Dave Short ripped the Whistler Backcountry last spring, as shown in this episode of Short Stories. Dave goes right for the spines, steeps and hairy situations, managing the dangers with a smart head and pure boarding ability. Dave isn't working on sticking his double corks. He's got big lines in his eyes, and as you can see he has every intention of ripping them.
BOSTON – It was the Boston Red Sox's turn to throw away a World Series game – and this one might've been even more painful than when the St. Louis Cardinals flubbed their way into a loss a day earlier.
Five seconds of misery unfolded faster than the electric crowd at Fenway Park could process Thursday, and what looked like was going to be a crazy come-from-behind win turned into a harrowing 4-2 loss for the Red Sox, the sort that not only evened the series heading back to St. Louis but proved the Red Sox are equally capable of blowing a ballgame with physical and mental errors.
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After loading the bases by sandwiching a pair of walks around a hit in the seventh inning, the Cardinals sent leadoff hitter Matt Carpenter to the plate against reliever Craig Breslow. His fly ball to left field drew a throw from Jonny Gomes that was too late to nab pinch runner Pete Kozma, and it kicked away from catcher Jarrod Saltalamacchia for error No. 1. Cardinals outfielder Jon Jay broke to third base, and Breslow, who had picked up the remnants of the busted play, wound up and fired the ball to third.
Well, sort of toward third, like Maine is sort of near Massachusetts. It flew over third baseman Xander Bogaerts' glove and into the stands for another error that pushed Jay across with the go-ahead run. Carlos Beltran followed with an RBI single to right field, and just like that, the Red Sox's thoughts of a 2-0 series lead vanished into the cool October night.
St. Louis rookie Michael Wacha's only real mistake Thursday night was serving up a two-run homer to David Ortiz. … Minutes earlier, it seemed as though it would be one to remember for Boston. Like everyone else who had faced Cardinals starter Michael Wacha this postseason, the Red Sox looked flummoxed by his fastball-changeup combination. Over the first five innings, Wacha struck out five and allowed just one hit. With two outs in the sixth inning, Dustin Pedroia drew a walk, bringing up David Ortiz, the hero of Octobers past and present.
After his previous two at-bats, Ortiz knew Wacha's M.O.: fastballs early in the count, changeups late. And so it went: two fastballs, then three changeups, which Ortiz worked into a full count. Wacha went to the changeup one too many times, and Ortiz stalked it to the outside corner before unleashing his Herculean swing.
As the ball soared toward the 37-foot-tall Green Monster in left field, Ortiz sprinted, unsure whether it had the requisite carry to scale the wall. It scraped over, and the Fenway Park crowd ruptured with joy, much as it had in his game-tying grand slam in ALCS Game 2. What had been a 1-0 deficit morphed into a 2-1 lead with starter John Lackey cruising and what had been a near-impermeable Boston bullpen behind him.
In 7 1/3 innings this postseason, Breslow had danced around iffy control and held opponents scoreless. He inherited runners on first and second from Lackey and proceeded to walk Daniel Descalso to load the bases. All three runners would score.
And any concern that the Cardinals would revert to the misery of their 8-1 loss in Game 1, highlighted by a menagerie of errors, dissipated through the first seven innings. Carpenter rekindled the fears by booting a ground ball to start the eighth, and Ortiz singled to bring the winning run to the plate. Rookie Carlos Martinez, showcasing a 97-mph fastball and the nastiest slider this postseason, goaded Mike Napoli into a weak popout, and closer Trevor Rosenthal finished the Red Sox off in the ninth.
Game 1, Cardinals manager Mike Matheny said, was "a wakeup call." They were lucid as ever during Game 2. For five seconds, the Red Sox went narcoleptic, and that was all St. Louis needed.
Doc Pomus, pictured here in the 1980s, was an obscure, yet prolific songwriter who died in 1991. A.K.A. Doc Pomus is a documentary about his life.
