor Andrew Cuomo and The New York State Legislature, and The New York City Department Of Cultural Affairs in partnership with The City Council. Main sponsors include Luma Foundation, The Andy Warhol Foundation for the Visual Arts, and Friends of SI. SI gratefully acknowledges its benefactors UBS and Stella Artois, Swiss Re as Public Programs Presenting Sponsor, Vitra as Design Partner and SWISS as Travel Partner.
Nadine Johnson, Nadine@NadineJohnson.com
Evan Lenox, Evan@NadineJohnson.com
Image: Courtesy of the artist and Rockbund Art Museum
Artist Talk | Heman Chong: Ifs, Ands, or Buts
Lecture | Ken Liu: The Bookmaking Species
Legal Books (Shanghai), installation view


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Kate Winslet Will Play Vogue Model & War Correspondent Lee Miller In A Historical Biopic
By Hayley Maitland 30 June 2020
Another day, another major biopic to have on your radar. After years of speculation, it's been confirmed that Kate Winslet will take on the role of Lee Miller, British Vogue's World War II correspondent under the magazine's formidable editor-in-chief Audrey Withers, in a film directed by Oscar-nominated auteur Ellen Kuras. (Kuras previously worked with Winslet on Eternal Sunshine of the Spotless Mind, for which she served as cinematographer.) The drama will take inspiration from the biography The Lives of Lee Miller by Antony Penrose – Miller's son with her second husband Roland Penrose, a historian and champion of the Surrealist movement. The Post writer Liz Hannah is penning the script in collaboration with The Lee Miller Archives.
How British Vogue's Wartime Editor Audrey Withers Changed Fashion – And Feminism – Forever
By Hayley Maitland
"Lee Miller was a magnificent explosion of extremes, a woman I admire tremendously and whom I am so thrilled to be playing in this film," Winslet explained in a statement about the casting. "An extreme lover, thinker, life liver, cook, Vogue cover girl, war correspondent, icon, mother… So often viewed through the eyes or lens of a man, she has been portrayed as a wayward, brazen beauty, whose courageous achievements were sidelined as a result. She was a glorious, life embracing woman. But beneath the glossy surface there lurked deeper stories that she hid from the people she knew and loved. She gave the world an utterly unedited version of the atrocities of war, whilst searching for her own personal resolution."
Jennifer Hudson Demands Respect In The Epic First Trailer For Her Aretha Franklin Biopic
Miller famously began her career as a model for American Vogue after Condé Nast prevented her from stepping in front of a car in Manhattan and brought her to meet then editor-in-chief Edna Woolman Chase. She later relocated to Paris to study photography under Man Ray – becoming his lover and muse for several years. Following the Blitz, she signed on to be British Vogue's official war correspondent. Travelling to France shortly after D-Day, she captured the siege of St Malo; the liberation of Paris; and the opening of Dachau for the magazine's pages. In spite of her professional success, she experienced depression throughout her life, in no small part due to being raped as a child during a visit to her parents' friends in Brooklyn – a trauma that will be explored in detail in the film. Production is due to begin in the spring of 2021.
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Talking Pictures is a grand new promise from an innovative team with ennobling visual sense. We, at Talking Pictures specialized in Kerala Wedding Photography, Videography, Multicamera Live Events Shoot, Video Editing, Industrial Photography, Advertsing Photography and Ad Film Production.
Our infrastructure includes Full HD-HDV-DV Camera, Helicam, Steadycam, Jib, LED Wall, LED TV, LCD Projector. We offer our services in Thrissur, Cochin (Kochi), Calicut,Guruvayoor,Trivandrum and all over Kerala. Our clientle spread across all over the world.


Alex Ainsworth and the BLUESFIRE Band is primarily a four-piece blues rock band with guest artists of harmonica, saxophone and piano/keyboard creating an exciting and dynamic sound on classic blues routed songs. The band is comprised of two outstanding lead guitarists, Alex Ainsworth and Morgan Reader. Alex quoted by Bob Richards as "one of the best blues guitarists in 20 years". He has toured around Phuket, Thailand and Morgan quoted as "one of the best blues guitarists in Wales".
Alex Ainsworth on lead vocals, stylish Morgan Reader, excellent and extremely friendly David Harnett on drums and a very reliable bass player who wishes to remain anonymous. This band will give everyone a great and memorable performance!


I live and breathe for Thursdays. It's when he comes. You know the type. The guy that is the epitome of escape from your wretched life. The one who embodies the strength and freedom you don't have. I watch him from a distance. I can't help myself. But I was never supposed to talk to him. I was never supposed to fall for him.
I know what you're thinking. But you don't know my story. You don't know the kind of monster my husband is. And trust me, you have no idea who I am.
