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DOLBY LABORATORIES INC DLB
November 07, 2014 - 1:25am EST by
Price: 42.56 EPS 1.99 2.1
Shares Out. (in M): 104 P/E 17 16
Market Cap (in $M): 4,350 P/FCF - -
Net Debt (in $M): -800 EBIT 273 287
TEV ($): 3,550 TEV/EBIT 13 12
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Description / Catalyst
We recommend a long position in Dolby Laboratories (DLB).
The company's primary business is the licensing of audio, video, and voice technologies for entertainment and communication purposes. Dolby is best known for its digital signal processing, noise reduction and multi-channel output technologies (aka surround sound) that enhance audio experiences. The company benefits from a licensing model that produces notably high gross margins, all the while enjoying a strong strategic position in the migration from analog to digital broadcast in the emerging markets. With a substantial amount of intellectual property (over three thousand patents issued and a couple thousand more pending) the company is in possession of a decent sized moat that will continue to allow Dolby, which for a company of its size has minimal capex, to generate significant free cash flow.
Today Dolby operates with a debt-free balance sheet and a sizeable net cash balance of close to $800mm, or about 20% of the current market value. It's our expectation that in 2015 the company will able generate close to $300mm of free cash, and management will be compelled to pursue new ways to return capital to shareholders beyond the upsizing of its share buyback program and the initiation of a quarterly dividend program just this month.
When you back out the huge cash position, I think DLB shares represent decent value. With an EV of $3.5bn, the valuation implies investor sentiment that is ambivalent to slightly negative about a company that's generally been a steady earner and returner of capital. The market is concerned about the company's exposure to PC sales going forward and punitive about the secular decline of optical media devices, while not fully recognizing the continued growth potential in broadcast. We expect continued growth from broadcast licensing, a stabilization in PC sales, and a longer term opportunity to reduce the company's somewhat bloated R&D (representing $180mm in FY 2014 and close to 20% of sales), will grow free cash flow generation by the company closer to $425mm in the next 18 months. Modeling a cash build of $600mm during over that period time, and valuing the company at 10% free cash flow yield we see the potential for Dolby shares to rise to $55. Such a move would represent about a 30% increase from today's price.
Most have a passing familiarity with the Dolby brand. It's probably the first company that comes to mind when you hear the words "surround sound." (Trivia: The first film to feature Dolby noise reduction technology was A Clockwork Orange). The company creates audio, video, and voice technologies that transform entertainment and communications at the cinema, in the home, office, and on mobile devices.
The majority of the revenue generated by Dolby comes from the licensing of technologies it holds under patent. I've included the revenue mix below.
28% of revenue is from the U.S. and the 72% is international.
As for the mix of licensing revenues:
Fiscal Year Ended
Licensing Revenue Mix
To expand on what exactly goes into these categories a bit: Broadcast principally refers to products licensed by OEM's of televisions and set-top boxes, and this represent Dolby's single largest end market and is growing at a reasonable clip (~10% per annum) and is the main driver of topline growth for the company. In the PC segment the main products are tied to the Microsoft Window's operating system and DVD software players. The Consumer Electronics segment encapsulates products like DVD and Blu-Ray players/recorders but also audio/video receivers, and home-theater systems. Mobile is mostly smartphones, and Other includes automotive (in-car audio systems) and video game consoles.
I alluded to high gross margins earlier. I might have modify that. The licensing-heavy model Dolby uses results in exceptionally high margins, even for a technology company. Gross margins run in the 90% range. Here are some numbers:
Revenue 2014 % of rev 2013 % of rev
Licensing 878,844 91.5% 807,081 88.7%
Products 59,219 6.2% 80,603 8.9%
Services 22,113 2.3% 21,990 2.4%
Total Revenue 960,176 100.0% 909,674 100.0%
Cost of Revenue
Licensing 10,814 1.1% 11,948 1.3%
Total Cost of Revenue 70,176 7.3% 85,956 9.4%
Gross Margin 890,000 823,718
Gross Margin % 92.7% 90.6%
Operating Expenses (GAAP)
R&D 183,128 19.1% 150,406 16.5%
Sales and Marketing 252,647 26.3% 204,417 22.5%
G&A 178,104 18.5% 137,856 15.2%
Other 2,403 0.3% - 0.0%
Total Operating Expenses 616,282 64.2% 492,679 54.2%
Operating Income 273,718 28.5% 331,039 36.4%
Interest Income 3,344 3,848
Interest Expenses 183 (575)
Other (3,763) 1,080
Income Before Taxes 273,482 28.5% 335,392 36.9%
Taxes 67,379 85,260
Net Income 206,103 21.5% 250,132 27.5%
Earnings Per Share 1.99 2.43
Share Count 103,622 102,788
(N.B. I'm GAAP numbers above. in 2014 RSU dividend and stock based compensation together was about $70mm.)
A look at Dolby's Licensing Structures:
So how does the Dolby's business work? What allows this company to generate 90%+ gross margins? For the most part Dolby employs 3 different types of licensing agreements. The below is a little dry and mostly cribbed from the company's 10k.
1) The Two-Tier Licensing Model . Most consumer entertainment licensing business consists of a two-tier licensing model whereby Dolby's decoding technologies are first provided under license to a semiconductor manufacturer. The manufacturer then incorporates Dolby's technologies into its integrated circuits. Licensed semiconductor manufacturers, whom the company refer to as "implementation licensees," sell their ICs to OEMs of consumer entertainment products, which the company refer to as "system licensees." System licensees separately obtain licenses from Dolby that allow them to make and sell finished end-user products that incorporate its technologies in ICs purchased from its implementation licensees.
Implementation licensees pay a one-time, up-front fee per license. In exchange, the licensee receives a licensing package, which includes information useful in implementing its technologies into their chipsets. Once implemented, the licensee sends a sample chipset to Dolby for quality control evaluation and if the company validates the design, the licensee may sell the chipset for use solely by its system licensees.
System licensees are required to provide prototypes of products that incorporate its technologies for which they are licensed for quality control evaluation, or under certain circumstances, with self-test results for its review. If the prototype or test results are approved, the licensee is permitted to buy ICs from any Dolby implementation licensee with a license for the same Dolby technology, and to sell approved products to retailers, distributors, and consumers. For the use of its technologies, its system licensees pay an initial licensing fee as well as royalties, which represent the majority of the revenue recognized from these arrangements. The amount of royalties the company collect from a system licensee on a particular product depends on a number of factors including the mix of Dolby technologies used, the nature of the implementations, and the volume of products incorporating its technologies that are shipped by the system licensee.
2) Integrated Licensing Model . The company also license its technologies to software operating system vendors and independent software vendors ("ISVs"), and to certain other OEMs that act as combined implementation and system licensees. These licensees incorporate its technologies in their software used on PCs, in mobile applications, or in ICs they manufacture and incorporate into their products. As with the two-tier licensing model, the combined implementation and system licensee pays Dolby an initial licensing fee in addition to royalties as determined by the mix of Dolby technologies used, the nature of the implementations and the volume of products incorporating its technologies that are shipped, and is subject to the same quality control evaluation process.
3) Patent Licensing. the company license its patents directly to manufacturers that use its intellectual property in their products. the company also license its patents indirectly through patent pools, arrangements between multiple patent owners to jointly offer and license pooled patents to licensees. Finally, the company generate service fees for managing patent pools on behalf of third party patent owners through its wholly owned subsidiary, Via Licensing Corporation. The Via Licensing patent pools enable product manufacturers to efficiently secure patent licenses for audio coding, interactive television, digital radio and wireless technologies.
Customers and Segment Trends
Samsung is Dolby's large licensees and accounts for about 12% of Dolby's sales (and consist primarily of licensing revenue from its mobile and broadcast market). Dolby's significant gains in broadcast and the incorporation of its intellectual property into digital standards of many international markets (India, China, and West Africa) imply that Samsung will likely remain Dolby's largest customer for the foreseeable future.
Over the past five years Dolby has been able to strengthen its position as the adopted standard in digital television and high definition content in North America and throughout much of Europe. At the same it has demonstrated a lot of success in deploying its technologies in a number of emerging markets, which is important since this is where the company is realizing growth as most of its traditional markets are in various stages of decline. In China, most operators have adopted Dolby Digital Plus in their set-top boxes and the company estimates that Dolby technologies are deployed in over half of the High Definition channels on air in China. India appears to be following a similar trend. The company also has been successful in Nigeria, Brazil, Malaysia, Vietnam, and the Philippines in getting Dolby Digital Plus adopted in their set-top boxes.
Microsoft historically was a major customer for Dolby although its share of the company's revenue has fallen from 14% to now under 10% in the past few years. Declining PC sales have been the main driver of that reduction. The company's technologies are in the majority of PCs sold today due to their incorporation in Microsoft Windows 8 for disc and online content playback and, for versions prior to Windows 8, primarily because of their inclusion in DVD and Blu-ray Disc playback functionality. Historically, Dolby would license its technologies to a range of PC licensees, including independent software vendors, PC OEMs, and operating system providers. Revenues from the PC market depends on several factors, including underlying PC unit shipment growth, the extent to which its technologies are included on computers, through operating systems or otherwise, and the terms of any royalties or other payments the company receive. This is a challenged segment since purchasing trends are moving away from traditional PCs and toward computing devices without optical disc drives, such as chromebooks and tablets that do not use Dolby's technologies.
The consumer electronics segment has also been declining in recent years. With the proliferation of mobile content delivery methods, Dolby has seen a shift away from demand for optical disc media to which has resulted in what's likely to be a secular declines in revenue from DVD and Blu-ray Disc players.
Dolby's role in mobile is also somewhat of a challenged position. Over the past few years the company has recognized significant growth in this segment, but pricing and competition have lead to considerable volatility. Mobile devices have much shorter product lifecycles, and it's much easier for mobile device OEMs to remove Dolby's technologies when the price isn't right from mobile devices than it historically was for PC OEMs. The mobile markets are characterized by intense competition, evolving industry standards and business and distribution models, disruptive software and hardware technology developments, frequent product and service introductions and short life cycles, and price sensitivity on the part of consumers, all of which result in downward pressure on pricing or the removal of technologies by OEM providers. So while mobile has the potential to remain a growth avenue for Dolby, the company has acknowledged that it's not a sure thing and is likely to continue to confront experiencing pricing pressure in the future.
Is there a long-term moat here?
I think this is where the debate on whether you go long or short the stock rests. Apart from broadcast, the rest of the end-markets seem to be on thin ice. How sustainable are Dolby's licensing margins? Existing patents in the portfolio will eventually expire, and it's unlikely new patens will replace them in exactly the same way. The company's important Dolby Digital patent, also known as AC-3, expires in the U.S in 2017. A little later Dolby will see the expiration of its Dolby Digital Plus patents take place between 2018 and 2026. How serious is this? It's hard to say. Unlike pharma, management doesn't breakdown here how much of its licensing revenues actually comes from these patents. The company only describes the amount as "a significant part." Here's the frustrating language from last year's annual report:
"In particular, some of its patents relating to Dolby Digital technologies, from which the company derive a significant part of its licensing revenue, have expired and others will expire over the next several years. the company have transitioned a number of its Dolby Digital licensees, and continue to make progress in transitioning other Dolby Digital licensees, to Dolby Digital Plus technologies, an extension of its Dolby Digital technologies, whose patents generally expire later than the Dolby Digital patents. The company still derives a significant part of its licensing revenue from Dolby Digital Plus. To be successful, the company must continue to transition licensees to Dolby Digital Plus, and discourage licensees of Dolby Digital Plus to transition back to Dolby Digital as its original patents covering this technology expire."
So clearly this is where things get a little challenging. The quality of the disclosure is a little maddening. They don't provide much detail either on the pace or the rate of the transition to new patented products. Dolby's reluctance to state just how much is exactly "significant" is concerning, and I think it should give even the most ardent long a long pause. It's somewhat concerning that a technology first developed in the early 90's potentially remains a meaningful part of the company's revenues. It also makes one wonder just how effectively the company has spent some $1 to 2bn in R&D over the past 23 years given just a handful of patents may still represent Dolby's main intellectual property. Ameliorating this concern perhaps is the fact that most of the emerging market broadcast gains have been tied to the Dolby Digital Plus licenses which has another decade of runaway. Dolby certainly is one of the biggest beneficiary of established US standards for digital broadcast TV, cable, and satellite. Additionally they've been incredibly successful internationally (e.g. India, China, Nigeria, Brazil) as those markets institute their own standards. Beyond this half of the world's TVs still need to transition to digital broadcast. So they got that going for them as well. The size of the market for Dolby's licenses will continue to increase and that should will probably more than make up for the (modest) declines in PC, (less modest) consumer electronic markets, and pricing and competitive pressure in mobile. But there is this patent wall with an inadequate amount of disclosure that bears somewhat unquantifiable risk and needs to be recognized with increasing caution the closer we get to 2017. Based on the quality of the disclosure in the 10k which should be realized in a couple weeks, DLB maybe turn out to be one of those situations that is arguably a long in the short term, but a short in the long term.
I do not hold a position with the issuer such as employment, directorship, or consultancy.
I and/or others I advise do not hold a material investment in the issuer's securities.
Increased share buyback
1 time special dividend
Reduction in bloated R&D budget ($180mm per year, ~20% of sales)
Release of 10k which provides details on expiration of Doby Digital Patent
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redpajama_set_name: RedPajamaCommonCrawl


