(BLOG) - Current Events of Today

Quick tips. (Know how: skills, tips, techniques)

2012-01-26T19:58:00.002-05:00

Arrow, a photo by Roger Smith on Flickr.

If the tape on the bottom end of the male side of a zipper is disintegrating, stiffen or repair it with clear nail polish.

Joe Bond, Commack, NY

Sticky Fingers

You just seam-sealed your tent, but now your fingers are glued together. To remove, the sticky seam sealer, rub acetone-based nail-polish remover on your hands with a rough cloth, then wash with soap and water.

Susan Newquist

Getting The Shaft

If you break a tent pole, you can replace it with an aluminum arrow shaft. Many are made of Easton aluminum of a similar grade to good tent poles and come in hollow 36-inch lengths that can be cut to size. An archery shop will probably have one to match the pole you broke. Use thin cord or fishing line to restring the elastic cord.

Monte Dodge, Olympia, WA

Screened To Kill

Does the entire spring hatch of black flies, snowmelt mosquitoes, and other bloodsucking terrorists migrate across your tent's bug screen each spring, just waiting for you to crack the zipper? Then spray the netting with permethrin, available from various manufacturers at outdoors stores. Not only is permethrin a repellent, but it actually kills the bugs that crawl on it. Since it's safe for human contact after it dries, use it to treat clothing, socks, and shoes, too, especially where ticks with Lyme disease are a problem.

J. Harlin

Camp Sandals

You don't need those expensive, heavy, gladiator-worthy sports sandals just to kick around camp. Pick up a pair of flip-flops from a discount store. They weigh less than half a pound and cost less than $10.

Laurie Braaten

Sherpa Rest

You waste a lot of energy hoisting a heavy pack after every trailside rest break. Instead, try the "sherpa rest," used by generations of Himalayan and Andean porters. When your shoulders are ready for a break, look for a log or fiat-top boulder slightly higher than your waist. Back up to the rest ledge, and set the bottom of your pack atop it. Then loosen your hipbelt and lean back for a quick standing rest. For a longer seated rest, seek out flat-top boulders about thigh high, or lean back against slanting slopes on the uphill side of the trail. To resume, just tighten your hipbelt and go.

Steve Howe

Source Citation
"Quick tips. (Know how: skills, tips, techniques)." Backpacker May 2002: 94+. Gale Power Search. Web. 26 Jan. 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA86388522&v=2.1&u=22054_acld&it=r&p=GPS&sw=w

Gale Document Number: GALE|A86388522

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Berkeley clings to cash

2011-12-08T14:48:00.002-05:00

Cheetah, the fastest land animal, a photo by Foto Martien on Flickr.

Berkeley has a strong balance sheet and is conserving cash

Berkeley Group is no ordinary housebuilder - after all, it makes a profit and has no debt. Under normal circumstances this would not be that unusual or particularly impressive. But in today's trading environment it elevates Berkeley into a league of its own. What's more, unlike other housebuilders, it has not seen the need to write down the value of its land bank.

Berkeley has done well to shield itself from economic effects that are largely beyond its control, namely rising unemployment, the mortgage drought and planning restrictions. True, sales were down in the first half of the year from 1,630 to 968, but a change in the sales mix boosted average selling prices from GBP245,000 to GBP399,000. Average prices are expected to stay around this level in the second half, boosted by some properties sold in excess of GBP1m, before falling back. But management has been successful in generating and holding onto cash, and the group is now in a position to pick up cheap distressed assets at knock down prices should it choose to do so.

Meanwhile, Berkeley's strong balance sheet will help to steer the group through what is expected to be another tough year. Sales reservations in the first half were down 55 per cent on the previous year, and 60 per cent lower for the period since the collapse of Lehman Brothers in September. And cash held in respect of forward sales fell from GBP1.21bn in April, to GBP807.9m as of 31 October. The trend is likely to continue, and the group expects this to result in a lower level of production to match falling demand. As a result, Berkeley is also holding off on fresh land purchases, with just four new site agreements in the first half.

Broker Numis expects full-year pre-tax profits of GBP180m and EPS of 105p.

|BERKELEY GROUP(BKG)

|ORD PRICE:|815p|MARKET VALUE:|GBP984.7m|

|TOUCH:|808-815p|12-MONTH HIGH:|1,196p|LOW: 613p|

|DIVIDEND YIELD:|Nil|PE RATIO:|7|

|NET ASSET VALUE:|591p|NET CASH:|GBP138m|

|Half-year to 31 Oct Turnover (GBPm) Pre-tax profit (GBPm) Earnings per share (p) Dividend per share (p)

|2007|441|90.6|52.6|nil|

|2008|453|79.6|47.8|nil|

|% change|+3|-12|-9|-|

|

Guide to the terms used in IC results tables http://www.investorschronicle.co.uk/Companies/ByEvent/Results/Inbrief/article/20070903/d39ffee8-5a0d-11dc-9089-00144f2af 8e8/Guide-to-IC-results-and-tip-tables.jsp Guide to the terms used in IC results tables.

More analysis of company results

Berkeley is one of the strongest housebuilders, boasting a solid balance sheet, good cash flow and no debt. This places it in an enviable position for when the housing market recovers, and justifies the 38 per cent share price premium to net asset value. That said, being the strongest player in a deteriorating market is no recipe for short-term growth so, until the housing sector improves, the shares are fairly priced.

FairlyPriced

Jonas Crosland

Source Citation
"Berkeley clings to cash." Investors Chronicle - magazine and web content 8 Dec. 2008. General OneFile. Web. 8 Dec. 2011.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA190686635&v=2.1&u=22054_acld&it=r&p=GPS&sw=w

Gale Document Number: GALE|A190686635

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B-12 deficiency rises, lack of awareness blamed

2011-12-08T14:09:00.002-05:00

cat drink water in gan meir tel aviv, a photo by shyb on Flickr.

Doctors in Ahmedabad are reporting rising incidence of Vitamin B-12 deficiency, a situation believed to have been worsened by the use of water treated by the reverse osmosis (RO) process.

But incidentally, there is not much research happening in the field to find if there is a co-relation between the two. The state government too seems to be blissfully unaware of the situation.

Most of the doctors DNA talked to admitted that RO water could have a role to play in widespread vitamin B12 deficiency but they also blamed the purely vegetarian diet of the people. "To be honest, there is no reliable data available to know if RO water has worsened the situation. But having said that let me also add that it may be just one of the factors responsible for the situation.

It should be remembered that non-vegetarian diet is often rich in Vitamin B-12 and most of the people in the city are vegetarians, so this may be another factor," said Dr Atul Trivedi, assistant professor, community medicine department of BJ Medical College.

Trivedi said studies need to be conducted to find the relation between RO water and vitamin B-12 deficiency. "But, such a study will need to be multi-departmental," said Trivedi. Dr Jitendra A Patel, another physician had an interesting thing to say about the rising incidence of vitamin B-12 deficiency.

"It is not as if people in the city turned vegetarian in the last few years and hence the deficiency. The rising level of awareness is another reason why more people know of this deficiency. It is only in the last few years that even doctors are going in for investigation relating to the same." He said before blaming RO water there was a need to research the entire matter properly.

Doctors also admit that gone are the days when malaria treatment was the biggest revenue source for the doctors. It has now been replaced by Vitamin B12 injections and pills. "The research should be carried out on a sample which has RO water users, vegetarians and non-vegetarians to come to a concrete conclusion," said Dr Patel.

Shaji Warrier, a vegetarian,who was identified with Vitamin B-12 deficiency some years ago, said, "At that time, my doctor told me that my largely vegetarian diet was to be blamed. He also said that drinking RO water could have worsened the situation." Dr Suresh Shah, who has treated 350 patients with vitamin B- 12 deficiency said, "The RO process filters out even the essential minerals and so they may be responsible for the deficiency. But it is difficult to make a concrete statement due to lack of research on the subject. It is time we carry out a research on the subject."

Source Citation
"B-12 deficiency rises, lack of awareness blamed." DNA [Daily News & Analysis] 5 Dec. 2011. General OneFile. Web. 8 Dec. 2011.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA274091053&v=2.1&u=22054_acld&it=r&p=GPS&sw=w

Gale Document Number: GALE|A274091053

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Capital gains from the super-rich

2011-10-22T22:34:00.002-04:00

computer screen, a photo by inparadiso on Flickr.

Suddenly it is starting to look as if the period after 1914 - when London lost its position as the financial capital of the world to New York - was an aberration, a downturn in an otherwise upward trend. Stroll around Chelsea, Belgravia and Holland Park and see the flash cars with blacked-out windows, waiting with chauffeurs inside. Listen to the foreign voices echoing down Bond Street; chat to estate agents, or to bankers or art dealers or even to a good dentist, and the message is clear: London is on the up, and the world's rich are congregating here like bees around the blossom of spring.

This week London's position as the headquarters of globalisation will be reaffirmed overtly and boldly. As I write, its wealthiest resident, Lakshmi Mittal - the very posterboy of the super-rich - is putting the finishing touches to a $20 billion offer for Arcelor, a lumbering rival to his Mittal Steel. Already Mittal's proposal has been denounced in the chancelleries of Europe, but Mittal (named after a Hindu god of wealth) was prepared for this. 'It is a strike straight at the heart of Old Europe from the New World, ' says one of his advisers. If he succeeds, he will win a great victory for shareholder value and free markets in the EU. No doubt the knowledge that he is already worth [pounds sterling]14 billion helps him maintain a zen-like calm. 'He bought well, ' I am told.

'When everybody was thinking about hightech companies like Microsoft, Mittal was sticking to a traditional metal-bashing industry in countries everybody had written off, like Romania and South Africa.' He moved to London in 1996 and runs his dynastic interests (Mittal Steel, though quoted, is family-controlled and his 30-year-old son Aditya is his finance director) from Berkeley Square, although the company is technically domiciled in Rotterdam. He spent his early years sleeping on the floor at his parents' home in Rajasthan, but these days he has money to burn on a [pounds sterling]50 million wedding for his daughter, Vanisha, and a [pounds sterling]2 million donation to the Labour party.

'London is cosmopolitan, culturally diverse, ' he explains. 'And it is in the right time zone.'

One of the things which recommended it to him as a base was Heathrow. 'It's easy to get anywhere else, ' he says. He evidently does not want to be pigeonholed as a Londoner, however. 'Mittal is a global company.' But one of the interesting things about Mittal is that he is far from unique. He is merely the best-known member of a tribe now congregating in London: foreign-born billionaires, many of whom made their fortunes in basic industries such as copper mining, steel and, of course, oil. They hail from India, the former Soviet republics and the Middle East and, as a class, they are importing a culture of private luxury to rival anything F. Scott Fitzgerald wrote about in 1920s New York.

There is Vladimir Kim, the controlling shareholder of Kazakhmys, a vast copper company from Kazakhstan, which recently joined the FTSE 100; Russian entrepreneur Leo Blavatnik, Mittal's neighbour in Kensington Palace Gardens (where Mittal set a record with his [pounds sterling]57 million house purchase in 2002); Oleg Deripaska, another Russian copper baron; Johnny Hon, the Chinese gambling tycoon; and, of course, Roman Abramovich, who rubs along with assets of [pounds sterling]4 billion, including Chelsea Football Club (assuming that's an asset and not a liability).

Forbes magazine reckons there are 28 billionaires now living in London - and that is just the ones we know about.

There are many, many others too, who are either too secretive or not quite rich enough to be considered billionaires. The super-rich are obsessed with security. This is partly because they were alarmed by the murder of the banker John Monckton in Chelsea last year; and partly because some of them made their money in what might euphemistically be described as exotic and opaque circumstances. They have dangerous enemies - such as the Kremlin, or even each other.

Perhaps the most eloquent demonstration of this paranoia is to be found in their homes.

Nick Candy and his brother Christian are property developers by appointment to the super-rich. Among the brothers' successes is selling a flat for [pounds sterling]27 million in Chelsea Square (a world record) to an unnamed foreign buyer last year. Nick Candy tells me, 'There is so much money coming into London. London is the most important global city in the world. It is not just Russians, it is Chinese, Indians, Arabs and even Irishmen. Actually, many of our clients are British but nobody ever seems interested in that.' Candy & Candy's latest project is the redevelopment of Bowater House in Knightsbridge, which is being renamed No. 1 Hyde Park. The project will include 84 multimillion-pound apartments, with underground parking, CCTV cameras, 24-hour security guards and a concierge service provided by the neighbouring Mandarin Oriental hotel. 'A lot of our clients don't want to live in houses any more, ' says Candy. 'They want lateral living, because that means you get proper security, air-conditioning and porterage. You can just drive in, get out of your car and into the lift.' So, why London? The arrival of the superrich is, of course, a sort of flattery for the British way of life, our institutions, our professional services and for the English language and culture. But let us not be naive. It carries risks too. Foreigners who are here for only a few weeks a year are creating fierce competition for scarce items. They are driving through the roof the prices of nice houses, grouse moors, Old Master paintings and domestic help. Mittal himself is a UK resident and pays tax here. But many of those who emulate him are not so scrupulous. They are technically non-residents, so they contribute little to the Exchequer. Let's face it: some of them are rather selfish, unmoved by the sense of noblesse oblige that might make them pay tax voluntarily or pour money into struggling football clubs; and a minority of them are probably crooks.

The biggest factor attracting the wannabe Mittals is not sentimentality about Britain but a series of own-goals by America. For years, New York was the natural home of the global nouveaux riches, but now they no longer feel comfortable there. The US Immigration Service makes visitors stand in long lines; the US tax authorities enforce a tough global regime (HM Revenue & Customs still has generous non-domicile rules for those who live here for only part of the year); and Congress has passed a nasty securities law called SarbanesuOxley, which is wrapping Wall Street in red tape.

That said, the long-term economic effects of welcoming the super-rich to Britain are, on balance, beneficial - and not just because we can all find work as their butlers or interior designers. Indeed, Ajay Kapur, a bright spark at Citigroup, has invented an economic theory he calls 'Plutonomy'. He believes that the Mittals of this world are putting rocket fuel into financial markets. For the super-rich are the clients of the hedge funds and private equity groups, of which there are now about 1,000 in London. Hedge funds and private equity not only provide lucrative employment for aspirational young British financiers, but are also starting to wield the sort of influence once reserved for the mightiest pension funds.

Thanks to the super-rich, a colossal arsenal of money - hundreds of billions of pounds - is now being managed in London. Our competitive advantage in financial services is being handsomely reinforced.

'I think wealth and income inequality explain many of the conundrums which vex investors, ' says Kapur - one of those conundrums being the continuing growth of the British economy, despite the punitive taxation regime of Gordon Brown. Money is flooding into London, squirting through complicated tax loopholes unavailable to ordinary Britons who plod away in salaried employment, slaves to PAYE. 'The rich are now the dominant drivers in many economies in the world, such as the US, the UK, Canada and Australia, ' says Kapur. 'Asset booms, a rising profit share, and favourable treatment by market-friendly governments have allowed the rich to prosper.' He believes we have seen nothing yet.

'Global capitalists are going to be getting an even greater share of the wealth pie over the next few years, as capitalists benefit disproportionately from globalisation and the productivity boom at the expense of labour.' It is an arresting thesis, exemplified by the princely Mr Mittal - and London will be the richer for it.

George Trefgarne

Source Citation
Trefgarne, George. "Capital gains from the super-rich." Spectator 20 May 2006. Military and Intelligence Database Collection. Web. 22 Oct. 2011.
Document URL
http://go.galegroup.com/ps/i.do?&id=GALE%7CA147832057&v=2.1&u=22054_acld&it=r&p=GPS&sw=w

Gale Document Number: GALE|A147832057

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Americans Can Protect Best Friends from Cancer

2011-09-25T11:10:00.002-04:00

Animals vs. Technology [Digg Reel - Ep. 148], a photo by revision3 on Flickr.

ANAHEIM, Calif., April 15 /PRNewswire/ -- Dogs and cats with cancer now have a better chance of living longer and feeling better with a life-saving combination of early detection, technology and Veterinary Pet Insurance (www.petinsurance.com). And that's good news for American pet owners, because a recent survey conducted by the Morris Animal Foundation reports cancer as the leading cause of disease related death in dogs and cats in the United States.

Less than 10 years ago, many pets with cancer may have died for two reasons: The limits of veterinary medicine, or the inability of pet owners to pay the high costs of available treatments. According to Alice Villalobos, DVM and medical director at Coast Animal Hospital and Cancer Center in Hermosa Beach, Calif., veterinarians can use the same life-saving procedures available in human medicine, such as chemotherapy, radiation, surgery, laser therapy, immunotherapy, and even bone transplants. More advanced treatments, such as genetic therapy and bone marrow transplants, are currently under investigation for use on pets.

Dr. Villalobos sees between 400 and 500 new cancer cases a year. "The demand to treat pets with cancer has really increased in the past decade," says Villalobos. "People know that cancer in humans can be beat, and they want that for their pets."

While advancements in technology give veterinarians the tools they need to save more pet lives, the costs can be overwhelming. Cancer care can cost up to thousands of dollars and many pet owners can't afford treatment for their companion animals without financial help. However, companies such as Veterinary Pet Insurance, the nation's oldest and largest pet health and accident insurer, are making costs manageable by providing the financial assistance pet owners need to allow the veterinarian to use available technology to treat and save their pet.

Financial assistance eased the burden for Veterinary Pet Insurance policyholder Karen Penney. "The day after Thanksgiving last year, our dog, Odin, started urinating blood. With x-rays and exploratory surgery, our veterinarian diagnosed Odin with a rare form of kidney cancer.

"The veterinarian referred us to a specialist who was able to remove the cancerous kidney," Penney said. "I couldn't believe how quickly Veterinary Pet Insurance sent a reimbursement check. I work in the human health field and was expecting slow turnaround."

Early detection, according to Villalobos and veterinarians throughout the country, is the best way to win the battle against cancer. "Taking your pet in for a yearly checkup can save his or her life," Villalobos explains. "During preventive checkups, veterinarians can spot clinical symptoms of cancer and do a biopsy right away. We recommend that all pet owners think of cancer as the enemy, and then declare war by forming an alliance with their veterinarian."

When cancer is diagnosed, Villalobos has noticed that her clients who have Veterinary Pet Insurance seem less burdened by the reality of what it takes to save their pet. "They listen to all the options, choose the most aggressive approach, and commit to fighting the cancer right away."

Pet owners are often surprised when they discover how much they can save with a pet health insurance policy. With Veterinary Pet Insurance, pet owners have the choice of two accident and illness plans -- a Gold Plan that starts at $89 a year or an Advantage Plus Plan starting at $159 annually for puppies and kittens. An additional cancer endorsement, that starts at $9 a year, can be added to a policy and will double the plan's cancer benefits. For example, a pet owner with an Advantage Plus Plan would be reimbursed up to $1,025 for surgery to treat thyroid cancer. If that pet owner also carried the cancer endorsement, Veterinary Pet Insurance would pay up to $2,150, a 100 percent increase in benefits.

Terry Vinocur, a policyholder since 1995, added the cancer endorsement to her plan because she knew her dog, a Boxer named Brooke, is one of several breeds more prone to developing cancer. During the past four years, her dog has suffered several skin cancers and mast cell tumors.

"At the end of last year, I was petting Brooke and found what I thought was a swollen gland," says Vinocur. "It turned out to be a tumor the size of an egg in her thyroid. A specialist removed all of the visible cancer. Between the surgery and all of the medication, the procedure cost $1,200. Veterinary Pet Insurance paid for $800. For me, the pet insurance was a godsend. I didn't even have to consider not having the surgery done because of how expensive it was."

Founded in 1980 by 750 independent veterinarians, Veterinary Pet Insurance is the nation's oldest pet health insurance provider. Policies are licensed in 46 states and the District of Columbia. More than 850,000 Veterinary Pet Insurance policies have been sold and are exclusively endorsed by the American Humane Association. For more information on how pet insurance makes costs manageable for pet owners, call 1-800-USA-PETS (in Texas, call 877-PET-HEAL) or visit the company's World Wide Web site at www.petinsurance.com.

Source Citation
"Americans Can Protect Best Friends from Cancer." PR Newswire 15 Apr. 1999: 0815. Military and Intelligence Database Collection. Web. 25 Sep. 2011.
Document URL
http://go.galegroup.com/ps/i.do?&id=GALE%7CA54381935&v=2.1&u=22054_acld&it=r&p=GPS&sw=w

Gale Document Number: GALE|A54381935

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Americans Can Protect Best Friends from Cancer

2011-09-25T11:02:00.002-04:00

Animals vs. Technology [Digg Reel - Ep. 148], a photo by revision3 on Flickr.

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Bearcats revs up for diners in the Stutz Building

2011-09-22T22:09:00.002-04:00

Animal, originally uploaded by Emmepi79.

OK, so its moniker is actually tied to the Stutz sports car, but Bearcats Restaurant (1055 N. Senate Ave., 602-3509) nevertheless made this month's list of animal-named eateries--all the better to check out the latest option from serial restaurateur Tim Reuter (Bourbon Street Distillery, Living Room Lounge and Tip Top Tavern).

Located in the labyrinthine Stutz Business Center, Bearcats replaced the Loading Dock pub a year or so ago and Reuter took over in October. The good news for the directionally challenged (guilty) is that diners can bypass the Stutz's often-confusing corridors in favor of the restaurant's own Senate Avenue entrance.

We did just that and seated ourselves in the unassuming lounge, where we were greeted by a friendly server.

Sticking with her advice, we tried Onion Rings ($5.99) and a couple of standard sandwiches: Breaded Tenderloin ($7.95) and The "Dublin" Reuben ($7.95). Each was served with a mound of decent French fries and a cup of sweet coleslaw, making us wish we'd eschewed the o-rings, which were enormous, if a bit limper than we would have liked.

The Reuben, on the other hand, was stellar. Bearcats roasts its own corned beef--a lean, flavorful meat that had my mouth watering. Like most other Reubens, the corned beef was topped with grilled sauerkraut, Swiss cheese and Thousand Island dressing, but it wasn't piled so high that I had to dislocate my jaw to take a bite.

My companion opted for the tenderloin, wavering momentarily on the grilled-or-fried question before giving in to decadence. What's the point of a grilled tenderloin, really? And what's the point of a tenderloin at all if it isn't cut fresh (as Bearcats' are) and the right balance isn't found between the crisp and the tender (ditto). At half the size, it would have been a pleasure. He also tried a cup of chili ($2.99 or part of a $6.99 Endless Soup and Salad combo), finding it heartier than standard bar fare.

Yes, Bearcats is a bar, too, with a lounge-like area for adults only. Families and artistic-minded teens can sit at the all-ages counter or one of the booths in the wide corridor that features the titular auto.

Duty called, so we couldn't stick around for a lunchtime libation--the beer menu includes selections from Indianapolis-based Sun King Brewery--but we were tempted by the couches surrounding a gas fireplace. Next time. If we have time.,

Third in our month-long series of reviews of animal-named eateries.