My neighbors no longer wonder about me. They know I'm insane.
The good news, though? They don't pay much attention to me. Sure, they give me weird looks at the grocery store and whisper behind my back when I drop my son off at school, but they keep their distance. Just like I want them to.


This article was published in the Summer 2010 Baseball Research Journal.
In 1920 and 1927, Babe Ruth hit more home runs than every other team in the American League. On May 5, 1925, however, Ty Cobb put up power numbers that even the great Ruth couldn't muster. Frustrated with the publicity Ruth's slugging had garnered, Cobb commented to a reporter that hitting home runs was not as hard as it looked. He declared that he too would start trying to swing for the fences. With a new mindset and a hands-together grip, Cobb went 6-for-6 that day, with two singles, a double, and three home runs, giving him sixteen total bases—still an American League record (shared with several others) for a nine-inning game.1 The next day, Cobb hit two more home runs, totaling five in two days—still a major-league record. Satisfied he had proved his point, Cobb returned to his familiar grip and style: trying to get base hits instead of hit home runs.
Ruth and Cobb are both in the Hall of Fame, but each hitter excelled in his own way. Indeed, every batter has unique psychological approaches, swing mechanics, habits, and characteristics. Even so, one thing about hitting is true for every hitter: Every time he walks up to the plate, he has only one tool to work with. Skillful use of this tool, the baseball bat, has captured the attention of fans, tried the patience of athletes, and turned men into legends.
Baseball as played today emerged from a cauldron of other games. In the late nineteenth century, the rules changed often, contributing to a seesaw dynamic within the game. For a few years, batters would have the edge and pitchers would be disadvantaged; subsequent rule changes would turn the tables. Exploited rules (and inherent advantages) disappeared quickly, leaving rules that maintained a good balance of offense and defense. Around 1900, rules about the bat had evolved that were simultaneously simple and thorough. In the decades since, bat-specific rules have remained relatively unchanged. The bats themselves, however, are a different story.
One important rule change in the early turbulent years came about in 1887: Batters could no longer request a high or low pitch. If the pitcher's throw passed over the plate and between the shoulders and knees, it was called a strike. Thus the adversarial approach to pitching—planted by Jim Creighton in 1859—fully bloomed. Instead of trying to help the hitter, pitchers had a new objective. The goal of all pitchers became what Casey Stengel once said of Satchel Paige: "He threw the ball as far from the bat and as close to the plate as possible." Pitchers began experimenting with various deliveries and grips. The spitball became a part of nearly every pitcher's arsenal.
As pitchers experimented with the ball, hitters responded by experimenting with the bat. Indeed, as the sport evolved, the bat changed significantly—in shape, size, and material—as batters sought a competitive advantage. Examining the history and underlying science will allow us to gauge the success of these experiments.
During baseball's fledging years, there were no bat manufacturers. Each player made his own, often starting with an axe handle or wagon tongue and shaping it to his liking using hand tools. Through trial and error, hickory wood was found to be successful. It was hard and resilient, so players rarely needed to replace bats. But as the game became more sophisticated, so did bat making. In 1884, a boy watched the slumping local star Pete "Gladiator" Browning break his bat. After the game, the boy offered to make Browning a new one using his father's woodworking lathe; the two worked through the night on a piece of northern white ash. The next day, Browning's three hits provoked inquiries about his new bat. As the years went on, ash wood became very popular with players. So did that boy and his father. That is how Hillerich and Bradsby, the manufacturer of the popular Louisville Slugger line of baseball bats, got their start. A trend had begun. Instead of making their bats, more and more players in the 1880s began purchasing bats that were professionally lathed.
Experiments were not restricted to trying out different types of material. Briefly popular, flat bats fell into obscurity as longer bats with slight tapers and knobs at the handle became prevalent. Players continued to tweak the weight distribution and barrel and handle diameters, but, for the most part, bats used after 1900 look remarkably similar to each other. However, creativity was not totally suppressed—experiments that deviated from the norm found their way into the batter's box and the patent office.
To understand the experiments on bats, we must understand the goal of the batter. If Stengel's words best sum up the efforts of the pitcher, the objective of the hitter was best summarized by Wee Willie Keeler's "Hit 'em where they ain't." In Keeler's playing days (1892–1910), hitters followed his guiding wisdom by playing what has been called the "scientific game." The scientific game involved a heavily strategic approach to baseball. Runs were scored via bunts, hit and runs, and stolen bases. Batters choked up and slapped at the ball, placing hits between infielders or just over their heads. Slugging—swinging mightily— was a frowned-on approach.