In his very early education, he was educated at Portal Elementary School, and John F. Kennedy Junior High School. To add to young Dr. Burke's Health Grade Honor Role, he won the Outstanding Wrestler Award at Central Coast section Championships in 1976. In that same year, he placed 5th in the State Championship for wrestling.
601 words - 3 pages complication - embolism (blockage) of the pulmonary artery. Although this complication is rare, it is necessary to remember about it when deciding to go under the knife of the plastic surgeon. I think that liposuction has a right to exist only in the context of an overall healthy lifestyle: after a serious weigh loss that occurred naturally in some cases surgeons recommend to remove small amount of fat by means of liposuction in order to get the perfect figure.


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Hipsters Are Annoying Interview
Issue #24 Ryan Bigge
In late August 2002, "Aimee Plumley" began hipstersareannoying.com, a blog dedicated to "all the absurd and annoying things New York City hipsters do, say, wear, and probably, think." Plumley was kind enough to expound upon Frankenhipsters, Vice magazine and butterflies via email interview. (Ryan Bigge)
Did you ever imagine you'd receive so much feedback and interest in the forum when you first began it?
I had no idea there would be any feedback at all. I actually had a blog prior to the Forum, just a sort of practice run, and nobody read it. I was completely taken off guard when people started responding to the Forum.
Has any particular email or piece of feedback surprised you? Made you want to quit? Or made you more determined to keep going?
I'm surprised that people are so kind. It's really beginning to damage my cynical worldview to get all these nice messages from complete strangers. I keep wondering where all the assholes are. In some parallel universe, if I stumbled on my on site, I think I'd probably toss off a nasty email to myself.
There's no single message I can think of that really surprised me, but I'm continually stunned by people's sincerity, or possibly naivete, sometimes I can't tell between them. I get a lot of email from people who've read parts of the Forum and are genuinely distressed and confused about what, exactly, "hipsters" are and what kind of role hipsters play in their lives. They say: "I like this that and the other thing: does that make me a hipster?" For a while, I was getting so much of this mail — pleas for advice and counsel — that I started a (very short lived) feature called Hipster Questions Answered. I soon realized, however, that answering questions about hipsters and sculpting down to a strict "hipster" definition is the last thing I want to spend my time doing. Most of all, I like the email that just says, "Hey, I read this story and it made me laugh. Thanks."
Do you see any problems in defining yourself by what you are not (i.e. not a hipster?) Doesn't it give the enemy too much power or importance?
Yes, I do see problems with it. But that's sort of the point too. When I started the Forum — the first couple of entries — I had this driving image that I was a covert turncoat hipster spy, sitting down in a dumpy basement tapping out counterintelligence reports about the hipster cell that I'd infiltrated — giving up the dirt from the inside, that sort of thing. Along that line, even my name — Aimee Plumley — is a pseudonym, in case it wasn't obvious. So, the conflict of claiming to understand hipsters intimately, yet not actually being a hipster has always been part of the Forum. Without that built-in tension, that inherit conflict, there wouldn't anything. It sort of spring-loaded the site — it created an implied story behind all the ranting, which has (thankfully, shockingly) sustained it for quite a long time.
I'm not really worried about giving the "enemy" too much importance because there really isn't anybody out there saying "Hipsters rule!" — there's really nobody carrying the hipster flag, per se. Vice magazine is probably the closest example, but nobody — not even the stinkiest hipsters — actively identify themselves as hipsters, which is probably a phenomenon particular to hipsters.
How do you feel about the apparent contradiction your site offers; that is, to find your anti-hipster musings funny, you need to be familiar with hipsters, if not be one?
I don't think you necessarily need to be familiar with hipsters to understand the stories. For instance, even if you aren't familiar with any of the hipster bands that Billy the Musicologist is name-dropping, you still know what kind of character he is — he's a smug asshole, plain and simple. And everybody knows a few of those. I would venture to say that everybody has a little bit of that in their personality too. So the hipster aspect helps dress up the plot — to put it in context — but the real skeleton of the story is more universal, I'd like to think.
But you're right, there is a contradiction. In order to really absorb all of the jokes and the references, you probably need to either be very close with a hipster or be a hipster. But that's Satire 101, as far as I'm concerned. It's the basic idea that people can be made to laugh at themselves, that people's actions can be made to look absurd when viewed in a certain way. Hipsters just happen to look more absurd to me than most other social "groups."
Also, I was intensely curious to see how hipsters would respond to this kind of ribbing. From the beginning, I've contended that hipsters are absolutely humorless and un-reflecting. But if that were strictly true, then the site would have flopped immediately. So I guess it was also a kind of sociological study/survey for me, and my initial hypothesis was not altogether proven. But that's only true in retrospect. The truth is that I never set out with any particular point when I started the site. I just felt a very visceral revulsion toward hipsters, and I wanted to understand why. I wanted to intellectualize my disgust and try to understand why I felt such rage against hipsters, and by extension, why I felt such rage against my whole generation, myself included.
Are hipsters able to laugh at themselves? Or is a true hipster blind to the more ridiculous and/or annoying aspects of their lifestyle?
In theory, I would say hipsters cannot laugh at themselves. That's been my contention anyway. But as I've worked on the site and gotten all this feedback, I've come to the tentative conclusion that in everyday life, some hipsters do have a pretty keen sense of humor. It's a matter of degrees though. And make no mistake, just because they can laugh at themselves, doesn't mean hipsters don't subscribe to awful trends, read stupid magazines, engage in asinine conversations and listen to a lot of shitty music.
Have you seen/read/sneered at the Hipster Handbook? Your thoughts on the book?
Yes, I've had plenty of opportunities to sneer at the Handbook. Many friends of mine have found high amusement in pointing it out to me at the bookstore counter and saying: 'Hey Aimee! There's your book!' Ha ha. Very funny. I've never really read it (does anybody really read a book like that?) It seems more like a conversation piece to me, a gag gift, a novelty, a desk ornament, fire kindling, so I don't give it much stock. It's a throwaway bubblegummy, pop-culture-y piece of blah blah as far as I'm concerned. But it has been good for me because when the book was first published and getting some press, I got some press too. I got interviewed by the BBC radio as a direct result of the Handbook, so I am genuinely glad it exists, but only because it has benefited me. Otherwise, I think it's a piece of shit, and probably something that the hipsters of the future, whatever they're called — hipsters? Typesters? Frankenhipsters? — will pick up at thrift stores and sell for double the price.
Your postings seem to ask the question: "why are these so-called tastemakers so devoid of taste?" Are you any closer to an answer?
Yes, in a sense, I am closer to an answer now, having written about it and received feedback. There's no truly unified way to explain bad taste though, because it's a subjective thing. But the way I see it, hipster taste has always been concerned first and foremost with implication. For instance: the thrift-store t-shirt. It may be ugly and irreverent, it may be too tight-fitting, but all of those concerns — normal aesthetic concerns — are sacrificed for the pure implication that the shirt's wearer shops at a thrift-store, and thus, leads the cutting edge of pop-cultural ironic intrepidness to find truly one-of-a-kind garments. (I don't think I need to impress upon you the importance our generation places on obscure historical fashion remnants — see: the rise of vintage.)
To wear the shirt shows that you are an obscure culture-miner, unearthing unique relics of the past — tasteful enough, thoughtful enough, and patient enough to trod through the graveyard of fashion history and dig-up only the coolest and/or most obscure articles for cultural resuscitation. But by coolest/most obscure, I mean of course, the most strikingly distanced contextually from the shirt's wearer — i.e. ironic, which serves to highlight the implied distance (culturally or geographically, mentally, spiritually, physically, psychically, whatever) that the hipster traveled to get that shirt. So, for example, if you live in Alaska, the SoCal surf shop t-shirt, the Thai tiki-hut shirt, the Arizona cactus sunset, is highly ironic. It's a game of juxtaposition. The greater the implied distance, the more ironic, the better.
This accounts, I think, for the move toward more blue-collar stuff being co-opted for hipster fashion purposes. Pabst Blue Ribbon, foam trucker hats, gas station attendant shirts, greasy hair, etc. What could be more ironic than a rich white kid from the suburbs wearing a shirt that implies a job at Grease Monkey? The thrift-store shirt also speaks of a certain humility, a subtle working-poor frugality because, after all, hipsters generally don't actually need to slum it at a thrift store. We're plumbing the ironic depths here, as you can see. And so far so good — there's enough used clothing floating around to keep every hipster uniquely satisfied until doomsday — and as long as he actually went to the thrift store and dug up that shirt in the dollar bin, there's no fundamental dishonesty being committed. You might not be able to escape your class affiliation, but you sure as hell can dress like it!
But at some point the guiding principle — the ironic deliberation, the implication, the joke itself — was quietly, ominously, murdered. The anchor that held the whole concept of ironic detachment together was cut loose, leaving the rest to be pillaged by the idiots in the town square. And when you're dealing with a trend whose roots are, by and large, intellectual — a trend that places more importance on the implied story than the pure aesthetic — the guiding principle is pretty fucking important. It is, in fact, the only reason for the trend's existence. But, as has now happened, the aesthetic alone has been embraced by the masses of hipster youth for no other reason than other people are wearing it. So here we are, wearing trucker hats, drinking PBR, looking like gas station attendants — and for what? Because it looks good? Because PBR tastes good? Give me a fucking break.
Call me a snob, but there's a reason you found it at the thrift store. Eh? What's that you say? You didn't find it at a thrift store? You bought it at Urban Outfitters? Oh. And so, there you have it. The so-called tastemakers are tasteless because they've lazily inherited an intellectual trend whose head has been ripped off, leaving only a blood-covered Dukes of Hazzard t-shirt. In a way, it's the oldest story in the pop-culture book. A trend — a "movement" if you like — starts out with some degree of conscious intention, some 'purity,' then gets co-opted, corrupted, sullied. Ask any middle-aged punk rocker about that. Of course, I could be wrong. Maybe there never was any ironic joke about it. Maybe people genuinely think trucker hats look cool. But, goddamn, that paints a pretty bleak picture.
