By Ryan Rigley While there may not have been any official "Star Wars VII" casting announcements as of yet, we now have a breakdown of the official "Star Wars VII" production crew. Joining J. J. Abrams and Lawrence Kasdan, who are currently in the process of writing the screenplay, are director of photography Dan Mindel, […]Source: http://moviesblog.mtv.com/2013/10/28/star-wars-movie-need-ben-skywalker/
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Monday, October 28, 2013
Oracle gears up to battle Salesforce.com, IBM with Eloqua update
Oracle is rolling out a series of new features for its Eloqua marketing automation suite, hoping to get a leg up on rivals like Salesforce.com and IBM in the red-hot software segment.
Now generally available is AdFocus, which provides marketers with tools for running multichannel advertising campaigns. A key feature is the ability to deliver targeted display ads to customers and prospects, while comparing their effectiveness to so-called "owned" and "earned" media, such as company websites and buzz on social networks, respectively.
[ InfoWorld presents the Bossies 2013, the best open source software for data centers, clouds, mobile, and more. | Get the latest insight on the tech news that matters from InfoWorld's Tech Watch blog. ]
Another update concerns Eloqua Profiler, which like its name suggests, is used to build out profiles of prospects based on their interactions with "assets" tracked in Eloqua, such as emails and web pages. Now Profiler can also include asset activity that's occurring on properties the marketer's organization doesn't own, such as video content hosted on a third-party website.
Finally it's now possible to tap Facebook's custom audience feature from AdFocus, giving marketers the ability to target discrete blocks of users based on their social profile.
There's perhaps no hotter area of enterprise software these days than marketing automation, following a rash of consolidation as platform vendors attempt to build out broad product suites.
Last week, Oracle bought Compendium in order to bolster the capabilities of Eloqua, which it acquired in December for $871 million. Compendium provides software for creating different types of content that can be used to entice customers to visit a marketer's web site or other property, said John Stetic, vice president of products, Oracle Eloqua Marketing Cloud.
Among others, Salesforce.com has also invested heavily in marketing software, scooping up ExactTarget, Buddy Media and Radian6 for its own cloud-based suite.
Oracle gets an edge over the competition with Eloqua, as its always been "built by marketers, for marketers," Stetic said. "We allow for really advanced targeting throughout the entire buying process."
In addition, Oracle is taking a more open approach, offering a full suite but not forcing customers to use it all, he said. "Lots of vendors want to think they'll have this whole stack and own the world, but what I hear from customers is, I want choice."
Meanwhile, as online privacy concerns mount in the wake of revelations over surveillance programs by the U.S. National Security Agency, marketers need to be mindful of the boundaries between themselves and customers, Stetic said.
"Ultimately what it comes down to things like government surveillance, people can't vote with their wallets on that, whereas in the commercial world if someone feels they're being overly tracked and overly monitored and not getting value out of it, they vote with their wallets," he said.
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Lou Reed's Death: Hollywood Mourns the Rock Icon
Stephen Lovekin/Getty Images
Kirk Hammett, left, and Lou Reed at the 25th Anniversary Rock & Roll Hall of Fame concert in 2009
After news of Lou Reed's death broke early Sunday, many in Hollywood hit Twitter to mourn the rock icon.
Reed, who was 71, underwent a liver transplant operation at the Mayo Clinic in Cleveland in May. The singer-songwriter was best known for fronting the iconic 1960s group The Velvet Underground and later taking on unsavory subjects in a solo career.
PHOTOS: Hollywood's Notable Deaths of 2013
"The world has lost a fine songwriter and poet…I’ve lost my ‘school-yard buddy,'" wrote Velvet Underground co-founder John Cale on Facebook.
Among those mourning his loss included such luminaries as Kevin Smith, Jon Cryer, Olivia Wilde, John Cusack, Flea and Nikki Sixx. Read what they had to say below.
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Review: Flash your way to better VMware performance
October 28, 2013
When it comes to making virtual server farms easier to manage, the SAN is the great enabler. But when it comes to maximizing virtual server performance, the SAN is the great bottleneck. A single host running dozens of virtual machines (or more) can easily generate enough I/O operations to reduce overall SAN response time, increasing I/O latency and adversely affecting virtual machine performance. Adding more spindles may help in the short term, but that can be very disruptive to the storage infrastructure and does not really take care of the root of the problem: I/O bottlenecks.
One company that is working to improve VM performance by reducing storage I/O latency is PernixData. PernixData FVP is an add-on module for the VMware vSphere hypervisor that creates a cluster of high-speed SSD devices across multiple vSphere hosts. The PernixData "flash cluster" creates a distributed cache for reads and writes to the SAN, accelerating virtual machine I/O without requiring any changes to the VMs or their host datastores. And because the flash cluster is shared among hosts, PernixData FVP fully supports VMware services such as vMotion, DRS, and HA. VMs can continue to move freely from host to host without incurring a cache "miss" penalty.
[ Virtualization showdown: Microsoft Hyper-V 2012 vs. VMware vSphere 5.1 | InfoWorld Test Center reviews VMware vSphere 5.1 and VMware vCenter Operations Manager. | Get virtualization right with InfoWorld's 24-page "Server Virtualization Deep Dive" PDF guide. ]
By consolidating server-side flash into a single shared flash cluster, PernixData FVP leverages many small flash investments into a large I/O improvement. Installation is quick and easy, and it doesn't even require a reboot of the hosts. PernixData FVP comes in SMB and Standard versions. The SMB version is $9,995 per host for up to four hosts and 100 VMs. The standard edition is $7,500 per host with no restrictions on the number of hosts or virtual machines.
Zero to hero
Here is the quick takeaway for PernixData FVP: zero changes to the virtual machine environment. There are no changes to the VMs or to the underlying host datastores, and PernixData FVP is transparent to both the VMs and the SAN.