Davis, Andrea Muirragui

Source Citation
Davis, Andrea Muirragui. "Bearcats revs up for diners in the Stutz Building." Indianapolis Business Journal 15 Mar. 2010: 33A. Small Business Collection. Web. 22 Sep. 2011.
Document URL
http://go.galegroup.com/ps/i.do?&id=GALE%7CA222485589&v=2.1&u=22054_acld&it=r&p=GPS&sw=w

Gale Document Number: GALE|A222485589

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]Returning to Myron

2011-09-17T14:08:00.002-04:00

Exercise room [Street of Dreams], originally uploaded by arc blue.

"Lost Books" is a weekly series highlighting forgotten books through the prism of Tablet Magazine's and Nextbook.org's archives. So blow the dust off the cover, and begin!

Remember Me To God, Myron Kaufmann's debut novel, came out 54 years ago this month. As Josh Lambert noted on the 50th anniversary of the novel's publication, the book has fallen out of favor, though it had been initially heralded by the likes of Norman Mailer and Alfred Kazin and appeared on New York Times bestseller lists. "Even excellent books fall into obscurity all the time," Lambert explained, "no matter how popular they've beenparticularly when, like Kaufmann's, they spill out over nearly 700 pages of fine print."

The novel tells the story of a Jewish family, the Amsterdams, in 1941, a year during which the older son, Richard, manages to ascend the social ranks at Harvard and earn a coveted spot on The Harvard Lampoon and induction into the Hasty Pudding Institute. His subsequent proposal to a Radcliffe-attending society girl (named Wimsy Talbot, no less) wreaks the expected havoc within his familymaking the novel, in Lambert's comparison, the emotional equivalent of an excruciatingly slow-motion car wreck, and inspiring Jewish leaders in the late 1950s to denounce the book as a literary documentation of Kaufmann's own Jewish self-hatred.

Yet, Lambert argues, it actually offers a thorough analysis of the phenomenon of Jewish self-hatred, rather than simply serving as an example of it. "It is as an unusually evenhanded entry into this rich tradition that Remember Me to God deserves to be remembered," Lambert wrote, "and as a finely wrought triumph of midcentury realism so precise in its observation that it captures perfectly the incline of streets in Harvard Square and the musty smell inside the Lampoon castle."

Read Regatta Land, by Josh Lambert

Stephanie Butnick

Source Citation
Butnick, Stephanie. "Returning to Myron." Tablet Magazine 9 Sept. 2011. Religion and Philosophy Collection. Web. 17 Sep. 2011.
Document URL
http://go.galegroup.com/ps/i.do?&id=GALE%7CA266607064&v=2.1&u=22054_acld&it=r&p=GPS&sw=w

Gale Document Number: GALE|A266607064

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Fitch Rates California Dept Water Resources 2011N Power Supply RevBds 'AA'; Stable Outlook

2011-09-07T22:33:00.002-04:00

T2i - Fish, originally uploaded by doug88888.

Fitch Ratings assigns an 'AA' rating to California Department of Water Resources (DWR; Electric Power Fund) series 2011N power supply revenue bonds.

Depending upon market conditions, DWR may issue up to $1.1 billion in 2011N refunding bonds, via negotiation, the week of Aug. 15. In addition, Fitch affirms the 'AA' rating on the DWR Electric Fund's $7.8 billion in outstanding parity power supply revenue bonds. The Rating Outlook is Stable.

SECURITY

The power supply revenue bonds are secured by DWR's Electric Power Fund bond charge revenues, imposed by the California Public Utilities Commission (CPUC) on approximately 11.4 million electric customers served by the state's largest investor owned utilities: Pacific Gas & Electric Co. (PG&E; Issuer Default Rating [IDR] of 'A-'), Southern California Edison Co. (SCE; IDR of 'A-'), and San Diego Gas & Electric Co. (SDG&E; IDR of 'A'). The bonds are separately secured from any other obligations of DWR and are not obligations of the state.

KEY RATING DRIVERS:

Irrevocability of Bond Charge: California legislation AB1X (enacted 2001) established the irrevocability and enforceability of DWR's bond charges. Pursuant to this legislation, the bond charges are required to be adjusted as needed to ensure full recovery of DWR's debt service costs.

Timely Approval of DWR's Revenue Requirement: DWR has had a solid nine-year track record of timely processing of DWR's annual revenue requirement by the CPUC.

DWR Revenues Derived from Large Customer Base: DWR's revenues are supported by a very large (11.4 million), diverse customer base, spread throughout the state of California.

Winding Down of Purchased Power Contracts: A key credit strength of late, are the rapidly declining power supply expenses, particularly beginning in 2012, as purchased power contracts expire. The power supply portion of DWR's charges have historically been the more volatile component (due to the associated natural gas commodity exposure and kwh sales risk).

Solid Cash Reserves: DWR continues to maintain ample operating and debt service reserves. In particular, as of Jan. 1, 2012, DWR projects to have $899 million in its power charge accounts which is estimated to be sufficient to pay all remaining power costs through the expiration of the last purchased power contract in 2015.

Sharly Declining Variable Rate Exposure: Depending upon market conditions, DWR could refinance, with proceeds from the 2011N fixed rate bonds, all remaining variable rate securities ($947 million outstanding currently). As a result, the refunding will reduce or eliminate associated interest rate exposure and bank liquidity replacement risk.

Ongoing Risks to Cash Flows: While power supply costs continue to be collected, certain risks to transaction cash flows remain, including: actual kwh sales below annual projections, volatility in natural gas prices, and the potential for delays in IOUs' servicing of DWR revenues or the CPUC approving DWR's revenue requirement.

CREDIT PROFILE

DWR's Electric Power Fund was created by state legislation in 2001 when soaring energy prices outpaced the capped retail electric rates charged by the state's IOUs. PG&E and SCE were unable to pay their full power expenses, and the ability of all three of the state's largest IOUs to reliably deliver power was severely comprised. Governor Davis at the time declared a state emergency in California and directed DWR to take over the responsibility to procure power for the state's IOUs. Toward this endeavor, DWR issued over $11.3 billion in power supply revenue bonds, including roughly 60 percent fixed rate and 40 percent of variable rate securities.

DWR entered into more than 50 power supply contracts to meet the IOUs residual net retail load. Since 2001, DWR has favorably utilized very conservative financial stress scenarios and regularly updated kwh sales and natural gas price forecasts in order to maintain adequate power cost recovery from customers. Since 2008, the power supply contracts, which are subject to greater cost volatility, have begun to expire, reducing DWR's power supply exposure as each contract is terminated. Contractual power purchases are scheduled to fall from 3,293 GWHs in 2012, to 90 GWHs in 2015, and ultimately to zero by May 1, 2015.

Once all the power supply contracts expire, solely DWR's bond charges remain to be collected through 2022, at an average cost of less than 1 cent per kwh. Additionally, risk of DWR having to siphon funds from the bond charge accounts to meet under-funded power costs (as provided in the Indenture) is eliminated as well. To date, DWR has more than sufficiently covered power supply costs through collected power charges.

With respect to DWR's bond charge revenues, DWR experienced some fluctuation in variable rate interest expense during the financial market fallout in 2007-2008. Positively, DWR weathered the market turmoil given its significant operating and debt service reserves. Historically, DWR has also benefited from conservative variable interest cost projections. Prospectively, with the planned 2011N refunding, DWR's variable rate debt exposure may well be eliminated. Variable rate debt as a percentage of total debt is currently modest, at 12.1 percent, and will only decline with this planned financing.

Additional information is available at 'fitchratings.com'.

In addition to the sources of information identified in Fitch's Revenue-Supported Rating Criteria, this action was additionally informed by information from Bond Counsel, Financial Consultant, CreditScope, and State of California website.

Source Citation
"Fitch Rates California Dept Water Resources 2011N Power Supply Rev Bds 'AA'; Stable Outlook." Professional Services Close-Up 12 Aug. 2011. Gale Power Search. Web. 7 Sep. 2011.
Document URL
http://go.galegroup.com/ps/i.do?&id=GALE%7CA264530296&v=2.1&u=22054_acld&it=r&p=GPS&sw=w

Gale Document Number: GALE|A264530296

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A tradition of technology & craftsmanship: architectural woodworkingfirm Parenti & Raffaelli has built its reputation by combininghandcraftsmanship with the precision of CNC machining

2011-09-07T22:23:00.002-04:00

katie with crossbow, originally uploaded by christina on flickr.

Craftsmanship and capabilities. Those two words continue to define J a 60-year tradition of woodworking by Parenti & Raffaelli Ltd.

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Located in Mt. Prospect, IL, just outside of Chicago, the family-owned Parenti & Raffaelli is a producer of architectural millwork and casegoods for the residential and commercial markets. At the 65,000-square-foot facilities, Parenti & Raffaelli employees help in the manufacture of a diverse range of veneered, laminated and solid wood products, certified under the Architectural Woodwork Institute's (AWI) Quality Certification Program.

The company is also LEED certified. "We are seeing more and more bids that are for LEED jobs," says Robert Parenti, president and one of the two LEED Green Associates on staff. "We're definitely seeing it on the commercial side, where there are more requests for documentation. On the residential with formaldehyde, so there as well." side, there are concerns we have seen requests

Parenti & Raffaelli also is a long-time advocate of sustainable as well as efficient manufacturing practices. And throughout the production process, Parenti adds, the company ensures the same attention to detail is given to the small jobs, as is provided to high-volume projects.

Technology and Handcraftsmanship

Parenti & Raffaelli is known in the industry for its ability to blend CNC technology and hand-craftsmanship in all its projects. The company also actively promotes the talents of its employees in European craftsmanship for the production of architectural woodwork.

"European craftsmanship is based on a method of learning. It is not constrained to one style of joinery, for example," Parenti says.

In other words, it gives the company the flexibility to choose the best method of construction based on the project, whether it be tongue and groove, mortise and tenon, lock miter, regular miter, dado or dowel, adds Don Parenti, executive vice president. "Unlike some companies, we're not locked into one type," he says.

[ILLUSTRATION OMITTED]

"We use the joints to not only give strength, but add quality, as we build products to AWI standards," Don adds.

In addition to European craftsmanship, the company's reputation for service--with customers as well as with the other trades--also sets it apart from domestic and foreign competitors. "Keeping a high quality level through the years has brought us customers," notes Jim Parenti, vice president. "A lot of our customers are recurring ones as well."

It's not just on the residential side. In fact, Don adds, oftentimes when a corporate customer has moved offices, it will contact Parenti & Raffaelli to outfit the new building.

In addition to new construction, Parenti & Raffaelli also offers restoration services, as well as inlay work and hand carvings. Says Ron Parenti, "We will even service parts we did 20 years ago."

A just-in-time manufacturer, the company splits its production between two buildings, which are adjacent to each other. According to the Parentis, this reduces any unnecessary downtime and allows the company to maintain its fast turnaround time. "We also try to do as much as we can in-house to control the project," Jim says.

Dozens of projects are in process on any given day. In addition to veneer, solid wood and laminate, the company can also incorporate leather, fabric, metal and stone in its work. Parenti & Raffaelli is also certified for solid surface fabrication.

The vast majority of Parenti & Raffaelli's projects are of veneer and solid wood. Once a veneer flitch is selected, it is cut on a Savi guillotine, sequence matched and run through a Black Bros, glue spreader before being laid up in-house on a Joos press. From the press area, panels are cut to size on Holzma and Striebig saws. The panel processing areas in the two buildings also include: Homag and Heian CNC routers, Homag and Holz-Her single-sided edgebanders and Heesemann sanders.

[ILLUSTRATION OMITTED]

For solid wood parts, Parenti & Raffaelli performs its own rough mill operations, including ripping to width on a Diehl and moulding on a Weinig Profimat.

Additional machinery in the plants includes: a Tannewitz band saw, SawStop saws, and Dodd, Felder and Oliver machines. The company also offers custom finishing services, including a wide variety of colors and specialty options, such antiquing and hand scraping. "The sky is the limit," Bob says.

Its high quality standard is a large selling point for the company and everyone is responsible, with Louis Neri Sr. as the final inspector. In addition to checks at every station, Parenti & Raffaelli goes a step beyond by pre-assembling projects to check the quality and fit, then taking products apart for finishing. They are then re-assembled before shipping to the customer, Don says.

Entire libraries, for example, have been set up in the assembly area. 'That's all part of our process" Jim adds.

A Tradition of Excellence

Family-owned, Parenti & Raffaelli traces its traditions back to Italy, where Peter Parenti first learned woodworking from his father. When he was in his early 20s, Peter came to the United States and found work at a woodworking company, where he quickly moved through the ranks to become a partner.

It was there that Peter met John Raffaelli, a cabinetmaker, and set the foundation for a joint venture between Raffaelli and Peter's sons Bob (Sr.) and Ron. In 1951, Parenti & Raffaelli opened its doors for business.

Today, the company is run by Peter's grandsons Bob, Don and Jim, with the next generation already in place to continue the tradition.

Koenig, Karen M.

Source Citation
Koenig, Karen M. "A tradition of technology & craftsmanship: architectural woodworking firm Parenti & Raffaelli has built its reputation by combining handcraftsmanship with the precision of CNC machining." Wood & Wood Products Aug. 2011: 22+. Gale Power Search. Web. 7 Sep. 2011.
Document URL
http://go.galegroup.com/ps/i.do?&id=GALE%7CA266141591&v=2.1&u=22054_acld&it=r&p=GPS&sw=w

Gale Document Number: GALE|A266141591

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Happy Buddha

2011-09-02T10:58:00.002-04:00

Happy Buddha, originally uploaded by doug88888.

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Day 48- The Arrow of Light

2011-08-31T17:59:00.003-04:00

Day 48- The Arrow of Light, originally uploaded by Jinx!.

Sure, a good pair of running shoes is the only equipment you really need. But anything that makes running easier, safer, more health-enhancing and more enjoyable is also a good idea.

So now, for the first time ever, we've collected hundreds of top-notch running products together in a complete Gear Guide for runners. Whether you're interested in big-ticket items like home gyms and stairclimbers, or smaller devices like chronographs and water carrying systems, you'll find them all here (except treadmills, which we'll review in a special article next month).

We suggest you save this guide for future references. Experience has shown that you can never tell when you'll be needing one of these products. It might not be today, but there are plenty of tomorrows in your running career.

Sports Watches

After shoes and clothing, the runner's next most important piece of equipment is the sports watch. These come in a range of functions: you can find anything from the simplest stopwatch to one that measures your blood pressure.

If all you ever want to know is how long you've been running, a running watch with a timer is all you need, but if you regularly do speedwork, you'll benefit from one that records and stores lap times.

Must-have features: Waterproofness, stopwatch, digital display

All-Sport Instalite by Armitron

This is a good basic chronograph with a stopwatch function for those who simply want to know how long they've been running. It has a night-vision display that allows you to read the time in the dark. $25. (800) 937-0050 (ask for Armitron).

BP 100 by Casio

If you're interested in quick and easy pulse and blood pressure measurement, you'll like the BP 1 00. You simply place your fingers on sensors on the watch, and your pulse and blood sure appear on the display. The BP 100 also has a stopwatch, which measures total time and split time. $169.95. (800) 962-2746.

100-Lap Ironman Triathlon by Timex

This watch offers so many features, it can just about substitute for a coach. It has an internal log that can store and recall 100 laps compiled over many training sessions. The log displays the session number, date, total time and your best and overage lap times and split times. In addition, you can program up to nine timed intervals with up to nine repetitions each. Also, the watch has a memo log for phone numbers and dates. It will hold up to 10 entries of 24 characters each. $54.9 5. (800) 367-8463.

Performance Series PSX005S by Pulsar

In addition to all the basics--stopwatch, water resistance, alarm--this watch counts up to 99 laps and can recall 30. It also has a countdown timer and a tachymeter for calculating average speed. $79.50. Available wherever Pulsar watches are sold.

Predator by FreeStyle

For serious speed training, the Predator gives 75 split times, and you can measure improvement equal-distance laps from day to day or week to week. This watch also features a countdown timer. It's so new we couldn't even get a sample to photograph. $49.95. (800) 776-6449.

Aqua Gear

One of the best ways to cross-train on your off days or stay fit when you're injured is to take your running to the pool. Pool running uses the same muscles and ranges of motion that road running does. The difference is, your body doesn't get pounded.

You don't need aqua gear to run in the pool, and you'll get a harder workout if you don't wear any. But when you want to go easy, or if you're so lean you sink like a rock no matter how hard you work to stay up in the water, use an aqua vest or belt.

Or shorts. Aqua gear comes in a variety of forms. Any of the flotation devices described here should offer you enough buoyancy. Pick what will be most comfortable for you.

Must-have features: Adequate flotation, comfortable fit

AquaJogger Pro by Excel Sports Science, Inc.

If you drop like a brick anytime you get into a pool, this buoyancy belt may be the one for you. It's thicker than the company's Classic model and provides 30 percent more flotation. $59.95. (800) 922-9544.

AquaTunners Footwear by Excel Sports Science, Inc.

"Running shoes" for the deep water, AquaRunners are worn along with an upper-body flotation device. They boost your buoyancy a little, but their primary purpose is to increase water resistance for a tougher workout. (800) 922-9544.

[H.sub.2]O Works Shorts by ERO Industries

In this piece of aqua gear, pads of EVA foam for flotation are sewn inside a purple waistband attached to neoprene shorts. Zippers on both sides of the shorts make them easy to put on and take off. $49.99-$59.99. (800) 323-5999.

Wet Vest II by Bioenergetics

True to its name, this flotation device fits like a vest over your whole torso. Because the buoyant maternal is spread over a wide area, the vest has a less bulky construction than other flotation devices and provides more stability in the water. Suggested retail price: $169.95. (800) 938-8378.

Gear Bags

Though they may look alike, all gear bags are not created equal. The most basic have just one compartment into which you dump everything--your running shoes, shorts, T-shirt, sunglasses, towel, soap, sports bars.... The best have several compartments or pockets so that you can organize your running gear and personal items for easy access.

Also, multiple compartments keep wet towels and sweaty gear separate from dry clothing so they don't all tumble together into one pile of smelly, soggy stuff. Mesh pockets on the outside of a bag are especially nice, as they allow you damp things to dry out

Must-have features: Multiple compartments, mesh pockets

Laguna by Mizuno

The Laguna has two mesh pockets, one at each end of the bag, and there are zip pockets inside and out. $50. (800) 966-1 234.

Mesh Gear Bag by TYR

If you want mesh, here it is. This is a full mesh bag with two nylon pouches on the front for personals. $27. (800) 252-7878.

Mesh Signature Duffle by Nike

A zippered mesh pocket covers one whole side of this gear bag. Inside, there's a special small pocket for personal items. $37.50. (800) 238-2775.

Mini Wet/Dry Gear Bag by Patagonia

This bag is split down the middle into two compartments: mesh on one side and nylon on the other. An interior zip pocket holds personal items. $62. (800) 638-6464.

Runner's Duffle by Asics

This bag has two outside mesh pockets, and a water-bottle holder on the front. Inside there's plenty of room for gear. $35. (714) 962-7654.

Signature-Team Duffle by Reebok

The Signature-Team Duffle has several compartments, including an interior expandable nylon pouch for wet clothes and a diagonal zippered pocket at one end shoes. $25. (800) 228-7867.

Training Duffle by Adidas

A large outer mesh pocket can hold all your wet clothes, and there's plenty of room inside for other gear. $59.99. (800) 448-1796.

Sports Cameras

Have you ever been running on a beautiful trail or in a new city and seen something that you wished you could photograph? Next time you're headed for a scenic run, take a camera with you.

Most manufacturers of photo equipment make "point-and-shoot" cameras. They're small, lightweight and fully automatic, and they take high-quality photos in a snap. Many are rugged and weatherproof, and some have zoom or panoramic features. Don't leave for your next run without one.

Must have features: Fully automatic mechanism, light weight easy operation

Infinity Mini by Olympus

Neither rain nor snow will harm the Infinity Mini. This weatherproof camera weighs only 6 1/2 ounces and takes high-quality photos. $1 80. (800) 221-3000.

IQZoom 90-WR by Pentax

At 15 1/2 ounces, the IQZoom is a little heavier than the other models reviewed here, but it's worth its weight in features. It has a zoom lens, a detachable remote control unit that operates both the zoom and the shutter, and a contour design for easy grip, and it's fully weatherproof. $402. (800) 255-0415.

Lite-Touch by Nikon

The lightest point-and-shoot around, this camera weighs in at only 5.5 ounces. It has a panorama mode for wide-view shots, and the quality of photographs you'll get with the Life-Touch is hard to beat. $1 64. (800) 645-6687.

Mermaid by Konica

Take the Mermaid on your next running/scuba vacation. It's completely waterproof for underwater photography and has a "sports finder" attachment for framing underwater shots. For wide-view shots, the lens switches easily from standard to panorama format. It weighs 12 1/8 ounces. $450. (800) 695-6642.

Mini Zoom by Leica

This supercompact camera has a zoom lens and weighs a mere 6 1/2 ounces. To try and catch those fleeting moments you encounter on the run, hold the shutter release down, and the camera will shoot continuously. $379. (800) 222-0118.

RW-1 by Ricoh

The RW-1 is weather resistant and offers a panorama mode. A databack, which imprints date and time and shows the number of pictures taken, is optional. The camera weighs 9 1/5 ounces with the databack and 8 4/5s without. $129. (800) 225-1899.

Sure Shot A1 Date by Canon

This waterproof camera will survive underwater depths of about 16 feet--in case you happen to fall in a lake or something. Two layers of glass on the lens ensure that it won't fog up. The Sure Shot weighs 11 1/5 ounces. $345. (800) 828-4040.

Weathermatic Dual 35 by Minolta

This camera is also waterproof to 16 feet. It weighs 14 1/8 ounces, and its lens changes from standard to telephoto. $320. (201) 825-4000.

Carbohydrate-Loading Drinks

Not to be confused with fluid-replacement drinks, carbo-loading drinks have a much higher concentration of carbohydrates: approximately 100 grams per serving, versus 30 grams for beverages such as Gatorade or AllSport. Most of the carbohydrates come from glucose polymer (a complex carbohydrate), and a small amount comes from fructose.

Drink these carbo-loads before a workout or race to store up carbohydrates and glycogen, and take them afterward to replace spent energy stores and speed recovery. Carbo-loading drinks are good for those runners who have difficulty with solid food before or after a long run or race. As with other food products and beverages, you need to try several brand to find what tastes best and work best for you.

Must-have features: High carbohydrate concentration, easily digestible formula, good flavor

Carb-BOOM by TriBro

Not quite liquid, Carb-BOOM is a fruit-puree base blended with a concentrated complex carbohydrate solution. One serving (4.93 ounces) provides 78 grams of carbohydrates. $7.95 per six-pack. (800) 554-2791.