Do you think ironicannabalism signals a turning point in the hipster world? Will we look back at mass-produced thrift store t-shirts one day and say "that's where it all started to break down in hipsterland?"
I certainly hope so, because it means I'll be getting quoted for years to come. No, but seriously, I think it's significant. I think all of this stuff is very telling — despite the fact that it's revealed primarily through "fashion" — because it reflects something about the way we live today. It reflects, to some degree, the way we think (or don't). But to clarify, it's not the mass-produced "vintage" t-shirt itself, but the acceptanceof the t-shirt that signals a major turning point in the hipster world. It's like blue ketchup: of course Heinz will do anything it can to sell the stuff. They're a business, and they want to profit, but if people don't buy it, then it's not part of the culture. I haven't gone so far as to check out how mass-produced "vintage" t-shirts are selling, but, for our purposes, I'll go ahead and assume they're selling like hotcakes. So yes, it's Ironicannibalism — that is to say, it's the point where irony finally ate itself. It's the point where the joker — the wearer of the t-shirt — became the jokee, became the joked-upon — the butt — if you will.
For instance: Let's say you have a t-shirt that says "Meadowglen Shit-Eating Festival '86." And let's also say that 50 such shirts were produced. The shirt itself is the signifier: it refers to the event. The event is, then, the signified. It tells the world that there was in fact a Shit-Eating Festival. Now, at some point these two were related. The organizers of the Shit-Eating Festival actually produced the shirts to promote/immortalize the event. After a number of months, all participants in the Festival died of trichinosis (eating shit is pretty hazardous after all), and the shirts were scattered around in thrift stores by their heirs. Soon, a few hipsters bought the shirts because they're funny. So there's the pure irony: people who would (presumably) not eat shit, who were not at the Shit-Eating Festival, are wearing the shirts. The casual passerby sees this shirt and it immediately tells them that there was, at some point in time, a festival where residents of Meadowglen ate shit. They laugh, it's funny — that gap, that distance, is funny. And the signifier (the shirt) and the signified (the event) are still unified — some thread still remains between them, thus creating the juxtaposition, the irony, the humor.
But, what happens when Urban Outfitters produces 1,000 replicas of that shirt? Or better still, what happens when they produce 1,000 "Streamside Shiteating Festival '86" t-shirts? It never happened! The thread is broken, and I contend that when that connection between the signified and the signifier is broken, the joke is over, the irony is lost. Then what do you have? You have some jackass wearing a "Streamside Shit-Eating Festival '86" t-shirt. To the casual passerby it probably makes no difference. The word "shit" is funny by itself. But inherently, it makes a difference. It's a fraud, and the person wearing the shirt is no longer in control of the joke. Thus, the intended irony has been consumed by the even larger irony that some stupid bastard would shell out $25 to wear a shirt referring to an event that never happened. Once again, I fall back on an oft-repeated phrase: "It's funny because it's true." But, in the case of Ironicannibalism, it's not true.
God, I hope that makes sense.
Is Vice magazine responsible for some of the hipster creatures you dislike so much? What is their role in the hipster ecosystem?
Yes, Vice is most certainly responsible for perpetuating the headless beast of hipster taste. In fact, they may be the biggest offenders to date. They are the blind propagators of idiocy. For one thing, they're promoting a "fashion" that's ugly as hell. But more than that, they have predatorily cast a net of "irony" far beyond its own means. In the Vice way of thinking (if it can be considered "thought"), communication is so twisted and backwards that we can say whatever we want, no matter how irresponsible, no matter how offensive, no matter how inane, because it's "ironic." Because it's a joke, because we don't really mean it. It's willful ignorance, plain and simple.
It would be different if Vice had some point, but they're lightweights. I don't think they have the capacity to make a point. And sure, language should be turned around and twisted for the purpose of satire, but it need always be weighed against the punch line of the joke. With Vice, there's no punch line. Or rather, the punch line is: "Hey! Buy our shit! Ha ha!" And I don't find that very compelling.
Luckily, thanks to the good work of a few journalists at the Village Voice and theNew York Times (respectively) Vice finally got caught in their own net. Somebody finally called them on their bullshit. Unfortunately, the people who really matter in the Vice equation — the readers, the investors — probably don't read these publications. They probably don't read much of anything at all, except, of course, Vice.
You said since moving to Morningside Heights that much of your venom has been spent, vis-a-vis hipsters. Is that still the case? How has the site progressed since you started an open call for submissions? Will the site continue and how has it changed?
Yes, that's true. I'm not surrounded by hipsters anymore, so it's hard to be pissed off and annoyed by them quite so much. The site has almost completely ground to a halt since I called for submissions. I've published one piece by an outside author, but that's it. I do receive a fair amount of work, but most of it isn't that great. It's sort of my fault for asking people to submit work that's not about hipsters to a site that is allabout hipsters. But it's not as though the call for submissions has anything to do with the site stopping. It's primarily just because I haven't felt like writing about hipsters. There's only so much I could write about that topic before I started to feel like I was treading water, repeating myself, muddying the puddle, so to speak. I'd like to carry on writing about other stuff eventually on the site. But it'll have to wait until the book is done. I'm really trying to put all my energy into that right now. Surprisingly though, traffic is still holding steady. The site seems to get tossed around endlessly.
Is it getting easier or more difficult to define a hipster?
It's always been impossible, but the more I write about it, the more the vast expanse of impossibility is revealed to me. But I think that's a good thing, a positive thing. It's the inevitable end of social exploration — questions don't lead to answers, but to more questions.
Tell me more about Frankenhipster and what the next generation of loft-living trust-fund kids are going to look and act like.
Frankenhipster is an idea I haven't explored much since I first mentioned it on the site about a year ago. But basically it begins with the idea is that hipsters are a kind of walking, talking, sneering, pop culture morgue brought back to life. They lumber around, moaning, drooling, their arms splayed akimbo, looting the graves of the fashion dead — the thrift store, the yard sale, the nation's attics and flea markets — feeding on the decomposing flesh of the pop-culturally deceased like a band of roving zombies. But there's a problem. The pool of bad pop-culture ephemera is finite — there are only so many styles they can dig-up and ravage — and even despite Urban Outfitters new trend of producing imitation vintage — the Ironicannibal phenomenon — the hipster taste for flesh will not be satiated. They must feed! They must feast on mothballs like cocktail onions; they must tear into yellow-pitted t-shirts and skid-marked cords like the finest beef jerky.
And they're getting closer.
The '80s are the latest decade to be retro-invaded as the hipsters move forward. In fact, if you put your ear down to the ground, you can actually hear the low rumble of Frankenhipsters approaching in the distance, decked out in the stubborn pastels of Dirty Dancing, and Morning in America, the paint-spattered, bandana-clad Dream A Little Dreamers stomping out the Kid'N Play kick step. But having dumped the brittle carcass of Electroclash on the side of a lonely highway (wind howls through its tortured cavities, tumbleweeds roll by, lizards dart to and fro), they grow hungrier, and more of the converted join the lockstep march to feast upon the next course — Pop Gristle a la 1990s. And, as you pointed out, the New York Times Magazine has pegged the trucker hat as the beginning of a new drift in the hipster sphere — the instantly passe trend. So assuming that hipsters will continue to move forward through history, pillaging in a linear direction, and assuming also that the Times is correct in its assertion that, basically, hipsters are getting hungrier and hungrier, that the time between feedings is decreasing, it would be fair to assume that hipsters are approaching an Event Horizon of sorts, a peculiar time-warp paradox where they begin to actually catch up with themselves in history, where they become trailed by their own shadows — a time where they will be able to see themselves lurking around dark corners waiting to loot themselves for last season's Adidas.
So the question is: Will the monster eventually meet its maker? I predict yes. And in a strange twist of fate, I think the very fabric of their sustenance will eventually poison them. Because as they begin to gorge themselves on the thick stream of '90s pop departed, at about 1997, they will run smack dab into a mountain of garbage. The nutritional value will quickly drop to almost nothing, yet the sheer amount of pop ephemera will increase at an exponential rate, and they will soon be crushed under the sugary weight of it all — all the boy bands, the rabid celebrity and pseudo-celebrity worship, the tech boom remnants, the television pap influx, the CGI monstrosities, the advertising jingles, the country music, the cable news talking heads, the reality TV, the rise of the gossips, the infotainment, the throw-away box office "cinema," the infomercials — the sheer mass of digital data exchange will sweep them away in a thunderous flood of biblical proportions. They will feed until they pop. It will be a self-contained apocalypse. The Frankenhipster may face complete extinction by its own hand. Now that's irony.
Do you feel like an anthropologist given your hipster snapshots? What can we learn from the strange utterances and actions of the hipster in their natural habitat?
Yes, in a way. I didn't really think about what I was doing in those terms until I started getting email from people who mentioned it: picturing me in a safari hat with a pair of binoculars, creeping around Williamsburg, notebook in hand, that kind of thing. To me, the snapshots are really just little stories, little snippets of everyday life, albeit, the most absurd parts all smashed together. That actually brings up a good point. Just for the record: the snapshots are primarily fiction. A few of them, the earlier ones, were taken directly from real conversations, but most of them are made-up. I guess that really detracts from my image as "anthropologist." The main thing is that I love writing dialogue, I feel most natural writing dialogue, so I wanted to find a way to work it into the site on a regular basis.
I'm not really sure what we can learn from the utterances of the hipster. I'm still toying with the conclusion that hipsters are completely devoid of nutritional value. It's the 'you are what you eat' principle. Take butterflies for example: they've evolved to display the same colors as the flowers that they feed on. I think this applies equally to human media/culture consumption.
Should we fear the hipster? Are they dangerous? Will they disappear if we ignore them? Would life without the hipster be even worse than one where they exist?
I honestly don't know. Sometimes, say, when I'm at a hipster party, listening to all the hipsters talk, I genuinely fear for the future of the human species. But then, most people make me feel that way.
Lulu's Luck
Halt.
How to Leave Toronto For Montréal
Lulu's Luck
Saved by the Salivation Army