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No. 1 Alabama rolls over Tennessee, 45-10
Alabama quarterback AJ McCarron (10) celebrates after a first half score against Tennessee in an NCAA college football game in Tuscaloosa, Ala., Saturday, Oct. 26, 2013. (AP Photo/Dave Martin)
Alabama quarterback AJ McCarron (10) celebrates after a first half score against Tennessee in an NCAA college football game in Tuscaloosa, Ala., Saturday, Oct. 26, 2013. (AP Photo/Dave Martin)
Alabama running back T.J. Yeldon (4) jumps through the tackle of Tennessee defensive back LaDarrell McNeil, bottom, and defensive back Brian Randolph (37) during the first half of an NCAA college football game in Tuscaloosa, Ala., Saturday, Oct. 26, 2013. (AP Photo/Dave Martin)
Alabama head coach Nick Saban leads his team on to the field for an NCAA college football game against Tennessee in Tuscaloosa, Ala., Saturday, Oct. 26, 2013. (AP Photo/Dave Martin)
Alabama head coach Nick Saban, right, greets Tennessee head coach Butch Jones prior to an NCAA college football game in Tuscaloosa, Ala., Saturday, Oct. 26, 2013. (AP Photo/Dave Martin)
Tennessee head coach Butch Jones watches his team prior to an NCAA college football game against Alabama in Tuscaloosa, Ala., Saturday, Oct. 26, 2013. (AP Photo/Dave Martin)
TUSCALOOSA, Ala. (AP) — T.J. Yeldon scored on three 1-yard runs, AJ McCarron passed for 275 yards and two touchdowns, and No. 1 Alabama rolled along to a 45-10 victory over Tennessee on Saturday.
Landon Collins returned an interception 89 yards for another score for the Crimson Tide (8-0, 5-0 Southeastern Conference), which raced to a 35-0 halftime lead. Alabama has outscored its last six opponents 246-26.
McCarron completed 19 of 27 passes, including a 54-yard touchdown to Amari Cooper and a 22-yarder to Kevin Norwood, both in the first half. It was Cooper's longest catch of the season and only his second touchdown.
The Volunteers (4-4, 1-3) dropped their seventh straight in the rivalry game, tying the most consecutive wins for either team. They couldn't build on the momentum from an upset of No. 20 South Carolina that snapped a 19-game skid against ranked teams.
Tennessee also won seven in a row from 1995-2001, but Butch Jones' program clearly has plenty of catching up to do.
Jones might have gotten a head start when he turned to freshman quarterback Josh Dobbs to open the second half in his first college action, replacing a struggling Justin Worley.
Worley was 8-of-15 passing for 120 yards and was intercepted twice, including the pick-six to Collins.
Alabama's Kenyan Drake ran for 89 yards on 14 carries while Yeldon ran 15 times for 72 yards in his first three-touchdown game. Kevin Norwood caught six passes for 112 yards, including an acrobatic grab when he extended his arms to collect the ball while falling backward.
Dobbs didn't make Tennessee's last road trip to Florida, and seemed destined for a redshirt season. He did seem to provide a second-half spark.
Dobbs completed 5 of 12 passes for 75 yards, ran three times for 19 yards. Fellow freshman Marquez North, who helped set up the game-winning score against South Carolina, gained 87 yards on four catches.
Rajion Neal gained 70 yards on 13 carries.
The Tide, which earlier had a 104-0 scoring binge ended, had allowed only nine points in its first four home games. Neal's 3-yard run early in the fourth quarter was the first touchdown Alabama had allowed at Bryant-Denny Stadium this season.
Dobbs didn't complete a pass on his first drive but Neal's 43-yard run set up Michael Palardy's field to snap Alabama's string of unanswered points. That was the fifth-biggest such streak in Tide history, going back to the third quarter of the Kentucky game on Oct. 12.
Tennessee did have early scoring chances. Worley misfired on fourth-and-7 from Alabama's 34. He led the Vols to the Tide 24 late in the first half but Collins then returned an interception the distance in the final seconds.
Collins took over the starting spot this week when Vinnie Sunseri went down with a season-ending knee injury against Arkansas.
Alabama starting nose tackle Brandon Ivory missed the game for unspecified medical reasons.
Associated PressSource: http://hosted2.ap.org/APDEFAULT/347875155d53465d95cec892aeb06419/Article_2013-10-26-T25-Tennessee-Alabama/id-577117b99092417d84e8ebf17f034169Similar Articles: homeland nfl standings Derrick Thomas Robocop megyn kelly
Moving children and families beyond trauma
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PUBLIC RELEASE DATE: 28-Oct-2013
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djacobson@aap.org
847-434-7084
American Academy of Pediatrics
World-renowned school crisis and bereavement expert says pediatricians can play a vital role in aiding children, communities following violence and disaster
ORLANDO, Fla. Pediatricians can play an important role in helping children and communities recover following episodes of school and community violence and disaster, while working to prevent and prepare for future tragedies, said David J. Schonfeld, MD, FAAP, a world-renowned expert on school crisis and bereavement.
Dr. Schonfeld is giving a presentation, "Aurora, Newtown, Boston and Beyond: Violence and Its Impact on Children," at 11:30 a.m. ET Monday, Oct. 28 during a plenary session at the American Academy of Pediatrics (AAP) National Conference and Exhibition in Orlando. His presentation begins at approximately 11:30 a.m. at the Orange County Convention Center. Reporters wishing to cover the session should first check in at the press room, W203B, for media credentials.
Dr. Schonfeld is the founder and director of the National Center for School Crisis and Bereavement, pediatrician-in-chief at St. Christopher's Hospital for Children and chair of pediatrics at Drexel University College of Medicine. He has traveled throughout the world to counsel and train school, pediatric and mental health care staff on caring for children and communities impacted by crisis and loss.
Dr. Schonfeld provided pediatric bereavement and school crisis consultation in the aftermath of hurricanes Sandy, Katrina and Ike; and following the shootings in Aurora, Colo., and Newtown, Conn. Dr. Schonfeld has been named to the Sandy Hook Advisory Commission which will make recommendations on school safety, mental health and gun violence prevention in that community.
"These are life-changing events," said Dr. Schonfeld. "You don't go back, you don't undo it, and you don't return to the perceived 'normal.' These children and communities are changed and impacted by these tragedies forever. And yet it does not mean that these children are damaged."
Pediatricians can help children impacted by crisis events, including those who are grieving, experiencing loss, or exposed to violence throughout their childhood, said Dr. Schonfeld.
These child victims either remain impaired or grow from their experiences, he said.
"This is where pediatricians can help shift the balance; by helping these children and families to emerge from these events with healthier coping abilities. There is an opportunity to promote post-traumatic growth that will make these children more resilient."