GatorLode by Gatorade

GatorLode gives you 70 grams of carbohydrates (280 calories) per 12-ounce serving. $23.90 for of 24 cans. (800) 884-2867.

Ultra Fuel by Twin Laboratories, Inc.

In addition to supplying 100 grams (400 calories) of carbohydrates in each 16-ounce serving, Ultra Fuel provides 100 percent of the RDA for vitamin C and several B vitamins. Other nutrients include chromium, potassium and magnesium. Only available through GNC stores and Nature Food Centres. For more information about Ultra Fuel, write: Twin Laboratories, Inc., Ronkonkoma, NY 11779.

Water-Carrying Systems

During an hour of running, you can easily lose more than 2 quarts of water through sweat If you don't replace water as you sweat, your blood thickens, forcing your heart to work harder, transport of oxygen and nutrients to your muscles slows, and your performance suffers. If you become overly dehydrated, you may become weak, dizzy, nauseated or worse. The message is clear: Drink during your run.

Unless you know a route that takes you fountains at regular intervals, you'll need to can ids with you. Fortunately, several manufacture have recognized this need and have designed carriers for easy transport of fluids. There is a range of water-carrying systems to choose from, depending on whether you're out for a long training run or crisscrossing the Grand Canyon

Look for the lightest, simplest carrier what will meet your fluid needs. Make sure it's comfortable and won't bounce around as you run.

Must-have features: Comfortable, snug fit; easy access to beverages

Go-Be by Camelbak

The Go-Be wraps securely around your hips and holds up to 50 ounces of fluid in an insulated pouch. You drink through a plastic tube that extends from the pouch around your waist or over your shoulder, so there's no fussing with water bottles. Side pockets hold extra items. $63.95. (800) 767-8725.

[H.sub.2]O Rapido by Outdoor Products

The Rapido waistbelt carries one 21-ounce bottle in an insulated pouch. It has two side mesh pockets with zippered closures. $20. For a dealer listing, write to: Customer Service, The Outdoor Recreation Group, 1919 Vineburn Ave., Los Angeles, CA 90032.

Liquid Solo Belt and Liquid II Storage Pack by OGIO International

The Liquid Solo Belt carries a 21-ounce bottle in a foam-insulated pouch and has two zippered pockets. For trail runs, take along the Liquid II Storage Pack, which holds two 21-ounce bottles and has more room for carrying gear. Solo Belt, $20; Storage Pack, $50. (800) 922-1944.

Sierra and Stansport by Winter Creek

The Sierra has four pouches along its belt, each holds a contoured, 16-ounce bottle. A fifth pouch stores small items. The Stansport is designed more like a fanny pack. It carries two 21-ounce bottles and has a roomy compartment for carrying additional items. The Sierra uses a Velcro closure, and the Stansport a quick-release buckle. Sierra, $58; Stansport, $47.99. (714) 536-1522.

Solo, Extender and Nimbus by Ultimate Direction

All three of these carrying systems fit securely and comfortably, have insulated holders to keep beverages cool and feature zippered pockets for holding other items. The Solo carries one 22-ounce bottle and is great for long training runs. Trail runners might prefer the Extender, which holds two 22-ounce bottles and has extra space for food and other items. If you're planning an extended excursion, you'll want the Nimbus, which carries 82 ounces of fluid and 12 to 14 pounds of gear. Solo, $24; Extender, $70; Nimbus, $100. (800) 426-7229.

Energy Gels

When it comes to long runs and marathons, you'll perform best if you refuel along the way. Energy bars supply a lot of carbohydrates, but the fiber, protein and fat they contain slows digestion. Energy gels contain only carbohydrates and are more easily digested.

They come in 1-ounce plastic or foil packets that fit in the palm of your hand. Each packet provides 70 to 100 calories from carbohydrates with small amounts of electrolytes. You simply tear off the top, squeeze the gel into your mouth and swallow. Follow with water. Currently, there are four energy gels on the market. Try them all to find what works best for you.

Manufacturers recommend that you eat one packet every 30 minutes of your run or race. Of course, before using one of these gels during a race, test it out in training.

Must-have features: Easily digestible formula, easy-open package, good flavor

GU by Sports Street Marketing

In addition to its carbohydrates, GU contains tiny amounts of calcium, herbal extracts, beta-carotene and vitamins C and E. It also has a slight amount of caffeine--equivalent to 1/5 cup of coffee. GU comes in chocolate, vanilla and orange (vanilla reportedly tastes best). The bottle-shaped packaging makes it easy to use on the run. $1.25 per packet. (800) 400-1995.

Pocket Rocket by Sports Pep

Pocket Rocket comes in lemon-lime and chocolate--go with the chocolate, say taste-testers. $1 per packet, $1 4.95 for a box of 12. (800) 833-8737.

ReLode by Gatorade

ReLode is more syrupy in texture than the other gels. The banana flavor is reported to be pretty yummy. Other flavors are grape and "unflavored," which tastes like vanilla. $1 per packet, $9.99 for a box of 10. (800) 884-2867.

Squeezy by Perfect Performance USA

Squeezy comes in lemon-lime, peach, pineapple, vanilla, strawberry and banana. The lemon-lime, strawberry and banana taste best. $1 per packet, $10 for a box of 10. (800) 853-7746.

Heart-Rate Monitors

You've read those training stories that tell you to do your easy runs at 65 percent of maximum heart rate, tempo at 85 percent and speedwork at 95 percent. Great, but how do you know when your heart is beating at the proper percentage? It's easy with a heart-rate monitor.

Some heart-rate monitors use sensors that attach to the ear, and others pick up signals from your hand, but the chest-band type works best under a variety of conditions. Heart-rate monitors work on the same principle as hospital EKG equipment. Sensors in the chest band pick up signals from your heart and then send the data to the receiver on your wrist where you can read your heart rate as clearly as the time on your running watch.

The simplest monitors display only your heart rate, but others will tell you the time of day, give you elapsed running time, alert you to when you are over or under your target zone and more. Most are waterproof and highly accurate. One thing to keep in mind regarding wireless heart monitors: because they use radio-type signals, they may be affected when you are near electrical equipment (such a treadmills and stairclimbers) that can interfere with those signals.

Must-have features: Wireless construction with chest strap and wrist-band receiver (all models below are this type); easy-to-read display; simple operation

CardioChamp by Sensor Dynamics

If it's simplicity you're after, the CardioChamp is the monitor for you. It gives you heart rate only, it's a cinch to use, and its display is very easy to read. $89.95. (800) 764-4327.

Heartsafe-T by Cardiosport

This monitor displays heart rate, time of day and elapsed time and can record up to 30 sample heart rates at set intervals of 5, 15, 60 and 120 seconds. An alarm indicates when you are above or below your target zone. $129. (800) 494-4320.

Protrainer by Polar

The Protrainer, one of several excellent models from Polar, can display heart rate, lap time, elapsed running time and time of day. It has alarms that signal when you are above or below your target zone; calculates time spent above, below and within your zone; and records your average heart rate for total exercise time. $219. (800) 227-1314.

Insoles

Some insoles, such as the Cross Trainer by Superfeet, provide extra stability for your feet as you run, but most simply add an extra layer of shock absorption to your shoes.

Heel inserts or cups may provide just the adjustment some runners need in their shoes to end heel pain, Achilles tendon pain or even lower-back pain. However, insoles are not orthotics, so if you think you may have a biomechanical problem of any sort see a podiatrist

Must-have features: Comfort cushioning, breathability

Cross Trainer and Heel Cups by Spenco

Not just for cross-training shoes, the Spenco Cross Trainer has forefoot and heel-strike cushioning to protect the whole foot. Spenco's Heel Cups provide extra stability in the heel and have a neoprene heel drop for good shock absorption. Insole, $1 7.50; Heel Cups, $8.40. (800) 877-3626.

Cross Trainer Low by Superfeet Inshoe Systems

Designed to provide some stability as well as shock absorption, these insoles are semirigid. They're made from full-length foam with a 3/4-length polypropylene stabilizer cap. Superfeet has developed a Trim to Fit technology that allows you to tailor the insole to your shoe. $27.95. (800) 634-6618.

Sof Sole Insoles by Implus

The foam used to make these insoles has an open-cell structure, which allows air to move freely and moisture to evaporate for cool, dry feet. In addition to the full-foot insole--the Sof Runn Plus--Implus makes a heel pad for runners, as well as a gel pad that fits under the heel and may be a solution for those who experience lower-back pain or heel pain when they run. Sof Runn Plus, $1 5.99; Sof Sole Heel Pad, $3.99; Sof Sole Gel Heel Pad, $6.99. (800) 446-7587.

Ultra Performance Air Pro by Kiwi Performance Group

Designed to keep your feet dry and cool, this insole features a DynaPump system that pushes air through channels on the underside of the insole from the heel forward and then up to the foot through more than 100 perforations. In addition, the fabric on the top of the Air Pro wicks moisture away from your skin. $14.95. (800) 289-5494.

Ultra Sole Runner/ Walker by Spectrum Sports

Sorbothane is one of the oldest and best-known insole materials, and it's the basis of the products made by Spectrum Sports. The manufacturers ore so confident of their insoles they offer a moneyback guarantee with every product. Full-foot insole, $18.95; heel cups, $10.95. (800) 321-4145.

Reflective and Safety Gear

If you're like most runners, you make time for your run when you can, even if that means after the sun sets or before it rises in the morning. On those days when you have to head out into darkness, be sure to don some reflective gear or take along a safety light. There are several safety products available now, from the standard reflective vest to clip-on lights.

Must-have features: Reflective material or some source of fortable fit; ease of use

Jogalite Reflective Vests and Wallet by Jogalite

Just slip on one of these lightweight, easy-to-use vests and attach the straps at the front to Velcro strips. Reflective stripes across the vest let drivers know you're coming. Available in several styles and colors. $6.50 to $8, depending on model. A reflective wrist wallet is $3.25. (800) 258-8974.

Lightning Belt by Austin Innovations

Weighing around 6 ounces, this belt adjusts comfortably and snugly around your waist. It contains a light ship powered by a 9-volt battery. The green glow of the Lightning Belt is visible from 5,000 feet away. $24.95. (800) 966-2275.

OGIO Safety Light by OGIO International

This 1-ounce light attaches with a belt clip or an arm band (included). It can be seen from over a half-mile away and provides more than 160 hours of light. It's weatherproof and durable. $8. (800) 922-1 944.

Tetra-Glo Reflective Gloves by Polygenex International

Be seen day and night with Tetra-Glo reflective gloves by Polygenex. The fluorescent orange color can't be missed during the daylight hours, and reflective yarn woven into stripes makes the gloves visible in the dark from over 350 feet away. $12.95. (800) 380-0071.

Zeonz by Barker Technologies

Some running shoes have reflective stripes on them, but if you really want to be seen, consider the Zeonz. This 6-inch neon tube clips to your running shoe. At the flick of a switch, the light beams a bright red. It comes with batteries that last 80 to 100 hours. $20 for a pack of two. (618) 462-3527.

Sport Sandals

Ah, rebel That's what your tired feet will feel when you step into a pair of sport sandals after a hard run or a race. Sport sandals let your feet recuperate on a comfortable, anatomically correct footbed. And, of course, sandals protect you from all kinds of nasty stuff--from broken glass and sharp stones to locker-room bacteria.

When you consider a sport sandal, comfort, fit and stability should be your first concerns. Also think about where and for what activity you'll be wearing them--the house, yard, pool, beach or trail, for wading, hiking, even running--as recommended use varies by product

Must-have features: A footbed perimeter slightly larger than your foot's dimensions (an oversized footbed lets the foot settle comfortably and securely into the shoe and allows room for socks); a strap and closure system that's adjustable for a customized fit and made of durable fastening materials

Air River Guide by Nike

The superior control you get from the advanced "wet" traction outsole pattern is a river rat's delight. Easy-to-adjust, double-layer straps provide reinforcement and a custom fit. $75. (800) 352-6453.

Amazone Ultra by Reebok

The lugged outsoles of these sandals grip the ground with authority, and full-grain leather hook-and-loop straps will keep your sandals securely in place on land or in water. $59.99. (800) 843-4444.

Gel Sport Sandal by Asics

The padded, double-layer closure system delivers a secure fit and comfort that will keep you walking. Constructed with Asics's high-quality Gel insole. $40. (714) 962-7654.

Gulf by American Sporting Goods OP Sandals

Life's a perpetual beach when you strap on the fully adjustable Gulf. The sturdy, ridged outsole lets you comfortably and securely negotiate the steepest dune or deepest creek. $34.95. (800) 848-8698.

M'Bogo by Avia

Durable, gripping and stable, this sandal is made for aggressive outdoor use on land or in water. Adjustable mid- and forefoot strops customize fit, and the footbed's raised diamond texture eliminates slippage. $50. (800) 345-2842.

Milano by Birkenstock

Milano's "ergonomic" design lets your foot rest on an anatomically accurate contoured footbed. The shock-absorbing cork insole supports arches, and top-quality leather uppers will last for miles and miles. $89.95. (800) 597-3338.

Molokai by Merrell

A state-of-the-art closure system and an extra-supportive midsole invite you to hammer, trash and generally abuse these shoes in the great outdoors. Secure fitting features prevent "sandal flop." $70. (800) 869-3348.

Mundaka by Roof Brazil

Tired feet will rest easy on the Mundaka's soft-cushion EVA/neoprene footbed. The leather upper with quick-release buckle is easy to open and close. $64.95. (800) 423-6855.

Na-Pali by Adidas

An easy-to-use, lace-and-toggle closure system keeps you snug and secure for any outdoor venture. The rubber outsole with lug traction pattern gives you a safe foothold on soil or sand. $50. (800) 448-1796.

Shaka Whitewater by B-West

These imports from Africa were designed by the Zulus for use in rugged outback conditions. Fully adjustable ankle, arch and forefoot straps ensure comfort and custom fit. $59.95. (800) 293-7855.

Terra-Fi by Teva

Teva brought flip-flops out of the five-and-dime-store age in 1983 by adding heel straps to hold the feet in place. Now the company has cut channels in the topsole of the Terra-Fi to drain water and increase ventilation. $70. (800) 433-2537.

Topozoic Sandal Plus by Timberland

The gripping lug rubber outsole of this sandal is in a zone of its own in providing walking security on uneven topography. The strap system with Velcro fastener is fully adjustable. $85. (800) 445-5545.

Whitewater by Hi-Tec

Well-constructed yet lightweight, this sandal provides a cushioned, stable ride in both wet and dry conditions. Suede uppers with Velcro closures wick moisture away. $39.99. (800) 521-1698; (800) 558-8580 in California.

Snowshoes

Runners looking to stay fit when there's snow on the ground are finding great cardiovascular and aesthetic satisfaction in snowshoeing. Anybody who can walk--or run--can master basic shoeing in minutes. Stamp out the old image that snowshoes are big, clunky, rough-hewn things worn by grizzly mountaineers trapping for their next meal. Today's high-performance, metal-frame shoes are light fast and stable. Just strap yourself in and go.

When deciding what snowshoe is best for you, consider whether you'll be walking, running or racing in them and what conditions and terrain you're likely to encounter. For running or racing, you'll want smaller, narrower, lighter shoes than you might use for walking.

Must-have features: A cleated traction device on the bottom of the shoe for secure stepping over a wide range of conditions, especially steep climbs and ice; a solid decking for better flotation, resistance to tear and elimination of ice or snow buildup; custom-fitting, supportive bindings with the flexibility to accommodate running shoes

Redtail by Redfeather

A solid training snowshoe for runners under 160 pounds, the Redtail is light yet strong. Steel talons on the front and rear provide excellent traction in soft snow and ice. Drifts on the trail won't slow your progress, thanks to this shoe's upturned forward "shovel." $219-$244. (800) 525-0081.

10-K by Tubbs

If snowshoe racing is your thing, take a look at the 10-K. This asymmetrically shaped shoe provides superior balance and control. Light and efficient, the 10-K comes with toe and heel crampons that will steady your ride and let you air it out over packed race courses and trails. $210-$249. (800) 882-2748.

1022 by Atlas

Efficient in both the back country and the backyard, the 1022 is a small snowshoe that works well in tracked a untracked snow. Its spring-loaded binding lets you stride without drug, and its dual-cleat cleat system gives you great traction without weighing you down. $229. (800) 645-7463.

Rehabilitation & Injury Prevention

Those nagging running injuries. We've all had them, and we've all sworn to take better care of ourselves the next time. Well, now is the time to finally keep those promises. Whether you're plagued by shinsplints, plantar fasciitis, Achilles tendinitis or even back pain, we've found a handful of rehab devices to help you prevent those annoying aches and pains.

Stretching Devices

Lower-leg injuries can put you on the injury list for weeks. To prevent long-term pain, you need to stretch and strengthen these important muscles regularly. Here are two devices that can help.

Flex-Wedge by Flex-Wedge

By stretching with this incline device, you can increase the mobility of your feet,, legs and lower back, which decreases your risk of shinsplints and many other lower-leg injuries. The Flex-wedge has an incline board that con be set to any one of four angles depending on your range of motion. An illustrated manual describes 12 exercises. $39. (800) 477-7466.

Step Stretch by Prism Technologies

With this rolling device, you place your foot on the flat platform and slowly rock back onto your heel until you feel tension in your muscles. The Step Stretch exercises your plantar fasciae, Achilles, calves, shins and hamstrings. An instruction manual is provided. $29.99. (800) 432-8722.

Ice Packs

What's the answer every time you ask what to do about a running injury? "Ice it" Every runner should have an ice pack in the freezer, and the pack shown here is top of the line.

Thera P Gel Pak by Norsk

Even when frozen, this pack remains flexible and conforms to the contours of your body. Velcro straps keep it in place so you can do other things while you're icing your injury. It can also be heated in the microwave when you need to soothe and loosen fight, achy muscles. Thera P Gel Paks are available in different sizes and designs for treating knees, ankles, thighs, elbows and other areas. $14.99 to $34.99. (800) 667-7510.

Back Supports

If you experience lower-back pain, you probably need to do some strength training. Strong hamstrings, abdominal muscles, obliques and lower-back muscles all help support the lumbar region. But while you're getting in shape, you can get some support and pain relief from a back wrap.

BackThing Back Support by Sportstech

Wrap your lower torso with this support, and your back will thank you. Made with a high-density, closed-cell latex foam pad that conforms to the curve of your spine, the BackThing provides good support, won't fide up while you work out and is flexible and comfortable. It increases circulation in the muscles of the lower back, keeping them warm and promoting healing. $69.95. (800) 279-7123.

Lower-Leg Supports

Injuries happen. Stretching and strengthening, ice and rest help you recover and can help prevent injuries from happening again, but sometimes you need a little extra support the following devices will provide it. They help to absorb shock, reduce the stress that running puts on your muscle relieve pain by applying compression and warmth and stabilize weak ankles and knees.

Cheetah Ankle Brace and Ankle Support with Hool Cups by Muellor

If you're prone to ankle sprains and injuries, slip on a Cheetah Ankle Brace. It can also help relieve shinsplints and pain in your heels, ankles, knees and Achilles tendons. Use the Cheetah Ankle Support when less support and stability are needed. A key feature of these products is the built-in Tuli's Heel Cup, which is very effective in absorbing shock. Brace, $29.95; Support, $19.95. (800) 356-9522.

Cho-Pat Sports Straps by Cho-Pat

If you're suffering from knee pain due to patellar tendinitis, the Counter Force Knee Wrap helps alleviate that pain and stabilizes the kneecap while allowing full mobility. The Cho-Pat Achilles Tendon Strap helps reduce the pain of Achilles tendinitis. It also promotes early heel rise for an easier push-off during running, thus lowering the stress on the Achilles. Both wraps are made from neoprene fabric and have Velcro fasteners. Knee Wrap, $23.95; Achilles Tendon Strap, $18.50. (800) 221-1601.

Count'R Force Arch Brace and Shin'aid by Medical Sports

If plantar fascritis plagues you, then the Coun'R Force Arch Brace could be your ticket to happier running. Two strops hold the once up gainst your arch. The curved design provides a wide surface of support. For shinsplints, try the Shin'aid, which can also help relieve calf injuries. Arch Brace, $15.45; Shin'aid, $22.95. (800) 783-2240.

Hyperflex Bionic Knee and Ankle Brace by Seirus

Bothered by weak knees or ankles? Try the Hyperflex Bionic Knee Bruce or Ankle Brace by Seirus. Both wraps are made of breathable neoprene, which provides maximum support and allows moisture to evaporate. The Bionic Knee uses Lycra behind the knee to provide support without bunching up or inhibiting knee-flex as neoprene would. Bionic Knee, $34.99; Ankle Brace, $7.99. (800) 447-3787.

Kneed-It and Kallassy Ankle Support by One-up Health & Sport

The Kneecht knee guard absorbs shock at the knee and relieves minor pain by applying compression and warmth to the soft tissues in front of the knee. If you're weak in the ankles, the Kallassy Ankle Support will prevent your ankle from turning or rolling over as you run. Kneed-It, $29.95; Kallassy Ankle Support, $35. (800) 997-6789.

Lastrap by Coopercare

Lastrop supports have bio-engineered Thermovibe pods, which absorb shock, lessen vibrations and retain body heat for increased blood circulation. Whether your pain is in your knee or your shin, the Lastrap can provide relief. $29. (416) 741-9675 (ask for Coopercare).

Pronation/Spring Control (PSC) and U-Wraps by Fabrifoom Products

The PSC support/control device, which wraps around the foot and ankle, boasts the holding properties of a tape wrap, the alignment effect of an orthotic and the lifting function of an arch support-all in one. The PSC is recommended for the prevention and treatment of shinsplints, plantur fascilitis, heel spurs, stress fractures of the foot and other foot and ankle injuries. U-Wraps are breathable, reusable Velcro wraps that provide support for the wrisst, ankle and knee and help relieve tendinitis of these joints. PSC, $29.95; U-Wraps, $8-$20. (800) 577-1077. Indoor exercise machines might seem about as inviting as jury duty, but they do have their place. They can help preserve fitness during injury-related layoffs from running, because most are low or nonimpact. They can target muscle groups not effectively taxed by running. They can provide a reprieve from running in less-than-friendly weather And they can offer variety, even if it's the negative kind (nothing like staring into the dashboard of a stationary bike for what seems like an eternity to make you want to hit the roads all the more). That said, here's what's out there--or, rather, in there. As a rule of thumb with all exercise devices, put function and construction ahead of frugality. Unless it works the right muscles and does so in a smooth and stable fashion, chances are an inexpensive machine is only going to exercise your ire.

Rowing Machines

Races are not won by legs alone. Upper-body strength is needed for maintaining the most efficient running form, especially as fatigue begins to set in, and that's where rowing makes a good adjunct to your running. Rowing works the arms, shoulders, chest abdominals, buttocks and back.

Even the legs get a good workout as an estimated 75 percent of the force generated by a proper rowing stroke comes from down under. Moreover, because this force is nonimpact, workouts on a rowing machine can be a good way to keep the quads, and to a lesser degree the hamstrings, in shape while you're on the mend from an impact-related injury. Let your comfort be your guide when using a rower, however. if the action in any way aggravates an injury, head for shore.