text:
Tartaria
Mud Floods
The Mystery Religion
The Mortal Soul
Gods of Disney
Rediscovering Torah
Lost Books of the Bible
The Thirteenth Apostle
Torah Portions: Weeks 1-12 (Genesis)
Torah Portions: Weeks 13-23 (Exodus)
Torah Portions: Weeks 24-33 (Leviticus)
Torah Portions: Weeks 34-43 (Numbers)
Torah Portions: Weeks 44-54 (Deuteronomy)
The Secret to Success Is Having Your Picture Taken with Andy Warhol
by Noel Joshua Hadley | Jun 2, 2020
Featured | Spooks
VIEWING PICTURES of William Burroughs paired with other faces of popular culture is like uncovering a who's-who in the spook world. I figure it's probably how spooks knew to identify other spooks back in the day, by paying attention to the latest up and comer standing reverently next to the author of Naked Lunch. I was sorting through online images when I stumbled upon a picture of William Burroughs with Andy Warhol, and it occurred to me, who else has Andy Warhol taken his picture with—aside from Burroughs? As it turns out, much of the same people. You can find these guys swimming in identical circles. David Bowie. Debbie Harry. Madonna. Mick Jagger. Jimmy Page. Bob Dylan. Allen Ginsberg. Sting. I'm willing to bet they're all spooks.
Some things are self-evident. Warhol is a spook. I can't even put a finger on it. But I can sniff out a spook like a dog can smell a hidden sausage in the pocket of somebody's pants. Look, I don't care how talented you are. You don't get to become the next Andy Warhol. You can't don't get to stand next to him in a picture either. That's not how the world actually works, and it's not a decision you get to make. Unless you're reading this and you're some sort of hoity-toity serpent seed lineage and added to the roster of a secret society. Then you might get that knock on the door. Nowadays, you would think the CIA would try harder to conceal them, and for the most part, they do. Fifty years ago however nobody thought like this. Nobody suspected the government was attempting to infiltrate every single compartment of their fabricated reality so as to influence even the primal aspects of their cognition.
I wasn't planning to write on Andy Warhol, but a friend encouraged me to take the plunge. He had read my paper on Jackson Pollock & the Spooks of Abstract Expressionism and suggested an immediate follow-up, which I suppose is this. If you haven't done so, I suggest you give it a read. It involves the CIA's total control and financing of modern art for the purposes of breaking down our moral acumen. Also, the following will probably prove complimentary to the topic at hand. Shel Silverstein. Vito Paulekas and the Freaks. Jim Morrison. John Lennon. Walt Disney.
Everyone that I just mentioned are loved and adored by millions. Not so, Andy Warhol. That's because Andy Warhol's entire purpose was to dismember art and the role of its artist. Oh sure, the CIA attempted to sell us on the foreman of their wrecking crew, and for the most part, his purposes captured the collective consciousness. Actually, come to think of it, Andy Warhol was a complete success. Artists however hate Andy Warhol. Some three decades after his death in 1987, the CIA still has their work cut out for them. They can't let his flame fizzle out naturally on its own. That tells you how important he is to the present agenda. And need I remind you, had it not been for the CIA, there would be Andy Warhol. Nothing natural can be found in him. The media will no doubt spin his story dozens of times over if need be, just to keep it fresh, but it is Andy Warhol's legend in the forefront of our mind which remains important.
See, the CIA doesn't care if you approve of art. They don't care if you like art. They simply want to tell you what art is. The CIA keeps driving up the cost of Andy Warhol's prints and then dumping money into him because they desperately want you to walk out of their well-funded Andy Warhol museums or their Andy Warhol Foundation or any one of their Andy Warhol art exhibits believing that Andy Warhol established himself as an authority on art, a Wizard of those entitled to his own opinion. They want you believing the proof that he is an artist is not in the quality nor consistency of his ideas, but in the strength of his marketing performance, because at present, there is no other functioning definition of art. And also, because those who disagree don't get art.
Andy Warhol made sure of that.
UNLIKE BURROUGHS, very few of of Andy Warhol's photos with other people feel natural. He's often lurking behind some corner, with a cleverly placed skull nearby, or taking pictures of celebrities like a perv. Even his attempt to stand around eating noodles from a bowel feels fabricated. That is because Andy Warhol is drawing you into an illusion. It's part of the magic act. I had mentioned it was a friend who encouraged me to look further into Warhol. Naturally, I decided to turn to Wikipedia for answers, hoping to glean new information on the man—and left confused.
For example, in a section titled Sexuality, Wikipedia confirms what we already know. Andy Warhol was a homosexual. Wikipedia His lovers included John Giorno, Billy Name, Charles Lisanby, Jon Gould, and somebody called BillyBoy. I didn't recognize any of them. One boyfriend lasted 12 years. His name was Jed Johnson. I decided to look up a random name and selected Jon Gould. Gould was a 27-year-old executive at Paramount Pictures in Los Angeles when they met. Sigh. This is just too easy, I thought. Seems straightforward enough. This is the story of a gay spook who dates other gay spooks. Except for the fact that Andy Warhol told an interviewer in 1980 that he was still a virgin. If this is true, despite reportedly being treated for condylomata in 1960, that would have made him a 48 year-old virgin. A 48 year-old gay virgin.
Wikipedia adds: "Biographer Bob Colacello, who was present at the interview, felt it was probably true and that what little sex he had was probably 'a mixture of voyeurism and masturbation.'"
The odd thing here, or perhaps not so odd, is that it's Wikipedia which seeks to throw the monkey wrench into the conversation. And it got me thinking. Sure, he had a couple of gay lovers who swore he'd penetrated to climax. But they may be covering for him. Think about it. It's a phenomenal claim for a guy who threw orgies and hung around in Studio 54. Despite ten-thousand potential one night stands in New York City alone, Wikipedia has not removed the claim. Perhaps he's not even a homosexual. Either way, he's lying. Everything about Andy Warhol wreaks of lies. I decided to look up a second gay lover, Charles Lisanby. Lisanby was an American Production Designer who helped define scenic design in early color television, and was responsible for Carol Burnett's debut. Story goes that Lisanby was at a party and saw Andy Warhol sitting by his lonesome. It's not the first time I heard this. He was once thrown out of his own orgy for sitting there in the shadows, watching. Andy Warhol. You will tell me he was simply a shy but inquisitive individual, sometimes insecure about his own brilliant mind. Wrong. Andy Warhol manipulated everyone and everything, even beyond the reaches of his personal life. This tells me that, even while he was sitting there, seemingly quiet and insecure, Andy Warhol was punching numbers into his cognitive calculator.
The life of Andy Warhol is further confused by the following article section, titled Religious beliefs. Here we learn that Warhol attended Liturgy at Saint Vincent Ferrer almost daily. The local priest affirms his alibi, although he was never once observed taking Communion or participating in Confession, but was content rather in sitting or kneeling in the back pews. Apparently, Warhol's brother described him as privately religious. He even funded his nephew's priesthood. Just look at Andy Warhol meeting Pope John Paul II. Andy Warhol looks out of character. Or is he?
Andy Warhol was an out-and-about gay but also a virgin and a closeted Catholic.
Who is the real Andy Warhol?
THE SECRET to Andy Warhol's art is that Andy Warhol is the art. He didn't even make most of the images he calls his own. He had others do it for him. I encourage you to find pictures of Andy Warhol taking a paintbrush to his own work. He didn't call his studio The Factory for nothing. The man didn't like getting paint on his hands. He'd throw an endless barrage of drag queen orgies and then sit there in the corner watching. Andy Warhol manipulated people into creating things for him.
The next time you stand in their Andy Warhol art exhibit, gazing up at cans of soup, know that the CIA wants you to think about the art that is Andy Warhol. There is no other art. Just Warhol. This is precisely why Andy Warhol wants you to see himself surrounded by the likes of Yoko Ono and Liza Manili and Phyllis Diller and Twiggy in photographs. His work, which rarely ventured beyond smoke and mirrors, was intended for the processing of humanity, and is therefore alchemical. Andy Warhol was a Wizard. Everything about Andy Warhol is carefully engineered in order to promote sexual and gender chaos. And on an added note, 1984 Society needed corporations and franchises to lord over us, which also makes Andy Warhol a prophet of the collective consciousness. But at times he got sloppy. By the end of the 1960's, Andy Warhol was already churning out recreated print runs of his early Campbell's soup paintings. He didn't even care about their glossy production value. Easy money was on his mind. Andy Warhol's desire to exploit Andy Warhol is not even concealed. That was probably a slip up. Or maybe not.
Oh, and one more thing. Jack Nicholson. The spook of Laurel Canyon. This photo is creepy beyond words. Tim Burton's Batman would not be released for two years after Warhol's death, and Nicholson's already practicing his best Cesar Romero impression. It's like they know something. And worse, they want us to know that they know something. While I cannot pretend to comprehend the inner-workings of two spooks, I suggest it has something to do with the fact that Andy Warhol and Jack Nicholson are related.
They both have genealogical ties to prominent European royal blood. The Farnese families. Alessandro Farnese was an Italian cardinal and an art aficionado, but also the grandson of Pope Paul III. His nephew, also named Alessandro Farnese, was the great-grandson of Pope Paul III but also grandson of Emperor Charles V, and ruled as governor of the Spanish Netherlands. If you recall, Pope Paul III initiated the Counter Reformation with the Council of Trent in 1545, as well as the Wars of religion, employing Emperor Charles V's military against the Protestants. It was Pope Paul III who created the Jesuits. Andy Warhol and Jack Nicholson are related.
Are you still holding out hope that you too might have stood in a picture with Andy Warhol—laughing it up with Phyllis Diller and Twiggy? Just look at the list of names whom Andy Warhol photographed at The Factory in his Polaroid series. Arnold Schwarzenegger. Muhammad Ali. O.J. Simpson. Kareem Abdul-Jabbar. Dorothy Hamill. John Lennon. Yoko Ono. Dolly Parton. Ted Kennedy. Joan Collins. You'll find them here. It's always the same people. Same actors. Same spooks. And however much you wish it were so, it's not you. You're not from the gene pool. You're not an inbred from the 13 ancient serpent families. Therefore, you haven't been selected. Don't hold your breath. Nobody's arriving at your front door dressed all in black and taking you on a limo ride to a secret building where a six-fingered giant and a dwarf step out of a wardrobe as part of your initiation rites.
You're not the Wizard creating the illusion. They've made their bed but you can chose how to make yours. You can chose Yahuah's purpose for you. Recognize the illusion. Come to terms with the frail fantasy you once held so dear. Learn to love the truth that is Yahuah's Torah and the testimony of His Son, Yahashua, and forsake the fabrication. You're being lied to about everything.
You can choose not to believe any of it.
-Noel
Kamholz, Roger, Sotheby's: "Andy Warhol and His Process"
The Guardian: "Andy Warhol: the case against"
Art Sheep: "Polaroid Portraits of Celebrities Taken by Andy Warhol"
Mathis, Miles: "From Theosophy to the Beat Generation: Or How Even the Occult was Disguised"
Wiki: "Andy Warhol"
Stay up to date on the latest articles and news from Noel.


