Wednesday... Partly cloudy. Highs in the upper 60s. North winds around 5 mph, becoming northwest in the afternoon.
Wednesday Night... Mostly cloudy with a chance of showers with a slight chance of thunderstorms. Lows in the lower 50s. Northeast winds around 5 mph, becoming southeast around 5 mph after midnight. Chance of rain 50 percent.
Thursday... Showers likely in the morning, then showers likely with a slight chance of thunderstorms in the afternoon. Highs around 70. Southwest winds 10 to 15 mph. Chance of rain 70 percent.
Thursday Night... Showers likely with a slight chance of thunderstorms in the evening, then showers likely after midnight. Lows in the mid 50s. West winds 10 to 15 mph. Chance of rain 70 percent.
Saturday... Mostly sunny in the morning, then partly cloudy with a chance of showers in the afternoon. Highs in the mid 60s. Chance of rain 30 percent.
Monday Night... Partly cloudy. A chance of showers after midnight. Lows in the upper 50s. Chance of rain 40 percent.
Chillicothe, OH Weather Forecast - Find local 45601 Chillicothe, Ohio weather forecasts and current conditions. Continually striving to be your best resource for Local Chillicothe, Ohio Weather!


WorldAntique.net - Georg Jensen "Acorn" Complete luncheon service for twelve people. Sterling silver.
Thursday 25 April 2019 06:26 | WorldAntique.net in 2 countries | 69 antique dealers present: 140,864 antiques with photo. 9 conservator, 4 antique fairs, 4 associations.
Georg Jensen "Acorn" Complete luncheon service for twelve people. Sterling silver.
Composition: 12 lunch knives with long handle, 12 lunch forks, 12 dessert spoons.
Length: Luncheon knife 20.5 cm.


Stories of very unusual pen pals, including a ten-year-old girl from Michigan who befriends Panamanian dictator Manuel Noriega. A show from 2003 that we're bringing back with news this week of Noriega's death.
Learn more or listen again to this week's episode, which originally aired on September 18, 2004.


By contrast, in a separate survey of leading experts from sport, economics, health and the media, no respondents blamed the poor take-up of sports on any failure of Olympic athletes to inspire the nation. They said it resulted from: our busy lifestyles – jobs that are too taxing and young people prioritising academic achievement over exercise (27%); a lack of affordable local sports facilities (19%); poor diet and lifestyle (19%) and a deep-rooted culture of disinterest in sport and exercise UK (18%).
"The 2012 Olympics in London were inspirational but there is no point in inspiring people if they can't follow up on it. What the survey suggests is an unmet public appetite for better access to affordable facilities, serving a wider range of sports than just football. The benefits of greater participation in health and well-being could be significant."
Mark Gregory, EY's Chief Economist for the UK & Ireland; his work has quantified the economic and social impact of sport institutions, including the Rugby World Cup 2015 and English Premier League.
Will Watt, founder of Jump; providing expertise in policy evaluation, impact analysis and behaviour change in sport and volunteering.
Pro Bono Economics, established in 2009 by Martin Brookes (Tomorrow's People) and Andy Haldane (Bank of England), is a charity that matches professional economists, working as volunteers or on a voluntary basis, with charities and social enterprises that want to understand and improve their impact and value.
All figures, unless otherwise stated, are from YouGov Plc. Total sample size was 2001 adults. Fieldwork was undertaken between 10th and 13th February 2017. The survey was carried out online. The figures have been weighted and are representative of all GB adults (aged 18+).


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Errol Morris on 'reinventing nonfiction' and why he doesn't make 'gotcha journalism'
'The whole idea of what is possible has changed. We live in a different world'
Calum Marsh
Photo by Larry Busacca/Getty Images
Being assigned to interview Errol Morris is a rather tall order. The famed author, essayist, documentarian, recipient of both a MacArthur "Genius" fellowship and a Guggenheim, winner of an Emmy and an Academy Award, one-time pursuer of a PhD in philosophy, former private investigator and director of several of the most acclaimed documentary films of all time – including Gates of Heaven and The Thin Blue Line – has a strong claim on being the most qualified interviewer in the world.
Who wants to pick up the phone and talk to a man who could unquestionably do your job a hundred times better than you? Who could feel at ease interrogating the world's foremost interrogator?
Errol Morris on 'reinventing nonfiction' and why he doesn't make 'gotcha journalism' Back to video
It helps a little that Morris's latest picture, The B-Side: Elsa Dorfman's Portrait Photography, is by some measure his lightest, warmest, and most charming – a tender, affectionate profile of a long-time Morris family friend. Where the last 15 years of his career have found Morris staring down men and women of daunting infamy, here he's happy to simply share Elsa Dorfman and her beloved Polaroid portraits with the world.
Q: Alex Ross wrote an article about Philip Glass for the New Yorker many years ago that concluded with a line I quote often: "These days he writes Philip Glass music in place of music that happens to be by Philip Glass." Are you concerned about making "Errol Morris movies" rather than movies that happen to be made by Errol Morris?
A: I am, actually. Although, if I may quote Philip Glass. He once told me, "They can always copy what you've done, but they can never copy what you're going to do. I have tried – and I guess it's for others to say whether I've been successful or not – to reinvent nonfiction, and what we mean by nonfiction, repeatedly. Yes, I've made all of these movies. But I think they're diverse. I am not making Fast, Cheap and Out of Control 2, or The Thin Blue Line 2. Now, my most recent effort, a six-part series for Netflix called Wormwood – almost, but not quite done, though getting closer to being done – is yet another attempt to reinvent nonfiction.
Q: You've abandoned your go-to interview camera, the Interrotron, for this one?
A: I've used the Interrotron for so many movies, so many commercials, that when I started Wormwood I decided not to use it. And I decided not to use it in making The B-Side, too – in part out of a desire not to repeat myself, and in part out of a desire to do something completely different. I've been shooting using multiple cameras. In Wormwood, I used as many as 10 cameras on an interview. On The B-Side, we used four or five. And I like it.
Morris and former secretary of defence Robert S. McNamara during the making of the documentary The Fog Of War. Photo by File
Q: The B-Side is about a portrait photographer, and it suggests an affinity between portraiture and documentary filmmaking.
A: Well, of course I have Elsa in different locations. I have her in her garage, with her files, I have her in her studio, I have her at the facility where they scan her polaroids. There's a desire to capture something about Elsa and her art. I've known Elsa for a long time, 25 years at least. It's an opportunity to share her with a lot of other people. She is somebody that I've always admired, and she's been a friend. For years. I'd like more people to know about Elsa. I love her and I'd like other people to love her, too.
Q: That's not an ambition you've developed in your films previously. You're not sharing Rumsfeld or McNamara with the world because you love them. It's a confrontational relationship – more adversarial.
A: I wouldn't say that it's adversarial! In fact, a lot of people complain that the movies aren't adversarial enough. I think one of the things that's interesting about those movies – The Unknown Known and The Fog of War – is that they're an attempt to capture something about Rumsfeld and McNamara. Now, McNamara turns out to be a far more likeable person than Donald Rumsfeld. That's not my fault, I don't think. I recorded something that is really, really of interest. Confrontation has never been something that's interesting to me. Maybe people imagine these movies to be confrontational, but I don't see it that way.
Q: In the case of The B-Side, the person you are interviewing is a friend. You have affection for her. You have a friendly relationship with her. Surely that changes the approach?
A: I don't know if it really does! Did I have an affection for Robert McNamara? I kind of did. Did I see him as a war criminal? Yes. But that didn't mean that I couldn't like him or try to capture something about him on film. Of course, it's really, really complicated. It's always really complicated. Because if you make good movies — and I hope that I at least aspire to making good movies — you're trying to capture something real about your relationship to these people.
Q: And yet you do actively confront them: you challenge them on things, present evidence, push points.
A: Did I confront McNamara about things he did? I did. Did I confront Rumsfeld? I did. But it wasn't about confrontation so much as trying to capture something about them. God knows there are so many confrontational movies that are made. But the nature of the enterprise is very, very different from what I do.
Q: It's not Frost/Nixon.
A: Yeah, it's not gotcha journalism. What I find so fascinating about Frost/Nixon — not just the original interviews, but the attempt to turn them into "drama" or history — is that often the reality of what occurred is just completely effaced. But this is a long discussion in and of itself. In the end, I am glad I made the opportunity to make The B-Side.
Q: Why, specifically?
A: Because there are a lot of issues in it that are important to me. Yes, it's a recording of Elsa, but I would call it — correct me if I'm wrong — an elegiac story about a dying art form, about Elsa's struggles as an artist, about the evanescence of work in general, all our work. There's something amazingly poetic about her and what she says. I'm really glad I made this movie. I'm relieved and glad.
Q: I hope this doesn't sound too academic, but the movie is about photographic technologies fading into obsolescence — the Polaroid going extinct, in particular. Was there a comparison on your mind between that obsolescence and your own transition as a filmmaker to digital from film?
A: It had to be on my mind in some way. It's impossible to be a filmmaker and to be unaware of all the extraordinary changes that have occurred in the last 20 or 30 years. We don't edit the same way. Flatbeds and Steinbeck's are gone. Now it's Premiere or Final Cut Pro — and digital cameras. The technology has changed in so many, many, many ways. That's not a good thing or a bad thing. But it is a thing. It's interesting to think of it in relation to the Polaroid technology. It's almost like going back to — and I've never quite thought about it this way before — the 19th century's wet-plate collodion photography. Yes, it had to be developed like a normal photograph. But far fewer photographs could be taken. There was something precious and unique about each of the photographs, like a polaroid.
Elsa Dorfman, a photographer who uses a 20-by-24-inch Polaroid camera, one of only five originally made by the company, at her frame shop in Cambridge, Mass., Dec. 22, 2015. Photo by Gretchen Ertl/The New York Times
Q: That uniqueness comes through in the film.
A: I hope The B-Side captures something about what is unique about that art, and about Elsa. You know, it's probably obvious since I made the film, but I'd like more people to be aware of Elsa and what she did. I know that the movie has cheered her up enormously. So if I've only done that, I've done a good deed.
Q: Do you agree with the assessment that this is a minor film?
A: Yeah, I disagree with that. It's not Wormwood, which is five hours long. But the themes are very powerful and deep and interesting. I don't see it as slight in any way, so I would respectfully disagree. I think one person says it and then it just gets repeated endlessly. The film is about mortality. It's about the perishability of our art. Changing technologies. These are important themes. It's weird to ask me if I think my movie is profound. It's so self-serving of me to say so. But yes! Yes! It is profound. I don't see it as slight at all!
Q: When do you know you have material for a documentary, versus a fiction feature, or even a five-part essay series in the Times?
A: I don't think it's ever all that clear. I've been writing again lately for the Times. I mean, certainly in writing it's a lot easier — and a lot less expensive — for example to record an interview on the phone than to bring someone to a studio with a film crew. With Elsa, we started out not really knowing what it would be. Really we didn't know. Would this be a piece for the Times? A 15-minute short for Hot Docs? But when we started shooting, it became clear immediately that it was something bigger. So we kept shooting. It kept getting longer and longer and longer, until it seemed, oh my god, this is something we can put in theatres! So we did! But there's no rule of thumb. It comes as a surprise to everyone — including Elsa.
Q: Is this often the way? Surely when you set out to make, say, The Unknown Known, you know you are poised to make a feature.
A: Yes, that I knew. Although, there are all kinds of difficulties in interviewing Donald Rumsfeld, to be sure. There's something interesting about the nature of the enterprise. And now that we live in a kind of Netflix universe, the whole nature of what we consider to be the art form has changed. If you talked about doing a six-part series on one story five years ago, it was unheard of, it was out of the question. Now it's becoming commonplace. The whole idea of what is possible has changed. We live in a different world.
Ed. Note: This interview has been edited for length and clarity.
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redpajama_set_name: RedPajamaCommonCrawl