Rowers come in two basic types: flywheel and hydraulic. The flywheel design most closely replicates the feel of rowing on water. All the models described here are flywheel types, and all also have monitoring systems that show elapsed time, number of strokes and calories burned.

Must-have features: A comfortable seat and a good, smooth action (if the machine's seat doesn't slide smoothly or its rowing action feels inconsistent or clunky, you won't enjoy using it and it probably won't last)

Aerow Pro 971 by Ross Fitness

The Aerow Pro's onboard computer allows you to choose a preset workout or program your own. An ergonomically designed seat and padded pull-handle provide a comfortable fide. Guaranteed for the lie of its original owner, the Aerow Pro is certainly no toy. $999. (800) 338-7677.

Concept II Model C by Concept II

The third generation of Concept II rowers, Model C offers quieter operation, collapssibility for earlier storage and a redesigned seat With this rower, you can set up to four different kinds of workouts, and an optional interface enables you to monitor your heart rate. But perhaps best of all about the Concept II is the competition it invites you to join. Called the C.R.A.S.H.-B Sprints indoor Roxong Championships, the tournament allows you to pit your rowing prowess against that of thousands of competitors taking part in over 80 races held nationwide. Ordered from the factory: $725. (800) 245-5676.

R740 ECB Rower by Tunturi

At 119 pounds compared to 61 and 97 pounds respectively for the Concept 11 and Ross rowers, the Tunturi is more difficuff to tote around. However, this rower is stable and quiet to use ond has a comfortable, onatomically designed seat. The magnetic resistance design of the flywheel allows you to set stroke resistance at numerous levels. $1,099. (800) 827-8717.

Stationary Bikes

Stationary bikes were the first, and in many ways still are one of the best ergometers for runners, especially when ridden in a standing position, which studies show comes closer to the action of running than any other indoor exercise (except treadmill work). When shopping for a bike, stick to those that allow you to adjust pedal resistance so you can simulate hill training.

Also, keep in mind that models that provide pedal resistance by way of a flywheel or belt drive generally are more durable than those that derive their resistance from mechanical friction. And if you're intending to monitor your workouts in terms of miles covered or calories burned, opt for a bike capable of making such calculations. All the bikes presented here have monitoring systems.

Must-have features: A comfortable seat, smooth pedal action and basic structural integrity (if the unit wobbles or feels generally flimsy, it's probably going to find a home in your garage)

Airdyne by Schwinn

A "bike" that works your upper body, too, the Airdyne has handlebars that move in tandem with the pedals and give your arms and shoulders a great workout as you ride. With the Airdyne, resistance is created by a flywheel with numerous air-grabbing fins. $499.95 to $799.95, depending on the model. (303) 545-1 725.

F510 Executive Recumbent Cycle by Tunturi

If you're having a bout of back trouble, a recumbent bike is the way to ride. The body position you take on a recumbent, plus the back support and seat, minimize stress to the lower back, whereas the posture required on an upright bike or a stairclimber may aggravate any problems. Recumbents exercise the some muscles as upright bikes, but because the contractions occur in different areas of the muscles, recumbents give the abdomen, inner thighs, hamstrings and calves a better workout than other areas. The unit's monitor displays standard workout information. $449. (800) 827-8717.

Futura EZ 947 by Ross Fitness

Another flywheel and duabaction bike like the Airdyne, the Futura EZ 947 differs from the Aire models in that it allows you to work the upper and lower body either together or separately. Also, pedal straps enable you to pull on the pedals (good for the hamstrings) as well as push on them (good for the quads). The Futura's electronic monitor uses an ear-mounted sensor to measure heart rate. $525. (800) 338-7677.

HOMCycle by Universal Gym Equipment

Belt-driven but quiet and smooth, the HOM-Cycle is a rugged, no-nonsense ergometer. It offers three options for training by target

Lifecycle 3500 by Life Fitness

Want to combat the boredom of cycling to nowhere by playing a litfle Nintendo, Speed Racer or Pac Man? Then hop aboard an LC 3500. The unit's LED display screen interfaces with some pretty entertaining software (the Life Fitness Exertainment system), not to mention some no-nonsense fitness programs to moisten your brow. Cycle at a moderate 65 percent of your maximum heart rate, or a cardia-training regimen at a more demanding 85 percent. You can even watch TV on the bike's ample console. $999 for the lifecycle plus Exertainment system. (800) 877-3867.

MS.2E/L Personal Cycle Trainer by Precor

No belts or even wind-ressisting flywheels her--just a precission-balanced aluminum disk spinning freely between variable magnetic fields. As the magnetic force increases, so does resistance, totally without friction, so durability is this units middle nome. The bike's display panel features a host of preprogrammed as well as programmoble workouts, fitness tests, a weightloss program, plus elapsed time, RPM's, heart rate and colories burned. $1,300-$1,850. (800) 477-3267.

Wavecycle 502 by Dicor

Here's a novel and durable approach to the standard stationary bike-using water to provide pedal resistance. Difficult to wear out for sure. The patented technology uses H2O for a smooth and friction-free pedal ressistance, which can be adjusted even while the unit is in use. Resistance also increases with pedaling speed, giving even greater variety in intensifies. The computerized dashboard shows heart rate (via a sensor worn on the ear) in addition to the usual data. $399. (800) 985-8999.

Strength-Training Machines

Wait a minute--you're trying to run faster, not kick sand in anyone's face.

Chill. Strength can be a good way to do it Strength-building exercises recruit primarily fast-twitch muscle fibers. Research shows that strength-building workouts can be a valuable complement to speedwork Arm, shoulder and torso exercises also can build the upper-body power needed for faster times.

In selecting a strength-building machine, look for one capable of giving a full-body workout. Put a priority on basic structural integrity as well as smoothness of operation. And if time is important to you, be sure the adjustments needed to implement the machine's different exercises do not require a workout in themselves to employ.

Must-have features: Apparatus for a full-body workout, with exercises for the legs, arms, shoulders and back

Bowflex 210 Pro by Bowflex

The Bowflex supplies resistance isotonically (force must be generated not only to perform a lift, but also to return to the lift's starting point) via a unique system of flexible `power rods' attached to pulleys. This allows a freedom of movement not possible with many similar units, as well as an impressive variety of exercisesin 64 all. The unit is relatively light in weight and even collapsible enough to be stored in a closet when not in use. $999. (800) 269-3539.

Complete PersonalCircuit Multi-Station Gym by Nautilus

Employing the patented Nautilus cam--a device that allows smooth movement through the entire range of motion of exercise--this large unit offers 12 exercises (eight for the upper body and four for the lower). As many as three people con work out at the some time. Resistance is supplied tonically, and changing exercises takes only 5 seconds. $5,985. (800) 628-8458.

Direct Drive 200 by Cybox

"Direct Drive" refers to this unit's more-efficient-than-most cable system, which attaches to weights hidden inside the machine's center column and allows an immediate application of resistance. Exercises for all major muscle groups are possible, and in one of the smallest spaces for a multistation machine of this type--just 49 square feet. $3,595. (800) 926-4704.

Multi-function 880 by Hoist

"The simpler the better" is the main theme of this machine. The other is saving space: it requires only 13.5 square feet of floor space, yet offers 1 5 exercises that work all major muscle groups. Pulleys attached to cost-iron weights (up to 200 pounds) provide the machine's mode of actioh, and all seated exercises are possible without cable changes from just one position--a plus for exercisers in a hurry. $2,395. (800) 548-5438; (800) 541-5438 in Calgornic.

NordicFlex Gold by NordicTrack

With a patented resistance system that adjusts automatically to the amount of force you generate against it, this unique unit from Nordictrack requires no changing of weights or cables between exercises--just the position of your body. Over 30 exercises for all major muscle groups are possible, and a Power Meter measures the number of repetitions and pounds of force generated by each lift. $799.95. (800) 445-2360.

On-Line 1800 by Vectra

This rugged unit offers 29 exercises for 11 major muscle groups. It employs pulleys attached to weights (all the way up to 305 pounds' worth) and uses a cam system to ensure that resistance remains consistent through the entire range of motion each exercise requires. The unit also boasts a unique, space-saving design that allows it to be set up in a corner of a room, as opposed to the center--a limitation of most similar multistation machines. Only 65 square feet of floor space is required. $3,995. (800) 283-2872.

Pacific 2000 by Pacific Fitness

Your own body weight provides the resistance with this clever design, and yet an impressive 25 exercises are posssible for targeting all major muscles, abdominals included. Resistance levels (adjustable from 3 pounds to 129 pounds of user's body weight) are changeable without leaving the machine's seat, and the unit is a space saver, taking up only 16 square feet. $1,049. (800) 722-3482.

Persona Fitness Trainer 1000 by Paramount

The PFT 1000 features biomechanically correct positions for all of the most popular strengtl/building exercises. It uses a smoothly operating pulley system that hoists plates of cast iron. No cable changes are required during exercises, and weight selections are made extra safe via a custom-designed selector pin. The units leg-press station is optional. $2,895. (800) 721-2121.

Pro Form Cross Trainer by Icon

Versatility is the claim to fame of this multifaceted unit--an upper- and lower-body strength trainer plus an aerobic stairclimber all in one. Resistance is supplied electronically and in easily adjustable, 1-increments (all the way up to 250 pounds). Over 30 upper- and lower-body exercises are possible, two people can work out simultoneously, and the stepping machine features variable resistance as well as an electronic display of elapsed fime, distance covered, cadence and calories burned. $799. (800) 727-9777.

TriFlex by the DTX Corporation

Hydraulic cylinders provide the resistance (up to 500 pounds) in this versafile yet compact unit. The device is very user-friendly, as resistance adjusts automafically to the amount of force generated, and only changes in body position are needed to perform most of the machine's 40 exercises. $795. (800) 600-3050.

Stairclimbers

A relatively recent addition to the ergometer family, stair-climbers, like stationary bikes, can be a great low-impact way to keep the legs and cardiovascular system strong while nursing a stress-related injury. Steppers work primarily the quads, hamstrings and buttocks. (Stairclimbers generally are not effective at improving leg speed, however, so be forewarned if speed more than endurance is your training goal.)

In shopping for a stepper, expect, as with ergometers in general, to get what you pay for. what you may save in money, you'll pay for in durability and pleasure of use.

Must-have features: Variable resistance, an electronic readout showing energy expenditure, a handlebar design that's comfortable for you (if you find yourself leaning too far forward, you'll be putting undue strain on your back) and "good feel" (that is, smooth pedal motion)

Aerstep Pro 986 by Ross Fitness

The patented step-drive system of this machine uses air resistance, so that as you increase your effort, the resistance of the machine increases. Computer-controlled magnetic tension also allows you to program the base resistance level to change at certain points throughout the workout. The Aerstep includes six preset programs, or you can design your own. Time, distance, calories burned, step rate and heart rate are all displayed on the monitor. $999. (800) 338-7677.

Dynastep 759 and 859 by Dicor Fitness

Both of these steppers have independent stepping action, variable magnetic resistance, four hill programs, a manual setting and a display that features step rate and calories burned. The 759 allows you to program a target heart rate, and if that heart rate is exceeded, the stepper resets to its easiest setting to let you know you've exceeded your upper range. The 859 has a heart-rate control computer, which automotically adjusts the machine's resistance to maintain proper heart rate. 759, $899; 859, $1,050. (800) 985-8999.

4000 PT by StairMaster

Known for its "great feel," the 4000 features a patented design that provides a nearly constant spied during the entire downward motion of the pedal. This stairclimber uses an independent stepping action, so a stronger leg can't overcompensate for a weaker leg or force the weaker leg through a posssibly injurious movement or range. The monitor displays time elapsed, step rate, course and calories burned. 2,195. (800) 635-2936.

5500 by Life Fitness

This self-powered stepper has five workout programs, including a Heart Rate Zone Training program that adjusts pedal resistance automotically, based on your heart rate and stepping pace. It offers two stepping actions: independent, in which the pedols move separately from one another and you control the height of each, and dependent, in which the pedals are linked together. The monitor displays heart rate, elapsed time, colories burned, stepping rate and terrain. $999. (800) 877-3867.

M7.2E/L Personal Climber Trainer by Precor

This stepper has some of the most sophisticated fitness software around. Its computer con store information about weight, preferred work level and best performances for up to four people. The M7.2E/L offers several preprogrammed courses, or you can create your own. A fitness test measures your heart-rate response to different levels of exercise, and this stepper includes a weightloss program based on research from the Cooper Clinic, that will help you burn the most calories during a 30-minute workout. The monitor displays course, work level, time, elevation, steps per minute, calories, heart rate and your fitness score. Wheels make this stairclimber easy to move. $1,400. (800) 477-3267.

Professional 330 by Schwinn

Rugged enough to withstand commercial use, the 330 boosts friction-free electromagnetic stance, self-leveling footheds, independent leg action and multiposition handlebars for optimally comfortable stepping posture. The device also offers 16 levels of resistance, five preset workouts and digital readouts of elapsed time, steps per minute, distance covered and calories burned. $1,299.95. (303) 545-1725.

Quantum by Monark Bodyguard Fitness Corp.

Smooth, sturdy and virtually silent, thanks to new noise-reduction technology, the Quantum has three exercise modes: novice, intermediate and expert. It offers several programs, including heart-rate control and race programs, or you can manually set your own. The computer monitor displays calories burned and step rate. $1,795. (800) 665-3407.

VersaClimber by Heart Rate

The VersaClimber takes stair climbing to new and potentially more exhausting heights. It can be used as a conventional stepping machine for working the lower body only, or it can provide a more complete workout by employing the arms, chest, shoulders, bock and even abdomen when used in its "ladder-climbing" mode. Complete, too is the information the VersaClimber gives you on its digital readout: elapsed time, climbing speed in feet per minute, distance climbed, number of colories burned and (optionally) heart rate attained. $1,295; with heartrate monitor, $1,595. (800) 237-2271.

Ski Machines

Touted as effective simulators of the highest calorie-burning activity of all, cross-country ski machines work not just the legs but the chest, shoulders and arms. Because your feet don't leave the ground, there's no impact. Ski machines come in "Yugo" as well as "Mercedes" forms, however, so beware. You can spend as little as $100 for some models, but if you do, you'll soon want to heave it into a snowdrift somewhere.

Must-have features: A smooth, comfortable and stable action; padded hand grips; snug but comfortable foot grips

Achiever by Nordictrack

Unlike most cross-country skiers, the Achiever allows you to custorn-tailor your workouts by adjusting upper- and lower-body resistance independently. Resistance is supplied by a flywheel, so action is smooth, and the units platform can be filted upward to simulate the even more exhausting expedence of skiing uphill. All this effort gets closely monitored, moreover, in terms of speed, distance covered, time elapsed, calories burned and heart rate reached, by way of a digital readout mounted for easy view. $769.95. (800) 445-2606.

Abstract: An array of running gear, with descriptions and prices, is presented. The equipment includes sports watches, water gear, carbohydrate drinks, water-carrying supplies, gear bags, sports cameras, heart-rate monitors, reflective clothing, and exercise equipment.

Source Citation
"Runner's World 1995 gear guide." Runner's World Dec. 1995: 50+. Gale Power Search. Web. 31 Aug. 2011.
Document URL
http://go.galegroup.com/ps/i.do?&id=GALE%7CA17632802&v=2.1&u=22054_acld&it=r&p=GPS&sw=w

Gale Document Number: GALE|A17632802

(Web-Page) http://computer.tutor2008.googlepages.com/tutor2(Album / Profile) http://www.facebook.com/album.php?aid=5745&l=970be&id=1661531726 leonard.wilson2009@hotmail.com

"Look sharp! No one wants to look like a dullard. That's why MF polledour style council--experts in fashion, grooming, fitness, health, andnutrition--to come up with this hot list (62 strong!) of ways to polishyour appearance."

2011-08-30T19:47:00.002-04:00

Computer Side, originally uploaded by Bryan Farrell.

MAYBE YOU LOST OUT ON THE GOOD-GENES SWEEPSTAKES. You've got a schnozz with its own seat in Congress. Or you've got a lace and bod like Brad but a fashion sense that is truly the Pitts. Maybe you wish you could look half as good as Danny DeVito. Whatever. You can still move from not to hot without having the Queer Eye guys ripping you to pieces like hyenas on Animal Planet.

Start with these tips, our definitive list of everything you need to do to improve your looks: from what to wear and how to work out to what to eat and health dos and don'ts. In three months, when the paparazzi are hounding you 'cause you look like a star, just turn toward the camera and wink. We'll take that as a "Thank yon."

CLOTHING

SUIT YOURSELF: When shopping for suits, worry more about fit than price: A $400 suit that fits perfectly flatters you better than a $4,000 ensemble that doesn't.

GET SHORTY: If you're under 5'10", stick with suits and jackets that have a "short" cut. They're better proportioned and won't make you look like David Byrne in Stop Making Sense.

PLAY YOUR HEAVY HITTERS. Better to own a few swanky clothing items you love than a closet full of cheap, ridiculous items you won't even wear.

MAKE AN UNDER STATEMENT: Wear a white undershirt in the office (under your outer shirt, Einstein). It soaks up sweat, plus that little bit of white poking out helps you look more put-together.

GET LOOPY: Wear a belt. Always. It's the follow-through in your backhand, the whipped cream on your Frappuccino. Plus, it gives the gals something to do (or undo) while you're kicking off your shoes.

TEE OFF YOUR WARDROBE: Everyone's real impressed by your muscles. But outside the gym, an armless muscle tee says "Clueless" before it says "Call me."

STRIPE A POSE: It's still true: Vertical stripes make you look slimmer, Fact: Rockers Jack and Meg White are actually 240 and 370 pounds, respectively.

COLOR SCHEME: Never pair a brown belt with black shoes (and vice versa). You're not a Doberman pinscher.

HANG UP YOUR TIGHTS: When your tighty-whities are no longer white, burn them. (That goes for your pit-stained tees, too, Casanova.)

PLEAT GUILTY: Take your pleated pants and donate them to the Salvation Army. Same goes for ones that taper at the bottom. They make you book top-heavy, fat, and, well, like you're trapped in 1985.

GET A LOOK: Pick a clothing style and stick with it. Don't dress like you're in Glee Club one day and like you're going to a Marilyn Manson concert the next.

PULL YOUR DAMN PANTS UP: When Britney Spears' undies stick out of her jeans, it's cute. When yours do, it's pathetic. If you've got bunching issues, wear boxer briefs--women eat 'em up.

COVER UP: Don't let chest shrubbery blossom from your undershirt. No need to hire a gardener to manicure your lawn. Just stick with a crew neck.

DON'T BAG OUT: When it comes to leather jackets, windbreakers, and winter outerwear, err on the small side. Don't be afraid to buy a fitted jacket: A baggy leather bomber is not "do bomb."

GROOMING

YOU GO, GIRLY: Dip into your girlfriend's I bag of tricks: Exfoliation and moisturizing aren't just for chicks--they'll help your skin glow. Man brands include Gillette I and Nivea for Men.

TAKE A POWDER: Use Gold Bond for your private areas--the powder cuts down on ugly red chafing. Just don't overuse or you'll puff clouds like a gymnast.

NOSE YOUR LIMITS: What's more embarrassing: plopping that nose-hair trimmer down at the checkout counter or having wheat grass protruding from your nostrils?

IT'S OK TO FLIP-FLOP: Fungus ain't fun. To avoid it, keep your bare feet from touching anything in the locker room. That means wearing flip-flops in the shower stall and standing on a towel while drying off.

MAP OUT YOUR HAIR BORDERS; When your neck hair starts to meet your back hair, it's called an "ape drape." Let your barber have at it, Kong.

GET ORGAN-IZED: Trim the hair "down there" to make it look bigger. Hey, it's far less painful and expensive than penis enlargement. Trust us.

WHO'S THE FLOSS? Think flossing once a week is OK? Try after every meal You'll keep your gums healthy and prevent receding. Bonus: free leftovers! Yum.

TELL THE TOOTH: Think about making your pearly whites even whiter. Bleached teeth brighten your whole face in a not-too-obvious, soap-actor kind of way.

ZAP YOUR ZITS: To tame acne outbreaks, use a cleanser with salicylic acid, such as Clearasil. Playing mirror hockey (squeezing them) seems like a solution, but it can leave permanent scars.

TRIM YOUR TALONS: Clip your fingernails as soon as you see the whites. Unless you're going for that '70s pimp--or worse yet, Nosferatu--look.

DON'T BE A MEISTER-BROW: One reason Sesame Street's Bert has been a bachelor for so many years may be that unibrow. All Ernie's pal needs is tweezers and as steamy bathroom, A separate bedroom wouldn't hurt either, by the way.

WAX OFF: Wanna show off your muscles and lose the Dr. Zaius look? Then don't shave your body--wax it. Shaved hair grows in at different cycles and looks uneven. Waxing keeps you stubble-free longer, which she'll appreciate.

FITNESS

UTILIZE PEDAL POWER: If it's feasible, commute on a bike. You'll get leg definition, cardio, and a healthy glow when you arrive at the office. We surest the iXi bike. It has a rubber drive belt (substituting for that greasy chain), an iPod compartment, and can fold down flat. ($1,28g @ ixibike.com)

CHART YOUR PROGRESS: Log your fitness advancements: At specific intervals, have photos taken (clothing optional) and get a trainer to tape*measure your muscles. "It shows the fruits of your labor," says former Mr. Universe Lee Labrada, founder of Labrada Nutrition, That gives you motivation to go back for more.

FOLLOW THROUGH WITH EVOLUTION: Don't get no respect? Get erect. A guy with good posture "stands taller and walks prouder," says trainer Craig Ballantyne. Practice on the seated-row machine: Use a wide overhand grip on a wide-grip handle. As you pull the bar back toward you, pinch your shoulder blades together while pushing your chest out.

GET PUMPED: Get a quick pump before a big date. No, we're not talking about cleaning out your pipes, pal. Repeating upper-body exercises like biceps curls causes fluid to temporarily increase the size of your veins and muscles, says Ballantyne. It lasts about an hour--just enough time for you to work your mojo.

BE EVEN-STEVEN: Pay attention to symmetry and proportion. If you're working lust your chest and biceps, you'll get top-heavy. "A balanced body is beautiful to the eye," says Labrada.

WATCH YOUR ASS: "Most guys ignore everything behind them, training-wise," says Alwyn Cosgrove, owner of Results Fitness in Santa Clarita, Calif., "especially what they can't see in the mirror." Cosgrove recommends stepups on a bench for booty-ful balance.

STICK IT UP: The transverse abdominis (the muscle you contract when you suck in your gut) can be trained merely by holding in your stomach--the first step to a six-pack, Tie a string tight around your belly, instructs Cosgrove, and pull in your tummy every time you feel tension from the string. You should see results in a week--even if you're already ab-ulous.