Pediatricians also can help children and families within their own communities to deal with the impact of tragedies, even those that occur many miles away.
"When a disaster like this happens you start to think of your own life experiences, difficulties you've had in the past, things you worry about for the future," said Dr. Schonfeld. "If pediatricians are sensitive to that and help kids who are struggling because of their own thoughts, fears and experiences, they are doing a lot. You don't have to go anywhere in the world to find adversity. Just look where you are."
Pediatricians should work collectively and within their communities to decrease violence, by advocating for meaningful change in gun laws, for example, and setting systems in place that prepare school and other officials for shootings and disasters in ways that minimize child exposure to these events.
Dr. Schonfeld said these goals can be a tall order for pediatricians.
"It's hard to be a pediatrician in good times, and tremendously challenging after a disaster. If you're a pediatrician in Newtown constantly seeing patients who are strugglingand it's like that after these major eventsthere's not an influx of financial and other resources to help with this response," said Dr. Schonfeld.
The American Academy of Pediatrics, though its Friends of Children Fund, is working to provide support to pediatricians in communities impacted by disaster, and mental health training for pediatricians so they are better prepared to help children dealing with trauma.
"We need to help pediatricians impacted by these events if we want to help children and communities," said Dr. Schonfeld.
###
The American Academy of Pediatrics is an organization of 60,000 primary care pediatricians, pediatric medical subspecialists and pediatric surgical specialists dedicated to the health, safety and well being of infants, children, adolescents and young adults. For more information, visit http://www.aap.org.
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AAAS and EurekAlert! are not responsible for the accuracy of news releases posted to EurekAlert! by contributing institutions or for the use of any information through the EurekAlert! system.
PUBLIC RELEASE DATE: 28-Oct-2013
[
]
ShareContact: Debbie Jacobson
djacobson@aap.org
847-434-7084
American Academy of Pediatrics
World-renowned school crisis and bereavement expert says pediatricians can play a vital role in aiding children, communities following violence and disaster
ORLANDO, Fla. Pediatricians can play an important role in helping children and communities recover following episodes of school and community violence and disaster, while working to prevent and prepare for future tragedies, said David J. Schonfeld, MD, FAAP, a world-renowned expert on school crisis and bereavement.
Dr. Schonfeld is giving a presentation, "Aurora, Newtown, Boston and Beyond: Violence and Its Impact on Children," at 11:30 a.m. ET Monday, Oct. 28 during a plenary session at the American Academy of Pediatrics (AAP) National Conference and Exhibition in Orlando. His presentation begins at approximately 11:30 a.m. at the Orange County Convention Center. Reporters wishing to cover the session should first check in at the press room, W203B, for media credentials.
Dr. Schonfeld is the founder and director of the National Center for School Crisis and Bereavement, pediatrician-in-chief at St. Christopher's Hospital for Children and chair of pediatrics at Drexel University College of Medicine. He has traveled throughout the world to counsel and train school, pediatric and mental health care staff on caring for children and communities impacted by crisis and loss.
Dr. Schonfeld provided pediatric bereavement and school crisis consultation in the aftermath of hurricanes Sandy, Katrina and Ike; and following the shootings in Aurora, Colo., and Newtown, Conn. Dr. Schonfeld has been named to the Sandy Hook Advisory Commission which will make recommendations on school safety, mental health and gun violence prevention in that community.
"These are life-changing events," said Dr. Schonfeld. "You don't go back, you don't undo it, and you don't return to the perceived 'normal.' These children and communities are changed and impacted by these tragedies forever. And yet it does not mean that these children are damaged."
Pediatricians can help children impacted by crisis events, including those who are grieving, experiencing loss, or exposed to violence throughout their childhood, said Dr. Schonfeld.
These child victims either remain impaired or grow from their experiences, he said.
"This is where pediatricians can help shift the balance; by helping these children and families to emerge from these events with healthier coping abilities. There is an opportunity to promote post-traumatic growth that will make these children more resilient."
Pediatricians also can help children and families within their own communities to deal with the impact of tragedies, even those that occur many miles away.
"When a disaster like this happens you start to think of your own life experiences, difficulties you've had in the past, things you worry about for the future," said Dr. Schonfeld. "If pediatricians are sensitive to that and help kids who are struggling because of their own thoughts, fears and experiences, they are doing a lot. You don't have to go anywhere in the world to find adversity. Just look where you are."
Pediatricians should work collectively and within their communities to decrease violence, by advocating for meaningful change in gun laws, for example, and setting systems in place that prepare school and other officials for shootings and disasters in ways that minimize child exposure to these events.
Dr. Schonfeld said these goals can be a tall order for pediatricians.
"It's hard to be a pediatrician in good times, and tremendously challenging after a disaster. If you're a pediatrician in Newtown constantly seeing patients who are strugglingand it's like that after these major eventsthere's not an influx of financial and other resources to help with this response," said Dr. Schonfeld.
The American Academy of Pediatrics, though its Friends of Children Fund, is working to provide support to pediatricians in communities impacted by disaster, and mental health training for pediatricians so they are better prepared to help children dealing with trauma.
"We need to help pediatricians impacted by these events if we want to help children and communities," said Dr. Schonfeld.
###
The American Academy of Pediatrics is an organization of 60,000 primary care pediatricians, pediatric medical subspecialists and pediatric surgical specialists dedicated to the health, safety and well being of infants, children, adolescents and young adults. For more information, visit http://www.aap.org.
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Share]
AAAS and EurekAlert! are not responsible for the accuracy of news releases posted to EurekAlert! by contributing institutions or for the use of any information through the EurekAlert! system.
Source: http://www.eurekalert.org/pub_releases/2013-10/aaop-mca101813.php
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WSOF 6: Carl Chokes Burkman Full Fight Video Highlights
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Sunday, October 27, 2013
Ride operator charged over 5 hurt at NC State Fair
RALEIGH, N.C. (AP) — Authorities investigating a North Carolina State Fair ride that injured five people have concluded that someone tampered with it, and the ride's operator was being held Sunday on criminal charges.
On the fair's final day, state officials said attendance was down compared to the final weekend of last year's fair and attributed the dip partly to the injuries. They declined to elaborate on how the ride had been tampered with.