text:
package com.pedromassango.programmers.extras;

import android.app.Activity;
import android.content.ActivityNotFoundException;
import android.content.Context;
import android.content.Intent;
import android.content.pm.PackageInfo;
import android.net.Uri;
import android.os.Bundle;
import android.support.annotation.IdRes;
import android.support.annotation.IntegerRes;
import android.support.v4.app.Fragment;
import android.support.v4.app.FragmentManager;
import android.support.v4.app.FragmentTransaction;
import android.support.v7.app.AppCompatActivity;
import android.support.v7.app.AppCompatDialogFragment;

import com.pedromassango.programmers.R;
import com.pedromassango.programmers.presentation.main.activity.MainActivity;
import com.pedromassango.programmers.ui.dialogs.ProgressFragmentDialog;

import java.io.File;

import static com.pedromassango.programmers.extras.Util.showLog;

/**
 * Created by Pedro Massango on 02/06/2017.
 */

public class IntentUtils {

    private static ProgressFragmentDialog progressFragmentDialog;

    public static void replaceFragment(@IdRes int framelayout, FragmentManager fm, Fragment fragment){
        fm.beginTransaction()
                .replace(framelayout, fragment, fragment.getTag())
                .commit();
    }

    public static void showProgressFragmentDialog(Activity activity, boolean show) {
        try {
            FragmentManager fm = ((AppCompatActivity) activity).getSupportFragmentManager();

            if (show && progressFragmentDialog == null) {
                progressFragmentDialog = new ProgressFragmentDialog();
                progressFragmentDialog.show(fm, null);
                return;
            }

            if (show) {
                progressFragmentDialog.show(fm, null);
                return;
            }

            if (progressFragmentDialog == null) {
                return;
            }
            progressFragmentDialog.dismiss();
        }catch (Exception ex){
            ex.printStackTrace();
        }
    }

    public static void startAppOnFacebookIntent(Context context) {

        Intent iFacebook;
        try {
            context.getPackageManager().getPackageInfo("com.facebook.katana", 0);
            iFacebook = new Intent(Intent.ACTION_VIEW, Uri.parse("fb://page/pedromassango.programmers"));
            showLog("FACEBOOK SUCESS");

        } catch (Exception e) {
            iFacebook = new Intent(Intent.ACTION_VIEW, Uri.parse("https://www.facebook.com/pedromassango.programmers/"));
            showLog("FACEBOOK THROW");
        }

        context.startActivity(iFacebook);
    }

    public static void startBrowserIntent(Context context, String url) {

        Intent iBrowser = new Intent(Intent.ACTION_VIEW, Uri.parse(url));
        context.startActivity(Intent.createChooser(iBrowser, context.getString(R.string.open_with)));
    }

    public static void startActivity(Context context, Intent intent) {

        context.startActivity(intent);
    }

    public static void startActivity(Context context, Class<? extends Activity> activityClass) {

        Intent intent = new Intent(context, activityClass);
        context.startActivity(intent);
    }

    public static void startActivityCleaningTask(Context context, Class<? extends Activity> activityClass) {