BECOME TAN-TASTIC: Bring out muscle definition with a fake (non-premature-aging, non-cancer-causing) tan (we like Clinique Skin Supplies for Men Bronzer). Darker skin brings out muscle definition better than a pasty casing. Just be sure to rub in the self-tanner carefully--streaks are for freaks.

GROW SHOULDER AND WISER: Atlas had a pretty good look, carrying the world on his shoulders and all. So take a page out of his book and work on your cannonball delts, says Cosgrove. "It makes your arms look better and your waist look thinner."

HEALTH

AVOID WET T-SHIRT CONTESTS: Change clothes after your workout, Your soaking-wet T-shirt and shorts not only smell bad, but the moisture also breeds fungus. Plus, sweat clogs pores and can lead to body zits, a.k.a. backne, chestne, and yes, the dreaded assne.

TEST NEGATIVE: Anabolic steroids cause greasy skin, acne, and premature balding. Unattractive Bonus: They make you as volatile as Tony Soprano.

EXPAND YOUR SOLE: If your shoes are tight around the toes, get them stretched. Narrow dress shoes can give you bunions, which is not another name for onion rolls but, rather, for nasty looking sores.

SLEEP IT OFF: Not getting enough sleep may contribute to obesity. While you're sleeping, your body peaks in producing hormone called leptin, which regulates fat stored in the body. Not sleeping throws your leptin production out of whack and disorients your fat monitors, leading your body to store fat instead of burning it.

STEER CLEAR OF THE SUN: Apply sunscreen--always. Even when you're skiing, the snow reflects the sun's rays and amplifies them up to 80%. And the higher the altitude, the greater the UV exposure. Look what happened to Robert Redford after years of his sun dance.

BANG A GONG: Get laid. A lot. A Scottish researcher found that sex helps slow the aging process by reducing stress, increasing contentment, and bettering sleep. Which means, get some at least three times a week, and you'll look better longer. (Yeah, it's our favorite study, too.)

THE SALINE SOLUTION: Keep your salt intake low, especially late at night. Too much puffs up the circles under your eyes. And retaining water not only sounds feminine, it gets in the way of looking ripped.

IGNORANCE IS BLISTERS: If you're prone to blisters, invest in some double-layer socks. And once the painful little suckers pop, apply antibiotic ointment like Bacitracin for your sake. Then cover the mess with a bandage for everyone else's.

UNCOVER THE MOLE: Frequently check your body for new freckles and moles (or have your woman do it). Larger or raised, ones should be monitored to make sure they're not risk factors for melanoma, Unattractive Bonus: Find a third nipple and become a documentary subject.

GRAPE ADVICE: Take grape-seed extract, which significantly speeds up wound recovery for bruises or cuts by allowing tissue to repair itself more quickly.

DRY UP: Take fewer, faster showers. Water--especially hot water--robs your skin of natural oils, which help keep you looking natural and young.

DOG YOURSELF OUT: You'll never be as cute as Desmond, your dachshund. But owning him makes you that much more attractive. A study conducted by the U.K.'s University of Warwick found that women are much more likely to talk to a man walking his dog than one walking himself.

NUTRITION

STIFF DIET: Eating the right foods contributes to a healthy sex life. A diet rich in fruits, veggies, legumes, and grains keeps your arteries clear, increasing blood flow to you-know-where. And you don't have to be Ozzy to know that an Iron Man is more impressive than Mr. Softy.

WASH AND WEAR: Look shampoo-commercial fabulous by loading up on B vitamins, especially one called biotin. (Make sure your multivitamin includes it.) Your 'do will shine like the top of the Chrysler Building.

COMBAT FREE RADICALS: Sounds like a call to arms against anarchists, no? But those nasty free radicals actually kill cells and age you. Fight them by ingesting antioxidants, such as lycopene, which you can find by juicing a grapefruit or a tomato. Hey, who wants lycopene-a-coladas?

TASTE THE RAINBOW: The more colorful your grub, the more packed it is with essential vitamins and nutrients. So load up on orange peppers, blueberries, and red snapper (just kidding about the fish). But careful on the preparation: Cook the hell out of them and you lose some important ingredients. The best advice? Steam veggies to maximize their powers.

STAY REGULAR: We're not advocating a daily bowl of Colon Blow, the Saturday Night Live cereal that clears your innards and more. But do have a daily dose of fiber. Familiar with the Michelin Man? Never had a gram of fiber.

DON'T DO THE DEW: A study found that canned sodas and teas--even diet versions--damage tooth enamel. If you must go that route, root beer--with the fewest additives--does the least harm.

BONE UP: Unless you're chugging milk or crunching sardine bones, you may not be getting enough calcium. This raises your risk for osteoporosis, which will wreck your posture and make you shorter. (Ed. Note: Men's Fitness does not recommend ingesting milk and sardines simultaneously, if only for the awful breath consequences.)

REEL-A-MEAL: Eat more fish--especially salmon and tuna. They're high in omega-3 fatty acids, which improve blood flow, giving you better color. Omega-3s also boost your mood, which will make you smile more. (Fish can't smile, can they?)

Five things you could do ...

1. Stop hogging the remote.

2. Lose that ugly posse of yours.

3. Figure out why you've lost interest in giving me oral sex.

4. Buy me something expensive.

5. Shut up. Seriously.

POLL SOME CHICKS: Ask your girlfriend, wife, or coolest gal pal for five suggestions on how to look better. They'll give you the most honest, up-to-date advice. (But don't call Mom. She means well, but she thinks Dad's suspenders look "neat.")

HAVE BALD AMBITION: If your hair's thinning, take a tip from Air Jordan, Vin Diesel, and Mr. Clean--shave that chrome dome. Unless you have a head like Freddy Krueger, you'll come off cool, confident, and bad ass. And a sweet 'stache never hurt nobody nohow, Geraldo.

GO NATIVE: Planning a trip abroad? Leave the baseball caps and ironic T-shirts at home--unless you want to be easily identified as an SUV-driving, Toby Keith-listening tourist from the Land of the Great Satan.

GET INTO THE GROOVE: Find gear that inspires you to work out longer. The Nike MP3Run by Philips plays music and also wirelessly tracks your time, distance, and pace. You'll know when you're done running--and when you've earned the right to play "We Are the Champions." ($299 @ nike-philips.com)

LAY OFF THE CANCER STICKS:

Seriously, dude don't smoke. Lung damage aside, it causes premature wrinkles and yellow teeth, making you look like those old ladies who play the slots in Atlantic City. Ditto for chewing tobacco, which may appear enticing when baseball players chomp on it, but seems less cool when your gums are rotting. Unattractive Bonus: Nothing in the world a woman loves less than spittle juice on your chin!

ACID TEST: Lack of linoleic acid can give you lizard skin. Scrap the scales by munching on nuts and seeds or drizzling some safflower oil on your chow.

SAY YES TO JOE: This ain't no java jive. A recent study says coffee's high antioxidant content (four times that in green tea!) makes it one of the best sources for fighting wrinkle-producing free radicals. Drink too much, though, and you'll never get off the pot.

New York Daily News fashion editor Amy Diluna always looks great.

Diluna, Amy

Source Citation
Diluna, Amy. "Look sharp! No one wants to look like a dullard. That's why MF polled our style council--experts in fashion, grooming, fitness, health, and nutrition--to come up with this hot list (62 strong!) of ways to polish your appearance." Men's Fitness Nov. 2004: 94+. Gale Power Search. Web. 30 Aug. 2011.
Document URL
http://go.galegroup.com/ps/i.do?&id=GALE%7CA124007835&v=2.1&u=22054_acld&it=r&p=GPS&sw=w

Gale Document Number: GALE|A124007835

(Web-Page) http://computer.tutor2008.googlepages.com/tutor2(Album / Profile) http://www.facebook.com/album.php?aid=5745&l=970be&id=1661531726 leonard.wilson2009@hotmail.com

Nothing to write home about; Care for the elderly

2011-08-22T23:03:00.002-04:00

00 become a nurse medium, originally uploaded by raycadaster.

Amazing grace

The government's new proposals raise more questions than they answer

CARLTON HOUSE in Hatch End, north London, is a small, friendly place. A private care home, it has 22 elderly residents and a well-stocked garden where they sit of an afternoon. Several say that they like Carlton House, and can think of no way to improve it. But they are unhappy that they have had to sell their own homes to meet the bills of this one.

Even Andy Burnham, the health secretary, has described care for the elderly in Britain as "a cruel lottery". State aid for personal care (medical care is free on the National Health Service) is means-tested: those with [pounds sterling]23,000 in assets must pay for their own. Some end up with bills of [pounds sterling]200,000 whereas others receive care free. About 45,000 people are forced to sell their homes each year to pay for social care. Two-fifths of the roughly 450,000 now in residential-care homes pay their way.

As in other countries, a rapidly ageing population in Britain is pushing the care system towards crisis. Another 1.7m older people in England will require looking after by 2026, the government reckons. This will strain care budgets, which are already heading for a [pounds sterling]6 billion annual gap in funding over the same period.

So the government's long-delayed consultation paper on July 14th was keenly awaited. Two radical options are ruled out: leaving people to pay for their own care and funding it entirely through general-tax revenues (devolved Scotland's version of the latter is already running out of cash). It outlines three approaches.

The first is a system of co-payments, in which the government would guarantee to everyone a payment equal to a quarter or a third of likely social-care costs, picking up more of the tab for poorer folk. The second is optional insurance, which would let people pay [pounds sterling]20,000 to [pounds sterling]25,000 to cover themselves against the rest of the cost of their care. The third is a compulsory state-insurance scheme, under which everyone who could afford it would be liable for a lump sum--paid on retirement, say, or from an estate after death--of [pounds sterling]17,000 to [pounds sterling]20,000 in exchange for the certainty of free care. No serious new government money is forthcoming under any of the options, and state funding would go only towards personal care: the cost of food and lodging in residential homes would fall to individuals who could pay for it.

Just how likely these reforms are remains to be seen. People who already save for their old age worry that they could be forced to cough up an additional [pounds sterling]20,000 for care that they may never want. The proposals offer no guarantee that old folk will be able to hang on to their homes. And lump-sum premiums may prove a particularly hard sell: in a Populus poll for Saga, a firm specialising in services to the over-50s, only 6% preferred this option.

Yet some answer must be found to the escalating expense of looking after an increasingly old and frail population. The biggest difficulty with these proposals is that they come years after Labour first declared its interest in the matter, and far too late to be agreed before the next election. Over to the Tories, who have ideas of their own about sharing costs between individuals and the state.

Source Citation
"Nothing to write home about; Care for the elderly." The Economist [US] 18 July 2009: 35EU. Gale Power Search. Web. 22 Aug. 2011.
Document URL
http://go.galegroup.com/ps/i.do?&id=GALE%7CA203743689&v=2.1&u=22054_acld&it=r&p=GPS&sw=w

Gale Document Number: GALE|A203743689

(Web-Page) http://computer.tutor2008.googlepages.com/tutor2(Album / Profile) http://www.facebook.com/album.php?aid=5745&l=970be&id=1661531726 leonard.wilson2009@hotmail.com

Eco yarn: can you really trust those green claims on your next item ofclothing or pair of shoes?

2011-08-22T22:45:00.002-04:00

clothes for twin baby, originally uploaded by Tsuyoshi Adachi as thin-p.

Many Australians rate sustainability as one of the most important issues facing the nation; we feel there is a real need for more sustainable products but are only willing to pay a small premium for them. Although slower to embrace consumers' desire for more ethical and sustainable products, the textile, clothing and footwear industries are catching up on the ethical fashion trend.

The environmental footprint of textile manufacture is huge. On top of energy and water consumption, toxic gases are released and up to 200 tonnes of water polluted per tonne of processed fabric. Increased global awareness about rural poverty, climate change and sustainability has also increased consumers' interest in the origin and manufacturing process of textile products. CHOICE highlights some common traps to avoid when you're next eco-fashion shopping.

'Eco'-fibres

Most people think of "natural" fibres, such as hemp, silk, wool cotton and bamboo, as environmentally friendly or sustainable options. Cotton and wool are considered the "eco-fibres" of choice in Europe and the UK; Japan is big on organic cotton, while the US is embracing bamboo. But according to Keith Cowlishaw, Head of the School of Fashion and Textiles at RMIT University, some natural fibres, such as cotton and wool require large amounts of land, water and energy to produce. Cowlishaw believes that despite its fossil fuel-origins, polyester is in fact one of the most sustainable fibres. "Polyester is recyclable, little arable land is used and huge amounts of energy aren't consumed in its production."

Sustainable compromise

Although the key to buying sustainably is to consider the impacts of a product's entire life cycle, this is a near-impossible task for consumers armed with a plethora of environmental claims but little immediate, supporting information. Until Australian consumers are better informed about environmental claims, Cowlishaw says the greatest direct action consumers can take to help the environment is in apparel-care. "Washing full loads in cold water with a biodegradable washing detergent and line-drying will have the greatest impact on water and energy use in the life cycle of your clothes."

In 2009, Target introduced their "Think Climate" label which shows customers can reduce their energy use by cold-washing and line-drying tagged products. While Target should be commended for their initiative, its potential positive impact is undermined by subsequent care instructions that state "warm machine wash".

Common green claims and greenwash

A report last year by US environmental marketing agency TerraChoice found that the number of home and family products with "greener" claims had increased by 73% since 2009. Although there are signs that greenwashing has reduced slightly, an astonishing 95% of "greener" products are still committing a greenwash sin (see opposite). CHOICE recommends treating the following claims with caution and looking for supporting information:

* "Green" "environmentally friendly", "eco-friendly" Businesses should clearly and accurately explain why their products are "greener" or more environmentally "safe" or "friendly" than other similar products.

* "Certified products" are assessed against a mandatory or voluntary standard, which can relate to a product's quality, performance, composition and/or means of production. Certification is usually signalled by a symbol or logo on the product (see Common Certification Symbols, opposite).

* "Carbon neutral" claims can be made about greenhouse gas emissions associated with the manufacture of a product and how businesses have offset them.

* "Recyclable" and "recycled": These claims (the mobius loop symbol) can be misleading if the product is not recyclable or if the facilities to recycle them are not available to you.

* "Sustainable": All processes involved in a sustainable product must be able to be sustained indefinitely.

What CHOICE found

A recent visit to the underwear and baby sections of big department stores highlighted a lack of immediate, credible information available on labelling to assist consumers in their search for environmentally preferable products. Instead, most companies are relying on transferring brand-trust from their regular clothing to their eco-ranges. Our spot-check found mostly organic cotton and bamboo products from brands including Ambra "Ecostyle", Bubba Blue, Jockey, Red Robin, littlebamboo, Natures Purest, Mitchdowd "green" and Purebaby. Environmental claims for bambooderived products include "hypo-allergenic", "naturally antibacterial'; "environmentally friendly'; "sustainable fibre" and "pesticide free".

Bubba Blue's super-soft Jersey Wrap claims to be 10% bamboo, while only Ambra and Jockey label bamboo content as viscose bamboo.

Natures Purest provides information on organically grown, naturally coloured cotton--which is less than helpful considering the boxed product is in fact a baby blanket claiming to be made from 100% reconstituted bamboo fibre.

The Mitchdowd green underwear range has swing-tags on its products that provide information on their selected fibres and the process behind their "carbon neutral underwear" claim.

Organic claims on Ambra Ecostyle's organic cotton socks, as well as others such as "allergy free" were poorly substantiated on almost all product packaging.

We found the Purebaby brand to be most consumer- to the Global Organic Textile Standard (GOTS) and are part of the MADE-BY scheme, which support companies that use sustainable materials and work with manufacturers that have good working conditions (see right).

Question the claims

Before you buy any clothes claiming to be sustainable and/or environmentally friendly in any way, see if you can answer these questions. If the information isn't available on the product packaging, ask the retailer or manufacturer:

* Are there specific eco-claims relating to the product, or are "eco" or "green" merely part of the brand name?

* Is there evidence to support the environmental claims being made?

* For blended-fibre products, do claims relate to all or just a single fibre?

* Do the environmental claims refer to the entire product life cycle or just a stage? "Organically grown cotton", for example, doesn't mean the final product is certified organic.

* What standards/certification scheme are used--is the certification scheme reputable?

* Are both environmental and labour conditions considered?

* Do claims relate to emissions from the production of the product, emissions from the product's use or both? How are the offsets generated?

NUTSHELL

* Eco-fibres and apparel can be beneficial to the environment in some part of their life cycle, but not across their entire life cycle.

* Manufacturers need to provide clear and credible information so consumers can make informed choices that suit their needs and values.

* The greatest consumption of energy and water in a garment's life cycle occurs in product-care; use cold water and biodegradable detergent, and line-dry your clothes where possible.

DID YOU KNOW?

New and improved consumer law

The Competition and Consumer Act 2010- formerly the Trade Practices Act 1974-states that businesses must not mislead or deceive consumers, or make false or misleading representations. The Act applies to all representations a business makes to you about their products, whether it is in an ad, over the phone, on their website or on product packaging.

Recent amendments to the Act have provided the Australian Competition and Consumer Commission (ACCC) with new tools to enforce the law. As part of its investigations, the ACCC can issue substantiation notices requiring traders and suppliers to provide evidence that supports any claims they make, including green claims. The amendments have also provided the ACCC with new enforcement powers to protect consumers, including the ability to issue infringement notices.

DID YOU KNOW?

Bamboozled by bamboo

The advantages of bamboo compared with other textile crops are its quick growth rate and ability to be grown with little or no pesticides, which lessens its environmental impact. Bamboo fabric is widely marketed as hypo-allergenic, having naturally antibacterial deodorising and thermal control properties.

In 2009, the US Federal Trade Commission (FTC) concluded that only mechanically processed bamboo products can be advertised or labelled as bamboo; the soft "bamboo" fabrics on the market today are rayon, a generic term for a manmade fibre created from the cellulose in plants such as bamboo and known in

Australia as viscose. According to the FTC, there's no evidence that rayon retains the antimicrobial properties of the bamboo plant, or that any traits of the original plant are left in the finished product.

Ben Wilson, of Australian clothing company Little Bamboo, says there's great debate as to what should determine labeling--the process or the plant of origin. He says although there are no bamboo-specific labelling requirements here, his company has chosen to re-label products to reference both bamboo and viscose and thereby avoid confusing consumers. Bamboo-viscose is processed with harsh chemicals that are known for their hazardous air pollution. Some companies are now using the less-polluting "Lyocell" process for the manufacture of their bamboo products. Dane Totham, CEO of Mitchdowd, says they use this chemical manufacturing process as it's a closed-loop system, so 99.5% of the chemicals used during the processing are captured and recycled to be used again.

[ILLUSTRATION OMITTED]

DID YOU KNOW?

Common certification symbols

Environmental standards and certification, or "eco-labels", began appearing in the 1980s to increase transparency and protect against greenwash in eco-products. Globally, many certifying bodies and standards exist that cover organic and eco-textiles. A selection of legitimate certification symbols is listed here; for more, log on to www.choice.com.au/greenclothes

Organic Certifiers

* Australian Certified Organic (ACO)

Eco-textile standards

* Oeko-Tex

* MADE-BY

Ethical Production and Fair Trade

* Ethical Clothing Australia (Aus)

* Fairtrade Labelling Organisation (FLOI

Optional Organic Textile Standards

* Global Organic Textile Standard (GOTS)

SEVEN SINS OF GREENWASHING

Greenwash is when companies exaggerate the environmental friendliness of their products and policies. According to US greenwash experts, TerraChoice, the evolution of greenwashing has seen an increase in both the "sin of no proof" and the "sin of worshipping false label" over the past 12 months.

1. Sin of the Hidden Trade-off is committed by suggesting a product is "green" based on a very narrow set of features without considering other important environmental issues.

2. Sin of No Proof is committed by an environmental claim, such as "organic", that cannot be substantiated by easily accessible supporting information or a reliable third-party certification.

3. Sin of Vagueness is committed when a claim is so poorly defined or broad that it's likely to be misunderstood by the consumer. "All-natural" is one example; formal dehyde is naturally occurring yet is a toxic carcinogen commonly used in the textile finishing process.

4. Sin of Irrelevance is committed by making an environmental claim that may be truthful but for the product for which it's made is unimportant or unhelpful. See Natures Purest example above under "What CHOICE Found".

S. Sin of Lesser of Two Evils is committed by claims that may be true within a product category, but risk distracting consumers from the greater environmental impacts of the category as a whole.

6.Sin of Fibbing is committed by making environmental claims that are simply not true. Consumer demand for easily accessible, credible information to verify environmental claims will help trap the sinners.

7. Sin of Worshipping False Labels is committed when a product, through words or images, gives the impression of third-party endorsement that doesn't exist. Familiarise yourself with legitimate eco-labels to avoid this trap.

Grew, Hannah

Source Citation
Grew, Hannah. "Eco yarn: can you really trust those green claims on your next item of clothing or pair of shoes?" Choice [Chippendale, Australia] Feb. 2011: 17+. Gale Power Search. Web. 22 Aug. 2011.
Document URL
http://go.galegroup.com/ps/i.do?&id=GALE%7CA249683377&v=2.1&u=22054_acld&it=r&p=GPS&sw=w

Gale Document Number: GALE|A249683377

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ACCLAIM UNLEASHES THE POWER OF THE NINTENDO 64 WITH 'TUROK: DINOSAURHUNTER'; Acclaim's Debut 64-Bit Title Thrusts Gamers Into Incredible3-D World of Dinosaur Hunting

2011-08-22T22:24:00.002-04:00

Humanoid Female , originally uploaded by Tinker0101.

LOS ANGELES--(BUSINESS WIRE)--May 17, 1996--Gamers will be taken back to the beginning of time and ahead to the future of interactive entertainment when Acclaim Entertainment, Inc. (NASDAQ: AKLM) releases Turok: Dinosaur Hunter(TM), its first title for Nintendo's forthcoming Nintendo 64(R) system. The release date of the game will coincide with the launch of Nintendo's new 64-bit system on September 30th. Turok: Dinosaur Hunter features incredible 3-D graphics; 100% computer rendered, polygonal characters; Acclaim's proprietary motion capture technology; and first-person perspectives that will provide action and adventure of tyrannosaurus proportions.

"Turok is one of the most popular characters from Acclaim Comics with an extensive history and compelling storyline that translates perfectly into a first-person, action-adventure title," says Sam Goldberg, vice president of marketing. "The advanced capabilities of the Nintendo 64, coupled with Acclaim's motion capture technology, will make gamers feel like they're actually going where no man has gone before."

Turok Hits The `Campaign' Trail

Assuming the role of Turok, gamers set out to stop The Campaigner and his army of "Bionosaurs" -- bionic dinosaurs -- from controlling time with a device called the Chronosceptor and taking over the Lost Land. Only Turok knows that the device is flawed and it will destroy the entire universe if activated. In keeping with the title's comic book origins, game play is spread out over nine levels that are organized into three chapters -- The Plot Revealed, The Ancient Ruins and The Lost Land.