Dumbbells are common, tried and true training equipment that can be found in any gym. Recently, however, kettlebells have started to gain a following, particularly among the functional training crowd.
Which one should you use? Do kettlebells have any real advantages over dumbbells?
I say they don't. Both are just tools, and tools are best used according to their purpose. The question, then, turns from "kettlebells vs dumbbells: what's better?" to "which one is better for my goals?".
1) Kettlebells are unbalanced. It's part of their design. I'll use incline bench press as an example to explain why lack of balance is bad for adding muscle mass.
Doing it with dumbbells is simple and convenient. You don't have to worry about awkward balance. This lets you focus on doing the movement, and on loading the muscles that the movement should work.
As a result, you do more reps with higher weight and better form. With kettlebells, the situation is completely different.
Kettlebells have awkward balance. When you incline bench press with them, your muscles and your mind have to compensate for this. As a result, you can do less reps with less weight, which means less work for targeted muscles.
If you want to have big muscles, you need to lift in a controlled manner, and kettlebells just don't work here.
2) It's hard to gradually increase weight when using kettlebells. And being able to make gradual increases in weight is important for steady progress.
Adjustable dumbbells are common and cheap — the opposite of adjustable kettlebells. Sets of kettlebells don't let you make jumps small enough. Kettlebell sets also cost more than their dumbbell analogues, and take up more space.
3) Some bodybuilding staples like dumbbell curls are impossible to do with kettlebells. You can do a movement that would resemble a curl, but biceps won't be a limiting factor. Your wrist will give out before your biceps do.
To sum up, kettlebells are not a bodybuilding tool. Stick to dumbbells if you want to add muscle mass.
1) Most kettlebells aren't heavy enough. 100kg dumbbells are common in powerlifting and weightlifting gyms. 100kg kettlebells are not. Plus if you do find a 100kg kettlebell, you'll find that it's too big and unwieldy to use for many exercises.
Lighter kettlebells, on the other hand, simply don't provide enough resistance to really train maximal strength and explosiveness.
2) Again, the gradual increase of weight is hard when using kettlebells. And ability to make small jumps in weight is even more important here than in bodybuilding.
3) Part of training for maximal strength and power is ingraining competition-specific motor patterns. Most of the competition events involve barbells. Strongman involves dumbbells and contraptions like the log, which is similar to a barbell.
And while dumbbells are a lot like barbells, kettlebells are completely different. As a result, when you use kettlebells to train for a barbell event, you disrupt your motor patterns.
The bottom line is, dumbbells are a better tool when you are training for maximal strength.
1) Their shape lets you perform intense, dynamic movements, such as swings. According to this study, kettlebells give a more intense continuous workout than dumbbells. And long workout with little rest is what you want when training for endurance.
2) When you are training for endurance, ability to make small jumps in weight doesn't matter as much. Plus adjustable dumbbells tend to get loose when you use them for a lot of dynamic reps. Locks gradually unscrew, plates start to clang. Kettlebells have no such problems.
In short, kettlebells are better when your goal is improving power or strength endurance.
1) Kettlebell workouts are short and target your whole body. They also develop strength, endurance and explosiveness all at the same time. It's not as effective as training each of those separately, but it's much more time efficient.
2) Kettlebells help treat and prevent back and shoulder pain, this study shows. In fact, frequent kettlebell workouts can provide much of the same health benefits cardio and weight training do.
For general fitness, kettlebells are a much better time investment than dumbbells.
Kettlebell workouts are like endurance, plyometric and weight training sessions, combined into one. Of course, this also means you become jack of all trades, master of none.
Again, kettlebells win over dumbbells here. It's the same situation as with conditioning. Whole-body compound movements done over a longer period of time trump working isolated muscles for reps.
In the end, a kettlebell circuit will burn a lot more calories than any type of dumbbell training.
There isn't much point in the "kettlebells vs dumbbells" debate. It's your training goals that matter.
If you want to increase your muscles mass, strength or power, dumbbells are your choice. Kettlebells don't bring anything to the table here.
If your goal is strength or power endurance, kettlebells are a better choice than dumbbells. Plus kettlebell workouts improve speed, endurance, strength and burn lots of calories. This makes kettlebells great for general fitness and fat loss.


No show this week but I'm happy to share this mix by your's truly and my main man, DJ ShmeeJay.
We met years ago in the early days of Soundcloud and bonded over the fact that we both posted mixes for the summer Solstice and our shared, northern heritage with him hailing from Sweden and me, from the Yukon. Fast forward a couple years later and we found ourselves together in Seattle, having an absolute blinder of a weekend at the city's Decibel Festival.
Needless to say, we're friends to this day and I was more than happy to make this mix for his long-running show, Ain't No Big Thing on Box Frequency FM.


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I-70 Scout & Eastern Colorado News
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Broncos increase QB Drew Lock's workload, no decision yet
I-70 Scout | November 30, 2019
ENGLEWOOD, Colo. (AP) _ Drew Lock wants to show Denver Broncos general manager John Elway he doesn't have to go looking at the likes of Joe Burrow, Tua Tagovailoa, Justin Herbert, Jake Fromm, Jacob Eason or any of the other quarterback prospects in the 2020 NFL draft.
First, he'll have to show coach Vic Fangio he's better than Brandon Allen.
"I want to try to build this into something special for sure," Lock said Wednesday when Fangio announced the Broncos were upping the rookie's snaps at practice in preparation for his possible debut Sunday against the Los Angeles Chargers.
"I want to be able to give the confidence every single week to my teammates and to the people upstairs that if we ride this into the offseason after these however many games it takes until I get started, then we're going to have an awesome offseason coming into next season. Hopefully, I end up being here for a long time."
Fangio said Lock, a second-round pick from Missouri who has been on IR all season, will take 75% of the snaps, with Allen taking the rest.
He'll base his choice on how both do at practice, "but mainly how Drew does," Fangio said.
Fangio said he wasn't sure when he'd make the call, "potentially right up to the game."
The Broncos (3-8) turned to Allen when Joe Flacco (neck) went on IR at midseason. He won his first start against Cleveland but has lost at Minnesota and Buffalo, where he threw for just 84 yards in a 20-3 loss Sunday.
That poor performance ignited speculation that Lock would finally get his chance despite having practiced only seven times.
Lock sprained his right thumb in the preseason and the Broncos brought him back to practice Nov. 12, starting a three-week evaluation window, after which they'll have to activate him or banish him from practice until the spring.
"It gets to the point where you can't take not doing anything anymore," Lock said.
He said he initially was crestfallen when he had to go on IR but came to see it as a blessing.
"I like to think that everything happens for a reason," Lock said. "At the beginning of that I was very lost, didn't know why this was happening. I was super excited to get into the NFL. Then to have that injury happen, it was pretty upsetting."
But he was able to sit back and things began to slow down.
"I got to be on my own, learning the way I knew I had time to learn. I wasn't worried about getting on the field playing. I could kind of focus on what it is I felt like I need to be better at," Lock said. "And it's time to find out what it's going to do for me."
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LARRY WALKER BECOMES FIRST ROCKIES PLAYER ELECTED TO HALL OF FAME
It was announced this evening that Larry Walker has been elected to the National Baseball Hall of Fame after receiving 76.6% of the vote in his 10th and final year on the ballot. The announcement was made by National Baseball Hall of Fame and Museum President Tim Mead live on MLB Network.
Field Notes of a Rookie Sportsperson
Ten months of classroom study, days of target practice at the shooting range and hours of immersing myself in the ethics and strategies of hunting all built to a climax on the weekend after Christmas: my first big game hunt.
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ENG vs PAK ODI: England clean sweeps Pakistan in ODI.
ENG vs PAK ODI. England Looking to continue their winning form. Pakistan looking for a consolation win in a lost series. Edgbaston was the venue this time around. Pitch was good for bowling but it was not that of the deal with the white ball. England captain Ben Stokes won the toss and decided to bowl first.
First innings Pakistan scoring 330/9 in 50 overs.
Pakistan started the innings calmly. Fakhar Zaman did not survive long and inform, Saqib Mahmood got him in the 5th over. Imam-ul-Haq and Babar Azam built a good 92 runs partnership. Before Matt Parkinson got imam with classic and unplayable leg-spin. Imam scored 56 runs off 73 balls hitting 7 boundaries. Mohammad Rizwan joined the party and started scoring on the fly. He scored 74 from 58 balls hitting 8 boundaries. He was dismissed by Brydon carse breaking a big partnership of 179 runs in the 46th over of the game. Babar Azam scored 158 runs from 139 balls hitting 14 fours and 4 sixes as well. England put on the brakes on Pakistan's run rate after the wicket. As Pakistan managed to reach 330 / 9. Which is 15 runs less on the pitch which will only get better for batting as time passes.
Second innings England survives by a late blossom by Gregory.
England lost Dawid Malan early for a 2nd ball duck. Hasan Ali took the wicket. But it didn't affect Phil Salt at all. As he with Zack Crawley fired some attractive shots. He did not survive long and got out in the 7 over scoring 37 off 22 balls. England was then 52/2. Zack Crawley looking well set at 39 runs was bowled by Haris Rauf in the 13 over. Ben stokes came next scored 32 runs from 28 balls. He tried to take the game till the end but was unable to do as he was dismissed by Shadab Khan. He again struck 2 overs later in the form of George Simpson.
It was a tense situation in the England dressing room. When Lewis Gregory played an important knock of 77 runs from 69 balls. Pakistan saw a chance to win Gregory got out in the 45 over and still 28 runs to win. Craig Overton and Brydon carse made sure they got to the finish line successfully. Haris Rauf was the pick of the bowler taking 4 wickets. Shadab Khan and Hasan Ali took 2 and 1 wicket respectively. Both the teams played well. And when the dust settled it was England across the finish line.
Watch the recent ENG vs PAK ODI match highlight here.
Now next is the T20s to focus on. Pakistan is always very dangerous side in the T20 format. Check out our site daily for following the T20 series.