Three people remained in a Raleigh hospital on Sunday, three days after the "Vortex" ride suddenly jolted into gear as people were exiting, dropping some riders from heights that eyewitnesses estimated to be 20 or 30 feet.
Investigators determined the Vortex, known for thrilling riders with its wild twirls and flips, had been tampered with and critical safety devices were compromised, Wake County Sheriff Donnie Harrison said Saturday. Harrison's office did not return messages and officials with the state Labor Department declined to offer further explanation of the tampering and the overall investigation.
Ride operator Timothy Dwayne Tutterrow, 46, of Quitman, Ga., faces three criminal counts of assault with a deadly weapon in the mishap. Tutterrow was being held in jail Sunday on $225,000 bond and was due in court Monday for a first appearance, said attorney Roger W. Smith Jr.
"Mr. Tutterrow is absolutely devastated by what happened," Smith said in a phone interview Sunday.
Fair attendance on Friday and Saturday was down more than 11 percent compared to the corresponding days last year. While that may have been partly due to colder nighttime temperatures, the injuries probably factored into the decline, said spokesman Brian Long of the state agriculture department, which runs the fair.
"I do understand that this incident may have given some people pause," he said.
He said no further safety measures have been taken for the 100 other rides.
It is uncommon for ride operators to be criminally charged, but safety consultant Ken Martin chalks that up to the industry being largely self-regulated in most states.
"If more incidents on amusement rides were investigated as thoroughly as this ride in North Carolina is being investigated, there's quite possibly the opportunity that more criminal cases would come out. The folks in North Carolina, they don't pussyfoot around when it comes to amusement ride safety," said Martin, owner of KRM Consulting in Richmond, Va., which conducts amusement ride inspections in Texas, Virginia, West Virginia and Missouri.
The North Carolina State Fair is known in the industry for its requirement that everything on an amusement ride has to operate or the ride does not move. Several ride inspectors are on the grounds of the Raleigh event daily watching operators and equipment to make sure everything is in order, Martin said.
The people who remained hospitalized were a 14-year-old whose identity hasn't been released; Anthony Gorham, 29; and Kisha Gorham, 39. The Gorhams' family members declined to comment Sunday. The two others who were hurt have been treated and released.
The Vortex had at least one other technical problem at the North Carolina fair. A safety switch that keeps the ride from operating unless seat restraints are engaged malfunctioned on Monday. The ride was temporarily idled as workers replaced the switch, but it reopened Monday night after being tested, state inspectors said.
The Vortex was supplied by Family Attractions Amusement Co. LLC of Valdosta, Ga. The company "has never had an incident with a machine like this before," spokeswoman Joyce Fitzpatrick said.
She said the company's representatives can't explain what happened because they have not been allowed to review the inspection records, which are kept inside the ride, Fitzpatrick said. The ride has been closed since Thursday's injuries.
The Labor Department said its inspectors performed safety checks on all the rides before the fair opened. Ride operators are supposed to do three daily operational checks and record those in a log, said Tom Chambers, the chief of the department's ride inspection unit. State inspectors then perform checks of the logs to confirm operators are complying with the rules.
The U.S. Consumer Product Safety Commission recorded 875 injuries associated with amusement rides in 2012, up from 774 injuries the previous year. The cases included people who needed emergency-department treatment for injuries associated with fixed rides in theme parks, mobile rides associated with carnivals or fairs, or inflatable slides or bouncy cabins.
___
Emery Dalesio can be reached at http://twitter.com/emerydalesio
Associated PressSource: http://hosted2.ap.org/APDEFAULT/386c25518f464186bf7a2ac026580ce7/Article_2013-10-27-US-State-Fair-Accident/id-7a42be10419f44a4b9d13ab3379f3a99Similar Articles: chicago fire Seaside Heights Galaxy Note 3 kim zolciak Jared Remy
What Lou Reed Taught Me
Lou Reed onstage in Amsterdam in 1975.
Gijsbert Hanekroot/Redferns
Lou Reed onstage in Amsterdam in 1975.
Gijsbert Hanekroot/Redferns
Lou Reed was the first rock star to truly mess up my mind. It was the end of the '70s; I was in high school. With no older siblings and few friends to guide me — my sweet boyfriend was a classical cellist — I was stumbling around trying to educate myself about the foundations of the punk scene I desperately wanted to make my home. I haunted record-store cutout bins because the remaindered albums there, commercial failures, were cheap. I'd buy whatever looked vaguely roughneck (The Clash and the scruffy early Springsteen had revolutionized my life) or theatrical (after Bowie and Kate Bush started the wheels turning). One day, I saw a cover shot of Reed, whom I recognized because I had that Velvet Underground banana album, wearing aviator shades and looking both Hollywood-glamorous and oily. A car's headlight made a starburst in the plastic that hid his eyes.
The album was Street Hassle, the first solo album that Reed, an acknowledged godfather of punk, made with that movement's snotty children spitting back at him. Released in 1978, Street Hassle was a self-corrective — Tom Carson, in his Rolling Stone review, called it "an admission of failure that becomes a stunning, incandescent triumph," an antidote to Reed's post Velvets plunge into all kinds of excess. But the way I heard it, having not yet discovered the melodrama of Berlin or the glam glory of Transformer or the mean noise of Metal Machine Music, was as a corrective to me, the listener. Reed made me realize that, for all of my self-stylings as a rebel in love with noise that stripped away bulls—-, I didn't know the first thing about how rock music could provide a certain kind of unsought enlightenment.
You might call it moral clarity. Ellen Willis did, writing about the Velvet Underground in her landmark essay on the Velvets, first published the same year Street Hassle came out. Identifying Reed as an "aesthete punk" whose relationship to the urban demimonde he always wrote about was intellectual, stylized and distanced, Willis noticed that because he also really grasped the pain of those shadowed characters he wrote about, he ended up a moralist: a writer primarily concerned with the choices that make up people's lives, choices to hurt or help others, to be safe or potentially self-destructive, to love or to harden the heart. "The point was not to glorify the punk, or even to say f—- you to the world, but to be honest about the strategies people adopt in a desperate situation."