Developed by Iguana Entertainment, the Austin, Texas-based programming studio of Acclaim, Turok: Dinosaur Hunter offers an array of exciting features, including:

- 100% computer-rendered polygonal characters, including Dinosaurs, Bionosaurs, Robot Droids and many other characters from the Turok comic book universe;

- Fast and furious action from a first-person perspective, including running, climbing, swimming and fighting;

- Incredible 3-D graphics, which allows gamers to explore their 360 degree environment;

- 100% interactive backgrounds;

- Arsenal of weapons, including the low-tech bow and arrow, to futuristic tek bow, riot shotgun and grenade launcher, all of which inflict enemy damage accordingly;

- Various equipment and maps to aid players throughout the game;

- Warp generators Advanced game design, allowing gamers to experience non-linear action which monitors their progress and provides opportunities to increase health or weapons at critical times;

- Many hidden power-ups and secret areas.

Acclaim Comic's Turok: Dinosaur Hunter issue No. 1 sold over 1.8 million copies, which places it among the top ten best-selling comic book titles of all time. Turok: Dinosaur Hunter is based on Gold Key Comics' Turok: Son of Stone which debuted in the market in the 1950s. In December 1996, Acclaim will re-launch the Turok comic book series with an entirely new storyline, enemies and characters. The new series will also include Turok video game tips and hints.

Acclaim's Turok: Dinosaur Hunter will be backed by an aggressive, integrated marketing program that includes broad-based print advertising in dedicated video game, personal computer, youth and comic book publications; direct mail; in-store retailer support; and on-line promotions on Acclaim's Worldwide Web site (http://www.acclaimnation.com). In addition, Acclaim is currently developing Nintendo cross-promotions and consumer sweepstakes to further promote the title.

Acclaim Entertainment, Inc. is a leading worldwide publisher of software for Nintendo, Sega, Sony, personal computer and CD-ROM hardware systems; and comic books under the Valiant and Armada imprints. Acclaim also develops coin-operated arcade and ticket redemption games, and operates blue screen and motion capture studios, as well as A.D.I., a global sales and distribution company for products from a variety of entertainment software publishers, including Domark, Interplay, Marvel, Pulse Entertainment, Sunsoft and Take 2. Acclaim, which also entered into a joint venture with Tele-Communications, Inc. for electronically distributed interactive entertainment, is publicly traded on the NASDAQ National Market System under the symbol AKLM.

Source Citation
"ACCLAIM UNLEASHES THE POWER OF THE NINTENDO 64 WITH 'TUROK: DINOSAUR HUNTER'; Acclaim's Debut 64-Bit Title Thrusts Gamers Into Incredible 3-D World of Dinosaur Hunting." Business Wire 17 May 1996: 5171010. Gale Power Search. Web. 22 Aug. 2011.
Document URL
http://go.galegroup.com/ps/i.do?&id=GALE%7CA18293554&v=2.1&u=22054_acld&it=r&p=GPS&sw=w

Gale Document Number: GALE|A18293554

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Ancient Painting

2011-08-10T12:28:00.002-04:00

Ancient Painting, originally uploaded by mccoryjames.

The 2011 PhotoEspana festival focuses on portraiture, and how it exposes the photographer and viewer as well as the sitter

Portraiture is one of our most ancient and enduring art forms. The earliest surviving portraits stretch back to ancient Egypt, and the fascination with documenting our own image has been a feature of art and photography ever since. Today it is easier than ever to record ourselves, and share the resulting imagery with others. As with portraiture throughout history, these depictions may not present the whole truth: Facebook and other social media sites are littered with photographs designed to articulate a certain projection of ourselves, one that is largely sunny, with little room for darkness or even shades of grey.

It is this complexity at the heart of portraiture that makes it so fascinating, and thus a rich subject matter for a photography festival. As Gerardo Mosquera, the main curator of this year's PhotoEspana event in Madrid explains, the face is "a place of exchange". A portrait communicates messages about the sitter, but also reveals much about the attitudes of the artist or photographer, and in turn of the viewer. The exhibitions at the centre of PhotoEspana aim to explore this triangular relationship.

Perhaps the most ubiquitous form of portraiture in the modern age is the documentation of celebrities. Images of the famous (and infamous) litter our media, provoking fascination and revulsion in equal measure. For many, the paparazzi, the source of most of these pics, represent the lowest form of photographer, obsessed with money rather than art. And yet, as the two exhibitions at PhotoEspana by 'paparazzo extraordinaire' Ron Galella demonstrate, their images are difficult to resist.

Galella's most celebrated pictures are from the 70s and 80s, a golden age of celebrity, prior to the obsessive control of PR consultants and the face-melting effects of plastic surgery on stars. And Galella shot them all: Brando, Streisand, Presley, Onassis, Redford, Burton and Taylor. He captured them looking happy, and he paved the way for today's paparazzi by also snatching images of them drunk, scared and angry. His photographs are captivating as historical documents, not least due to our knowledge of how the lives of those snapped were to unfold, so often tragically. Their presence in a gallery environment inevitably provokes debate, and is likely to unsettle traditionalists. Yet, Galella's work reveals much about our uneasy relationship with fame; we happily study the famous as if they were family and friends, but equally we despise them, and revel in their transgressions.

A different world

The Circulo de Bellas Artes is displaying its expansive Galella show on its top floor, but offers a counterpoint to its glossiness in the basement. Here can be found a series of work by Columbian photographer Fernell Franco, which documents the lives of a number of prostitutes in the city of Cali. The images are also shot at roughly the same time as Galella's, the early 70s, but capture an entirely different world. Unbearably young girls are posed provocatively on dingy mattresses, gazing out at the viewer, while less contrived shots show the girls bathing and laughing, seemingly oblivious to the photographer's presence. The contrast is unsettling, giving the impression of Franco both as impartial observer but also pimp.

PhotoEspana has established a reputation for excellent shows of archival work, and this year historical photography dominates the festival. Alongside Galella and Franco are shows of work by Jacques Henri Lartigue and Ecuadorian photographer Carlos Endara, whose series of early 20th century studio portraits of the residents of Panama, both rich and poor, are fascinating. Fundacion Telefonica is hosting an exhibition that brings together Cindy Sherman's compelling Bus Riders series with portraits by Thomas Ruff, and the photographs of Mexican photographer Frank Montero. Though he was born in the mid-19th century, Montero's series reflects ideas of identity inherent within Sherman's work as he stages dramatised images of himself acting out various (presumably fake) occupations and situations.

The proletarian eye

If you were to see only one historical show from PhotoEspana this year though, it should be Museo Reina Sofia's enormous survey of the Worker- Photography Movement from 1926-39. The exhibition traces the long development of the movement, from the early, amateur shots of everyday working life that were solicited by German communist magazine AIZ (Arbeiter-Illustrierte Zeitung) to images of the Popular Front and later the Spanish Civil War by photographic luminaries such as Robert Capa, Chim and Gerda Taro. The grinding poverty captured in many of the images is interspersed with choreographed propaganda shots of triumphant workers, smiling as they toil, illustrating the two primary discourses of proletarian documentary photography of the time. With over 1,000 images, many also shown within the original publications they first appeared in, it is difficult to imagine a more detailed and concise exploration of this important period of photography.

Contemporary art is represented at this year's festival by several group exhibitions that showcase a wide variety of artists from all over the world. The principal of these is Face Contact, curated by Gerardo Mosquera and showing at Teatro Fernan Gomez Centro de Arte. It is ambitious in scale, with 31 artists shown. The works are linked by the theme of the contemporary portrait, and there are many interesting pieces here - especially a series of coming-of-age photographs of Cuban teenage girls - but with little textual guidance and a huge variation of styles, the show is ultimately perplexing.

This is the first of a three-year curatorial stint at PhotoEspana by Mosquera, and he arrives at the festival with Spain in the midst of a recession, complete with enormous cuts to the arts. In this difficult situation, he has done well to choose a theme that will no doubt prove popular amongst gallery-goers and sponsors alike. The festival is slimmer this year, though contains much to entertain and excite newcomers to the world of photography, plus enough rare and thought- provoking treats to please those well-versed in the medium.

Source Citation
"REVIEW: The many faces of portraiture." Creative Review 18 July 2011: 62. Gale Power Search. Web. 10 Aug. 2011.
Document URL
http://go.galegroup.com/ps/i.do?&id=GALE%7CA261556348&v=2.1&u=22054_acld&it=r&p=GPS&sw=w

Gale Document Number: GALE|A261556348

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Earth work: careers in the natural sciences. (Grab Bag)

2011-07-28T13:04:00.002-04:00

Earth, originally uploaded by tonynetone.

Do you know how natural scientists responded to recent natural disasters, from rockslides in Yosemite National Park to volcanoes in the Philippines? An article describing what those scientists did is part of a newsletter, "Scientists in Action!," from the U.S. Geological Survey. Additional articles depict the work of biologists, geologists, cartographers, and other scientists--exploring the ocean floor, preparing dinosaur bones for display, and solving the mystery of three-legged frogs, for example.

The newsletter, with 15 oversized, full-color pages, gives readers a glimpse of natural sciences careers, especially those with the Federal Government. For a free copy of "Scientists in Action!," call 1 (888) 275-8747 or write USGS Information Services, PO Box 25286, Denver, CO 80225.

Source Citation
"Earth work: careers in the natural sciences. (Grab Bag)." Occupational Outlook Quarterly Spring 2002: 49. Gale Power Search. Web. 28 July 2011.
Document URL
http://go.galegroup.com/ps/i.do?&id=GALE%7CA84970296&v=2.1&u=22054_acld&it=r&p=GPS&sw=w

Gale Document Number: GALE|A84970296

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Research Results from N.J. Macmullen and Co-Authors Update Knowledge ofSickle Cell Anemia

2011-07-28T12:23:00.002-04:00

Nursing, originally uploaded by Lower Columbia College.

"Sickle cell disease (SCD) affects millions of people across the globe. In the United States, approximately 70,000 to 100,000 people have the disease, and 2 million have the sickle cell trait," investigators in University Park, Illinois report (see also Sickle Cell Anemia).

"SCD occurs once in every 500 African American births, and once in 36,000 Hispanic American births. Women with SCD can have more adverse maternal outcomes such as preeclampsia, eclampsia, preterm labor, placental abruption, intrauterine growth restriction, and low birthweight. Providing comprehensive nursing care to women with SCD is a challenge, particularly during labor and birth, with nursing management aimed at attaining healthy birth outcomes while preventing or treating manifestations of the disease. Labor and delivery nurses are responsible for specific knowledge and care practices for these women, including differentiating the pain of sickle cell crisis from contraction pain and monitoring maternal and fetal oxygenation, as oxygenation is jeopardized in laboring sickle cell patients. Intrapartum nursing care also requires vigilance in the need for emergency cesarean birth. Nursing interventions include symptom management, pain management, ensuring patient safety, and educating patients," wrote N.J. Macmullen and colleagues.

The researchers concluded: "Coordination of care and clear communication between the members of the healthcare team, patient, and family are essential elements to ensure a positive outcome for perinatal patients with SCD."

Macmullen and colleagues published their study in Mcn - the American Journal of Maternal - Child Nursing (Perinatal Implications Of Sickle Cell Disease. Mcn - the American Journal of Maternal - Child Nursing, 2011;36(4):232-238).

For additional information, contact N.J. Macmullen, Governors State University, University Park, IL 60484, United States.

The publisher of the Mcn - the American Journal of Maternal - Child Nursing can be contacted at: Lippincott Williams & Wilkins, 530 Walnut St., Philadelphia, PA 19106-3621, USA.

Keywords: City:University Park, State:Illinois, Country:United States, Region:North and Central America, Hematology, Sickle Cell Anemia

Source Citation
"Research Results from N.J. Macmullen and Co-Authors Update Knowledge of Sickle Cell Anemia." Women's Health Weekly 28 July 2011: 143. Gale Power Search. Web. 28 July 2011.
Document URL
http://go.galegroup.com/ps/i.do?&id=GALE%7CA262258855&v=2.1&u=22054_acld&it=r&p=GPS&sw=w

Gale Document Number: GALE|A262258855

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Diving

2011-07-27T18:54:00.001-04:00

Diving, originally uploaded by Blessed by God.

Marine epidemiology comes of age

Sylvia A. Earle, the National Geographic Society's explorer-in-residence, encountered a disturbing change of scene late last year when she returned to scuba dive at one of her favorite haunts. Heads of centuries-old coral in a reef off the Dutch isle of Bonaire, just north of Venezuela, had always provided a dazzling backdrop for darting Caribbean fish. Now, she saw patches of coral--once yellow, electric green, purple, and brown--bleached to the point where "they looked just like snowballs."

Although still alive, the reef "looked sick," recalls Earle, a former chief scientist at the National Oceanic and Atmospheric Administration.

Indeed, Bonaire's coral is sick, says James M. Cervino, a marine biologist with the Global Coral Reef Alliance in New York City. The sad thing, he adds, is that Bonaire's reefs remain among Earth's healthiest. Having visited some 50 different reefs throughout the world over the past 2 years, he notes that most are considerably worse off.

Among tropical corals, which are actually colonies of tiny animals, bleaching has become ubiquitous, he finds. Whereas just the heads of Bonaire's corals are white, at some sites fully 80 percent of the coral has been bleached. The ghostly pallor, he explains, results from these colonies becoming too warm and feverishly expelling the colorful symbiotic algae responsible for their vibrant hues (SN: 6/15/96, p. 379). Because the algae symbionts provide an energy source, their prolonged absence eventually starves the corals, Cervino says.

Earle emphasizes that Bonaire "is still a paradise in many ways--one of the most beautiful places on the planet." But if trouble is threatening this reef, in apparently clean and protected waters, she says, what is safe?

Nor is bleaching the only threat to corals. Increasingly, Cervino points out, these colonies are also exhibiting infections, tumors, and "obscure" lesions. "We've been going to photos of corals from as far back as the 1930s," he says, and find no sign of many of these diseases.

At a briefing on Capitol Hill last December, he reported that at least 15 new syndromes causing mass coral-reef mortality have emerged over the past 20 years--many of them showing up for the first time only in the past 3 to 5 years (SN: 4/11/98, p. 229).

Says Earle, "I think of these coral reefs as red blinking lights, signs of trouble in our oceans."

A new program developed at Harvard University has assembled data on corals and nine other types of marine wildlife spanning from the Labrador Peninsula in Canada to Venezuela. As part of the project, Benjamin H. Sherman developed a computerized system to map outbreaks of disease affecting these plants, animals, and algae over time.

"We're mapping epidemics," explains Paul R. Epstein, a physician and associate director of the Center for Health and the Global Environment at Harvard Medical School in Boston. He explains that his team has "layered" other information onto the disease maps, including climate, pollution, economic measurements, harmful algae blooms, and regional data on water quality.

"The resulting system allows researchers to hunt for patterns--and hot spots--across time or broad regions in ways that had never been possible," says Sherman, now at the University of New Hampshire in Durham. The goal of this Health, Ecological and Economic Dimensions of Global Change Program (HEED) is to study diseases in the marine world as indicators of environmental threats to wildlife and even human health.

The picture that's emerging, Epstein and others say, is that a large share of diseases in ocean wildlife traces to a complex interplay of human activities and perturbations of Earth's climate.

Over the past 15 years, for instance, "there has been a very striking increase in the frequency and extent of harmful algal blooms," notes JoAnn M. Burkholder, an aquatic botanist at North Carolina State University in Raleigh. HEED's data now link many of these blooms of poison-producing algae to pollution (SN: 9/27/97, p. 202) and a widespread warming of coastal and shallow waters. Moreover, Burkholder observes, HEED's data suggest that the ecological impacts of these blooms are more pervasive than most biologists had realized.

Historically, she says, scientists have focused on the acute effects of these blooms--fish kills or a few human deaths from downing contaminated shellfish. "But it was always assumed that unless the fish died, they were not affected."

In retrospect, she says, that was naive. "We now know that fin fish and shellfish can and do get sick from toxins of harmful algae." They can develop cancer, their reproduction can be impaired, and their immune system can lose its ability to fend off disease. HEED's data, she says, are tying the toxins produced by microscopic algae to such problems.

Researchers at the Florida Marine Research Institute in St. Petersburg contributed some of those data. A few years ago there, Jan H. Landsberg began examining whether certain algal toxins, which stimulate cancer growth in mice, might also play a role in the growing incidence of tumors in East Coast shellfish.

By layering maps of algae blooms over regions of high tumor incidence and correlating the dates of blooms to reports of tumors, "I found a very compelling picture," Landsberg told SCIENCE NEWS. "You see that high rates [of shellfish tumors] cluster very strongly with the incidence of algal blooms." In particular, the tumors appeared linked to surface blooms of Alexandrium algae off New England.

The association could be just circumstantial, she admits. She and her colleagues hope to find out by testing. And that, Landsberg notes, is what HEED's all about--pointing out what associations to scrutinize and where.

Other algae, whose poisons induce the development of papilloma tumors in mice, are suspected of playing a role in triggering devastating tumors in sea turtles, she says. The suspect species is a dinoflagellate--a member of a broad class of algae that include Pfiesteria (SN: 9/6/97, p. 149) and algae that cause blooms known as red tides.

Though benign, the tumors can affect the turtles' ability to see or eat.

Because this dinoflagellate tends to dwell on the ocean floor, it doesn't produce colorful surface blooms. It does, however, produce a toxin--okadaic acid--that has been associated with a problem called diarrheic shellfish poisoning in people. "We're now proposing that the long-term effect of the turtles' chronic exposure to okadaic acid may be a high risk of these tumors," Landsberg says.

Last year, she began collaborating with researchers studying green sea turtles in Hawaii. They are mapping the incidence of the large tumors, called fibropapillomas, and concentrations of the particular dinoflagellate suspects. "And we have found that there are much higher levels of these particular dinoflagellates in what we'd call the high-risk areas versus those where turtles have no tumors," Landsberg says.

An as yet unidentified virus is also suspected of playing a role. The tumors afflict primarily immature turtles at rates that vary widely by region and even from year to year, observes Barbara Schroeder, sea turtle coordinator for the National Marine Fisheries Service in Silver Spring, Md. However, Landsberg says that her data suggest that the virus does not cause tumors unless the algae toxin is also present.

Fueling a suspicion that pollution also plays a role, Landsberg says, is the fact that the tumors tend to occur primarily among turtles in waters "where there is a lot of runoff of nutrients from land activities, pollutants that are likely to help fertilize the growth of these algae."

These same fertilizing pollutants, principally nitrogen and phosphorous, are also being tied to ailing sea-grass beds along the northern and middle Atlantic U.S. coasts. Here, meadows of eel grass (Zostera marina) have served as important nurseries for young fish. Increasingly, however, these marine prairies have been plagued by a "wasting disease," in which a slimy fungus turns leaves brown.

Unlike almost all other plants, this grass lacks the ability to shut off the uptake of nitrate through its leaves, Burkholder has found. She notes that in nutrient-poor coastal areas, this would have proved a selective advantage.

"But Zostera never anticipated dealing with us," she adds, wryly. In waters fed with municipal sewage, livestock wastes, and crop fertilizer runoff, these plants are now drowning in nitrogen. Once their small storage sites fill to capacity, the plant produces amino acids nonstop, quickly drawing down internal stores of carbon. These plants "literally begin starving themselves internally for carbon," she says. The result is that "overenrichment of nitrate can kill these plants" or render them so stressed that they can't ward off the deadly fungus.

A far more unusual pollutant, apparently from tilled soil or deforested lands, began showing up on Caribbean sea fans about 15 years ago. These sea fans are a type of soft coral.

Garriet W. Smith of the University of South Carolina in Aiken and his colleagues traced a deadly infection in the fans to the normally land-bound fungus Aspergillus. Smith's team now suspects that eroded soil particles that are washed to sea ferry the pathogen to its marine hosts.

Once in the water, the fungi seem unable to produce reproductive spores. The researchers argue that the sea-fan infections would probably die out without a continuing importation of fungi from land.

Until recently, scientists typically investigated marine disease outbreaks as isolated incidents. The idea that some might be linked struck Epstein when he began ruminating about a host of events in 1987.

That was a year of sea-grass die-offs around Florida and increased bleaching of Caribbean corals. Large numbers of whales and dolphins stranded themselves on Cape Cod. A toxic alga that causes neurologic poisoning in people who eat tainted shellfish and normally is confined to the Gulf of Mexico made a dramatic northward extension to Cape Hatteras, N.C. And a common, one-celled alga--a Pseudo-nitzschia diatom--was implicated for the first time in disease; tainted shellfish killed three people and sickened 100 others.

"You may remember that 1987 was also a large El Nino event," Epstein says, referring to the recurring global climate phenomenon signaled by upwellings of warm waters in the eastern Pacific (SN: 1/24/87, p. 55). That fact and the coincidence of environmental problems suddenly suggested to him that climate might be liable for the problems, some directly and some by interacting with local pollutants and conditions. To test the role of global climate, he began comparing the number of epidemic events in years with and without an El Nino.

"El Nino years tend to be warmer and wetter in the Northern Hemisphere overall," Epstein says. That leads to more extreme events in regional weather. An El Nino can play out as hotter summers or colder winters; one region may experience protracted droughts, while others fall prey to a rapid succession of flood-provoking storms.

HEED's data now show that many ocean disease outbreaks peaked during El Nino events. This suggests "a significant climatic influence on the interactions among hosts, pathogens, and the environment," says Epstein.

Upon reflection, that's not surprising, he says. Warmer waters can alter the metabolism of microbes, sometimes increasing organisms' energy use by a factor of 10. In the ocean, this might foster algae blooms, he notes.

Unusually heavy rains have the potential to wash large amounts of pollutants to sea. The pesticides and wastes can directly suppress large organisms' immune systems, and the nutrients can fertilize the growth of toxic algae. When researchers combine the maps developed by HEED, Epstein says, algae emerge as "a key leading indicator of ocean health."

With HEED--or better yet, a global version of it--scientists can systematically scout for trends that go beyond a single species or ecosystem, Epstein maintains. Satellite imagery might turn up signs of nascent algae blooms or heavy runoff, allowing researchers to quickly sample affected waters for poison-producing organisms. Where burgeoning communities of toxic algae are identified, health warnings could go out along with notices to temporarily close affected fisheries and beaches.

Long term, governments might be able to monitor the complex interplay of stressed ecosystems to learn where protective measures might offer the biggest payoff, Epstein says. For instance, they could impose tighter restrictions on animal waste and fertilizer runoff into surface waters.

"The biosphere--the place where life occurs--is 95 percent ocean," observes Earle, herself an oceanographer. Not only does the marine world house and feed much of the planet's life, but it also governs the climate and habitability of the planet. It's not an exaggeration to consider the oceans to be Earth's primary "life-support systems," she maintains.