The appeal of the tactics employed by adherents of the scientific game is understandable when you consider the game's origins. Making contact was important because, in the sport's infancy, the development of the bat far outpaced the development of gloves. Since gloves were deemed unmanly, they were often not used, and errors were common. Even if a batter did hit the ball in the proximity of a fielder, he still might reach base on an error. Also contributing to the allure of the scientific game was an English game that heavily influenced baseball: cricket. In cricket, batsmen may get only one turn to bat per match, so the ability to place hits (and avoid being put out) is important. The first baseball players took this idea of guiding their hits and brought it to the diamond. And so experimentation with bats in the early days of baseball was steered by this "small ball" approach— the goal of experiments was to help players place their hits.
Many players, most notably Ty Cobb, adopted a split-hands grip, hoping to increase their bat control. But bat manufacturers sought to improve the tool itself by making a bat that was easier to swing. Manufacturers tried unconventional shapes; many bats that hit the market looked familiar to us from the knob up but had baseball-sized chunks of wood connected below the knob. In advertisements from this era it was explained that the chunks were intended to give the bat a more even weight distribution. In other words, manufacturers were hoping to alter the moment of inertia of the bat.
Moment of inertia (MOI) is an object's resistance to rotation. It relates both to how the weight is distributed throughout the object and where the point of rotation is located. MOI is a value, just like weight is. And just as a heavier object will be harder to lift, an object with a higher MOI will be harder to swing. Two bats can have the same static weight, but if their shapes are different they may have different MOI and different swing weights. Even though bats are described in terms of length and weight, fans and players alike know that these values alone do not tell the whole story; a bat feels "heavier" when swung while holding the handle versus when held around the barrel. In reality, however, the bat's weight is remaining the same—it is the moment of inertia that is changing.
The lemon-, ball-, and mushroom-knobbed bats used in the Deadball Era were all successful in lowering the MOI when compared with similarly weighted bats shaped like those used today. So these bats felt lighter when swung and gave a player more bat control than if he used a similarly weighted bat of twenty-first-century shape. However, a decrease in MOI means a less efficient collision between the bat and ball. And so these bats, perfectly suited for the scientific game, have fallen out of favor for the same reason Ty Cobb's split-hands grip has: More bat control means less power.
Another variation on the bat's geometry was that of Napoleon Lajoie's bat, which had two knobs, the higher one being called the shoulder. The shoulder was a few inches up the handle and was for the batter's bottom hand, if he was choking up, or for his top hand, if he was swinging normally. This bat, named for Lajoie, drew a lot of attention. Many players tried it, hoping to emulate Lajoie, one of the outstanding hitters of his day (and of baseball history, for that matter).
A third oddly shaped bat was patented in 1906 by inventor Emile Kinst. His patent drawings more closely resemble a jai alai stick than a baseball bat. In his patent (US0838257), Kinst claimed his bat had two unique features. The first was the shape of the barrel: When viewed from the side, it traced not a line but an arc. He hoped that the curved barrel would allow the hitter to spray the ball to all parts of the field and that it would impart spin to the ball, making it harder to field. A player who mastered the use of this bat would be very hard to defend. The second curious trait was the series of longitudinal grooves in the front of the curved barrel. Their purpose was to aid the hitter in hitting sharp line drives, avoiding foul tips and fly balls. Both of these traits, the bat's tendency to give spin to batted balls and to induce them to take the form of line drives, fit directly with the objective of the scientific game.
Notice the goal of the dog-leg bat was to increase the power, not the placement of the hit. Bats invented before 1920 all tried to help the hitter play the scientific game. Whether by a change in the weight distribution, the addition of a knob, or an alteration of the shape, all were designed to give the batter more control over where he hit the baseball. This dog-leg handled bat is just one example of the many modifications that in the 1970s, '80s, and '90s were made to help the player hit the ball hard.
And so, while Emile Kinst's idea of a curved bat would be imitated more than half a century later, the reasons behind his design were entirely different. Clearly, between the early 1910s and the 1970s there was a change in the goal of design improvements. If the experiments in the later twentieth century were focused on a player's ability to hit the ball far and hard instead of placing it carefully between the shortstop and third baseman, something must have changed. A new objective of experiments in bats suggests a change, in the approach to hitting, from what had been around for over half a century—since the beginning of baseball no less. What could bring about so monumental a shift? It would take only 54 swings by one man to forever change the game.
Remember, Babe Ruth and Ty Cobb disagreed sharply on this very issue: Is hitting scientifically better than slugging? As it turned out, Cobb was the last of one era, Ruth the first of another. For decades, hitters had been playing the scientific game, but this low-scoring approach went out the window when the Babe was up. Setting incredibly lofty single-season home run records, he swung for the fences every time. Players, seasoned fans, and team owners familiar with the entrenched style thought Ruth's approach was an indecent way to play the game. However, in the years immediately following the First World War, the public's appetite for entertainment was renewed, which Ruth provided, appealing to a new type of fan and a broader audience. A bright spot after the disillusionment bred by the Black Sox scandal, he became one of the first national celebrities; as his popularity rose, so did attendance figures.