        Intent intent = new Intent(context, activityClass);
        intent.setFlags(Intent.FLAG_ACTIVITY_NEW_TASK | Intent.FLAG_ACTIVITY_CLEAR_TASK);
        context.startActivity(intent);
    }

    public static void startActivityCleaningTask(Context context, Bundle data, Class<? extends Activity> activityClass) {

        Intent intent = new Intent(context, activityClass);
        intent.putExtras(data);
        intent.setFlags(Intent.FLAG_ACTIVITY_NEW_TASK | Intent.FLAG_ACTIVITY_CLEAR_TASK);
        context.startActivity(intent);
    }

    public static void startActivity(Context context, Bundle data, Class<? extends Activity> activityClass) {

        Intent intent = new Intent(context, activityClass);
        intent.putExtras(data);
        context.startActivity(intent);
    }

    public static void startService(Context context, Intent intentService) {

        context.startService(intentService);
    }

    public static void stopService(Context context, Intent intentService) {

        context.stopService(intentService);
    }

    public static void startActivityForResult(Activity context, Intent intent, int requestCode) {

        context.startActivityForResult(intent, requestCode);
    }

    public static Intent getIntent(Context context, Class<? extends Activity> activityClass) {
        return new Intent(context, activityClass);
    }

    public static void startShareApp(Activity activity) {
        try {
            String packageName = activity.getPackageName();
            PackageInfo packageInfo = activity.getPackageManager().getPackageInfo(packageName, 0);
            String dir = packageInfo.applicationInfo.sourceDir;
            File tempFile = new File(dir);

            Intent i = new Intent();
            i.setAction(Intent.ACTION_SEND);
            i.setDataAndType(Uri.fromFile(tempFile), "application/vnd.android.package-archive");
            i.putExtra(Intent.EXTRA_STREAM, Uri.fromFile(tempFile));

            // Testing...
            //Only use bluetooth to share the app
            i.setPackage("com.android.bluetooth");
            activity.startActivity(i);
        } catch (Exception e) {
            showLog("SHAREAPP: ", e.getMessage());
        }
    }

    public static void showFragment(Activity activity, Bundle bundle, AppCompatDialogFragment fragmentClass) {
        FragmentTransaction ft = ((AppCompatActivity) activity).getSupportFragmentManager().beginTransaction();
        fragmentClass.setArguments(bundle);
        fragmentClass.show(ft, null);
    }

    public static void showFragment(Activity activity, AppCompatDialogFragment fragmentClass) {
        FragmentTransaction ft = ((AppCompatActivity) activity).getSupportFragmentManager().beginTransaction();
        fragmentClass.show(ft, null);
    }

    public static void startSendEmailIntent(Context context, String email) {
        Intent contactIntent = new Intent(Intent.ACTION_SENDTO, Uri.fromParts("mailto", email, null));
        Intent choserIntent = Intent.createChooser(contactIntent, context.getString(R.string.send_with));
        context.startActivity(choserIntent);
    }

    public static void startPlaystoreAppPage(MainActivity context) {
        Uri uri = Uri.parse("market://details?id=" + context.getPackageName());
        Intent goToMarket = new Intent(Intent.ACTION_VIEW, uri);
        // To count with Play market backstack, After pressing back button,
        // to taken back to our application, we need to add following flags to intent.
        goToMarket.addFlags(Intent.FLAG_ACTIVITY_NO_HISTORY |
                Intent.FLAG_ACTIVITY_NEW_DOCUMENT |
                Intent.FLAG_ACTIVITY_MULTIPLE_TASK);
        try {
            context.startActivity(goToMarket);
        } catch (ActivityNotFoundException e) {
            context.startActivity(new Intent(Intent.ACTION_VIEW,
                    Uri.parse("http://play.google.com/store/apps/details?id=" + context.getPackageName())));
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
St. Louis Cardinals Roster
Trevor Rosenthal as a closer and potential starter
Trevor Rosenthal is seemingly immersed in the closer role, but is now the time to reconsider converting him back to his minor league role of starting pitcher?
By John J. Fleming@johnjf125 Apr 6, 2016, 3:00pm EDT
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Charles LeClaire-USA TODAY Sports
From 1992 through 1995, Mariano Rivera started 51 games for six different New York Yankees minor league affiliates. Even when Rivera was promoted to the majors during the 1995 season, he started in ten of his nineteen MLB appearances. However, after mediocre production as a starter, Rivera was moved to the bullpen in 1996, where he spent the next 1,096 appearances of his career forging a legacy as the greatest closer in the history of baseball.
The Rivera path is far from an uncommon one: a young pitcher begins his professional baseball career as a starter, it doesn't quite click like anyone wishes it would, and upon reducing his workload with a role in the bullpen, he becomes a potent weapon in relief. Trevor Hoffman, second to Rivera in saves in MLB history, began his minor league career as a shortstop and third baseman, but even with his lack of pitching experience, Hoffman started 11 games in the Cincinnati Reds organization in 1992.
The reason that big-league clubs would prefer their top pitchers become starters rather than relievers is intuitive enough: starters pitch more, and a team would rather its best pitcher throw 200 innings in a season than 50 innings. But things do not always work out as simply as putting the best guy in the rotation and put the next-best guys in the bullpen.
Trevor Rosenthal debuted with the Cardinals in July 2012 as a reliever. In 2011 and 2012, Rosenthal had started 42 games between AA Springfield and AAA Memphis, while pitching in relief in zero games. His promotion to the Major League bullpen was a reflection not only of his skills but of the team's need. The rotation was already solid: it had Adam Wainwright, a career year from Kyle Lohse, 2012 All-Star Lance Lynn, and the steady Jake Westbrook. Meanwhile, when the bullpen had an opportunity to add a flamethrower who averaged 97.4 miles per hour on his fastball, it's hard to pass that up.
In 2013, with the somewhat more ballyhooed prospect Shelby Miller taking Kyle Lohse's rotation spot, Rosenthal was back in the bullpen, having a dynamic season which culminated in his ascension to the de facto closer role in September after Edward Mujica fell out of favor in the ninth inning.
From 2013 through 2015, during his first three full seasons in St. Louis, Trevor Rosenthal ranked 8th among MLB relievers in Fangraphs WAR. From 2014 through 2015, in his two seasons as full-time closer, Rosenthal has led MLB in saves.
Criticizing relief pitchers is a little like criticizing politicians: no matter your specific allegiances, the generally safe play is negativity. Looks like those clowns in the Cardinals bullpen did it again. What a bunch of clowns.
But in Rosenthal, the Cardinals have a standout. Here are the five best seasons from a Cardinals reliever since 2000.
Year Pitcher fWAR
2002 Jason Isringhausen 2.5
2013 Trevor Rosenthal 2.3
2014 Pat Neshek 1.9
In Jason Isringhausen, the Cardinals had a strong option at closer, but he came at a price, having arrived in 2002 on a four-year, $27 million free agent contract. Pat Neshek was a diamond in the rough, arriving on a minor league contract, and as such, he was destined to only be a one-year wonder for the Cardinals. A terrific one, a worthwhile one, but he was a player who would need a big payday, which he instead received from the Houston Astros, to remain in St. Louis.
By contrast, Trevor Rosenthal has been making the league minimum up to this point in his career. And although he has now reached salary arbitration and his salary has jumped to $5.6 million in 2016, he will still make far below his market value.
His market value as a near-elite closer, no less. The market for starters is a whole different level: Ian Kennedy, a below-average starter in two of the last three seasons, earned 2.5 times Rosenthal's 2016 salary per year for the next five years on the free agent market, and the Royals forfeited a first-round pick for the privilege of doing business with him.
Regardless of his role, the Cardinals have three more cost-controlled years of Trevor Rosenthal ahead of them. If Rosenthal could (and this is unlikely, based on the general trajectory of pitchers) duplicate his relief performance in a starting role, his salary would certainly increase for 2017 and 2018, but he would still be an unmitigated bargain.
The general rule of thumb, however, is that when a pitcher moves from the bullpen to the rotation, he adds about a run to his earned run average. In 2015, Rosenthal had a 2.10 ERA, which means the starter version theoretically would have a 3.10 ERA.
While this doesn't make him Clayton Kershaw or Jake Arrieta, this would put him in the company of Scott Kazmir. While Scott Kazmir may not be an ace, he's the kind of pitcher any team would want in its rotation. He's the kind of pitcher who can command $48 million over three years as a free agent, as evidenced by the Los Angeles Dodgers this offseason.
But this evaluation of Rosey is a bit, pun intended/obvious/regrettable, rosy. It makes three fairly large assumptions.
That Trevor Rosenthal would pitch at exactly a one run worse rate as a starter. While with the Dodgers, Eric Gagne had a 4.68 ERA and 4.97 FIP in 265 1/3 innings as a starter and a 1.93 ERA and 1.90 FIP in 280 innings as a reliever. For a variety of reasons, some guys translate to certain roles better than others.
That 2.10, Rosenthal's career low ERA, is his true talent. At his 2016 ZiPS projection with an additional run tacked on, he has a slightly lower ERA than Edinson Volquez, which is acceptable though less alluring. If he reverts back to his 2014 self, his starter equivalent ERA of 4.20 would rank 63rd of 79 qualified starters in 2015.
That it's worth the trouble in any way, shape, or form.
To expand on #3: the current Cardinals starter projected by ZiPS to have the worst 2016 by ERA is Mike Leake, at 3.77. The second-worst is Michael Wacha, at 3.51. The Cardinals rotation is certainly not lacking in depth on the back end, and while Rosenthal may very well have the capacity to be an above-average starting pitcher, it is not as though he would be replacing a replacement level pitcher. He would be replacing Jaime Garcia, Mike Leake, or even Carlos Martinez, none of whom are worse than average.
There was once a time when Trevor Rosenthal being moved to the rotation made all the sense in the world. The rotation was aging (Westbrook) and leaving (Lohse) and it's easy to forget today that half a decade ago, Kyle McClellan was the next man up in the Cardinals rotation.. And today, the options are so strong that the Cardinals can afford to have a dominant closer while another team may be forced to move a pitcher in Rosenthal's mold into a spot in the middle or back of its rotation.
Fringe Pitchers Who Can Make an Impact in 2022 Injuries happen, and the Cardinals' pitching staff seems to have a high risk for them. This will give young pitchers on the fringes of the roster a chance to establish themselves.
Hall of Fame: Ortiz Elected, Rolen finished at 63.2% David Ortiz elected to the Hall. Bonds & Clemens time out. Rolen climbs closer.