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The Hasanlu Lovers
Written on January 15, 2017 by Adela at 3:21 PM | 0
Adela, Fertile Crescent, Rest of the World
The Lovers Hansanlu Lovers (Penn Museum Image)
Their remains were found by a team from the University of Pennsylvania led by Robert Dyson at the Teppe Hasanlu archaeological site, located in the Solduz Valley in the West Azerbaijan Province of Iran, in 1972. It was the site of the Teppe Hasanlu citadel.
Around 800 B.C. when the pair was alive the area had been burned out from a military attack. People fighting from both sides were killed in the fire, which apparently spread quite unexpectedly and quickly through the town. The skeletons were found in a plaster grain bin, probably hiding from soldiers, and they almost certainly died from asphyxiated quickly due to the fire. The "head wound" on the skeleton is from modern-day excavators.
No other objects where found with the pair except a stone slab under the head of one skeleton.
The image earned the photograph its title Hasanlu Lovers or The 2800 Years Old Kiss. Though some websites and sources identify the skeletons as both being male, they are actually male and female (female on the left). Either way they died together in a loving embrace. Love is eternal.
The Pacoima Mid-Air Collision
The St. Pierre Snake Invasion – The Eruption of Mt. Pelee


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Future of Journalism Embedded in Six Stories
Today at Romenesko the future of journalism can be seen in six separate stories:
Story 1: McClatchy Co., one of the nation's biggest newspaper companies, reported sharply lower profit and revenue for its third quarter Tuesday and said it would take an accounting charge to reflect the poor conditions in the newspaper business and its falling share price.
Story 2: MinnPost.com (and a paper version known as MinnPost in Print) will launch November 8, it was announced today by Joel Kramer, CEO and Editor of the not-for-profit startup.
Kramer also said that in addition to the $1.1 million of previously announced major gifts, MinnPost has now raised more than $107,000 from 220 member-donors. This surpasses MinnPost's projection of $75,000 for all of 2007, Kramer said. The smallest of these donations is $10. The largest is $36,000 — received recently from the Martin and Brown Foundation, a local family foundation.
"MinnPost will be about great journalists doing great journalism," Kramer said. Six editors will oversee contributions from more than four dozen journalists, including two Pulitzer Prizewinners.
Story 3: As the Inter American Press Association, which focuses on freedom of the press in South and Central America, holds its general assembly in Miami, the Sun-Sentinel takes the moment to … say to hell with national and international news.
Story 4: The third wave in American journalism—that of the foundation press—may be taking form now thanks to Bay Area billionaires Herbert and Marion Sandler. Waving $10 million that they promise to replenish annually, the Sandlers have founded the nonprofit ProPublica to produce investigative journalism. (Usual suspect the John D. and Catherine T. MacArthur Foundation is also chipping in some money to the ProPublica kitty, as are the Atlantic Philanthropies and the JEHT Foundation.)
Today's New York Times reports that ProPublica will soon hire 24 reporters and editors to create one of investigative journalism's largest staffs. Based in New York City and led by former Wall Street Journal managing editor Paul Steiger, ProPublica promises to produce quality investigative journalism and give it—not sell it—to media outlets.
Story 5: NEW YORK — E.W. Scripps Co. plans to split into two parts, becoming the second media company in recent weeks to isolate fast-growing assets from the troubled newspaper sector.
The move would create one company with Scripps' highly profitable cable-television networks and its shopping comparison Web sites, and another with its newspapers and local television stations.
The decision reflects the length companies will go as souring sentiment on the newspaper industry dents stocks prices of companies exposed to the sector. Shares of Scripps, which generates roughly one third of its revenue from
newspapers, have fallen 15% this year.
Story 6: Belo presents details on spinoff of newspapers (This is an interesting story with lots of newspaper and media publishing details as well as how having no debts on the newspaper side, it can be more nimble in making changes.)
Actually there are a few more stories linked at Romenesko that tell of layoffs etc. , but enough for one day.
This entry was posted on Tuesday, October 16th, 2007 at 2:05 pm	and is filed under Joel Kramer, Journalism, Journalism Business Models, Media, MinnPost, Reinventing Journalism. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.
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text:
Alain Dolium, né à Paris en 1967, est un homme politique et chef d'entreprise français.

Cofondateur de l'UDI. Vice-président chargé du Numérique du mouvement Les Bâtisseurs de l'UDI, présidé par Hervé Morin. Président du Centre Numérique, qui se veut "un lieu de concertation pour élaborer ensemble les politiques de demain en matière de numérisation de l'économie". Associé d'Expertise, cabinet de conseil spécialisée en "transformation digitale". Chargé de cours à Sup de Co Amiens et Sup de Co Tours, ainsi que conférencier pour Planète PME. Alain Dolium est également Conseiller économique du Crefom.

Naissance, étude et cursus
Né en 1967 d'une mère guadeloupéenne et d'un père indo-martiniquais, Alain Dolium a été élevé par sa mère à Malakoff.

Diplômé de Sup de Co Amiens, il poursuit ses études outre-atlantique au sein de HEC Montréal. Il a également été diplômé du CHEDE, rattaché au Ministère de l'Économie

Carrière
À la suite de ses études, Alain Dolium devient cadre dirigeant des sociétés internationales Burke Marketing, DHL puis CBS France, où il occupe le poste de Directeur du Marketing Produit et du e-business.

En 2008, il crée sa propre entreprise, OBAD Technologie, spécialisée dans la dématérialisation sur mobile des systèmes de paiement et de fidélisation. Classée parmi les meilleurs Start-up françaises en 2011, OBAD Technologie compte aujourd'hui des filiales aux États-Unis et au Canada.

Il vend OBAD Technologie en 2013 et rejoint Trial Panel (filiale de Brand Value) en tant que Directeur Général en 2013. Trial Panel est une plateforme interactive que permet de collecter et analyser les opinions des consommateurs sur leur expérience produit et achat en temps réel.

Il crée en 2015 le cabinet Expertise, cabinet de conseil spécialisé en transformation digitale.

Engagements associatifs
En 2005, Alain Dolium cofonde l'association « Talents O Pluriel », afin d'identifier de jeunes talents issus des quartiers populaires et les accompagner vers les études supérieures.

En , il participe à la création de l'Observatoire français de la diversité.

En 2010, il lance le Do-Tank « Échelle Humaine », plateforme de soutien aux entrepreneurs issus de la diversité et des quartiers défavorisés, au sein duquel il anime le programme ''Leaders emergents''.

Il est également membre d'honneur de l'ONG Think Africa, ainsi que du Congressional Black Caucus de Washington qui l'a fait intervenir en 2012 devant les congressman du Sénat américain sur les questions de diversité en politique.

Depuis 2013, Alain Dolium est membre de l'Association des Anciens du Centre des Hautes Études sur le Développement Économique (AACHEDE) et du Conseil représentatif des Français de l'Outre Mer (CReFOM) chargé du programme de développement économique pour les Territoires Outre Mer.

Depuis 2014,  Alain Dolium est membre du Centre des Hautes Études sur le Développement Économique du MINEFI (CHEDE) et du Conseil représentatif des Français de l'Outre Mer (CReFOM).

Ouvrage

Alain Dolium est auteur d'un essai biographique, intitulé "Richesse des cultures contre culture des riches", paru aux éditions Fortuna en 2012. Dans cet ouvrage, Il tente d'apporter des réponses à deux questions qu'il juge essentielles à la relance de l'économie française : comment sortir de la machine à exclure ? comment avoir des Steve Jobs en France ?

Action politique

En 2008, Alain Dolium rejoint le Mouvement Démocrate (MoDem). Il en sera le candidat à la Présidence de la région Île-de-France en 2010, où il est présenté comme le « Obama Français ». À ce titre, il aura sa marionnette dans Les Guignols de l'info. Il recueille finalement 4 % des suffrages.

Il prendra ensuite les fonctions de Responsable au développement et à l'innovation économique du Modem.

En 2011 il sera nominé aux Gérard de la politique, dans la catégorie « Gérard de la minorité visible qui le sera pas restée longtemps, visible ».

Partisan de l'unification du Centre, il participe, en 2012, à la création de l'Union des démocrates et indépendants (UDI), aux côtés de Jean-Louis Borloo. Il en rejoint le Comité Exécutif où il est chargé du numérique, de la démocratie et de la jeunesse.

En 2014, il mène la campagne municipale de la ville de Créteil en tant que tête de liste pour l'UDI avant de rejoindre la liste de Malakoff dans les Hauts-de-Seine.

En 2014, il fonde le Club Centre Numérique, rassemblant des experts et acteurs de l'écosystème digitale français en vue de créer un programme centriste pour faciliter la transition numérique de l'économie française.

En 2014, à la suite du retrait de Jean-Louis Borloo, il soutient Hervé Morin à la présidence lors de sa campagne pour la présidence de l'UDI.

À la suite de la campagne interne, Alain Dolium est nommé vice-président des Bâtisseurs de l'UDI, le mouvement interne créé par Hervé Morin, chargé du numérique.