Old-school players were frustrated. As a proponent of the scientific game, Cobb had always looked down on Ruth's approach, but his style of chopping at the baseball was falling out of fashion. Ruth succeeded in changing what had been the norm for eighty years. Though still trying to "hit it where they ain't," he and his successors attempted to do this in a different way. On the whole, hitting the ball sharply gives defenders less chance to field it and, moreover, increases the odds it will fly over the fence. Hitting the ball hard became the new objective.
If players wanted to focus their experiments on one particular variable, perhaps the best metric of a hitter's ability to hit the ball hard is batted-ball speed (BBS). The question for athletes and inventors then becomes what variables can be tweaked to help a player hit the ball hard—to increase BBS?
To increase BBS, vb initial could be increased. Baseball players have long supported this conclusion: If the pitcher is throwing harder, the batter will hit it harder. However, this insight is not always helpful to the hitter—the only values under his control belong to the bat: vB initial and mB. When we focus on these values, further analysis shows that since vB initial > vB final >0 (the bat slows down after contact, but does not change direction) the ratio of mB / mb will be multiplied by a m/m positive constant. So this ratio needs to be as large as possible, and so the numerator needs to increase. Therefore, we see that a heavier bat will hit the ball harder.
While equation 2 helps our understanding, incorrect conclusions can be drawn if we just stopped there. For instance, if vb initial were increased by any amount, it appears that vb final would be increased by an identical amount. That would be incorrect, because a harder-thrown pitch will result in a slower bat after contact. We still have vB final in our equation, and, in order to get a complete picture, we need to get rid of it. Besides, when was the last time you heard someone talk about the bat's speed after collision? We need a way to eliminate that variable. The answer is the coefficient of restitution (COR).
If we look closely at this equation, we see that, if we increase vB initial then we will have a larger numerator, as both the second term and the third term will increase. And so a faster bat will result in a higher BBS. What is curious about the heavier-versus-faster predicament is that these traits are mutually exclusive. If we assume the bats are similarly shaped, a heavier bat is necessarily swung slower, not faster. So which is more important, weight or speed?
THE SCIENCE BEHIND THE "UNSCIENTIFIC" GAME—WHAT MATTERS MORE, WEIGHT OR SPEED?
Ideally, a player would swing the heaviest stick with the greatest speed, but the ideal is impossible, so players face a difficult tradeoff. The correlation between the bat's characteristics (weight and speed) and the player's performance (BBS) intrigues scientists and batters alike. Bat speed matters more than bat mass, according to Daniel Russell of Kettering University.4 In one of the studies he cites, experimenters, using BBS as the guiding metric, recorded the ball velocity resulting from different swings of different bats. Bats of increasing weight were swung at a constant speed. Other factors (like ball velocity and ball mass) were kept constant. Obviously, the largest bat resulted in the highest BBS. (It had the largest initial momentum.) Then bats of the same weight were swung at increasing speeds. Again, other factors were kept constant. Again, the results proved intuitive: The faster bat resulted in the highest BBS. The interesting thing was that a change in bat speed resulted in a higher BBS than a proportionally equal change in bat weight. So an incremental change in bat speed would give a player a higher BBS than would an incremental change in mass. In practice, though increasing the mass of the bat is not the scientifically optimal choice, it's the easier alternative. It's easy enough to grab a heavier bat but not so easy to just swing harder—players often swing as hard as they can anyway.
That bat speed matters more than bat weight was certainly not intuitive to players in Ruth's era. Players in the late 1920s and '30s actually pounded nails or needles into the barrel of their bats to make them heavier. They intuited (correctly) that a heavier bat would hit the ball farther, and they concluded (incorrectly) that the heavier, the better. And so we hear tales of 45-ounce clubs being wielded in the batter's box. Today's players seem to understand the importance of bat speed. So what—or, rather, who—was the reason for the shift from emphasis on weight to emphasis on speed? Supposedly baseball players are great experimentalists, so how did such a fact stay undiscovered for decades?
The origins of recognizing bat speed as more important than bat mass are difficult to pin down; the shift to lighter bats was gradual and not marked by any one specific event or person. However, Ted Williams reports in his book, The Science of Hitting, that he began using a light bat during the 1938 season. He used a 35-ounce bat in the minor leagues for a while before borrowing a teammate's lighter bat and, to his surprise, hit a home run with just a flick of his wrists. From then on Williams used a 33-ounce bat. In his book he remembered that players using smaller bats created a stir in the 1950s, but he claimed to have been using one for years.