"So if the oceans are in trouble," Earle argues, "so are we. And the oceans are in trouble." With research and stronger pollution controls, she adds, that needn't remain the case.

She advocates "a vigorous commitment" to ocean exploration and research--activities that probe not only threats to marine productivity but also the interplay of climate with ocean circulation and chemistry.

Fortunately, Earle says, "awareness of the need to explore our own aquatic backyard is growing" in the United States. A partnership of NOAA, the National Geographic Society, and the Goldman Fund, a private philanthropy, has just launched a 5-year program to explore the nation's continental shelf using newly developed submersible technologies. The goal is to establish ocean-monitoring programs and to survey native wildlife in marine sanctuaries, the undersea counterparts of national parks.

"As the century and millennium come to a close, there is an urgent need to consider the ocean as not just the `next frontier,'" Earle says, but as the means to sustaining humanity's teaming masses on what is essentially "an aquatic planet."

The coral reef off of the Dutch island of Bonaire is sick. Warm water results in coral colonies ejecting symbiotic algae. The reefs bleach and eventually starve. Other diseases and algae blooms affect coral communities, shell fish, and other marine animals. Pollutants also affect the health of marine coral.

Source Citation
RALOFF, JANET. "Sea Sickness." Science News 30 Jan. 1999: 72. Gale Power Search. Web. 27 July 2011.
Document URL
http://go.galegroup.com/ps/i.do?&id=GALE%7CA54031959&v=2.1&u=22054_acld&it=r&p=GPS&sw=w

Gale Document Number: GALE|A54031959

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Apple backing app makers in legal fight over patents

2011-07-27T18:32:00.002-04:00

Goodbye computer, originally uploaded by Victoria Reay.

Some iOS developers find themselves in legal hot water with a company called Lodsys, which says iOS's in-app purchasing feature infringes on patents that it holds. In this case, though, Apple says that it has developers' collective backs.

In May, several developers received letters from Lodsys alleging that using an in-app purchasing mechanism in their apps infringes on four patents covering online help, subscription renewals, in-app purchasing, and interactive online advertisements.

Apple gave third-party developers the ability to build in-app purchases into their apps in 2009's iOS 3 update. And in a letter to Lodsys, Apple contends that its existing license for patents covering in-app purchases applies to iOS app makers, too. (You can read the letter at macworld.com/7276.) "There is no basis for Lodsys' infringement allegation against Apple's App Makers," Apple's senior vice president and general counsel, Bruce Sewell, says in the letter. Lodsys responded by filing suit against seven developers, alleging patent infringement.

[ILLUSTRATION OMITTED]

After the latest legal maneuver by Lodsys, the next move belongs to developers and Apple. It's no overstatement to say that what happens next could impact iOS development for a very long time.

BY LEX FRIEOMAN

Friedman, Lex

Source Citation
Friedman, Lex. "Apple backing app makers in legal fight over patents." Macworld Aug. 2011: 24. Gale Power Search. Web. 27 July 2011.
Document URL
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Gale Document Number: GALE|A261319646

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Master Class: Producing With the iPad

2011-04-11T12:47:00.004-04:00

iPad as Extra Monitor, originally uploaded by Stacy Lynn Baum.

Surely we've all sat bemused through the viral hit YouTube video showing New York City indie band Atomic Tom, whose gear was supposedly stolen, take to the subway and put on an impromptu performance, using only instrument emulations running on each of the members' iPhones. Publicity stunt or not, this virtual tapping of drums and strumming of guitars is proof of concept for all naysayers to witness.

The animated alt-rock-hip-hop collective Gorillaz took it a step further on their new release, The Fall (Parlophone), making extensive use of iPads to write and record the album while on tour during a 32-day stretch between Montreal and Vancouver. The fact that such a high-profile band chose to go that route is pretty impressive, but is the medium ready for prime time?

INSPIRATION'S KEY

As far as Dream Theater keyboardist virtuoso and die-hard synth junkie Jordan Rudess is concerned, the iPhone--and, by extension, the iPad--has allowed him to fulfill a longtime creative vision. "I've always been interested in putting together the world of audio and visuals," he says. "It's my goal to try and put those together as much as possible and make a musical instrument or a visual instrument that's as enjoyable and informative as possible."

Taking what he'd learned over the years playing the Continuum hardware controller developed by Dr. Lippold Haken, plus early inspiration from Russel Black's Bebot singing robot app for the iPhone, Rudess enlisted the help of Kevin Chartier (developer of the 4D Synth) to begin work on his very own MorphWiz application.

Their design began with the concept of using the vertical grid as a tool for not only expressing pitch but also--at its most basic purpose--to express amplitude. "You're able to put your hand down on any spot on the playing surface and know that, if you want it to, you'll be absolutely in-tune to a diatonic pitch," says Rudess. "And that's fine, but what makes it really cool is that once you slide to another note, when your finger stops near a grid line or a pitch that's marked, it has the ability to 'round' or auto-correct your pitch at the speed that you determine within the program."

While the secondary goal was to make the interface unique, visuals were carefully designed to give the player real information about performance parameters. While you slide pitch, for example, rings beneath your fingertips morph through the colors of the rainbow. Once your finger stops, the ring will change to white, according to the speed of the pitch-rounding. So, you have five fingers on the playing surface, and each finger's moving, you can visually determine what's going on with intonation.

"I'm so happy that a device came along, not only for me to see my vision through, but to allow people to experiment with musical concepts that they would have never had the chance to touch before," says Rudess. "If I can give someone who's never played music before an iPhone or an iPad and say, 'check this out, just put your finger on this,' and they can do something that sounds cool and inspires them, that sounds musical, there's a lot of joy there. How can you say that's not the greatest thing in the world?"

Jordan Rudess Extra Interview

Talk a bit about MorphWiz (released July 2010) and how that whole concept came about? Was it the "chicken" or the "egg" in so far as, was it a brilliant concept just waiting for the right medium to appear on the market for execution, or was it the iPad's multi-touch functionality that inspired the app?

Wow, that's a really good question! Well, let's see -- it started actually with a bit of a dream that I had, or a vision in mind, for a type of control. I wanted to be able to play notes on a keyboard -- because, you know, a keyboard is obviously where I'm coming from -- but I wanted to be able to play them and move my finger to any note and be able to slide at my own rate and have it be in tune, if I want it to be, exactly when I got to that note. So the concept being that I could either slide to a note or I could play any note, it would give me this sort of real freedom.

Obviously, on a keyboard (electronic keyboard) the only way to bend pitches is to use a pitch bend wheel or joystick, but I really wanted more than that. So, I'd been talking to a couple of select friends about this for a long time and one day my neighbor called me and said you've got to open up Keyboard magazine and check out this new product called Continuum (from ...). Indeed, it had some of the elements of what I was thinking about. So I called up Dr. Lippold Haken who is the guy who invented the Continuum, he sent me one, and we started to talk a lot and I really liked what he did, and it related to the vision that I had regarding pitch bending and so on. Since it was pretty close to what he was doing, he started to develop some software that did what I wanted to see.

Okay, fast forward a little bit, and along comes the iPhone. I remember putting my hand down on it and playing one of the preliminary piano apps, one of the first things that came out for it, and I was like oh my God this is so cool! And I got very inspired because I immediately thought maybe this is the place where I could see some of these creative visions come true. So I started to get very into following the developments of the iPhone world and the apps and what was going on, and one of the very first things I got involved with is this program called BeBot made by Russel Black, a friend of mine in Australia, a wonderful program. When I saw that, it also inspired me to think about my whole pitch concept and how I wanted to have this really very musical control of pitch in a way that hasn't been done before. So I took some of what I'd learned in playing the Continuum and I spoke to Russel about it, and he did some really cool program and made some of that happen in BeBot. I started to use it on stage and really enjoyed that.

Then one day I went to the App store and saw this little program called 4D Synth by Kevin Chartier that had that whole vertical kind of control on it. I wrote to him back and forth and the communication back and forth got more intense until finally we realized that this is a really interesting thing and we wanted to work with each other and I said, wow, a chance to start from scratch and really make a vision happen. So, from that time, it took about eight months to get MorphWhiz the way we know it off the ground and in store the way we know it.

So we started working on this thing around the whole pitch concept -- which is using the vertical grid as a real tool for not only expressing pitch but also -- at its most basic purpose -- to express amplitude. So, once you get a grip on pitch and amplitude and your finger really is on those controls all the time, you start being able to do some real expression.

The other thing is that, what it does is, you are able to put your hand down on any spot on the playing surface and know that, if you want it to be, you'll be absolutely in tune to a diatonic pitch. And that's fine, but what makes it really cool is that once you play a note and then slide to another note, when your finger stops near a grid line or a pitch that's marked, it has the ability to round or auto-correct your pitch at the speed that you determine within the program. You don't even necessarily have to think about it, because it's all programmed behind the scenes and you can just enjoy the mini miracle that's going on in the 80 patches that are provided. You can think of it almost from a violin point of view -- like if your finger went down anywhere on the fret board -- and it actually was the exact note that you went for -- and then you slid to something else, and when you stopped your finger without even adding any vibrato, it brought you in gracefully or musically to the correct pitch. Even if you were left or right of the grid line or pitch line, it would have tuned it and then when you start moving a little bit, you can do vibrato but from the exact pitch that you want to do the vibrato in. What's especially cool is that every note that you play is totally independent, so if you play one note and you're bending up, you can play another note at the same time and bend down, and they can all stop at different times. Everything is an independent voice. You can have two notes fade in and while they're loud, another note may be fading out; one note bends and the other one doesn't, etc. You get this very interesting, almost lap steel or pedal steel kind of control of the music. So, that's the musical vision of it.

The other big part of it is that I've always been interested in putting together the world of audio and visuals. You know, in my mind, and in physical reality, I think they're very much the same - they're operating off of vibration. And it's my goal to try and put those together as much as possible and make a musical instrument or a visual instrument and make it as enjoyable and informative as possible. So with MorphWiz, the goal was let's make this thing look really cool and trippy, but let's put some visuals here that really can give you some information about what's going on with what's happening with the performance. For instance, you've got rings that you can put under your finger, and while your pitch is sliding, the rings will travel through the colors of the rainbow. Well, once your finger stops, it will change to white according to the speed of the pitch rounding. So, you have five fingers on the playing surface, each finger's moving, you can visually see what's going on with the intonation as well. The reason it's called MorphWiz is because we have this very strong concept of morphing, where we like things to be able to smoothly go from one waveform to another. So, when you're changing your audio waveform let's say by going up the vertical grid on a particular note, it can also change your visual image, so that it's morphing between, like a sine wave and sawtooth waveform, for instance.

I'm so happy that a device came along that's powerful enough to allow, not only for me to see my vision through, but to allow people to experiment with musical concepts that they would have never had the chance to touch before. There are certain developers that I've met, and I think Apple kind of groks this as well, that the amazing thing about these devices is that we're bringing music to so many people. You know, some people say "oh well, they're not really musicians because they didn't train...", or that it's not right or something like that. I have totally the other thought, which is that music is one of the amazing things that we can all touch and we can all experience and it's one of the things that just makes life better. If I can give someone who's never played music before an iPhone or an iPad and say check this out, just put your finger on this, and they can do something that sounds cool and inspires them, that sounds musical, there's a lot of joy there. So, I mean, it's kind of like, how can you say that's not the greatest thing in the world?

The world knows you're a huge synth junky. What apps are you really stoked about at the moment?

Well, I was just playing with Synthtronica the other day-- what's very interesting is he (Christopher Penrose of Leisuresonics) never really calls it a vocoder because he's playing with formants and has a lot of control over them, so it's really a formant synthesizer, if you will. But for those of us who have been playing with synthesizers for years, it's really hard not to just say 'oh, it's a vocoder'. He has his own concept, and I am thrilled that he put out something that's a little bit different than some of the other stuff that's out there.

Then there's this new app by my friend Wallander over in Europe called WI Guitar. You know, Wallander Instruments did the WIVI Band app, which was really one of the first iPhone apps that used any kind of modeling. And if there's anybody that knows how to do that, it's Arnie Wallander, because he has a professional tool out called Wallander Instruments with all different kinds of winds and brass instruments. So, he put out this app that did like 15 different wind instruments and did that really, really well -- like amazing! When I did my MacWorld keynote speech, I wrote a woodwind quartet and did a video with me on each side of the screen playing as a Jordan Quartet. So, when he told me he was releasing this new guitar app, well... when you play it you just go, okay, this guy just knows stuff that other people just don't know (laughs). It's just so amazing. I guess he's got a patented technology that works on dynamic sampling and it's so expressive. The sustain of the guitar is so real and just really beautiful and unlike anything else that I've really put my hands on.

Another one of my favorite companies that I like to keep my eye on and be involved with whenever I can is Sound Trends, that does the Looptastic stuff. Aaron Higgins, the programmer there, is just brilliant and he does some great stuff. I got turned onto his work a long time ago with Sound Warp that uses physics and a bouncing ball that you throw around. Looptastic lets you manipulate loops on an X-Y pad where you can control effects. It's really intuitive and fun. When Aaron programs a filter or a stutter effect, you know it's just going to be so right.

What do you think the strength of the iPad is right now -- more as an instrument or as a control surface?

Well, I think that having your finger on the pulse of what's happening is what it's all about. Obviously computers are all moving towards a multi-touch kind of an idea, and that's just what's going on. So, as far as the next generation of musical instruments, I think that's what this is all bringing in. I think that's why I'm so completely stoked by all this. I mean, I was excited when I left Juilliard and discovered the minimoog -- I thought that that was amazing, I could keep one hand flying on the keys while the other hand was on the knob controlling the sound. But, now I'm like the next level of okay, this is obviously where it's all been going! But, anything from a really expressive musical instrument like MorphWiz...to things like just manipulating a waveform, something like the Curtis app, where it's really, really just fun using your two fingers to do stuff like pinching, zooming and doing all these granular things...it's so different from my app, but it's just so totally cool.

What kinds of issues, if any, have you faced with the iPad? Exportability, interfacing with your DAW, etc.

You know, every day things seem to get a little bit easier. I was really happy when you recently started to be able to access your iTunes library from within an app. For instance, when I first started showing MorphWiz, I needed to have a backing track so that I could play along with something I composed. So, to do that, I had to use something external and I was like come on, why can't we just access the internal library? So now, of course, you can and also do all sorts of crazy processing with it that you couldn't before. The other thing that's really cool that's more recent is this sharing that's actually on the App page of your iTunes app, where you can go in and a lot of apps allow you to move documents into them. Like I just moved a whole bunch of Richard Devine loops I was playing with into Synthronica by plugging in my sync cable, going to that sharing screen, just said add, and that was it. It was easy!

But, still there are challenges. I'm thinking about what am I going to do live? What's amazing is that you can do things like play wireless MIDI. That's pretty cool. However, how reliable is it, you know? It's like, do I really want to use it on stage? I think there's some more work to be done there with those kind of connections...do you use Bluetooth? You know, those type of things to me, it's great that they're kinda working and it's cool but, as far as being an instrument that a performer could use, and using those features, it's a little bit like "ermm, I don't think so, not quite yet!"

So, primarily, how are you using it in your live set?

Well, Dream Theater hasn't been on the road for a while, so the last time I used it was on our last world tour. What I did is, you know I have this kind of rotating stand system, and I had my stand builder build me an arm that came out to hold the iPad in a nice position. I'd run MorphWiz, just the audio in the app, no MIDI app of any sort to control anything. For the next tour, though, we're at the beginning of starting to think about how we're going to do this, and I'm thinking about some ways that I can't really announce right now of presenting iPads that would be really really cool, but we'll definitely reach the next level and I'll surely be doing something with the next level of MorphWiz, which we're working on an app now that's going to include MIDI and become like a pro version of MorphWiz.

What do you think the biggest shortcoming of the iPad is at the moment, as far as a professional audio tool?

Well, anybody who's tried to play music on this thing, there's no pressure sensitivity, that would be nice. And with the iPad2, they're saying there's velocity sensitivity based on the accelerometer, but we'll have to see what that is. Right now, you only have that one level of touch where you're just basically putting your finger down on it. Those two things would make a really big difference. One of the things that you kind of miss is the tactile feedback -- you really can't feel the note you're playing, there's no vibration. The smart programmers do stuff where you can kind of forget that, because there's something visual going on, like in MorphWiz there might be a ring or particles tracking your finger.

As someone who follows this stuff daily, I look forward to when the power is there to do more like 3D kinds of things. It's partly there now, but it's difficult to program and you have to be careful not to run out of processing power and not able to do anything else. If you look at the new Orb feature in Spectrasonics Omnisphere 1.5, and the Omni TR app for remotely controlling it, for instance, I think that's just so awesome. But could you just imagine adding the three dimensional idea to that, so where you're not only moving the ball all over the screen, but you could also throw it back or pull it forward. It's possible with finger 'pinch' or 'spread', but I just want to see more of that.

What would you like to see in the future for iPad?

I think there's just so much room for growth. Even with the size of the iPad now, I think people want it to be bigger. And, I mean obviously there are bigger touch screens out there, but they're not Apple software, and Apple software is very easy to work with, it's fun, it makes sense from a player's point of view, and from a programmer's point of view. It's not like programming other (platforms) where you're just having to overcome all these weird, quirky hurdles. When you play the iPad it just feels great, musical and artistic. It's why it's so popular. I think they could make different sizes, and as the processors get stronger, I think it's going to be amazing.

Do you think it should stay iOS, or OSX on an iPad device?

I definitely see the marriage coming, and look forward to when we can buy our next Apple computer and it's all a touch screen in your lap! Remember, this is all in its infancy. When we, as developers, get together we just look at each other and it's like, nothing's been truly established. We talk about what can happen, just technically, on the device, and also from a business point of view, how do you work this, what's the business model, how much do you charge? Do you make a free app, is that going to help, is that going to hurt? In-app purchase is another good model.

ANYTIME, ANYWHERE

Portability and convenience are of course paramount to a gigging musician. Alex Skolnick, the stylistically diverse guitarist with heavy metal outfit Testament and, most recently, the Alex Skolnick Trio (a jazz group known for playing bebop renditions of classic rock and metal tunes), admits that these features originally sold him on the whole notion of tablet-music in the first place. Already accustomed to pocket headphone amps like the Zoom, Korg Pandora, and Tom Scholz Rockman back in the day, Skolnick--a self-proclaimed "iPhone geek"--found it a natural progression to join forces with Agile Partners (in affiliation with Peavey) and endorse their AmpKit guitar amp simulator app.

"Sometimes, when you're backstage, you might leave your headphone amp on the bus, or vice versa. But you always have your phone on you," he chuckles, adding that it was AmpKit, alone, that really made him an iPad user.

"You know, I didn't really see the purpose of the iPad at first. I have my iPhone and Macbook Pro, and I just didn't see the point of this third product that's kind of in the middle. But, after using AmpKit, I really 'got it,'" he says. "The graphics are better, yet it has the same kind of [iPhone] interplay with the touchscreen, which you don't have on a laptop. Just to have that in a bigger package than your phone is great."

While Skolnick mainly uses AmpKit for songwriting, warming up, and practicing, he admits that the technology's not at the level yet where he can experiment with amp/mic combinations that directly translate to the studio with physical gear.

"But, that's no fault of the product--I feel that way about pretty much any handheld amp product, or even a lot of the plug-ins. I haven't really found one that replicates the sound that you can get with a real amp and a real mic. But, I wouldn't be surprised if we get to that point. Compare it, though, to any other miniaturized rigs, and it's one of the best out there."

Could he ever see himself taking to the stage with just an iPad? "I mean, if it really got close, sure! I remember the dawn of Pro Tools, for instance, and thinking, 'there's no way this is ever going to replace 2-inch tape.' But, I was completely wrong. Sure, analog is special, and if you're a purist and you have a huge budget, somebody like a Lenny Kravitz, for example, then it's great. But most records, even huge-budget records, aren't made like that. When Metallica cuts a record, it's done digitally, you know? So, okay, I was wrong about that. But, if we were to see something like that where this iPad technology competed, absolutely."

Alex Skolnik Extra Interview

How'd you hook up with the Agile Partners guys and what really pulled you into their product?

Well, AmpKit partnered with Peavey, and I play Budda Amps, which is also partners with Peavey. So, when AmpKit was looking for someone to demo their product, my name came up and I guess they liked the idea that I came from diverse styles. They shipped me the product and let me download all the possible models, and it was just really fun, and I just thought, this is great, because I tend to warm up backstage with headphone amps using products like the Korg Pandora, and I used to have the Zoom back in the days, and the Tom Scholz Rockman was the first one. I always liked products like that, and this is something like that, except it goes into your iPhone, and I'm an iPhone geek! (laughs)

This is just a lot more convenient because you always have your phone on you. Sometimes when you're backstage, you might leave your headphone amp on the bus, or vice versa. And this app, alone, has really made me an iPad user. You know, I didn't really see the purpose of the iPad. I have my iPhone and Macbook Pro, and I just didn't really see the point of this third product that's kind of in the middle, but it's not one, not the other. But, after using AmpKit, I really 'got it'. The graphics are better, yet it has the same kind of interplay with the touchscreen, which you don't have on a laptop. Just to have that in a bigger package than your phone, but one that feels the same as far as the touchscreen goes, is great. So, yeah, it was really AmpKit that sold me on the iPad.

How are you using AmpKit? Mainly as a scratch pad for coming up with amp/mic ideas that you later translate in studio with physical gear, or are you actually recording with it?

Right now, it's more for songwriting, warming up, and practicing. I've jammed with some other people on it. But, I don't think it's at the level yet where you could actually experiment with amp/mic combinations and then duplicate them in the real world. But, that's no fault of the product -- I feel that way about pretty much any handheld amp product or even a lot of the plug-ins. I haven't really found one that really replicates the sound that you can get with a real amp and a real mic. But, I wouldn't be surprised if we get to that point. Compare it, though, to any other miniaturized rigs, and it's one of the best out there.

Let's say that AmpKit got to the point where it really could compete with tens of thousands of dollars woth of killer amps and stomp boxes -- could you ever see yourself going on stage or into a session with just an iPad?

C?C?I mean, if it really got close, sure! I remember the dawn of Pro Tools, for instance, and thinking there's no way this is ever going to replace 2-inch tape. I mean, I thought, this is great, there's this option for making records now for a lot less money, but I always thought there'd be this demand for analog signals and tape. But, I was completely wrong...I was wrong. Sure, analog is special, and if you're a purist and you have a huge budget, somebody like a Lenny Kravitz, for example, then it's great. But most records, even huge budget records, aren't made like that. When Metallica cuts a record, it's done digitally, you know? So, okay I was wrong about that. But, if we were to see something like that where this iPad technology competed, absolutely.

Obviously, the iPad has some limitations. The proposed horsepower increase of the new Dual core A5 processor notwithstanding (At time of interview, the iPad2 had not yet been released --Ed.), what do you see a limiting factor with the current iPad, where you say I just really wish it did this?