Listening to Street Hassle, with its songs about feelings no one would ever want to admit, with titles like "Dirt" and "Leave Me Alone," I slowly realized what most of the punk or New Wave rock I loved so much rarely gave me. Clarity! Most music was too earnest, too clever, too deliberately gorgeous or bloody exciting to require what Reed's demanded, which was that a listener sit with the ugliness of a moment and really grasp the fatal mistakes and collapses that go hand-in-hand with the risks that bring humans to life.
Reed's songs are actually often quite pretty, his pop ear well-tuned by the '50s rockabilly and doo-wop he loved as Long Island teenybopper kid. But he would always show the sweat on the lips of the beauty queens and muscle boys he sang about. The fact that those queens were often in drag, and the boys were paying the rent with their erotic encounters, is in some ways secondary. (In another way it's central, since few other rockers fleshed out those characters, especially the queer ones, the way Reed did.) Reed was just as willing to explore conventional married life unsparingly, as he did on his turning-forty album The Blue Mask, the New Wave crossover hit New Sensations or his late-in-life albums about partnered bliss with his artistic soulmate Laurie Anderson. What matters most in Reed's music is the commitment to what's difficult, whether it's expressed through distorted guitar, lyrics whose exposure of a self or a situation peels deeper with each verse, or the kind of melodic richness that doesn't comfort but instead renders a song's singer vividly vulnerable.
Street Hassle's centerpiece, now considered one of Reed's greatest accomplishments, taught me that getting just what I wanted from a song (uplift, for example, or sloppy catharsis) wasn't always the best thing. "Street Hassle" includes bluntly sexual lines that turned me on, but also made me feel the edge of my own prudery. It explores how one person dehumanizes another and, just a few minutes later, how losing one person can make a person feel real and whole for the first time. It's a song suite that doesn't sound at all like punk; it features strings, female back-up singers and Reed definitely crooning. There's also an uncredited spoken-word passage by the then-rising Springsteen that adds in some of that future superstar's trademark grandiosity, serving as a telling contrast to Reed's own cooler storytelling. The song's triptych of scenarios is very Velvets: A probable transvestite picks up a male hooker at a bar; a drug dealer worries about how to get rid of an overdose victim's body; and, in the last verse, a more anonymous lover laments his man's departure in naked, needful agony. A lot happens musically around these stories, but every violin stroke, guitar bend and percussive push intensifies the focus on Reed's core message: that opening up your being — to sex or drugs or just to feeling — is inevitable, dangerous and the main purpose of life.
Lou Reed's music takes in and gives us back the whole picture. Describing another one of Reed's signature works, the Velvet Undergound opus "Heroin," Patti Smith once fittingly assessed Reed's breadth of vision. "'Heroin,' to me, is one of our more perfect American songs," she said, "because it addresses a very conflicting subject that has so many stigmas attached to it. It addresses the deeply painful and destructive elements of it, and also whatever is precious about it, just with Lou's beautiful, simple, direct language." Reed himself often explained that he was simply doing what artists in other media do; novelists or filmmakers don't limit their subject matter. Dedicating himself to rock and roll, though, kept Reed committedly exploring the visceral in ways other artists could avoid. In the funky rhythms he borrowed from early rock 'n' roll and especially in the drone and noise that connected him over the years to both minimalist composers like La Monte Young and hard rockers like Metallica, Reed moved through what felt like confusion toward a sense of grace.
Sometimes what Reed moved through was a minefield. He didn't worry about offending anyone or, preferably sometimes, everyone. Street Hassle, for example, also contains "I Wanna Be Black," a proto-rap unspooling of racist stereotypes that makes fun of white hipsters by forcing a deep wallow in ignorance. Plenty of Reed fans find Metal Machine Music, his 1976 excursion into nothing but guitar feedback, unlistenable. Others feel that way about his theatrical collaborations with Robert Wilson; I myself sat through the time-stopping Timerocker at the Brooklyn Academy of Music in 1997 and felt every spring in my seat. Even Reed's most accessible efforts proudly bear painful twists: The gorgeous ballad "Pale Blue Eyes" turns on a blunt justification of adultery; my favorite of his almost-pop dance numbers, "Vicious," is a lighthearted account of personal repulsion.
And then there's "Perfect Day," Lou Reed's "Hallelujah." Like Leonard Cohen's irreverent secular hymn, this one has been milked for exultation by many interpreters. Duran Duran covered it; so did the talent show diva Susan Boyle. It was featured in Trainspotting (in a scene that played upon the theory that Reed's perfect imagined lover is heroin, not a person), got an all-star charity remake in the late '90s and most recently, formed the basis for a Sony Playstation ad. It's a song that will live on, both enhancing and apart from Reed's expansive legacy.
But, like the essence of Lou Reed, "Perfect Day" is tricky. In the original recording, Mick Ronson's piano gives Reed's stately melody a French feel, something like an Edith Piaf song. David Bowie's production adds heft: the thing swells. Reed goes along for the ride. The choruses ring, anthemic, but why is Reed singing about how his ideal lover just keeps him hanging on? At the end of the second verse, Reed's voice dips and his diction clips. "You made me forget myself," he nearly whispers. "I thought I was someone else. Someone good." And the song ends in anger, with Reed muttering, over and over again, "You're going to reap what you sow." The soft focus that seemed to dominate the song in its beginning has sharpened. As Lester Bangs, the writer most passionately dedicated to understanding Reed, once wrote, "If 'Perfect Day' is autobiographical, he must be the most guilt-ridden person on the face of the earth."
See, there's the whole picture. Happiness intermingled with self-loathing. Freedom all tied up in dependency. Rage bubbling through tenderness. It took discipline to put all of this into a song, a determination to not soften into earnestness or excuse the hard stuff in the name of romance. "The core of Reed's sensibility is his visceral aversion to corn," the critic Robert Christgau once put it, succinctly. For the last three decades of his life, Lou Reed was a tai chi practitioner; he learned how to move slowly through uncomfortable positions. All the art he's left us will continue to help us learn to do that, too.
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PrintBanksy slams One World Trade Center in rejected op-ed
Banksy, the elusive British street artist nearing the end of a month-long New York City residency, published an op-ed column on his website Sunday slamming the design of One World Trade Center, the 104-story skyscraper scheduled to be opened on the World Trade Center site next year.