Search Results - "<i>Tyto alba</i>"
We report the predation of bats by Barn owls (Tyto alba) in Entre Ríos province (~33.2º S-33.7º S), central-eastern Argentina. We studied pellet samples from 87 localities, registering 12 species of bats of two families. The best-represented taxa in the samples were the molossids Tadarida brasiliensis (40.7%), Molossus molossus (8.7%), the vespertilionids Myotis spp. (19.67%) and Eptesicus furinalis (9.2%). Molossops temminckii was documented for the first time in the province. The average weight of bats consumed by Barn Owl ranged from ~4 g (Myotis spp.) to ~68 g (Eumops perotis). In terms of frequency, bats represented between 0.04 and 5.11% of the owl?s diet. Our results, together with literature records, suggest that bats tend to be captured more regularly in tropical to subtropical areas than in temperate to cold ones, and that they represent a minor item in the diet of Barn Owls.
Keywords: Bat predators; Chiroptera; Molossidae; Tyto alba; Otras Ciencias Biológicas; Ciencias Biológicas; CIENCIAS NATURALES Y EXACTAS.
This paper presents the research achievements to understand the formation processes of north Patagonia archaeological sites through the study of small mammal's assemblages. Our research area is an arid and central region; in particular, our work is focused on Cueva y Paredón Loncomán, a rock shelter used by hunter–gatherer societies through the last 2000 years BP. Small mammal's assemblages were employed to differentiate cultural and natural deposition agents. The analysis included bone patterns of cranial and post-cranial remains which were performed separately for Caviomorpha and Cricetidae rodents. The taphonomic analysis included the estimation of the MNE and MNI, the relative abundance, the breakage degree and the representation of skeletal elements. Heat alteration of bone surface and the presence of cut marks and digestion traces were also included in our research. The disintegration of pellets regurgitated by owls was the main cause of accumulation of the small mammal's assemblages. The overrepresentation of skull bones and distal elements of the limbs, the high degree of fragmentation, and a defined pattern of thermal alteration – mostly affecting distal segments of the long bones, especially tibias, incisors, premaxillaes and mandibles – suggested human consumption of some Caviomorpha rodents inside the cave. Two new species, the rodents Ctenomys sp. and Microcavia australis were incorporated into the list of species exploited by hunter–gatherers from the northern Patagonian steppes.
Keywords: SMALL MAMMALS; TAPHONOMY; PATAGONIA; TYTO ALBA; OWL DEPOSITION; HUMAN RODENT CONSUMPTION; Arqueología; Historia y Arqueología; HUMANIDADES.
This study aims to describe landscape evolution in two contiguous ecoregions with different land use intensity, to assess changes in small mammal assemblages. Rodent remains in pellet samples from barn owls were used to estimate the attributes of rodent assemblages. Two major biomes were considered in this study, a mosaic of wetlands (Delta and Paran á Islands ecoregion) and a mosaic of grasslands and cultivated fields (Pampa ecoregion). Environmental characterization was based on the analysis of satellite images and weather data. Fourteen rodent species in 28 sampling sites were identified, totaling 7645 prey items. Linear combinations of variables that characterized the landscape explained 66.6% of variation in the composition of rodent assemblages. A positive linear relationship between rodent diversity and the number of different patches was found in the Pampa. Our results suggest that landscape disturbances caused by agricultural intensification favor the increase of generalist and competitively subordinated species. In turn, changes in rodent diversity at the Paran á Delta were negatively associated with the percentage of water-covered area and the number of patches. The hydrological regime of this ecoregion acts as a filter for species establishment, restricting the richness of the rodent assemblages.
Keywords: Micromammals; Sigmodontinae; Tyto alba; Ecología; Ciencias Biológicas; CIENCIAS NATURALES Y EXACTAS.
Eggs representative of an acanthocephalan were found in an ancient fragment of raptor pellet, probably belonged to the barn owl, Tyto alba, from the archeological site named "Epullán Chica cave". This site isa cave located at the southern of Neuquén Province, Patagonia, Argentina. The fragment of pellet wasfound in a layer with charcoals dated at 1980 ± 80 years B.P. A total of 56 eggs were found. Eggs werebrown colored and thick-shelled, and presented four membranes, the outer lightly sculpted. The embryos presented hooks in one extremity. Measurements ranged from 87.5 to 107.5 m long and 50 to 57.5 mwide. Eggs were very well-preserved, and were identified as belonged to Class Archiacanthocephala,Order Oligacanthorhynchida, Family Oligacanthorhynchidae, probably Macracanthorhynchus Travassos,1917, or an unidentified species. This is the first report of small mammal acanthocephalans from ancient material worldwide.
Keywords: ARCHIACANTOCEPHALA; ARCHAEOLOGICAL SITE; PALEOPARSITOLOGY; OWL PELLET; Otras Ciencias Biológicas; Ciencias Biológicas; CIENCIAS NATURALES Y EXACTAS.
The helminthofauna of eight specimens of four species of strigiform birds from Central and Northeastern Argentina was studied. From all the specimens studied, the 75 % were positive for helminths. Seven taxa, that were previously known, are briefly described, and seven new host-parasite associations are reported: the strigeid digeneans Australapatemon magnacetabulum, and Strigea falconis brasiliana, and the acuariid nematode Synhimantus (Synhimantus) cf. laticeps (Acuaridae) associated with Asio clamator; the diplostomid digenea Neodiplostomum travassosi and the centrorhynchid acanthocephalan Centrorhynchus sp. parasitizing Athene cunicularia; the strigeid digenean Strigea magniova associated with Tyto alba; and the seuratid nematode Skrjabinura sp. parasitizing Megascops choliba. The host-parasite relationships are discussed through the analysis of host-specificity, diet of birds and life cycle of helminths. The richness of helminth taxa of strigiforms studied was moderate (1-3 species by host) and the infection intensity very low (1-3). Five taxa, out of seven, are considered "bird generalist" and the remaining two, "raptor generalist".
Se estudió la fauna helmintológica de ocho ejemplares pertenecientes a cuatro especies de aves Strigiformes procedentes del Centro y Noreste de Argentina. El 75 % de los especímenes estudiados fue positivo para helmintos. Siete taxa, previamente conocidos, son brevemente descriptos y siete nuevas asociaciones hospedador parásito son reportadas: los digeneos estrigeidos Australapatemon magnacetabulum, Strigea falconis brasiliana y el nematode acuárido Synhimantus (Synhimantus) cf. laticeps asociados a Asio clamator; el digeneo diplostómido Neodiplostomum travassosi y el acantocéfalo centrorynquido Centrorhynchus sp. parasitando a Athene cunicularia; el digeneo estrigeido Strigea magniova asociado a Tyto alba y el nematode seratido Skrjabinura sp. parasitando a Megascops choliba. Las relaciones hospedador-parásito son discutidas a través del análisis de la especificidad hospedatoria, la dieta de las aves y el ciclo de vida de los helmintos. La riqueza específica de los helmintos parásitos de los Strigiformes estudiados fue moderada (1-3 especies por hospedador) y la intensidad de infección fue muy baja (1-3). Cinco de los siete taxa de helmintos estudiados fue considerada "generalista en aves" y las dos taxa restantes, como "generalistas en rapaces".