In Keep Your Eye on the Ball, Robert Watts and Terry Bahill help explain both why Ruth and others were using such heavy bats (though with success) and why a lighter bat might have been better.5 In the 1990s Watts and Bahill devised a test in which they tried to find the best bat weight for a player to use. They had a player swing bats of different weights. They measured the swing speed and calculated what the ball's exit speed, or BBS, would be. As expected, the faster swings were with lighter bats, slower swings with heavier bats. Also as expected, there was a bat weight at which an extra ounce meant the ball's exit speed would decrease.
Watts and Bahill realized that there might be a difference between an optimum bat weight and an ideal bat weight. While an optimum bat weight would enable a hitter to create the highest BBS, a bat lighter than that would allow the hitter more time to see the pitch, would give him more bat control, and would enable him to make good contact more frequently. They suggest that the ideal weight would be one in which the player has good bat control and can wait longer before swinging. They suggest a weight that is 1 percent below the maximum BBS value. The swing speed would be much higher and therefore the frequency of well-struck balls would outweigh the slight dip in power.
Their results suggest that the difference between optimum weight and ideal weight is approximately equal to the difference in the weights of the bats used by Ruth and by Williams respectively. Focusing on the idea that more weight would help him hit the ball farther, Ruth kept traveling along the curve until he reached a fall-off point. It is likely, then, that Ruth would not necessarily be able to hit the ball any harder (or farther) by using a bat that was slightly lighter or slightly heavier. However, pitch velocities have risen since 1930, so that the importance of bat speed has increased. Over time, players have favored increased bat speeds and lighter bats even at the cost—albeit diminutive—of BBS.
As bat speed has become more important, many alterations to the shape used by Ruth and Williams have been suggested, from dimpled barrels to bent and V-shaped handles. Patenting his idea in 1994 (US5284332), MIT professor Jeff DiTullio believed that adding dimples to the barrel would increase a player's bat speed by reducing drag.6 A dimpled barrel experiences less drag because the dimples stir up the air around the bat, causing it to flow through more turbulent air, reducing the drag coefficient. DiTullio tested his dimpled bat and found that he could increase the swing speed by about 3 to 5 percent—enough to turn a fly ball caught on the warning track into a home run.7 However, bats used in MLB games must be "smooth" (Rule 1.10a), so it's unlikely that DiTullio's idea will be applied in professional ball.
Another bat redesign intended to increase a batter's power has already been mentioned: the dogleg-handled bat. By the 1980s, the idea of a dog-leg handle had migrated into aluminum softball bats. In 1982, Esther Moe completed her master's thesis in which she compared the ball-exit velocity off the two differently handled softball bats—one "normal"-handled bat and the other with a handle angle of 19 degrees.8 She found that, despite the psychological appeal of a newer technology, the different handle shape did not help the performances of the players.
While these two bats are some of the many that are disallowed by MLB rules, there have been experiments on bat shapes whose permissibility is only questionable. Some players shave down the handles of their bats. Most are simply trying to change the diameter so that it feels right in their hands when they swing. In the 1980s and '90s, Don Mattingly went so far as to change the shape of his handle so that it was no longer cylindrical. He believed his bat speed would improve if he held the bat in his fingers, not his palms. He found that a rounded, triangular-type handle would help the bat sit well in his hands and keep his fingers aligned throughout his swing. Mattingly's name now appears on a line of V-handled bats promising to help players hit the ball farther.
Alongside experiments on the shape of the bat have been experiments on its material. For the last quarter century, amateur players have been able to use metal bats in games. The idea was around as early as 1924,9 but metal bats did not come into common use until the 1970s. Originally, metal bats were used because they were more durable. However, performance quickly became the main reason for their use.
Indeed, metal bats are quite an upgrade from wooden ones. Like Daniel Russell, Alan Nathan maintains a website where he looks at, among other things, the science of baseball. Both Russell and Nathan explain many of the advantages metal has over wood.10 They explain the efficiency of the bat-ball collision based on hoop and linear oscillatory modes, describe a few different ways to define the "sweet spot" of a bat, and show why certain safety measures need to be taken. They were involved in helping the NCAA regulate their bats, looking at both the ball-exit speed ratio (BESR) requirement and the MOI monitoring. However, while the history and science of metal bats is interesting, I will leave it for another to fully explore and explain. I will limit my examination of differences in materials to a look at different types of wood.