Références

Personnalité du Mouvement démocrate (France)
Personnalité de l'Union des démocrates et indépendants
Naissance en décembre 1967

redpajama_set_name: RedPajamaWikipedia


text:
Mysterious Puzzler Statik Announced for PlayStation VR
Play Mysterious Puzzler Statik Announced for PlayStation VR Video
Dave Mervik	Tarsier Studios
Have you ever woken up in a strange room, with your hands stuck in a strange device, while a strange person asks you strange questions? Of course you have! The rest of you… please don't feel bad, Statik is coming soon, and it's coming for people like you!
Statik is a VR puzzle-mystery, where you join Dr. Ingen and his delightful assistant Edith on a journey to unravel the complexities of the human mind. Awakening to each new day with a unique, hand-mounted puzzle device to solve, you must use your brain, eyes and ears to solve each mystery. Except… this is VR, so it's hard to know whether you can trust any part of yourself. Our money's on your brain!
VR is full of potential for new approaches to gameplay and storytelling and, for our first go at it, we didn't want to take the easy way out. We wanted to develop a game that felt both fun and substantial. Something that is more than just a novelty. It took a lot of very strange late-night discussions to come up with the concept for Statik, but we feel that we've found something that achieves our goals… and adds a few extra things that we'll pretend we meant all along!
Being just a small team hidden away at the dark end of the office, we've had the chance to try out all sorts of weird ideas! Some of these ideas have ended up being terrible, and were rightly slaughtered, but some of them survived, and Statik is all the better for it.
Still, just because you're told something, doesn't mean you should believe it. That's why we want you to try it out for yourselves. Starting off with E3, we'll be taking Statik to as many events as possible, giving you the chance to hold it in your hands, see it for yourself, and make up your own mind! Most importantly of all, we want you to tell us…
How does it make you feel?
playstation gamesplaystation vrstatiktarsier studios
Twilight_Error
June 9, 2016 at 6:11 am PDT
Hmm… Well, this is definitely one of the most intriguing games I've seen for VR so far. I'm looking forward to the flying/driving/horror titles, which are no-brainers for VR, but I haven't seen too many titles that break out of that basic mold in an entertaining way. Statik appears to be one of those games. It's this sort of thing that'll help define what VR can do. Very important. I'll look forward to trying it out.
FadyK
I love Tarsier's work so I'm definitely in :D Are you guys still working on Hunger? That looks fantastic as well!
Sangetsu-II
I like the game but where is Hunger?
Dionysus-Jones
This is probably the most clever in-game explanation I've seen for keeping the player confined to a chair & "controller". The first thing that came to mind was the Rat Cage scene from 1984… only for your hands instead of your face. Looking forward to hearing more about the game.
I can even picture my hands clenching & getting tense on the controller as I look down and see these contraptions imprisoning my hands. It would also be pretty neat if any sounds from the puzzle boxes came from the speaker in the controller itself.
Hayades
June 9, 2016 at 10:14 am PDT
You guys got my money for the originality alone.
paulogy
This looks like a very interesting use of VR combined with the constraint of holding a controller (and thus having your hands "bound"). I can see how this could lead to some tense SAW-like moments as you try to figure out what to do next and/or escape :-)
P.S. I too would like to know the status of Hunger. That game looked intriguing as well.
Tomoprime
In general… I wonder how long the VR gimmick of games in a chair will last?


What is better Asset4000 or WorthIT Fixed Assets? When comparing Asset4000 and WorthIT Fixed Assets, it is possible to see which Fixed Asset Management Software product is the more effective alternative. This guarantees that your company will be able to choose most productive and useful program. You can study the details, such as available tools, pricing, plans offered by each vendor, offer conditions, etc.
We also let you check their all round scores to know which one seems to be better. Asset4000 has 8.0 points for overall quality and N/A% rating for user satisfaction; while WorthIT Fixed Assets has 8.0 points for overall quality and 100% for user satisfaction. Likewise, you can also assess which software business is more dependable by sending an an email question to the two companies and see which vendor replies faster.
People who want to save some time or would like to get a Fixed Asset Management Software recommendation from our experts may want to investigate these top choices for this year: IBM Maximo, Infor EAM, ProSeries Fixed Asset Manager.
A comprehensive asset management suite that comprises of several software systems each designed to cover specific aspects of asset management, including fixed asset accounting, lease accounting, asset tracking, maintenance management, and facilities management.
It may not always be sufficient to just compare Asset4000 and WorthIT Fixed Assets with each other. Although specific tools, pricing and customer comments are all crucial and should be considered when making a final choice, you should also pay attention to the recognition and awards merited by each service. In many cases a less popular service may turn out to be an excellent choice that was a winner of many industry awards such as our Supreme Software Award which reveals that in spite of limited market presence it's a worthy rival to the solutions that rule the market.


I've done a couple of posts on my birthday now but I thought I'd do one last one on what me and Darren wore during the day and in the evening. Darren bought me the dress, top and lipstick I'm wearing in these photos as some my birthday presents, he did so well! I love the colour of this dress, it's so gorgeous, I don't have shoes on this photo as we spent the day in with my family, I'm not crazy!
How cool is this car print top? It looked really cool with the minty coloured jeans and I got so many compliments on it when I went out with my friends in the evening!
Also, I don't know how well you can see in these photos, but I got a new camera for my birthday! You'll probably notice it more in future outfit posts, but I love it so much! It's a FUJIFILM FinePix HS20 EXR Bridge Camera.
i love both yours & Darren's outfits day and night :) you guys are so cute!
Love the dress, it's a gorgeous colour :) The mint jeans are such a pretty shade too! Hope you had a lovely birthday!
I love your outfit!^^ Great blog!
I just started following you !
Hope you'll take a look at my blog as well!


Hey.Go easy on the cap.Please.
There is no way that could be a Katana. Look at any pictures of a Katana and you'll see that there's a curve to it. Other than that, I don't have much complaints except your keyboard. You should buy one with the caps lock key broken in the off position.
Katana and Long katana? Ehm, this is how it works.
A blade shorter than 30cm is called tantō(knife).
The wakizashi's lenght is between 30cm and 60cm.
A chiisakatana(that mean's short katana) is slightly longer than a wakizashi.
A Katana's lenght is about 60cm to 90cm. If the sword is longer than 90cm it is called Nodachi and it is usually a twohanded sword.
So either the 'katana' on that chart should be called wakizashi or the 'long katana' should be called Nodachi, but Pauan are more or less right when he says that the swords should be curved before we could call them either. Thought I have seen a image of a less curved katana once but that might have been more or less one of a kind or something really, really old.
They 'Long katana' could be called Jian (type of sword origin in China) but both swords looks more or less like Europian long swords than anything.
The Japanese used to use straight swords. However, the Koreans were using curved blades, and when the Japanese saw how superior curved blades were to straight, they started making curved swords. After many years, they perfected the "katana" which literally means sword. Thus, a katana could be any sword, theoretically... though ken is preferred in this sense. Katana, in modern usage, refers to the Japanese long-curved blade.
That Iron Axe looks more like Tolkien Uruk Hai Ork sword. The point is: I don't think thats an axe. Looks more like a sword to me.
LEG0LAS wrote: The point is: I don't think thats an axe. Looks more like a sword to me.
I agree. A very strange, clumsy, inefficient sword, yet a sword nontheless.
The Japanese used to use straight swords.
But that was a long time ago, right? Something like before 1000A.C or something?
Yeah, it's not an axe. I dont know how inefficient it is really thought. Aim it at your enemies stomick and reverse the move and hit him it the head with the poke. Could work. That captain shield should go, have to much United Kingdom feeling over it.
I would be happy if there would be more equip in the game, but I think that as you suggested it they have tooo high attack. It would be good to spread them somehow also under attack 100. Sice there is too large gap between newbie weapons and this.
You also have to know HOW to add them to the game. Some quest? Or high price from seller?
Omg i didn't see that.
That is not a Bastar Spear!!!
Alderan wrote: I would be happy if there would be more equip in the game, but I think that as you suggested it they have tooo high attack. It would be good to spread them somehow also under attack 100. Sice there is too large gap between newbie weapons and this.