C?C?Oh, that's really interesting. What would be really great is, when I'm recording on my Pro Tools rig, it would be really nice to be able to integrate the iPad into my recording sessions. I would be guessing that would involve some sort of business partnership between the various companies involved, and there's no reason I couldn't just use it audio-wise, for recording, but I think that the technology needs to be developed a little more so that it could compete with really great plug-ins.

But you'd agree that the iPad is going in the right direction, and that this is the future of computing?

I would! And, I mean, I was very skeptical when Steve Jobs did that original iPad press conference. I just didn't get the point. But, now I really see it. I mean, for the product being in its origins, you know, just being one year, I think its potential is great!

REMOTE POSSIBILITIES

It's been a decidedly less of a sonic revelation for Joe Gore, a Bay Area producer/multi-instrumentalist (and former editor for Guitar Player) who's recorded with the likes of Courtney Love, Aimee Mann, Carrie Underwood, Tracy Chapman, and The Velvet Underground's John Cale, to name a few.

"I'm not yet at the point of using the iPad as a sound generator for much, except for fun. But, I'm using it as a tool to control the more mature sound generators in a computer. It's really 100-percent there," he says. "The most amazing hit-the-ball-out-of-the-park app that I'm working with so far is TouchOSC [by Hexler]. Especially since Apple, to their eternal credit, jumped on it really quickly and released a Logic upgrade [9.1.2] specifically designed to support that functionality."

Essentially a programmable remote-control environment, TouchOSC is user-definable and can be customized to any hardware or software system that implements the Open Sound Control protocol. "It's just spectacular," says Gore. "The template included with the app is a brilliant piece of UI design. Not only does it, as you might expect, work really well at moving faders and things like that, but it has a very ingenious way of getting deep inside each channel and editing plug-ins directly from the iPad surface."

Speaking about his previous experiences with hardware DAW control surfaces, Gore recalls that it was always more effort to access anything beyond basic levels adjustments, and it often took as much time to remember how to perform functions as it would have to just grab the mouse.

"But with TouchOSC on the iPad, it's just so beautifully done," he says. "Because the communication is two-way, you get meaningful text about everything. It also feels really good and the ergonomics are fantastic. And that's just the provided template. With TouchOSC, you can build your own control surfaces, though I haven't experimented with that yet. It's kind of like MainStage, where you can drag virtual knobs and faders and size them; it's just fabulous. A few minutes with that is just enough to convince you that the future (of mixing) is going to be some version of a touch interface."

Joe Gore Extra Interview

You were a fairly early adopter of the iPad. Did you view it as a music production tool from day one?

Having said that, it's no secret that the iPad, and even the iPad2, haven't got a huge amount of computing horsepower. So there's definitely a lag in terms of real time processing, recording, streaming audio. So, it's clearly a big step down from working on a dedicated computer. Obviously the iPad is of spectacular convenience if you're traveling; it just so happens that I haven't been on tour since I've had my iPad, but I expect the next time I go out it will be amazing to having something so portable. But, here at home, when I have a bunch of computers and a couple of iPads, I can focus on what iPad stuff really makes me want to grab for the iPad rather than go to the workstation.

I also understand from your tech blog that the iPad has found a relatively 'dedicated' job in the studio.

For me, the most amazing hit the ball out of the park app that I'm working with so far is TouchOSC (Hexler), especially since Apple, to their eternal credit, jumped on that really quickly and released a Logic upgrade (9.1.2) specifically designed to support that functionality. It's just spectacular. The template included with the app is just a brilliant piece of UI design. Not only does it, as you might expect, work really well at moving faders and things like that, but it has a very ingenious way of getting deep inside each channel and editing plug-ins directly from the iPad surface. When you work with other DAW control surfaces, it's almost more effort to access anything beyond just turning levels up and down but, for me at least, using sends or adjusting plug-in parameters it almost took as much time to remember how to do it as it would have to just grab the mouse. So I've always had an aspiration to pilot everything from the touch surface.

But with TouchOSC on the iPad, it's just so beautifully done -- particularly in the plug-in channels, where there's a slider to select between different plug-in slots. And because the communication is two-way, you get meaningful text about what everything is - also feels really good and the ergonomics are fantastic. And that's just the provided template. With TouchOSC, you can build your own control surfaces, though I haven't experimented with that yet. It's kind of like MainStage, where you can drag virtual knobs and faders and size them, it's just fabulous. A few minutes with that is just enough to convince you that the future is going to be some version of a touch interface.

You mentioned before that you have purchased dozens of other music apps, but haven't really accomplished much with any of them. Are they not living up to your expectations?

It's strictly a question of horsepower. I think a lot of them are beautiful, and it's astonishing what they do. Synthronica by Leisuresonic really intrigues me, though. It seems to be heavily influenced by MetaSynth in terms of processing sounds using a paradigm from the world of pixel graphics. It's kind of intriguing because that's generally an offline process, in that it's not a synthesizer that you're trying to play in real time. There was something kinda cool about that way of working (with MetaSynth) in that you'd set up a process to calculate, run the numbers, and you might be rewarded with an amazingly cool and unique piece of audio that you could cut up and put into a sampler or do whatever you like with. So, Synthtronica seems to look intriguing in that way.

Another cool app I just discovered is SynthX (Way Out Ware) created by Jim Heinz, the same guy behind products like TimewARP 2600 and KikAXXE. It's got an Amiga-like influence with very rough, digital graphics and an intriguing playing surface.

One stumbling block with a lot of these audio apps is how to take digital assets in and out of the iPad. The current arrangement is kind of kludgey. If you've recorded a MIDI file of your drum box sequence, or you've made a cool audio clip, how do you get them in and out? And most programs have a means, but it's the same problem with many of the drawing programs as well. It's this kind of kludgy thing, where you connect the iPad to your computer, open up iTunes, and there's this tab inside iTunes that lists third party apps and some kind of import and export mode. It works, but it's kludgy and clunky.

Some of the virtual synths are really fun. You can definitely come up with compositional ideas. Ellatron HD (omenie), the Mellotron clone, is really fun. miniSynthPRO (Yonac Software) is a really cool minimoog with an X-Y joystick modulation touch thing that's really fun. The studio.HD app (Sound Trends) seems to be a really nice implementation of a multi-track DAW on the multi-touch format. The one that I think is really fun and beautiful is iOrgel (allm Interactive), this very Victorian looking musicbox sequencer with virtual playback.

And I use a lot of the utilities, like tap-tempos and tuners and such. As it stands right now, iPad is just a really good tool to take to rehearsal. You know, you can record rehearsal, check tempos, check tuning. Another realm where it's been incredible and life-changing is just as a mobile database and documents things. I've been doing a lot of work in the last couple of years in the DIY world, building guitar effects and pedals. The iPad has been spectacular as a workbench tool where, with a program like GoodReader (goodiware), I can have thousands of schematics and notes and illustrations in a searchable database. There are some really great electronics calculators, circuit simulators, reference books and such. In that respect, it's been huge.

The way I use iPad is that I'm not yet at the point of using as a sound generator for much, except for fun. But, I'm using it as a tool to control the more mature sound generators in a computer, or as a way to organize and use data for making use of any number of ancillary programs. It's really 100-percent there. Looking at that, it's easy to see how the sonic portion of that will be there as well, before we know it.

Well, let's crystal ball it for a moment, then. How would you like to see the iPad, and other touch devices like it, develop in the future?

C?C?My prediction and hope is probably something that's occurred to just about everybody already too. But, I think probably there's going to be some conceptual merger between the laptop and the iPad. Whether that means a superpowerful iPad, or a something like a MacBook that you interact with via a tactile interface. One way or another, we're going to have responsive touch interface and massive computing power converging. I don't know when or how, but that seems to be the direction. Getting back to where I started, the TouchOSC thing was really just a revelation moment because it was just so beautifully realized and worked so well out of the box and was just such a gratifying way to work, I think that was the moment where I really thought, yeah okay, I kinda see how this is going to shake down.

And wouldn't a third, Z-axis also be pretty cool? Say, where you could get that kind of push-twist multi-function like on consoles and such?

C?C?Interesting. I didn't come up through the typical engineer's path, so I don't have the neuro-muscular attachment to the fader that a lot of people do. But, one thing that's kind of interesting is to see how some of the drawing applications like Sketchbook Pro use various means -- like if you're working with a Wacom stylus tablet, for instance. Those are velocity and touch responsive like a MIDI keyboard is. The way that translates in the graphics software is, say you're emulating a felt pen tip, and that if you press harder, it widens out and makes a fatter or darker line, and if you lighten up it trails off into a little hair's breadth. Obviously the iPad doesn't support that sort of thing, but it uses another take on velocity where, if you move the stylus from point A to point B slowly, it will make a big fat line, and if you brush across really quickly it will make a thin line. So, there are ways to make another layer of control, even without touch sensitivity. I'm just not aware of anybody doing that in audio yet.

TURNING THE TABLES

C?Acclaimed New York City-based reggae-dub composer, producer, remixer, and multimedia artist Paul D. Miller, a.k.a. DJ Spooky, whose autonomous virtual DJ/mix app has already enjoyed 3.5 million downloads, credits the iPad as being a total game changer.

"My app lets me DJ pretty much in the same way that I would use turntables. I've been slowly getting rid of the turntables altogether--I know that sounds like sacrilege," confides Miller. "But I use it all the time, every day. I'm in the studio now, for instance, in the middle of doing classical music, and I'm using Sibelius and Finale to notate material through a virtual piano app." Miller also uses his iPad for effects, especially the Moog Filtatron app; remixing looped tracks with the Audio Palette app from Kent Jolly; and beat generation with apps such as DigiDrummer, iDrum, and Major Lazer.

He does see shortcomings with the iPad as a professional audio tool, though. "The interface, and being able to get things out of it is a drag. It's a definite bottleneck. You have to do everything through the iTunes interface--importing, exporting. I mean, they've tweaked it and they've done all sorts of stuff, so that's good to see. But, it's just very 'locked,' and you have to figure it out a little more. You have to open up a Mac account like me.com or mac.com, and it's just that extra step. It's a very sticky architecture; it keeps pulling you further and further in, and it doesn't talk to other things."

For this reason, Miller generally records the output of the iPad rather than rendering and saving audio internally. Random slowdowns and/or crashes, he says, are other issues that plague the machine at the moment.

"I mean, even the New York Times app or friggin' Martha Stewart app--there's always quirky things that somehow bounce out and all of a sudden, the next thing you know, the software's quit, right in the middle of something. So, it's that kind of uncertainty in the middle of a concert that you don't want to have. I'd like it to be as robust as the desktop Macs. But, because it's so new and it's had so much energy leveled at it so quickly, I think (developers) have just been throwing software into it without going through a lot of beta testing. In fact, the audience is the beta testing!" Miller laughs.

"The iPad has become this mega ecosystem very quickly, like really shocking. I had no idea it would move this fast."

DJ Spooky Extra Interview

What sets your app apart from other virtual DJ/mix apps out there?

There's a couple of things at hand that make the iPhone app very different, which is, its flexible. I've checked out the Deadmau5, RJD2, and DJ Shadow app, which basically just lists his calendar of tour shows. Those are all peers or friends of mine, but people seem to be focusing more on the very surface elements of what the iPhone app can do. I like the Richie Hawtin app, for instance, because it lets me interact with the audience live, in real time, but it doesn't necessarily let you integrate your iTunes library. What I think will really revolutionize the whole thing is letting you link your iTunes library to the app. That's why ours has been so popular, with about 3.5 million downloads. So it's been a phenomenal success. Most of the other artists that I mentioned from my peer group, they're keeping theirs very locked, and I think ours is very open architecture.

What other apps are you currently using for music?

Amazingly, I'm using the Moog Filtatron app the most. I also tend to use stuff that has keyboard and editing environments all in one. But there's also a piece of software called Audio Palette (Kent Jolly) that has a really great graphical interface that allows you to remix looped tracks. Then there's the Brian Eno app, Air. And an ambient one called Thicket (Interval Studios) that's pretty cool.

How do you typically use your iPad in your live set? Describe your rig.

The iPad basically has taken over the role of turntables for me. My app lets me DJ pretty much in the same way that I would use turntables. I've been slowly getting rid of the turntables altogether -- I know that sounds like sacrilege. The stuff I'm using is meant to be like a third turntable, but it's pretty much taken over the role of the turntables. I don't use the iPad as a remote, though.

What do you feel is the iPad's best asset for making music?

There's a lot that could be said for the intuitive and quick process of just getting into something. Stuff like DigiDrummer lets you do very quick beats.

How do you get the results out of the iPad and into your DAW?

I'll export them as files back into iTunes, then bounce to my desktop and into my editing environment. I usually use SONAR or Sony Vegas to edit video. These days, I have to admit, I'm in the middle of a crossroads in terms of music, because I'm doing a lot of classical music.

What do you see as the iPad's biggest shortcomings, as far as it becoming a professional audio tool?

Well, the interface and being able to get things out of it is a drag. You have to do everything through the iTunes interface -- exporting, importing. I mean, they've tweaked it and they've done all sorts of stuff, so that's good to see. But, it's just very locked and you have to figure it out a little more, and at the end of the day it's just time and space -- and I'm very busy. Most of the other software that I have, it allows me to import and export very quickly, but with Apple stuff you have to dig into a little bit. It's exactly what I wanted to avoid in a way, because it's becoming kinda monopolistic in the way that the PC was, and I worry about that in terms of the future of Mac stuff. The reason I liked Mac before was that it had a very flexible and open system, but it's like Steve Jobs is the Pope, and they're saying that you can't interface with Flash, for example. It's just annoying and pointless. So, in the end yeah, the import/export factor is a small issue, but it's an issue.

How would you see working around that?

Just make it very intuitive, no extra steps. It's the same thing with PDF files, or sending attachments. You have to download the entire attachment to the iPad and then resend it.

What would you like to see the iPad become, as an ideal tool for doing what you do?

Hmm, good question. There's only 24 hours in a day, and I would love it if there was a way to make the iPad more of a dynamic editing environment. The fact that you can just tap and touch makes creating drumbeats kind of interesting. What I love about DigiDrummer, for example, that's the one I use to make beats, or iDrum, or Major Lazer, you can't really change things around, so that's what I mean about them having a closed architecture. If I could have multiple programs open simultaneously, that would also be great. I don't like how you have to keep all these apps in a nested hierarchy, so to speak.

How much are you using the iPad for actual production in the studio?

I use it all the time, every day. I'm in the middle of editing some beats and doing classical music right now, for instance, and I'm using Sibelius and Finale to note material through Virtual Piano. I use it for effects, especially the Moog app. I just record the output.

Talking briefly with BT (Brian Transeau), he felt that the iPad is currently a very powerful multitouch controller, but it's lacking the horsepower to become the kind of realtime effects processor, sitting in the middle of a multi-in/multi-out signal chain that he needs for his sets. Yup, I'd agree, it's a definite bottleneck. I've been doing concerts with the iPad pretty much every couple nights of the week for the last year. The problem has also been being able to save and export things. You have to open up a Mac account like me.com or mac.com and it's just that extra step. It's a very sticky architecture, it keeps pulling you further and further in, and it doesn't talk to other things.

How do you see the future of the iPad?

I've been doing a lot of environmental projects, where I took my iPad up to the North Pole, and I was using it as a portable studio, recording and editing tracks while I was in the Arctic. It allowed me to have a very portable situation, not having to carry a lot of extra stuff in my backpack. I had good experiences with it, but I really like it as a controller, as a wireless hub so to speak, for other devices. You can set up everything from WiFi material, I can interact with the audience in real time using my app. It's just a matter of processing speed. It does sometimes slow down and/or quit randomly -- I mean, even the New York Times app or friggin' Martha Stewart app -- there's always quirky things that somehow bounce out and all of a sudden the next thing you know the software's quick right in the middle of something. So, it's that kind of uncertainty in the middle of a concert that you don't want to have. I'd like it to be as robust as the desktop Macs. But, because it's so new and it's had so much energy leveled at it so quickly, I think (developers) have just been throwing software into it without going through a lot of beta testing. In fact, the audience is the beta testing! (laughs)

I think what Trent Reznor did with Ghosts, and what Richie Hawtin did with the Remiix: Plastikman Replikants app is pretty cool. I'm always checking out different ways that people can engage the medium. We have a team of people spread between New York, LA and Tel Aviv working on my iPhone app, and because of that we have a whole ecosystem in place. We've done different versions of it, kinds of layering, a freemium model -- which is giving away the app for free but then having a structured and layered purchasing arrangement. We've had a really good response and I have no complaints, but it is really super fast, and it's become this mega ecosystem very quickly, like really shocking. I had no idea it would move this fast.

Source Citation
"Master Class: Producing With the iPad." Electronic Musician [Online Exclusive] (2011). General OneFile. Web. 11 Apr. 2011.
Document URL
http://find.galegroup.com/gps/infomark.do?&contentSet=IAC-Documents&type=retrieve&tabID=T003&prodId=IPS&docId=A253261144&source=gale&srcprod=ITOF&userGroupName=18551_mcpls&version=1.0

Gale Document Number:A253261144

(Web-Page) http://computer.tutor2008.googlepages.com/tutor2(Album / Profile) http://www.facebook.com/album.php?aid=5745&l=970be&id=1661531726 leonard.wilson2009@hotmail.com

How to make a book trailer.(Computer Business)(online marketing videos).

2011-04-11T12:06:00.001-04:00

Kat Among the Pigeons Book Trailer a video by ZetteG on Flickr.

I'm sure you've seen video advertisements for books distributed over the Internet. A book trailer can be like an action-packed, heart-pumping movie trailer, or it can be slower and more comprehensive, like a literary infomercial. Either way, it's yet one more method of advertising your book to your prospective readership.

Some agencies out there will produce a book trailer for you at a cost of several hundred to several thousands of dollars. But with inexpensive digital cameras, smart phones, and friendly drag-and-drop video production programs like Windows Movie Maker and iMovie, you can create your own trailer on a very low budget.

Step 1--The Essence

The first step is to boil down your masterpiece into its primary essence. Is your book exciting and action packed? Is it informative? Is it a literary classical painting? Is it sensual? Ask yourself what mood you want the person looking at your trailer to be in while watching it and whether that mood fits the mood of your book. Remember that a trailer is a sales tool; a mismatch in mood between the trailer and the book is like false advertising. Don't promise Anita Blake and deliver Harry Potter.

Step 2--The Purpose

The purpose of your trailer will help determine the length. Is it meant to be a thirty-second blitz, or a more in-depth look at the book as well as the author? Each has its place in the advertising arena, and it's possible you'll desire both. Just understand that they have different uses and potentially different audiences.

Your genre and audience will also help determine length. Generally, older readers and more literary fiction fit well with a longer author-interview format, whereas younger readers and those looking for an intense experience will be more interested in a shorter format.

Step 3--The Storyboard

Well, it is a movie, and movies use storyboards. Take a few minutes with a pad and a pencil and sketch out the key frames for your video. Yes, sketch. Stick figures will do, but roughly plan out the progression of imagery for your video--close-ups, book cover shots, highlighted words, graphics, etc.

Make sure you include a sales pitch. This may be your closing shot, or it may appear along the bottom of the whole video like a television crawl. Include the full title of the book, book cover image, author, ISBN, domain name, and where your book can be bought.

Step 4--The Script

You need this, too--even for trailers focused on an interview with an author. Map out the questions and answers ahead of time and know what you're going to say. Even an in-depth infomercial-style trailer needs to be under three minutes. Treat this like a pitch and know what you have, why the reader wants it, and how your book delivers. For more intense trailers, channel Don LaFontaine's voice if you have to, but make the text punchy, intriguing, and to the point--thirty seconds, tops.

Step 5--The Audio

I hate to break this to you, but not everyone's voice records well. For interviews, you can cut the questioner if necessary, but if the visual is of you talking, it's going to have to be your voice. Practice out any nervous twitters or even take a few lessons from a voice teacher. Take a deep breath and do the best you can. For the noninterview style in which the voice doesn't have to be yours, consider hiring a voice actor to record the voice-overs. The audio track determines the length of the trailer and the type of visuals needed.

Mood music can take your trailer to the next level. Keep the essence of your book firmly in mind when choosing, but don't let your selection overpower your message. Music that has been digitized and put on the Internet is not inherently rights free; musicians feel the same way you do about copyright infringement. Red Ferret offers a directory of sites offering rights-free music (http://www.redferret.net/pmwiki/pmwiki.php). Be sure to read carefully the terms of use for each track in which you're interested. IStockphoto.com sells a wide range of audio tracks at very affordable prices. Don't be afraid to use your personal networks to score an original soundtrack.

Step 6--The Video

Audio is only half the picture. The imagery for your trailer can be any mix of video, stills, and text. Digital video of you doing things--interviewing, writing, teaching, whatever--is only a smart phone away. For a better quality, invest a few hundred dollars in a flip cam with a tripod. Take shots of you giving readings and of the audience's reaction to you--just make sure that the people you are shooting have agreed to be filmed or photographed before you do it. Release forms may be needed.

In the absence of video, slide shows of stills intermixed with text can be very effective. Images on the Web are also subject to copyright, so make sure you have permission to use them.

Step 7--Assembly

Depending on the video program you choose, you may need to construct and adjust the soundtrack, using an audio program like Audacity (audacity.sourceforge.net) before installing the track. Open up Windows Movie Maker, iMove, Quicktime Pro, or Finalcut Pro, and import your audio tracks, text, and images. Drag and drop to match the visuals with the audio.

Step 8--Saving and Distribution

Each program offers a huge variety of saving options, and you will probably end up saving in more than one format. If a place you intend to send your video demands a specific format, save a copy to its specifications.

Otherwise, consider how you intend to let people see your trailer. Creating a YouTube account and uploading video there can make it easy for you to embed the trailer in your blog or Web site. This ease of embedding extends to allowing others to pass it around. YouTube has the added advantage of making your trailer available to its users. YouTube has instructions and video specifications available on its site (http://www.google.com/support/youtube/bin/answer.py?answer=165543). ITunes is another great place to offer your trailer. It has its own specifications (http://support.apple.com/kb/ht2729).

Twitter, Facebook, Flickr, and numerous other social media sites also allow video uploads. In many cases, it's easier to put it on YouTube first, but you might upload it directly as well.

Engage your audience in a whole new way. Get creative and have fun!

Angela Render is an author who has been editing and developing Web sites for over a decade. She teaches regular classes on Internet marketing. She is creating the second edition of her Internet marketing workbook, Marketing for Writers: A Practical Workbook. Find her at www.AngelaRender.com.

Source Citation
Render, Angela. "How to make a book trailer." Writers' Journal May-June 2011: 12+. General OneFile. Web. 11 Apr. 2011.
Document URL
http://find.galegroup.com/gps/infomark.do?&contentSet=IAC-Documents&type=retrieve&tabID=T003&prodId=IPS&docId=A252740614&source=gale&srcprod=ITOF&userGroupName=18551_mcpls&version=1.0

Gale Document Number:A252740614

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