Even though different woods have different characteristics, the type of material used by players had remained remarkably consistent for more than a century. Ever since Pete Browning swung his in 1884, Louisville Slugger has made bats out of ash, specifically northern white ash. As recently as 2000 it was generally accepted that professional ballplayers used ash bats. Today, though, many players are using sugar (rock) maple. After ash dominated the market for so long, why the sudden change? Interestingly, it was another single-season home-run king who was responsible for altering a convention that had prevailed among hitters for a century.
In 1998, Sammy Sosa and Mark McGwire were locked in a home-run race to see who could break Roger Maris's 37-year-old single-season home-run record. Looking more like bodybuilders than typical baseball players, they slugged it out, drawing fans and media adulation. That year McGwire did succeed in setting a new record, but his reign on top was brief; baseball waited only three years before another single-season home-run record was established. Besides uncannily quick hands, a nearly inhuman plate discipline, and the plausible assistance of undocumented and possibly unsafe levels of chemicals coursing through his body, to what could Barry Bonds attribute his record 73 home runs in 2001? The bat of the new home-run king was a maple, and Bonds credited it with giving him "a lot of confidence."11 Reports vary as to when maple bats were first used in an MLB regular-season game, but they all agree that, before 1996, no player had ever used one. Before Bonds's monster season, few players had ever used a maple, let alone on a regular basis. Yet only seven years after the record-setting season, about half the bats in the major leagues were maple.
Manufacturers claim maple has two advantages over ash. The first is that maple bats help a player increase his BBS. The second is that maple bats last longer. One obvious place to look for evidence that these bats help players hit balls farther would be offensive statistics. With 50 percent of players using maple, offensive statistics should have increased. Benjamin G. Rader and Kenneth J. Winkle studied the 1990s hitting barrage.12 They discovered that hitting peaked in 2000 and that seasons that spanned 2001 to 2007 saw a "new equilibrium" of offensive statistics. They found that when maple bats started becoming more popular, the offensive numbers actually decreased.
However, they caution that maple was not an isolated variable. In fact, offensive numbers have declined over the past decade primarily because of the changing strike zone, the banning of certain substances, and the institution of drug-testing programs. It's possible that maple bats help hitters but that the positive effect has been outweighed by expansion of the strike zone and restrictions on drug use. Rader and Winkle acknowledge the effect of such institutional changes and think their findings are indicative of them, not of wood type.
Although it's difficult to determine from offensive statistics, ash and maple indeed have unique performance characteristics. Uniqueness does not imply superiority, however—one does not necessarily have an advantage over the other. After all, McGwire used an ash bat when he hit 70. If statistics will not suffice, perhaps a scientific examination of each material will aid in the understanding of the distinct characteristics of each type of wood and how each is suited for use in major-league games.
Static bending relates to the stiffness of the bat and is commonly referred to as Young's modulus. Having a lower value, an ash bat will bend more on impact with a ball than a maple one will. Players notice the inherent give to an ash bat and that the connection with a maple bat feels more solid. Some hitters have commented that they like maple because they don't have to compensate for this give; others prefer the flex of an ash bat. The stiffness of the bat also determines how the bat vibrates when struck by a ball. These vibrations are what contribute to a stinging sensation when the ball is hit poorly and a solid feeling when contact is made on the bat's sweet spot, giving further credence to players' subjective evaluation of the different merits of ash and maple.
It's interesting to compare Young's modulus with the "height of drop causing failure" test. This test is exactly what it sounds like: A hammer is dropped on a wood sample from increasing heights until the wood breaks. From Young's modulus, we know that ash is more flexible; from the "height of drop causing failure" test, which is a measure of impact bending, we see that ash will also withstand a greater force from a hammer. So, compared to ash, a maple bat, which is stiffer, will, with its thinner handle and lower impact bending value, be more likely to snap at the handle. However, an ash bat is more likely to split down the barrel, as it has lower shear strength parallel to the grain. There is an important difference in the ways these two bats tend to break: A splitting bat poses significantly less danger to spectators than does a snapped bat. A split bat usually stays in one piece, whereas one that snaps leaves the batter holding only the bottom six inches while the barrel goes flying away. In the summer of 2008, a player, a fan, and an umpire were all injured by a flying barrel. As the use of maple has risen, so have safety concerns.
Prompted by the rise in broken bats, Commissioner Bud Selig assembled a team of experts to study the issue. Over a two-month period in 2008, the committee collected and examined more than 2,200 broken bats. Chief among their discoveries was that manufacturers were making bats with a poor slope of grain.
Slope of grain is essentially a measure of how parallel the bat would be to the tree it came from. If a bat breaks at the handle and there is a smooth ellipseshaped break—almost as if someone had cut through the bat with a knife—that is an example of a break due to poor slope of grain. The steeper the angle of that oval, the less strength the bat had. Bats used during the 2008 season had as much as a 14-degree angle, which means they were at only 25 percent of the possible strength. MLB now enforces regulations on this issue, but some manufacturers have simply opted to stop selling maple bats entirely.