text:
Silver Screen Select
Silver Screen Report
Silver Screen Cinema
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Return to Main Review Page
Stallone: Last Gasp
Directed By: Adrian Grunberg
Starring: Sylvester Stallone, Paz Vega
Up until last week, I thought I would go through my entire life on this planet without having had the "pleasure" of seeing a movie in which a man rips a hole in another man's shoulder, pulls the clavicle out through the hole, and then snaps the exposed bone in half. Now I have. In addition, although I'd seen this before, I was treated in that same movie to the sight of a man ripping the still-beating heart out of another man's chest, and someone having his lower leg cut off, leaving the hapless victim to try (and fail) to balance on his one remaining foot. Despite what some might think from this description, I wasn't watching the latest Eli Roth gorefest or a slasher movie by some Roth wannabee. Instead, I was viewing Rambo: Last Blood, Sylvester Stallone's last gasp at being an action hero.
Rambo: Last Blood is the fifth, and the worst film in Stallone's second-most-popular series. The first Rambo movie, entitled First Blood, was quite good, with Stallone as a Vietnam vet suffering from PTSD on the run from all sorts of law enforcement agencies. Although there was plenty of action, the script focused on Rambo's emotional difficulties and his relationship with his former commanding officer (played by Richard Crenna), who tries to bring him in alive. Subsequent films, however, dispensed with the emotional and psychological components of First Blood and, instead, turned Rambo into a mostly silent killing machine. In 2008, with Crenna dead and no longer able to reprise his role (and insert a needed touch of humanity in the franchise), the fourth movie in the series, called simply Rambo, was little more than a shoot-em-up video game and seemingly marked the death knell of the franchise.
But the successful revival of Sylvester Stallone's other series character, Rocky Balboa (albeit in a supporting role in Creed), undoubtedly led Stallone to pull Rambo out of mothballs as well. The results were pretty much what you might expect. The movie is as violent as any of the other Rambo films but has a sadistic streak all its own. Add to that some grating attempts at serious acting by Stallone, and the result is an entire mess.
Rambo: Last Blood opens with Rambo in semi-retirement as a rancher in Arizona. His only love in life in his housekeeper's high-school-age granddaughter Gabrielle (Yvette Monreal), on whom he dotes constantly. His only hobby is digging an intricate series of tunnels under the property, which in some way allows him to cope with the inner demons that still haunt him. He also sits and stares off in the sunset, delivering moody monologues that seem like outtakes from a Rocky movie.
Rambo's idyllic retirement comes to an end when Gabrielle decides to visit Tijuana in an attempt to reconnect with the father who abandoned her and her now-dead mother a decade earlier. She goes despite having promised Rambo she wouldn't, and, not in the slightest bit surprisingly, winds up in huge trouble. Gabrielle falls prey to human traffickers who drug and recruit women into their stables. When Rambo realizes she is missing, he heads down to Mexico to find her.
By practicing his unique interrogation method involving breaking a suspect's clavicle, as I mentioned in the first paragraph of this review, Rambo learns that Gabrielle has been taken by a particularly nasty pair of brothers who operate some brothels with less-than-willing employees, including Gabrielle. With the help of a journalist (Paz Vega), who has been investigating the brothers herself, Rambo does rescue Gabrielle, but, by his actions, he incurs the wrath of the traffickers, who head to Rambo's farm for a final showdown.
My guess is that Sylvester Stallone (who co-wrote the script) wanted Rambo: Last Blood to be taken, at least in part, as a serious meditation on his life by a lonely, violent man. But he fails miserably in that regard, in large part because the monologues he delivers are crushingly boring, another example of the mumbling Stallone who often shows up in his movies. Also, it's hard to treat a movie seriously in which the script is continually one-upping the violence quotient. The broken clavicle incident is essentially the first violent moment in Rambo: Last Blood, and it sets an unfortunate tone for the rest of the film.
But if Rambo: Last Blood is an abject failure as a drama, it doesn't fare that much better as an action film. To be sure, there's plenty of action, especially in the final showdown, when a small army of bad guys armed to the teeth descend on Rambo's ranch. But little of the action is well-staged, exciting, or suspenseful. In staging his action scenes, director Adrian Grunberg was faced with a major problem: Sylvester Stallone is 73 years old. Also, although he's much fitter than most 73-year-olds, he is just not capable anymore of duking it out realistically with stuntmen half his age. So, there's little hand-to-hand combat, and the one time that Rambo tries to face off with the traffickers, Grunberg has to use one of the hoariest clichés in the action movie playbook to get him out. Instead of killing Rambo when they have the chance, the villains talk themselves into merely torturing him and letting him live to teach him a lesson.
The finale of Rambo: Last Blood defies credibility and, even worse, isn't very exciting as well. Since Stallone can't mix it up convincingly any more, the battle consists mostly of assorted goons setting off booby traps in the tunnels and getting blasted to shreds in graphic fashion. Despite being outnumbered about 40 to one, Rambo dispatches the bad guys with so much ease that the scene lacks any suspense and winds up being an exercise in watching graphic overkill. I suspect that diehard Stallone fans and those who enjoy Eli Roth's work will probably like this scene, but I merely found myself wondering just how far the movie would go. Refer back to the first paragraph of this review and my mention of open-heart surgery (of sorts) to find out.
Some of the supporting characters in Rambo: Last Blood are interesting and the interplay between Rambo and young Gabrielle and her grandmother might have developed into a a better movie. Unfortunately, Sylvester Stallone chucks all that rather quickly in favor of an hour of mindless gore and bloodletting. Add to that a portrayal of a Mexico in which every person except for Paz Vega's journalist is sleazy, corrupt, or a brutal thug, and the result is a movie that goes downhill once the actual storyline kicks in. The only good thing about that last hour is the thought that the film's title might be accurate and that theatergoers have indeed seen the last of John Rambo.
In this clip, Sylvester Stallone discusses the making of Rambo: Last Blood.
Read other reviews of Rambo: Last Blood:
Peter Sobczynski (Roger Ebert)
Glenn Kenny (New York Times)
BUY RAMBO:
Header Photo: "Riot Radio" by Arielle Calderon / Flickr / CC By / Cropped
Silver Screen Cinema Banner Photos: pedrojperez / Morguefile; wintersixfour / Morguefile
Join Button: "Film Element" by Stockphotosforfree
Sylvester Stallone: "Sylvester Stallone" by Gage Skidmore / Flickr / CC BY-SA 2.0
Certain images on this site appear courtesy of Amazon.com and other sponsors of Silver Screen Videos for the purpose of advertising products on those sites.
© 2019 Steven R. Silver. All rights reserved.


text:
Cyanea eleeleensis was a rare species of flowering plant in the bellflower family known by the common name Eleele cyanea. It was endemic to Kauai, where it has been declared extinct. It was federally listed as a critically endangered species of the United States in 2010. Like other Cyanea it is known as haha in Hawaiian.

This Hawaiian lobelioid was discovered in 1977 near a gulch called Pali 'Ele'ele on Kauai. The shrub is known to grow nearly two meters tall with leaves up to 40 centimeters long by 11 wide. The inflorescence bears up to 20 tubular flowers which are purple in color with paler longitudinal stripes.

Threats to this rare species included habitat degradation by feral pigs, exotic plants, and landslides.

References

External links
USDA Plants Profile

eleeleensis
Endemic flora of Hawaii
Biota of Kauai


text:
package armsecurityinsights_test

import (
	"context"
	"log"

	"github.com/Azure/azure-sdk-for-go/sdk/azcore/to"
	"github.com/Azure/azure-sdk-for-go/sdk/azidentity"
	"github.com/Azure/azure-sdk-for-go/sdk/resourcemanager/securityinsights/armsecurityinsights/v2"
)

// Generated from example definition: https://github.com/Azure/azure-rest-api-specs/tree/main/specification/securityinsights/resource-manager/Microsoft.SecurityInsights/preview/2022-09-01-preview/examples/entityQueryTemplates/GetEntityQueryTemplates.json
func ExampleEntityQueryTemplatesClient_NewListPager() {
	cred, err := azidentity.NewDefaultAzureCredential(nil)
	if err != nil {
		log.Fatalf("failed to obtain a credential: %v", err)
	}
	ctx := context.Background()
	client, err := armsecurityinsights.NewEntityQueryTemplatesClient("d0cfe6b2-9ac0-4464-9919-dccaee2e48c0", cred, nil)
	if err != nil {
		log.Fatalf("failed to create client: %v", err)
	}
	pager := client.NewListPager("myRg", "myWorkspace", &armsecurityinsights.EntityQueryTemplatesClientListOptions{Kind: to.Ptr(armsecurityinsights.Enum15Activity)})
	for pager.More() {
		nextResult, err := pager.NextPage(ctx)
		if err != nil {
			log.Fatalf("failed to advance page: %v", err)
		}
		for _, v := range nextResult.Value {
			// TODO: use page item
			_ = v
		}
	}
}

// Generated from example definition: https://github.com/Azure/azure-rest-api-specs/tree/main/specification/securityinsights/resource-manager/Microsoft.SecurityInsights/preview/2022-09-01-preview/examples/entityQueryTemplates/GetActivityEntityQueryTemplateById.json
func ExampleEntityQueryTemplatesClient_Get() {
	cred, err := azidentity.NewDefaultAzureCredential(nil)
	if err != nil {
		log.Fatalf("failed to obtain a credential: %v", err)
	}
	ctx := context.Background()
	client, err := armsecurityinsights.NewEntityQueryTemplatesClient("d0cfe6b2-9ac0-4464-9919-dccaee2e48c0", cred, nil)
	if err != nil {
		log.Fatalf("failed to create client: %v", err)
	}
	res, err := client.Get(ctx, "myRg", "myWorkspace", "07da3cc8-c8ad-4710-a44e-334cdcb7882b", nil)
	if err != nil {
		log.Fatalf("failed to finish the request: %v", err)
	}
	// TODO: use response item
	_ = res
}

redpajama_set_name: RedPajamaGithub


Kids up to 10 years of age may join the Bambini Run. Distances are 500 - 1,000 m. Please see the registration form online or visit the registration desk on-site to sign up your kid.
More info about the Bambini Run including the Bambini Running Series presented by berlinovo is available here.


text:
U of M and UWinnipeg collaborate on commercialization of technologies
Inventors at the University of Winnipeg will now have access to the expertise and services of the University of Manitoba's Technology Transfer Office, under a recently signed service agreement.
"This collaboration to utilize existing services makes sense for all parties," says Dr. Digvir Jayas, Vice-President (Research and International) and Distinguished Professor at the University of Manitoba. "It prevents duplication by using the existing suite of capabilities available at the University of Manitoba."
The U of M currently provides similar services to: Brandon University, Winnipeg Regional Health Authority, Health Sciences Centre, St-Boniface General Hospital, Children's Hospital Research Institute of Manitoba and CancerCare Manitoba.
"This is a great example of how universities and research centres in Manitoba are collaborating to leverage the greatest outcomes possible for the entire province with respect to commercialization of technologies and ideas," says Dr. Jino Distasio, UWinnipeg's Vice-President, Research and Innovation. "This gives us a process to take our knowledge out into the community for the benefit of all."
The services provided include:
Invention assessment for commercial and technical viability
Patenting assistance and coordination with patent agents (if required)
Market assessment and marketing of technology to potential receptors
Discussion and recommendations on commercialization strategies with inventors
Assistance in identifying corporate partners and with creation of startup companies (if required)
License negotiations (if required)
The University's Transformational Partnerships approach supports the success of Manitoba companies through collaborative research and development partnerships. In 2015-16 the initiative enabled 30 collaborations or requests for funding totaling $8.8 million.
Read more about Transformational Partnerships and the Technology Transfer Office.
Research at the University of Manitoba is partially supported by funding from the Government of Canada Research Support Fund.


Robin Talbert is an accomplished nonprofit consultant dedicated to helping organizations define and achieve their goals. She excels in developing collaborative approaches, leading change, focusing resources, and building organizations that benefit individuals and society.
Harvard Kennedy School Women's Leadership Board.
A former legal services lawyer, Talbert also served as a volunteer mediator with the DC Superior Court. She has been a speaker at numerous conferences and has been featured on television and radio. She has authored articles on topics such as dispute resolution, philanthropy, aging, and consumer issues.
Talbert received a Juris Doctor degree from Washington University in St. Louis and a Bachelor of Arts degree from the University of North Carolina at Chapel Hill. She is based in the DC metropolitan area.