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Michigan football must leave 'what ifs' in the past and go beat MSU
Nick Baumgardner
The past 10 episodes of this state's annual internal football clash are littered with "what if" scenarios stemming from the Michigan side.
If the Wolverines had a better quarterback last year. If it didn't rain so much.
If Blake O'Neill had caught that punt snap.
If Michigan hadn't hired Rich Rodriguez.
If it hadn't replaced him with Brady Hoke.
If Hoke had hired anyone but Al Borges, and if Borges had run the ball on that fourth down in 2011.
Time to turn the proverbial page.
Michigan is 2-8 against Mark Dantonio — college football's preeminent magician — over the past 10 meetings with Michigan State, and you can add a few more "ifs" onto the fire here.
If Jim Harbaugh's current team truly has the stomach to be a Big Ten title contender and a playoff hopeful, it'll run into Spartan Stadium on Saturday and prove that this supposed talent advantage isn't supposed. It'll prove the steady progress this group has shown is more than smoke. And Michigan will prove it's mentally tough enough to win a game against a program that has made it look weak in that area for the past decade.
"Yes (there's extra emotion this week). In-state rival, Big Ten opponent," Harbaugh said Monday. "It always has, is and always will be (a big game)."
More:Michigan's 'revenge tour' could end woeful road losing streak
People scratched their head again last week when Dantonio took a team that looked broken into State College and somehow, against all logic, walked out with a win at Penn State. But what those people forget is the trademark of MSU's program during this current era is an ability to stay in big fights long enough to rattle an opponent into doing things that are out of character — thus boiling the entire game down to a handful of moments.
Dantonio's bet is simple. If he can squeeze the outcome of the game down to five snaps, he believes he can push the right button on three of them. And his team will beat yours. It won't be pretty, it might not make any sense, but you'll walk out the door with all your "ifs" while he smiles and shrugs his shoulders — knowing full well what happened.
Look no further than this game a year ago.
Michigan started the game well, using plenty of clock and kicking a field goal. The Spartans punted, Michigan regained possession, marched with confidence toward midfield and ... poof. Ty Isaac fumbles. Michigan's defense can't handle sudden change. MSU scores for a 7-3 lead and, for Michigan, everything falls apart.
MSU picked its spots while Michigan panicked, spending most of the second half trying to heave a wet football into a horizontal rain. Michigan State played to win, Michigan played out of control.
Last year:Jim Harbaugh was outcoached by Mark Dantonio
If there has been a theme to this series for a decade it's right there. Dantonio plays to win far more often than not, while Michigan — almost nervously — hopes to make it out alive.
There are exceptions, of course. The 2015 game was a terrific battle between two evenly matched teams. It ended nonsensically. It happens, albeit once in a lifetime. There have also been more than a few instances during this stretch where the Spartans were plain better.
But the point remains. The pressure in this game always seems to be on Michigan's back because the Wolverines always seem to make it that way.
The 2018 team has made strides. Over the course of seven weeks, Harbaugh has been able to layer a substantial offensive attack that has operated in balance: 1,519 rushing yards, 1,449 passing yards. The Wolverines have put a ton on tape for opposing defenses to watch.
None of it has seemed too tall a task for first-year quarterback Shea Patterson. The offensive line has responded and Michigan's playing with more confidence than it ever has under Harbaugh. Don Brown's defense is again one of the best in the country.
Michigan is capable of forcing a Michigan State defense that has allowed opponents to complete 64 percent of their throws at nearly seven yards an attempt to play uncomfortably.
Defensively, the Wolverines are capable of controlling the line of scrimmage against an offensive line that's rushing for 3.4 yards per carry. It's also more than capable of limiting a quarterback who ranks 10th in the Big Ten in passing efficiency.
On paper, Michigan's capable of controlling this game.
But they don't play these on paper.
Everything about Michigan-Michigan State happens between the ears. On the field in big games, Dantonio has mastered this as well as any coach in America over the past decade.
If Michigan wants to prove its capable of competing on a big stage — and not destined for another also-ran bowl in Florida — then it'll throw the "ifs" in the trash can and go win the game.
More:Jim Harbaugh on rivalry trash talk: 'We could all use a break'
Contact Nick Baumgardner: nbaumgardn@freepress.com. Follow him on Twitter @nickbaumgardner.
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The blog tour for The Second Cup was hosted by Rachel's Random Resources.
It included a GIVEAWAY, hosted on Rafflecopter (NOW CLOSED), where three signed copies of The Second Cup were available to win.
I shared a post about my winners on Twitter and on my Facebook page.


Hello everyone! Yes, we've had the painters in for the last couple of months and we're ready to relaunch the website and station with a brand new stripped down look for the summer…. just how we like it!
We've cleaned things up and had a good spring clean, chucking out unwanted stuff and leaving just the important stuff- tunes and mucky banter. So please come and join us for our relaunch party, where Doctor Muck will be hosting a special bash live from Muckingham Palace to kick things off, with special guest DJs playing summer tunes to get you bogling around your barbecue, before Ray_Von and the Bristol massive take over for a late night session well into the small hours. It promises to be mucky as hell, so don't miss it- come and join in the fun and say hi in our chatbox, Grim's Place, where the bass, beer and banter flow freely!
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If you're having problems listening to our streams, send us a message and we'll set Exotic Technical Boy to the rescue. You can contact Muck FM from the contact Muck FM page.


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2014 Short Session, Week 12
By Kay Castillo, Director of Advocacy, Policy and Legislation
That's a wrap! Senators wrapped up session after a midnight session on Friday where they approved a state budget. House members wrapped up their votes on Saturday.
But there's a catch…legislators will return this week to agree on an actual adjournment date as the House made changes to the Senate's original plan. And, on August 14th legislators will return for a brief session to take up any bills that might get vetoed by the Governor, wrap up any bills that got assigned to a conference committee, and wrap up nine different provisions in the adjournment resolutions.
There's still one more catch….legislators will return AGAIN on November 17th for a special session to discuss Medicaid Reform and possibly Coal Ash. No word on how long this session will last.
So, while legislators have adjourned, they have not technically finished working. We should have a better idea of a plan to meet again in August later this week.
Relevant Bills with Action:
SB 744 Appropriations Act of 2014: This bill has been in the works since session started. When legislators couldn't agree, they turned to appointing a 42 member conference committee. Last weekend, they reported that they had come to an agreement. The conference committee budget highlights are below. With the Governor's signature, this will be the state budget for the 2014 fiscal year. View the Money Report for further explanation on the spending plan with accompanying page numbers listed after each highlight. Please note, it is difficult to capture all the provisions in the budget due to the amazing variety of the social work profession so information below is only a snapshot of changes.
Provides funds to support the costs related to the education of children in private psychiatric residential treatment facilities (F-6).
Provides funding for one year for group home residents who were determined to be ineligible for Medicaid personal care services on or after January 1, 2013. The maximum monthly payment is set at $464.30 and is based on providing 33 hours of service per eligible recipient (G-3).
Reduces General Fund appropriation for the Home and Community Care Block Grant (HCCBG) by 3%, leaving a balance of $31,808,889. Cuts are $969,549 (G-4).
Changes the income eligibility for the State-County Special Assistance (SA) Program from a method that bases income eligibility on the payment rate for the facility type where the recipient resides, to a method based on the federal poverty level for all recipients regardless of where they reside. The SA eligibility level is set at 100% of the Federal Poverty Level. Current recipients of SA are grandfathered in and will continue to receive SA. (G-8).
Provides funding to replace $4.5 million in federal block grant funds that counties lost in 2013-14 that was utilized to pay for Child Protective Services (CPS) workers. An additional $2.8 million in funding is provided effective October 1, 2014 to reduce county departments of social services caseloads to an average of 10 families per worker performing Child Protective Services assessments (G-9).
Provides $4.5 million for Child Welfare In-Home Services to serve at-risk families (G-9).
Provides $218,538 recurring and $125,750 nonrecurring funds for the implementation of drug screening for Work First Benefits applicants (G-10).
Provides funding through incentives and rebates to end the waiting list of the Aids Drug Assistance Program (G-11).
Provides $2.2 million for community-based crisis services (G-15).
Provider rates are cut, once again, by 1% (G-18).
Mental Health Drug Management: Authorizes DHHS to impose controls including prior authorization, utilization review criteria, and any other restrictions on mental health drugs (G-18 and pg 87 of the budget).
Provision to hold special session in November to discuss Medicaid Reform (pg 87, budget).
Other Bills of Interest with Action:
HB 884 Dropout Prevention/Recovery Pilot Charter School: This bill establishes a two year pilot program for one charter school who has had students drop out. The purpose is to increase graduation rates and reengage students. The bill passed the House and Senate and was presented to the Governor for signature.
SJR 881 Adjournment: This bill directs legislators to adjourn but to return on August 14th and November 17th. As mentioned above, the November special legislative session will be focused on Medicaid Reform.
HJR 1276 Adjournment: The House version of the adjournment resolution. While the dates to return are the same as the Senate, the House has a few more issues to keep alive including any bills related to autism insurance reform. The House gives the Senate until Wednesday, August 6th to take up the new adjournment resolution.
These legislative updates are provided by the National Association of Social Workers, North Carolina Chapter (NASW-NC). NASW membership support advocacy efforts on behalf of social workers and their clients at the state and national level. Become a member of your professional association today by joining online at http://www.socialworkers.org.
One comment on "2014 Short Session, Week 12"
Pingback: NCGA 2014 Short Session: That's a wrap! | NASW-NC Social Work Blog
This entry was posted on August 4, 2014 by naswnc in Advocacy and tagged Budget, Medicaid, NCGA, Short Session, social work, social workers, Special Session.
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Panels 1.0.189.1775 is a bar that can be added to any edge of your desktop that contains mini-programs called Tiles which offer information at a glance and provides easy access to frequently used tools. Glance quickly at Panels to get a view of system resources such as disk, processor, ram, and network usage. Panels also gives you quick access to your favorite Windows applications.
If one panel isnt enough, add a second, third, or as many Panels as you need. Place them anywhere on your desktop.


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Canyons and Valleys in confined areas or in grand vistas.
Sand dunes, rocks and other objects sprung from the earth or part of its creation (like lava).
Rock formations like arches, spires and objects formed from erosion and other factors.
Trees, flowers, ferns, cactus and other plants displayed in a variety of settings.
Wildlife including birds, buffalo, deer, moose as well as some others.
Waterfalls, streams, pools, springs and geysers.
Mountains and lakes displayed separately or together, typically in larger vistas.
Places contructed by man including cityscapes, petroglyphs and ancient dwellings.
Scenes of or near the seashore, sometimes including man made objects or people.
Selected scenes converted and displayed as black and white images.
All material @ copyright by Phil Goble. All rights reserved.