In addition to considering rules for minimum handle thickness and proposing regulations regarding the slope of the grain, the MLB committee defied conventional wisdom and asked manufacturers to reposition the label on maple bats. From childhood, players are taught to swing with the label directly up (or down) in order to hit with the edge grain of the bat. With the label on the edge grain of a maple bat, the players still hit with the label in the same orientation, but they make contact with the face grain instead. The committee recommended this change because the face grain has a higher impact bending strength, which means it can withstand a higher hammer drop. So the bat is stronger with the face grain hitting the ball. The recommendation of the committee gives the player a tougher side of the bat to use, and so the bat will be less likely to snap when struck by a baseball.
As it turns out, maple and ash bats alike have a higher impact bending strength when struck on the face grain. Yet the label for an ash bat remains in its traditional location. So why would the label not change for ash bats as well? The answer hinges on the difference in the pore structures. Ash is a ring-porous wood, so rings of pores correspond to the growth rings. Conversely, maple is diffuse-porous—the pores are spread out evenly throughout the wood. These pores compress when ball hits bat. Maple compresses evenly, but ash bats will deteriorate very quickly when struck on the face grain. Manufacturers put the label on the face grain of ash bats to warn players which side would deteriorate fastest with use. This is why players are taught to hit with the label either directly up or down—to hit, that is, parallel with the grain— even though that means the face they hit with is the weaker one.
Diffuse-porous bats made of wood like maple don't undergo such deterioration. In fact, grain spreading in ash leads many players to discard used ash bats, but maple bats tend to be used until they break. Bats made of maple will typically last longer, and their lack of degradation allows players to take into the game the same one they used in batting practice that afternoon. Each player wants to succeed at the plate, and comfort with his particular tool of the trade can go a long way toward helping him achieve that aim. However, players who prefer ash may soon need to consider other bats, as the supply may be in jeopardy.
For decades, Pennsylvania forests have provided ash wood for baseball bats. In 2002, the emerald ash borer, a species of beetle dangerous to ash trees and once foreign to America, was discovered in Michigan. By 2007 it had reached Pennsylvania. If it reaches certain parts of the state, the supply of ash bats could be severely diminished. While the manufacturers of bats are aware of the beetle and are taking what precautions they can, it still threatens. While birch and bamboo bats are currently being manufactured, maple may need to become the primary wood for MLB. Provided ash does need to bow out of the spotlight it has enjoyed for the past hundred years, maple would be a viable alternative. Many players already enjoy the bat. And since safety concerns already keep some players from switching over, should the MLB committee's recommendations prove to alleviate these concerns, maple may achieve the dominance enjoyed by ash until just a decade ago. It seems the future of maple bats hinges on the safety of their use.
Or we can just wait for someone to hit 80 home runs with a birch bat, which would then become all the rage.
BEN WALKER, a recent college graduate, is moving with his new wife and electrical-engineering degree from Seattle to Chicago, where he will look for work, a home, and Cubs tickets.
Adair, Robert K. The Physics of Baseball. 3d ed., rev. New York: Perennial, 2002.
ASAP Sports (www.asapsports.com), 9 December 2008; Baseball History: 19th Century Baseball. 1 June 2009. (www.19cbaseball.com).
Ira Flatow, Brian Boltz, Lloyd Smith, Sven-Erik Spichiger. "Batter Up!" Science Friday. NRP, 4 July 2008.
Curran, William. Big Sticks: The Batting Revolution of the Twenties. New York: William Morrow, 1990.
DiTullio, Jeff C. "Reduced aerodynamic drag baseball bat." U.S. Patent 5284332, 8 February 1994.
Hernandez, Roland. WoodBat.org. January 2009.
Hibbeler, Russell C. Engineering Mechanics—Statics and Dynamics. 11th ed. Upper Saddle River, N.J.: Prentice Hall, 2006.
Hill, Bob. Crack of the Bat: The Louisville Slugger Story. Champaign, Ill.: Sports Publishing, 2000.
Kinst, Emile. "Base Ball Bat." U.S. Patent 0 838 257. 11 December 1906.
"Objectives of the Game." Official Baseball Rules. www.MLB.com / Official Information/Official Rules.
Sawicki, G. S., M. Hubbard, and W. J. Stronge. "How to Hit Home Runs: Optimum Baseball Bat Swing Parameters for Maximum Range Trajectories." American Journal of Physics 71, no. 11 (November 2003): 1152–62.
Thompson, Andrea. "The Science Behind Breaking Baseball Bats." Live Science (livescience.com), 15 July 2008.