What a beautiful week it has been here in Northeast, Ohio. The sunny skies and warm temperatures have us all hoping that we will get a bit of fall weather this year before "old man winter" arrives! The kids have loved the sunshine and being outdoors. I know as a mom I often ask myself, are my children getting enough time outdoors? The experiences children acquire during time in nature cannot be replaced by any computer screen, television show, game, or structured sport. Current research also indicates that academic success is also linked to the amount of time children spend outdoors. TLC is dedicated to making sure your children get outdoors at least 30 minutes a day if not more! For the first five years of a child's life it is recommended that children spend at least an hour in the great outdoors. Unfortunately, we all know that this beautiful weather will not last forever.
We ask that you begin sending in your "winter gear" for your child! We would love if you could leave the clothing here through the week so we are always PREPARED for playing outside everyday! We will be going outside each day as long as the temperature is 30 degrees or higher!
As a former teacher, I try not to comment on the Common Core debate. It can often get heated and unfortunately many opinions are lost in the "WHAT" are children learning when in actuality the transformation that is undeniably necessary in education is the "HOW" children are learning in classrooms around the country. Our children live in a very different world today than ever before. So wouldn't common sense tell us that if we are preparing children for the future shouldn't our model of education look differently than it did 30 years ago?
What does education look like today? In today's classroom you no longer see the quiet rows of students simply listening to the teacher lecture. What we see are small groups of actively engaged learners. They are exploring and discussing a variety of concepts and challenging each other to think deeply or perhaps even in a new and innovative way. The teachers are moving throughout the classroom, observing, documenting, asking questions, and guiding students into making sense of their own learning without just handing them the knowledge.
Schools are now focusing on 21st Century Skills which include collaboration, creativity, communication, and critical thinking. The focus is no longer on memorization of facts but rather creating a more project-based approach where children are challenged to work in teams to problem solve around real-life scenarios.
So, is TLC creating this type of environment that encourages problem solving, team work, and effective communication skills? As I walked through classrooms today I saw exactly that! Children are so capable and the amount of creativity and collaboration throughout the building today was so fun to see! Enjoy!


text:
Nursing School Says No Way to Placentas on Facebook
By Bonnie Rochman @brochmanJan. 05, 2011
The placenta is not a showy organ. It does yeoman's work sustaining baby throughout pregnancy, then, shortly after the moment that should be its, ahem, crowning glory, it's unceremoniously tossed into the medical waste bin. But now that oxygen-giving, nutrient-transporting tissue blob has made headlines after four nursing students in suburban Kansas City mugged with a placenta on Facebook, of all places.
Disrespecting the placenta in cyberspace was not a savvy move, for the women were kicked out of Johnson County Community College. Now one of the students, Doyle Byrnes, has headed to court to try to compel the school to re-admit her before classes resume Jan. 19. Prior to her placenta problems, Byrnes was on track to graduate in May. (More on Time.com: A Baby is Born, His Mother Dies; Read About It on Facebook)
What were the nurses-in-training doing getting up close and personal with a third-party placenta anyway? The students were part of a group attending an off-site course at a hospital to see what a real, live placenta looks like when one of the students asked the instructor, Amber Delphia, if it would be alright to immortalize the placenta on Facebook, according to The Kansas City Star.
Delphia, according to the lawsuit, merely said, "Oh, you girls," and did not tell them not to do it or that it could result in discipline.
Four students had themselves photographed with the organ, which had no identification linking it to a particular woman. Byrnes' photo showed her smiling broadly, wearing a lab coat and surgical gloves and leaning over the placenta in a tray.
Far from amused, Jeanne Walsh, director of nursing at the college, chastised Byrnes in a letter included with the lawsuit:
"Your demeanor and lack of professional behavior surrounding this event was considered a disruption to the learning environment and did not exemplify the professional behavior that we expect in the nursing program." (More on Time.com: Can an iPhone App Save Your Marriage?)
Byrnes responded to Walsh in writing:
"In my excitement to be able to share with my loved ones the phenomenal learning experience in which I had been blessed enough to take part, I did not consider that others might view this photograph as unprofessional, offensive to the school I was representing and more importantly the sanctity of human life," she wrote. "For my actions I am truly sorry."
Ah, the perils of social networking. (More on Time.com: Facebook Says You'll Break Up Before Spring Break)
In any case, Byrnes' attorney points out, the school's code of conduct addresses neither photographs nor social media. It's unknown whether the code addresses bad judgement, which Byrnes and her buddies displayed in no short supply.
Photos: Life at Facebook Headquarters
Will Facebook Steal Online Dating Sites' Girl?
Pregnant Women Often Stamp Out Claims They Smoke
Bonnie Rochman @brochman
Bonnie Rochman writes about pregnancy, fertility, parenting — the ups and downs of being a kid and having one — for TIME.