"As a visitor staying New York for the past few weeks one thing has become very clear to me," Banksy wrote in the op-ed. "You've got to do something about the new World Trade Center. That building is a disaster. Well no, disasters are interesting. One World Trade centre [sic] is a non-event. It's vanilla. It looks like something they would build in Canada."
According to Banksy, he submitted the op-ed to the New York Times, which declined to publish it. A representative for the newspaper did not immediately respond to a request for comment.
"The attacks of September 11th were an attack on all of us and we will live out our lives in their shadow," Banksy continued. "But it's also how we react to adversity that defines us. And the response? 104 floors of compromise?"
The 1,776-foot tall building, co-developed by the Port Authority of New York and New Jersey and The Durst Organization, is being billed as "the tallest building in the Western Hemisphere." The spire was completed in May.
More from Banksy's op-ed:
Remarkably for such a tall structure One World Trade lacks any self-confidence. How does it stand up without a spine? It looks like it never wanted to be built in the first place.It reminds you of a really tall kid at a party, awkwardly shifting his shoulders trying not to stand out from the crowd. It's the first time I've ever seen a shy skyscraper.
It would be easy to view One World Trade Centre [sic] as a betrayal of everyone who lost their lives on September 11th, because it so clearly proclaims the terrorists won. Those 10 men have condemned us to live in a world more mediocre than the one they attacked, rather than be the catalyst for a dazzling new one.
Nobody comes to New York to bathe in your well-mannered common sense. We're here for the spirit and audacity. One World Trade has none. Instead you have to look to the rooftops - to the chorus of precariously roller painted names and slogans crawling over the skyline like poison ivy. This is the city's true heritage — a city that made its name giving space to the mercurial and the brave.
One World Trade declares the glory days of New York are gone. You really need to put up a better building in front of it right away. Or better still, let the kids with the roller poles finish it off. Because you currently have under construction a one thousand foot tall sign that reads — New York — we lost our nerve.
The op-ed isn't the first time Banksy has referenced the Sept. 11 terror attacks. Earlier this month, he unveiled graffiti in Manhattan's Tribeca neighborhood depicting a silhouette of the World Trade Center's Twin Towers with a flower — an orange chrysanthemum singed at the edges — emerging from one of the buildings.
And it probably won't win him any fans in the mayor's office, which is already irked by Banksy's installations.
"Running up to somebody's property or public property and defacing it is not my definition of art," Mayor Michael Bloomberg said when asked of the graffiti. "It may be art, but it should not be permitted. And I think that's exactly what the law says."
Banksy fired back Sunday.
"The biggest eyesore in New York is not the graffiti," Banksy wrote as the title to his fake Times op-ed. "It's under construction at ground zero."
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PS4 launch day update will enable second screen, iOS app due for launch November 13
One of the features coming with the launch of Sony's new PS4 console next month is a second screen experience that will enable use of your iPhone or iPad with the console. Today, Sony has released a statement confirming that this, plus other features will require a launch day software update to enable:
We wanted to shed some light on system software update version 1.50 for PS4, which will launch simultaneously with the system’s official North American launch on November 15th, 2013. By updating to system software version 1.50, you’ll be able to experience a variety of new features in addition to the basic functions of PS4.
Users can use the PS4 Link application for the PS Vita system, and PlayStation App for iPhone, iPad, and Android-based smartphones and tablets, to use these devices as second screens in supported titles. PlayStation App has the ability to enable users to interact with games with their mobiles devices. For example on The Playroom, a title pre-installed in all PS4 systems that requires PlayStation Camera, users can draw pictures on their mobile device screens and flick them towards the TV. The images then appear as a 3D object within the game.
Integration with our iPhone and iPad continues to intrigue, and it's going to be exciting as time goes on to see how game developers involve our mobile devices in the overall experience. But before anyone can do anything, they'll need to download the 300MB software update.
Additionally, Sony has also detailed when said application will be available to download from the App Store. Initially it will become available on November 13 in the U.S, two days before the launch of the console. Then, Europe will follow on November 22 ahead of the November 29 launch in countries such as the UK. Second screen something you're looking forward to from your PS4?
Source: Sony
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iPad Air coming to US Cellular and regional carriers starting November 8th
Apple's plan to launch the iPad Air with cellular data support for T-Mobile was apparently just the start of a larger strategy. US Cellular has announced that it will offer the featherweight tablet on November 8th, while regional carriers like Bluegrass Cellular, C Spire and GCI say that they'll ...Category: edward norton Panda Express TSLA broncos Lisa Robin Kelly
Miley Cyrus Says She's Having "The Best Time of My Life" Now Single, How VMAs Would Have Been Boring Without Her
Miley Cyrus is high -- on life, that is. The 20-year-old star opens up in the December 2013 issue of Cosmopolitan about her crazy year and how she still surprisingly feels like the underdog -- and likes it that way. The "Wrecking Ball" singer also makes clear that she won't be dwelling over her September split from fiance Liam Hemsworth that ended after four years of dating.
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"I need to treat my music like a relationship – give it my time and all the attention it deserves – and that’s my main love right now," she says in the issue. "This is the best time of my life. I'm not going to look back on it and be like, 'I wish I hadn’t been dwelling over a breakup,' you know?"
Indeed, Cyrus has been on the fast track this year -- making headlines for her controversial "Blurred Lines" and "We Can't Stop" VMAs performance alongside R&B crooner Robin Thicke, hosting Saturday Night Live and landing the coveted cover spot on Rolling Stone in September.
"Everything is so chaotic and crazy right now and it's so much all at once, but I'm living for it," she says of the attention. "I'm just having the best time ever and everything's falling into place like it's supposed to. Even people who want to hate on me, they can't even shut down the fact that I’m literally what everyone is talking about."
She continues: "I don't want to say that I'm on top right now – I feel like I'm kind of an underdog in a cool way. It's almost punk rock to like me because it's not the right thing to do. Like, society wants to shut me down."
MIley Cyrus in December 2013 issue of Cosmopolitan magazine
Credit: Peter Pedonomou/ Cosmopolitan
But some fellow artists who haven't shut her down? "The support of other artists is important because there are not many people who can relate to what I'm going through right now. Kanye West is one of those people, and even Katy Perry has been so cool," she admits. "It's easy for Kanye to support me because we’re in totally separate lanes of competition, but for Katy to say that she appreciates what I'm really doing for the pop industry, that keeps you going. And I mean, who cares what the media buzz is if Kanye West is telling you that you're the shit?"