Williams, Ted. The Science of Hitting. New York: Fireside, 1986.
Wong, Stephen, and Susan Einstein. Smithsonian Baseball: Inside the World's Finest Private Collections. New York: Collins, 2005.
1. Unless otherwise noted, statistics, records, and quotes are from Baseball Almanac—The Official Baseball History Site (www.baseball-almanac.com).
2. It is difficult to unequivocally attribute Groh's success to his bottle bat. His unique batting stance and steady improvement before and after using the bat indicate that many factors contributed to his success.
3. K. M. Mann, "Baseball bat with a dog leg type handle," U.S. Patent 3 554 545, 21 January 1971.
4. Daniel A. Russell, "Physics and Acoustics of Baseball and Softball Bats," http://www.Kettering.edu/~drussell/bats.html.
5. Robert Watt sand Terry Bahill, Keep Your Eye on the Ball: The Science and Folklore of Baseball (New York: W. H. Freeman, 1990).
6. Golf balls have dimples in order to reduce the effect of drag. Drag is the force on an object when it moves through the air. It always resists the direction of motion and affects all aspects of baseball. A ball that crosses the plate at 100 mph left the pitchers hand at about 108 mph!
7. Michael Matza, "Simple Dimple—On Bat—Could Revolutionize American Pastime," Knight-Ridder Newspapers, 17 April 1994.
8. Esther L. Moe, "A Comparison of Batting Using Bent Handled and Straight Handled Bats," thesis. Washington State University, 1982.
9. William A. Shroyer, "Baseball Bat, " U.S. Patent 1 499 128, 24 June 1924.
10. Alan Nathan, The Physics of Baseball (http://webusers.npl.illinois.edu/~a-nathan/pob/).
11. Barry Bonds, "Testimonials." Sam Bat (www.sambat.com/about-us/testimonials.aspx), January 2002.
12. Victor Wang, "A Closer Look at the OBP/SLG Ratio," By the Numbers 17, no. 1 (February, 2007): 10–14.
13. U.S. Forest Service, The Encyclopedia of Wood (Grand Rapids, Mich.: Skyhorse, 2007).
14. Being unsure what type of hickory was used in the nineteenth and early twentieth centuries, I list the average for five types of hickory (Mockernut, Pignut, Shagbark, Shellbark, Bitternut) that were prevalent in areas of the eastern United States where wood may have been harvested. The hickory values are not precise, but they are, so to speak, in the ballpark. For instance, the modulus of elasticity (column 2) has a value of 2.06, but the type of hickory actually used could have ranged from 1.7 to 2.26.
15. Also, many MLB players used metal bats in their youth and may be accustomed to thinner handles.


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Salangane est un nom vernaculaire d'oiseaux de la famille des Apodidae. Ce sont les espèces de la tribu des Collocalini hormis les espèces du genre Schoutedenapus qui sont appelées Martinets.

Liste des espèces
 Salangane à croupion blanc — Aerodramus spodiopygius
 Salangane à nid blanc — Aerodramus fuciphagus
 Salangane à nid noir — Aerodramus maximus
 Salangane à ventre blanc — Collocalia esculenta affinis
 Salangane d'Australie — Aerodramus terraereginae
 Salangane de Beavan voir Salangane à ventre blanc
 Salangane de Cook — Aerodramus sawtelli
 Salangane de Guam — Aerodramus bartschi
 Salangane de la Société — Aerodramus leucophaeus
 Salangane de la Sonde — Aerodramus salangana
 Salangane de l'Himalaya — Aerodramus brevirostris
 Salangane de Malabar — Aerodramus unicolor
 Salangane de Mayr — Aerodramus orientalis
 Salangane de Mearns — Aerodramus mearnsi
 Salangane de montagne — Aerodramus hirundinaceus
 Salangane de Salomonsen — Aerodramus nuditarsus
 Salangane des Carolines — Aerodramus inquietus
 Salangane des Mascareignes — Aerodramus francicus
 Salangane des Moluques — Aerodramus infuscatus
 Salangane des Palau — Aerodramus pelewensis
 Salangane des Philippines — Collocalia esculenta marginata
 Salangane des Seychelles — Aerodramus elaphrus
 Salangane de Vanikoro — Aerodramus vanikorensis
 Salangane de Whitehead — Aerodramus whiteheadi
 Salangane géante — Hydrochous gigas
 Salangane soyeuse — Collocalia esculenta
 Salangane linchi — Collocalia linchi
 Salangane papoue — Aerodramus papuensis
 Salangane pygmée — Collocalia troglodytes

Liens externes
 Liste des noms français des espèces d'Apodidae

Nom d'oiseau ambigu