text:
Eight Men Out (1988) — Hugh Fullerton
Photo Gallery: Roger Ebert Induction Ceremony
by Chaz Ebert | August 24, 2017 |
An article about Roger Ebert's August 19th induction ceremony into the Chicago Literary Hall of Fame at the American Writers Museum and reprint of lovely speech by Milos Stehlik
Roger loves Chaz
by Roger Ebert | July 18, 2017 |
Wednesday, July 18, is the 20th anniversary of our marriage. How can I begin to tell you about Chaz? She fills my horizon, she is the great fact of my life, she has my love, she saved me from the fate of living out my life alone, which is where I seemed to be heading. If my cancer had come, and it would have, and Chaz had not been there with me, I can imagine a descent into lonely decrepitude. I was very sick. I might have vegetated in hopelessness. This woman never lost her love, and when it was necessary she forced me to want to live. She was always there believing I could do it, and her love was like a wind forcing me back from the grave.
Roger's Favorites: John Sayles
by The Editors | April 9, 2016 |
Roger's Favorites: director John Sayles.
Roger's Favorites: John and Joan Cusack
Roger's Favorites: actors John and Joan Cusack.
Future Change-Makers Honored at Columbia Links Fundraiser
by Matt Fagerholm | July 24, 2015 |
A report on the July 23rd Columbia Links fundraiser.
Roger Ebert and the Golden Age of American Film Criticism
by The Editors | July 9, 2015 |
A reposting of Greg Carpenter's article at Sequart.org.
Will Kilkeary Dies: Owner of Legendary O'Rourke's Bar
by Chaz Ebert | November 12, 2014 |
An obituary for Will Kilkeary, proprietor of O'Rourke's Bar in Chicago.
Thumbnails 12/3/2013
by The Editors | December 3, 2013 |
Critics group nominates "The Wolf of Wall Street" for several awards, perhaps without seeing it; why the kerfuffle between Elan and Diane on that plane last week is a lesson on why people shouldn't believe everything they read; hwo Disney successfully misrepresented "Frozen."
Is the Director Who is Quirky a Documentarian? On Michel Gondry's Nonfiction
by Vadim Rizov | November 26, 2013 |
MIchel Gondry's new documentary about Noam Chomsky fits into Gondry's body of work, if you look at his whole body of work and not just the most popular films.
Everyone knew Betty
by Roger Ebert | May 8, 2012 |
I want to tell you about a woman named Betty Brandenburg. You've not heard of her, but her passing must not go unremarked. I've written many times about the Conference on World Affairs at the University of Colorado at Boulder. She made it run. She dealt with the most impossible man in Colorado. She was a young widow who raised two children on her own. I met her the first year I went to Boulder, in 1969, and saw her the last time a few years ago at one of the annual Wednesday night dinners our little group held at the Red Lion Inn.
Bill Mauldin, American
by Roger Ebert | October 29, 2011 |
When I came to The Sun-Times in 1966, the legend was still fresh in memory: How when John F. Kennedy was shot, Bill Mauldin went directly to his easel and produced a drawing that was reproduced around the world. The Sun-Times gave it the entire back page. It was stunning. It said everything, and it said it with grief and anger at the same time. Bill and Ann Landers (Eppie Lederer) were the two most famous people on the paper. They were both nice and hung out with their fellow employees, although I can't say Eppie was a regular at Riccardo's, the hangout out the back door across Rush Street.
The front booth at Riccardo's on a Friday night would often hold Bill, his great pal John Fischetti, editorial cartoonist of the Chicago Daily News; Studs Terkel, Mike Royko, and assorted visiting firemen. Bill was good company. I remember one night I gave Bill and a copy girl named Chris rides home. Chris lived in Sandburg Terrace. As she got out and walked toward the door, I said, "There she goes, the milk-fed flower of American youth."
After Bill married Chris, he never let me forget those words. After a time they moved to Santa Fe and Bill sent his drawings in by wirephoto. He adopted a bolder line, because he developed arthritis in his fingers. Eventually he had to stop drawing. I had a wonderful time with them once in Santa Fe. He seemed happy and at peace.
The last years of his life were tragic ones. This is not the place to recite them. He slogged through World War Two as an infantryman with a drawing pad, and drew indelible cartoons that made GIs feel someone understood them. He drew the lasting image of the nation's grief after Kennedy was murdered. He was a great man. He was a friend. He lived too long.
Pulitzer Prize winners in the 1970s at the palate-shaped bar at Riccardo's. Left to right: Bill Mauldin, Ebert, Tom Fitzpatrick, John Fischetti, Ron Powers. (Photo by Playboy)
My new job. In his own words.
by Roger Ebert | August 23, 2011 |
My new voice belongs to Edward Herrmann. He has allowed me to use it for 448 pages. The actor has recorded the audiobook version of my memoir, Life Itself, and my author's copies arrived a few days ago.
Listening to it, I discovered for the first time a benefit from losing my own speaking voice: If I could still speak, I suppose I would probably have recorded it myself, and I wouldn't have been able to do that anywhere as near as well as Herrmann does.
My editor, Mitch Hoffman, suggested a few readers he was confident would do a good job. Herrmann's name leaped up from his email.
A meeting of solitudes
by Roger Ebert | November 12, 2010 |
I had no idea. For days I've been reading waves of messages from the lonesome, the shy, the alone, the depressed. Some who live as virtual hermits. Some who have few or no friends. Some who rarely speak with their families. Some who have never dated, or ever had sex. Some who consider it a good day when they never speak to anyone. Some who are sad to be alone. Some who are relieved. Some who can't do it any other way.
Day after day these posts arrived after
The storyteller and the stallion
Bill Nack is a born story-teller. The author of the biography Secretariat has enveloped me time and again in the fascination of his tales. That process began nearly 50 years ago at the University of Illinois, when we were both working on The Daily Illini. I was the editor, he was the sports editor, and then the following year he was the editor. He was also a natural writer -- and, perhaps more significantly, a natural reader. His taste was persuasive.
He approached literature like a gourmet. He relished it, savored it, inhaled it, and after memorizing it rolled it on his tongue and spoke it aloud. It was Nack who already knew in the early 1960s, when he was a very young man, that Nabokov was perhaps the supreme stylist of modern novelists. He recited to me from Lolita, and from Speak, Memory and Pnin. I was spellbound.
The great American documentary
by Roger Ebert | November 5, 2009 |
Today, fifteen years after I first saw it, I believe "Hoop Dreams" is the great American documentary. No other documentary has ever touched me more deeply. It was relevant then, and today, as inner city neighborhoods sink deeper into the despair of children murdering children, it is more relevant. It tells the stories of two 14-year-olds, Arthur Agee and William Gates, how they dreamed of stardom in the NBA, and how basketball changed their lives. Basketball, and this film.
Photo copyright by Roka Walsh. Used with permission
"Hoop Dreams" observed its 15th anniversary Wednesday night at the Gene Siskel Film Center. Agee and Gates were both there. Gates, now a minister, observed that in one period of time he buried 20 victims of gang violence, 16 of them under 16. Agee said when he looks at his friends in the film today, "ten of them are no longer with us." Yet there they sat, men of around 40 now, articulate, thoughtful, and spoke about how their lives began to change on a Chicago playground 22 years ago when a movie camera showed up.
"We started out to make a little 30-minute documentary about a kid who had basketball dreams," Steve James, the director of the film, said Wednesday night. This was at a benefit for Kartemquin Films, the 40-year-old Chicago documentary group that produced the film.
A bar on North Avenue
by Roger Ebert | September 24, 2009 |
O'Rourke's was our stage, and we displayed our personas there nightly. It was a shabby street-corner tavern on a dicey stretch of North Avenue, a block after Chicago's Old Town stopped being a tourist haven. In its early days it was heated by a wood-burning pot-bellied stove, and ice formed on the insides of the windows. One night a kid from the street barged in, whacked a customer in the front booth with a baseball bat, and ran out again. When a roomer who lived upstairs died, his body was discovered when maggots started to drop through the ceiling. A man nobody knew was shot dead one night out in back. From the day it opened on December 30, 1966 until the day I stopped drinking in 1979, I drank there more or less every night when I was in town. So did a lot of people.
Jay Kovar and Jeanette Sullivan behind the bar
The leisure of the theory class
by Roger Ebert | April 9, 2009 |
I have lived more than nine months of my life in Boulder, Colorado, one week at a time. Here I am again. Here more than anywhere else I have heard for the first time about more new things, met more fascinating people who have nothing to do with the movies, learned more about debate, and trained under fire to think on my feet. So please don't zone out on me because I use the zzzzz-inducing term "Conference on World Affairs."
For 61 years, this annual meeting at the University of Colorado has persuaded a very mixed bag of people to travel to Boulder at their own expense, appear with each other on panels not of their choosing, live with local hosts who volunteer their homes, speak spontaneously on topics they learn about only after they arrive, are driven around town by volunteers, fed at lunch by the university, and in the evening by such as CWA chairman Jane Butcher in her own home. For years the conference founder Howard Higman personally cooked on Tuesday night. The hundreds of panels, demonstrations, concerts, polemics, poetry, politics and performances are and always have been free and open to the public.
The best damn job in the whole damn world
One of my editors at the Sun-Times once asked me, "Roger, is it true that they used to let reporters smoke at their desks?" This wasn't asked yesterday; it must have been ten years ago. I realized then, although I'm only writing about it now, that a lifestyle had disappeared. When I entered the business in the autumn of my 16th year, newspapering seemed the most romantic and exciting thing I could possibly do with my life. "But honey," my mom said, "they don't pay them anything." Who cared? It involved knowing what was going on before anyone else did, and putting my byline on top of a story telling it to the world. "Roger Ebert" is only a name. "By Roger Ebert" are the three most magical words in the language, drawing my eye the same way a bulls-eye attracts an arrow.
In the way some kids might be awed by a youth gang, I was awed by admission to the fraternity of newspapers. I adopted the idealism and cynicism of the reporters I met there, spoke like they did, laughed at the same things, felt that I belonged. On Saturday nights about midnight at The News-Gazette, when we put the Sunday paper to bed, we gathered around the city desk, tired, released, and waited for the first papers to be brought upstairs. Ed Borman, the news editor was in the slot; Bill Schmelzle, the city editor, had Saturday nights off. Borman would crack open a six-pack. I tasted beer for the first time. I was a man. My parents, my family, my friends at school, nobody, would ever really understand the fellowship into which I entered. Borman didn't care that I was drinking at 16. We had all put out the paper together. Now we would have a beer.
Ending up in a kind of soundlesslyspinning ethereal void as we all must
by Roger Ebert | February 8, 2009 |
The day will come when the words of Shakespeare are no longer known. The day will come, perhaps sooner, when all the words on the internet, in every language, have disappeared. These very words, and all the words we have read and written, will no longer exist. Oh, for a long time they may be on a hard drive somewhere, one able to store the entirety of the web. But not forever. Not even close. A word not read is like the proverbial tree falling in the forest. The word existed, the tree fell, but without witness, what does it mean?
These thoughts were inspired, oddly enough, by an advice column by Cary Tennis on Salon.com. He is asked a question, and answers it. I suspect the question was asked by Tennis of himself, in a spell of existential funk. His question comes down to: "Will anybody ever read what we write here, after today? I am sure our writing will persist in the World Wide Web, but will anybody ever read it again? Will our best, well-meant advice ever help anybody else in the future? Will our detailed knowledge ever be of any use? Or do we just get filed, permanently?"
Perform a concert in words: RIP Bill Nack 1941-2018
by Roger Ebert | December 8, 2008 |
Bill Nack, master of words. RIP 1941-2018
How Studs taught me to read a book
by Roger Ebert | May 27, 2008 |
Dear Readers: In response to my blog item, "How Studs has helped me live my life," Sun-Times editor and columnist Tom Mcnamee sent me the following priceless memory. RE
How Studs helps me lead my life
I got caught in the Indiana Jones whirlwind and allowed an important anniversary to pass unremarked: On May 16, Studs Terkel celebrated his 96th birthday. One of the great American lives continues to unfold. If I know Studs, the great day passed with calls and visits from friends, and the ceremonious imbibing of one (1) gin martini, very dry. I hope he has eliminated the daily cigar, but I'm not taking odds. If you don't know Studs, there are few people you can meet more easily in print. He is the greatest conversationalist I've met, the author of a shelf-full of books in which he engages people from all walks of life in thoughtful conversations about their own lives.
Mourning (and assessing) Bergman
by Jim Emerson | July 31, 2007 |
Some of the best things I've read about Ingmar Bergman's place in cinema, written since his death (UPDATED 8/01/07):
E-mails to Roger Ebert from filmmakers and writers including David Mamet, Paul Schrader, Sally Potter, Haskell Wexler, Paul Theroux, Richard Linklater, Gregory Nava, Studs Terkel, David Bordwell, David Gordon Green, Paul Cox...
Gregory Nava: This was not the escapist fare of Hollywood, or the pat spirituality of Biblical epic films where God spoke in hallowed tones from a burning bush. With Bergman, God was a spider that lived in the upstairs closet! A shocking and necessary jolt to my Catholic sensibilities. Yes, these films changed me forever -- they cemented my dream to become a filmmaker because if film could do this -- then surely it was the greatest art form of our time. I will never forget the first time I saw the horses standing in the surf against a setting sun, and death with his black cape raised approaching the world-weary knight. "I hope I never get so old I get religious." -- Ingmar Bergman
Peter Rainer, Los Angeles Times: He worked out of his deepest passions and, for many of us, this made the experience of watching his films seem almost surgically invasive. He pulled us into his secret torments. Looking at "The Seventh Seal" or "Persona" or "Cries and Whispers," it's easy to imagine that Bergman, who died Monday, was the most private of film artists, and yet, no matter how far removed the circumstances of his life may have been from ours, he made his anguish our own.
Another way to put this is that Bergman -- despite the high-toned metaphysics that overlays many, though not all, of his greatest films -- was a showman first and a Deep Thinker second. His philosophical odysseys might have been epoxied to matters of Life and Death, of God and Man, but this most sophisticated of filmmakers had an inherently childlike core. He wanted to startle us as he himself had been startled. He wanted us to feel his terrors in our bones. A case could be made that Bergman was, in the most voluminous sense, the greatest of all horror movie directors.
"If Jesus came back and saw what's going on in his name, he'd never stop throwing up!" -- Bergman actor Max von Sydow, in Woody Allen's "Hannah and Her Sisters"
View image Woody Allen's "Love and Death": A Bergman (and Dostoyevsky and Tolstoy...) parody from someone who loved Bergman.
Roger Ebert, RogerEbert.com: What he saw as God's refusal to intervene in the suffering on earth was the subject of his 1961-63 Silence of God Trilogy, "Through a Glass Darkly," "Winter Light" (a pitiless film in which a clergyman torments himself about the possibility of nuclear annihilation) and "The Silence." In his masterpiece "Persona," (1967), an actress (Liv Ullmann) sees a television image of a monk burning himself in Vietnam, and she stops speaking. Sent to a country retreat with a nurse (Bibi Andersson), she works a speechless alchemy on her, leading to a striking image when their two faces seem to blend.
So great was the tension in that film that Bergman made it appear to catch in the projector and burn. Then, from a black screen, the film slowly rebuilt itself, beginning with crude images from the first days of the cinema. These images were suggested by a child's cinematograph which his brother received as a present; so envious was Ingmar that he traded his brother for it, giving up his precious horde of 100 tin soldiers.
Artists pay tribute to Bergman
WEB EXCLUSIVE -- UPDATED 8/2/07: Roger Ebert has received these e-mail observations about the death of Ingmar Bergman:
Happy 95th, Studs!
Click for Studs Terkel Gallery


This particular Olive Garden has the best wait staff and management. The food is stupendous. Highly recommended to all!!
Best pizza in the area authentic flavor friendly employees and way better than Uptown Pizza. Its kind of addicting.
From Business: Beautiful. Casual italian restaurant in the heart of historic ybor city. We have a very large outdoor patio. Full bars. Valet parking on weekends.