As for her VMAs performance -- where it seemingly all began -- Cyrus has no regrets. "When people started complaining about the awards show, I was like, 'Have you never seen the f-cking video?' And what if I hadn't done that performance? The VMAs would have been bad. They would have been missing something. The show was kind of making fun of how serious the pop industry is."
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Rap promoter gets life in prison in NYC drug case
NEW YORK (AP) — A hip-hop promoter was sentenced to life in prison on Friday on charges he moonlighted as a drug kingpin who made a fortune by smuggling vast amounts of cocaine into New York City, sometimes by concealing it in music equipment cases.
James "Jimmy the Henchman" Rosemond was facing a mandatory life term following his guilty verdict on narcotics conspiracy and other charges at a trial last year in federal court in Brooklyn.
Prosecutor Todd Kaminsky told U.S. District Judge John Gleeson that Rosemond, 48, brazenly demonstrated his disregard for the law by continuing his trafficking operation even after he learned he was under investigation. The defendant used the proceeds to buy multiple homes, luxury cars and a six-figure sound system for his Brooklyn loft.
"About every stereotype you can think of about a drug kingpin was reflected in how he lived," Kaminsky said.
Gleeson said he would have put Rosemond behind bars for life even if it wasn't required by law.
"You chose that life and this is the punishment you get," the judge said.
Both Rosemond and his lawyer declined to address the court before the sentence was announced.
Prosecutors had accused Rosemond, founder of Czar Entertainment, of using a variety of methods to smuggle cocaine from Los Angeles to New York. Some of it was shipped in overnight packages slathered in mustard to throw off drug-sniffing dogs.
Rosemond later devised a system that allayed his worries about using the overnight services by hiding the drugs in the music equipment cases and sending them to New York music studios, prosecutors said. The cases were then shipped back to Los Angeles packed with cash.
In 2011, agents seized a road case containing $790,000 packaged in vacuum-sealed plastic in $100,000 bundles, prosecutors said. The seizure prompted Rosemond to switch tactics, stashing drugs in hidden compartments in cars that were transported from coast to coast.
Lawyers for Rosemond claimed he was framed by members of his crew who pleaded guilty and agreed to testify against him. They included a Los Angeles dealer who admitted supplying more than 200 pounds to the ring over a two-year period.
Before the sentencing, the judge denied a motion to give Rosemond a new trial. His attorney had argued that the jury was tainted by unsubstantiated reports linking the defendant to an unsolved shooting that wounded legendary rapper Tupac Shakur.
Shakur survived the 1994 shooting, but was killed two years later in Las Vegas. The slaying remains unsolved.
Rosemond was behind such hits as Salt-N-Pepa's "Shoop" and represented The Game and Sean Kingston, according his company's website. Another former client was Michael K. Williams, who played the ruthless outlaw Omar on "The Wire" TV series and now stars in "Boardwalk Empire."
Rosemond still faces separate charges in Manhattan accusing him of arranging a murder as payback for an assault on his son.
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The Liar: Theater Review
The Bottom Line
Hilarious “translaption” of a post-Shakespearean French comedy zings with inventive language and maniacal pinpoint timing yet still sounds deeper chords of metaphysical musings.
Venue
The Antaeus Company at Deaf West Theater, North Hollywood (through Dec. 1)
Director
Casey Stangl
Cast Reviewed
Nicholas D’Agosto, Ann Noble, Kate Maher, Rob Nagle, Gigi Bermingham, Peter Van Norden, Bo Foxworth, Jeff Thomas Gardner
Double Cast
Graham Hamilton, Joanna Strap, Jules Willcox, Brian Slaten, Karen Malina White, Robert Pine, Joe Delafield, Jonathon Lamer
Writer
David Ives, adapted from the comedy by Pierre Corneille
“The unimagined life is not worth living,” opines the compulsive and unrepentant liar, Dorante (Nicholas D’Agosto), to his confounded new valet Cliton (Rob Nagle), as he first arrives in Paris on the make. The young, charming and fleet-tongued fabricator contrives in the space of little more than a day through artful avoidance of any semblance of the truth to woo two skeptical and sophisticated damsels, Clarice (Kate Maher) and Lucrece (Ann Noble), bamboozle his friend Alcippe (Bo Foxworth), and deter his father Geronte (Peter Van Norden) from arranging a marriage by fibbing he’s already been forced into a union with a pregnant gypsy. He’s invariably convincing at first utterance, although inconveniently unmindful to keep his stories straight, so as he is progressively caught up in his deceptions, only the ensuing complications and misunderstandings provide him cover from exposure.
Pierre Corneille has generally been remembered as a writer of tragedies (Le Cid), a contemporary of Moliere and rival to Racine. Yet on the evidence of Tony Kushner’s inspired adaptation of The Illusion and now this agile juggling act animated in pentameter by David Ives (Venus in Furs, All in the Timing, The New Jerusalem) of his 1644 comedie, he could on a good day give Moliere a close run for his money on his own turf.
Ives has obviously felt very free with his dialogue with ostentatious anachronisms and modern references, the strict meter preserving an authentically classical period rhythm while allowing rhymes witty, clever, outlandish and howlingly, deliciously awful. Thankfully, it’s not all in couplets, as characters often felicitously rhyme with one another. It sometimes sounds like Shakespeare and sometimes like rap, yet it all comes together with dizzying harmony.
Even in Shakespeare, the humor can often be more conceptually amusing (“yes, that was funny”) than laugh-out-loud riotous, but here the rat-a-tat of rapid-fire quips is nearly continually uproarious as reupholstered for modern ears and sensibilities. Like Shakespeare, the drollery always builds to a higher purpose, reflecting on our elastic apprehensions of truth and its perceptions, and of the ironies of honesty and propriety when our most genuine selves need so keenly to deviate from those artificial social presumptions that nevertheless have their virtues. Ives’ verbal pyrotechnics may not allow the play to reach quite the profundity of the classic authors, but he manages to come damn close without interrupting the cascade of merriment. Even when he chooses to employ a dash of sentiment to raise the tone a mite toward some constructive resolution, it’s never enough to douse the crackling high spirits.