>> it is moreover a testament based on eyewitness accounts and the personal testimony of the people who knew the Führer.
This is how I prefer historical information presented: objectively as possible, allowing me (the viewer) to form my own opinions, come to my own conclusions. Obviously, I realize it's difficult to separate anything about Hitler from the subjectivity of emotion, but I feel this film succeeded better than most I've seen at trying to present the information as objectively as possible.
In other words, I didn't come away feeling like the film tried to persuade me to feel one way or another. Some pieces on Hitler contain the word "evil" in the title. Not that Hitler wasn't an evil man, but that suggests a bias, and I prefer to form my own biases, thank-you. =/ No person with a brain enjoys being told how they should think or feel about something, and we know when we're being steered in a certain direction.
Saw it at the Lido in Newport Beach: one of the few old-fashioned movies houses still operating. Place was comfortably full. Never seen so many people there. Only a few rows up front remained empty. Last night was opening night. Felt like a premiere. I noticed many older gentlemen accompanied by younger girls, which I suspect were their daughters. Can't be sure, tho. Merely an observation I found interesting.
Another surprising observation: the word "Jew" was only mentioned once or twice. Normally, documentaries involving Hitler spend considerable time addressing the holocaust. Not so here. In the film, Hitler was preoccupied with the status of his armies. I mean, more time was paid to his preference for vegetarian meals/food. I didn't know Hitler was a vegetarian. I had him pegged for a serious carnivore.
The sound in this film was perhaps the most remarkable aspect. I mean, it really sounded like you were in an underground bunker with bombs dropping above. I'm not sure if this is because the Lido has such a good sound system, or if it would sound the same in any theater, but yes, the sound of the bombs exploding in the city seemed very realistic, making it easy for me to imagine I was actually in an underground bunker, and that bombs were exploding above, echoing throughout the entire bunker .. getting louder/closer as the movie/Russians progressed/advanced.
Anyway, the film offered a perspective not usually found, especially when you consider history is written by the victors. The film is very well done. I can see why it was nominated for Best Foreign Language Film. If you're a history buff, or, like me, intrigued by extremes of human experience, I suspect you might also enjoy this film. If war and violence offend you, this film is not for you.


text:
Really? No Delay In The Stomp Section???
glennfin
In the profiler basic manual, under "stomps" "stomps LED color coding" it shows "delay" = "green" but to my dissapointment, I discover, there is no delay alg available in the stomp section!
What's up with that? Is this like the performance mode not being available in previous firmware versions, but was added later?. If it absolutely won't be available in the stomp section, wouldn't you want to remove that mention of it in the manual?.
I'm dissapointed by this. The Delay in the effects section is very limited to begin with so a delay in the stomp section would certainly help that situation. This isn't an issue for me with my studio rack rig because I have additional outboard gear with excellent delay algs (2 Eventides) but for my live rig I was hoping not to have to carry additional gear around.
Any thoughts on this?
Raoul23
Delay is coming at some point but we don't know when
Raoul Crane
www.Blaze-Studios.co.uk
https://soundcloud.com/blaze-studios
michaelmellner
Quote from glennfin
although I respect every opinion, I don't find the delay to be 'very limited'. I'm a pro player, both live and studio, and can tell you the kpa delay is one of the best I have ever used. it has virtually everything a delay needs. of course I cannot find some eventide special fx on it, but who does except for the eventide?
furthermore, while I don't know what fx do you get out from your eventide stomps, I can almost guarantee you that what you get from the eventides, you get from the kpa delay as well.................as said above, except some special features. for instance, I cannot play steve vai's Ballerina with the kemper delay......but is this vital for a guitar player......just my two cents here......
"...why being satisfied with an amp, as great as it can be, while you can have them all?" michael mellner
"Rock in Ecclesia" - new album on iTunes or Google music
Hi... I'm talking about the Eventide rack units and since I own three Eventides (DSP7000, H3000 and Eclipse) and a kemper, I guarantee you cannot get the same types of delays AND reverbs with the kemper that you can get with the Eventides. What you need has a lot of it has to do with the type of music you're playing. I aggree the kemper has some very usable delay effects, but nothing compared to the eventides. Even something as simple as a reverse delay is useful for the type of music I play and record, and Eventide isn't the only company doing these types of FX. There is way more than " steve vai's Ballerina" fx in the eventide. I understand if the kemper delays suit your needs, but comparing the FX in the kemper to an Eventide is honestly not a fair comparison.... To each his own I always say.
Quote from michaelmellner
Edited 2 times, last by glennfin ( Jan 30th 2014 ).
exactly: to each his own! the eventide is a great machine and the kpa cannot do most of the thing it does..........but also the eventide cannot do most of the thing the kemper does. thus: to each his own. just right!
the ballerina sample was just one example. I know the eventide can do many other things.
I guess even the size of the h3000 rack suggest something: as far as I remember the HD3000 is a farly big machine in size (two units and large in depth). To me it suggest that it is impossible to house in the kemper the circuitry of the eventide.
overall I care to say that reading the forum I found many players which are expecting the kemper to be the magic pill aka one solution for all, and I mean all the playing needs, from eventide, to lexicon, to you name it. I read so many users writing that they expected to through away all the rigs they had once they had the kemper.
I think this thought should be somewhat resized. not mentioning you, of course, believe me.
one last thing: did you really think that a simple delay in the stomp section could make you get rid of the H3000?
Guitartone
How do you have your current pedalboard/amp setup...what delay pedals do you have on the pedalboard for live use?
Kemper Amps & Tokai Gakki distributor South Africa
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Haven't heard that song for ages Ballerina by Steve Vai just had a listen. That's a clever effect what patch is that on the Eventide I've got the Pro Tools plugin version would mind trying that (First ill have to learn how to play it) lol
Lambik
each of your eventides is like twice the price of the Profiler.
Quote from Raoul23
I had a patch on my now sold Rocktron Intellifex that came quite close. I'm looking forward to the upgrades Team Kemper will implement in the future.
meambobbo
Jan 31st 2014
i have never fully understood putting delay on a patch before the amp. I guess it makes more sense in the context of clean tones, but if there's any strong compression or distortion to the amp, seems like you'd just get a lot of what sounds like a bunch of guitarists playing on top of each other.
Kemper Profiling Amp wiki - www.foobazaar.com/wikpa
MeAmBobbo on Soundcloud - http://www.soundcloud.com/meambobbo
Kemper Duplicate Profile Finder - https://kpaduplicates.codeplex.com
burningyen
There are some very musical things you can do with a delay in front of a dirty amp.
Owner and Designer, B-Way Guitars
My music page
okstrat
Quote from burningyen
Yup. you can get a really nice thickening of the tone for sure. I think guys who use clean to low/medium gain amps are going to get more use though than metal folk. It's still cool to have as an option.
Pete's Profiles - Tone for sale
Pete's Profiles Facebook page - profiling tips and more
First of all, I'm not getting rid of anything . but having additional delay algorithms in the stomp section (where they're supposed to be according to the manual) might save me from having to place an additional FX unit in my rack to make up for the lack of delay in the present FX section. As I said in my original post, I think the delay section is lacking based on my needs, you don't... simple as that. We don't need to get into a tit-for-tat about it. I am in no way expecting the kemper FX to compete with the eventide FX and I'm just using that as an example, I also have a small Lexicon single rack space unit (MX400) that could be added to my live rack (with the kemper fx loop option) to add a multitude of FX not availble currently in the kemper.... but again, maybe I wouldn't have to if there was an additional delay in the stomp section where it is supposed to be.
........and just to set the record straight, I absolutely LOVE the kemper.... in fact, I own two of them.
Hi Guitar tone.... I don't use pedals, I've always used a rack setup with an FCB1010, but I do sometimes use a Boss GT-8 in the FX loop of my Mesa Lonestar Special head for grab it - quick in a hurry situations. The live rack setup before I got the kemper was, Digitech GSP1101 with a mesa Triaxis in the pre-loop, an Eventide Eclipse, and a Marshall 9100 tube poweramp with two marshall 4x10 cabinets (stereo setup). That was just way too much stuff to carry around so I decided to downsize the rig and use the kemper instead with a smaller lighter power amp (Mesa 20/20) and a pair of small 10" guitar cabs. The GSP1101 is a very flexible unit but I never used/liked the modeling distortions, I only used the triaxis tones.
Quote from Guitartone
Edited 2 times, last by glennfin ( Jan 31st 2014 ).
DukeOURL
I'm one of those guys that would love to have a multi-tap delay in the stomp section!!! yeah it does thicken up the sound.. of course, dual path / parallel path output section with a delay for each path would be fantastic too!!!
Gettin' funky up in here..
Trazan
Two of the things I miss the most at this time; modulated mono delay (tapeish) and spring reverb. Both freely placeable in stomp slots so that they can get comression/color from the amp section.
Yea! I aggree guys! I'd also like to be able to do a short slap-back type delay in the stomp section coupled with a long delay in the FX section.
Feb 1st 2014
ok........
I'd like to add......I'm into writing, recording and playing what could best be described as avant-garde, experimental, improvisation, old school progressive rock, etc... so I require some "unusual" effects for the type of music I play. I never expected the profiler to have the level of bizzare effects the Eventides have but I was kind of expecting a bit more in the way of delay type effects like reverse, some limited looping, ping-pong multi tap, etc... I really don't think that's an unreasonable request considering there are other guitar processors that have these effects and more. If I was just playing top 40, pop music, or straight ahead rock, I'd probably be just fine with the built in effects in the profiler.
My main attraction to the profiler is it's ability to do tube distortion tones (digitally) better than anyone else. I think what I may end up doing to have the best of both worlds in my live rig as I mentioned, is to add an effect unit to my live rack to use with the profiler. Either in the profiler loop, or externally in series between the profiler and the power amp.
After all, it's just money!
I bet some kind of reverse effect is on the horizon for the KPA.