This may be a surefire script in any hands, but everything in it plays excitingly to the strengths of The Antaeus Company. Director Casey Stangl has often shown herself to be capable of burnishing any text to its brightest sheen, and the blocking, business and beats orchestrate this lively score with well-tempered harmonies. Antaeus routinely double casts their productions, with no little mixing and matching as well, so if one observes that every member of the players onstage at the performance reviewed seemed utterly unimprovable, that almost certainly isn’t so.
Everyone is so fluently steeped in the style of the piece, so attuned to its classical/contemporary modalities, so capable of executing with impeccable precision and offhand ease every physical and verbal demand, that the audience, despite the rhetorical onslaught, can easily relax into the flow – secure they are in the best of hands. The consistency of craft becomes no less stunning than the dexterous verse. This was my second hearing of the play, having attended an early reading in the space a few years back, and on repetition the witty observations lost none of their bite, the poetic pyrotechnics none of their dazzle, and the contemplations of the human condition none of their pathos. Only now, in a full production, every element comes more gloriously alive.
Venue: The Antaeus Company at Deaf West Theater, North Hollywood (through Dec. 1)
Director: Casey Stangl
Cast Reviewed: Nicholas D’Agosto, Ann Noble, Kate Maher, Rob Nagle, Gigi Bermingham, Peter Van Norden, Bo Foxworth, Jeff Thomas Gardner
Double Cast: Graham Hamilton, Joanna Strap, Jules Willcox, Brian Slaten, Karen Malina White, Robert Pine, Joe Delafield, Jonathon Lamer
Writer: David Ives, adapted from the comedy by Pierre Corneille
Scenic Design: Keith Mitchell
Costume Design: Angela Balogh Calin
Lighting Design: Francois-Pierre Couture
Sound Design & Original Compositions: Peter Bayne
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Alexander Gustafsson vs. Antonio Rogerio Nogueira booked for UFC's return to London
Alexander Gustafsson's road back to a light heavyweight title shot will go through Antonio Rogerio Nogueira.
Gustafsson vs. Rogerio Nogueira will headline the UFC's return to London, England on March 8, UFC president Dana White announced at the UFC Fight Night 30 post-fight press conference.
White said that should Gustafsson beat Nogueira, he'll fight the winner of Jon Jones vs. Glover Teixeira for the UFC light heavyweight title in the future. White didn't state which arena will host the event and where the card will air in the United States.
No date has been set for Jones vs. Teixeira.
"I'm super excited to fight in London," Gustafsson said. "I've fought there before.
"We were supposed to fight way back, but we didn't, but now I have the chance to fight him again. He's a really good stand-up striker and a great opponent."
Indeed Gustafsson and Nogueira were scheduled to fight in April 2012, however, Nogueira pulled out of the fight due to a knee injury and was replaced by Thiago Silva.
Gustafsson (15-2) most recently lost to Jones last month via unanimous decision at UFC 165 in what many consider to be the 2013 Fight of the Year. Nogueira (21-5) hasn't fought since his February decision win over Rashad Evans at UFC 156. He was scheduled to fight Mauricio "Shogun" Rua at UFC 161 but pulled out due to a back injury.
The UFC's event in London will mark the first of six trips to Europe in 2013. Ross Pearson vs. Melvin Guillard 2 will serve as the co-main event.
The promotion is planning on holding an event in Malmo, Sweden next year despite Gustafsson not being on the card.
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NASA shoots lasers at the moon, sets new data transmission record
Oct. 22, 2013
NASA Laser Communication System Sets Record with Data Transmissions to and from Moon
NASA's Lunar Laser Communication Demonstration (LLCD) has made history using a pulsed laser beam to transmit data over the 239,000 miles between the moon and Earth at a record-breaking download rate of 622 megabits per second (Mbps).
LLCD is NASA's first system for two-way communication using a laser instead of radio waves. It also has demonstrated an error-free data upload rate of 20 Mbps transmitted from the primary ground station in New Mexico to the spacecraft currently orbiting the moon.
"LLCD is the first step on our roadmap toward building the next generation of space communication capability," said Badri Younes, NASA's deputy associate administrator for space communications and navigation (SCaN) in Washington. "We are encouraged by the results of the demonstration to this point, and we are confident we are on the right path to introduce this new capability into operational service soon."
Since NASA first ventured into space, it has relied on radio frequency (RF) communication. However, RF is reaching its limit as demand for more data capacity continues to increase. The development and deployment of laser communications will enable NASA to extend communication capabilities such as increased image resolution and 3-D video transmission from deep space.
"The goal of LLCD is to validate and build confidence in this technology so that future missions will consider using it," said Don Cornwell, LLCD manager at NASA's Goddard Space Flight Center in Greenbelt, Md. "This unique ability developed by the Massachusetts Institute of Technology's Lincoln Laboratory has incredible application possibilities."
LLCD is a short-duration experiment and the precursor to NASA's long-duration demonstration, the Laser Communications Relay Demonstration (LCRD). LCRD is a part of the agency's Technology Demonstration Missions Program, which is working to develop crosscutting technology capable of operating in the rigors of space. It is scheduled to launch in 2017.
LLCD is hosted aboard NASA's Lunar Atmosphere and Dust Environment Explorer (LADEE), launched in September from NASA's Wallops Flight Facility on Wallops Island, Va. LADEE is a 100-day robotic mission operated by the agency's Ames Research Center at Moffett Field, Calif. LADEE's mission is to provide data that will help NASA determine whether dust caused the mysterious glow astronauts observed on the lunar horizon during several Apollo missions. It also will explore the moon's atmosphere. Ames designed, developed, built, integrated and tested LADEE, and manages overall operations of the spacecraft. NASA's Science Mission Directorate in Washington funds the LADEE mission.
The LLCD system, flight terminal and primary ground terminal at NASA's White Sands Test Facility in Las Cruces, N.M., were developed by the Lincoln Laboratory at MIT. The Table Mountain Optical Communications Technology Laboratory operated by NASA's Jet Propulsion Laboratory in Pasadena, Calif., is participating in the demonstration. A third ground station operated by the European Space Agency on Tenerife in the Canary Islands also will be participating in the demonstration.
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