Courtesy of the artist
Doc Pomus, pictured here in the 1980s, was an obscure, yet prolific songwriter who died in 1991. A.K.A. Doc Pomus is a documentary about his life.
Courtesy of the artist
His name would spin around and around on the vinyl, the writer of a thousand songs: Doc Pomus. As the man behind smash records including Elvis Presley's "Viva Las Vegas," Ray Charles' "Lonely Avenue" and The Drifters' "This Magic Moment," he shaped the early sound of rock 'n' roll.
Pomus died in 1991. His story — one of intriguing reinvention and determination — is told in the new documentary A.K.A. Doc Pomus, which was co-directed by Peter Miller.
Born Jerome Felder, Pomus was a Brooklyn native. At the age of 6, he was diagnosed with polio and lost the use of his legs. Facing a difficult life of disability, Pomus was inspired to lead a life of music.
"When he heard Big Joe Turner's song on the radio, called 'Piney Brown Blues,' it just absolutely transformed him," Miller says in an interview with NPR's Melissa Block. "He realized that the blues is what had the greatest meaning for him, and he turned himself into a blues singer. This handicapped, white Jewish kid found himself singing in African-American blues clubs."
Felder became Doc Pomus in part to keep his new escapades a secret from his mother. In a vintage clip featured in the film, he explains that "Doc" was a nod to blues singer Doctor Clayton, while "Pomus" simply seemed to roll nicely off the tongue.
After recording dozens of blues sides, Doc Pomus created a potential hit called "Heartlessly." The track was picked up by pioneering rock 'n' roll DJ Alan Freed. But as things were starting to heat up for the record, Pomus hit a wall.
"The record company that acquired this recording discovered that Doc was a 30-something-year-old, disabled Jewish guy on crutches," Miller says. "And I think their hopes for him becoming a pop star dimmed, and they didn't release the record. So I think at some point along the way, Doc realized that he had to pursue other ways of getting his music out there."
Pomus turned to writing, kicking off a career as one of the most prolific songsmiths of the 20th century. Miller spoke with Melissa Block about what came next: Pomus' years as a Brill Building hit-maker, his struggles in the age of Bob Dylan and The Beatles (who found success writing their own songs) and his rebirth late in life as a mentor to younger artists. Hear more of their conversation at the audio link.
PARIS (AP) — Condemned apartments covered in spray paint have probably never been in such demand.
An entire apartment tower in eastern Paris has been turned over to 105 street artists from around the world, giving them a chance to turn each home into its own art installation during the building's final days.
The artists had seven months to tag "Tour Paris 13" — named for the district where it's located — coating apartments sometimes still filled with debris, trash and furniture. All their work will vanish by the end of the year, as the tower, which has nine stories and a basement, is demolished piece by piece after next week.
"I really wanted the artist to intervene on a whole space," said Mehdi Ben Cheikh, the gallery owner who initiated the project. "I didn't want the spectators to come and look at art. I wanted the spectators to come and enter an art work ... which means there are things everywhere — we enter a room, and have to turn around in every direction to understand the surroundings."
The result is a tower exhibiting a range of artistic styles. There's a skull-inspired mural, Arabic calligraphy, a bloody bathroom, and a glow-in-the-dark cow crawling with snakes.
Would-be visitors have lined up for up to eight hours for a one-hour visit, with signs at various points around the block estimating their wait time. Only 49 people are allowed in at one time in the apartment block, which overlooks the Seine.
A handful of people are still living in the building and refusing to leave until the bitter end.
Some of the artists of Tour Paris 13 are participating in an unprecedented international urban contemporary art auction on Friday, with pieces created spur of the moment on Thursday standing alongside works from Keith Haring and Basquiat.
"I've been following graffiti and street art for about 30 years and so this represents another step in slightly different direction," said Martha Cooper, the famous street photographer who is documenting their work in progress. "Having an auction in Paris, in a big auction house, is pretty amazing."
A 1986 Basquiat piece, "Monticello," is estimated to sell at 600,000 to 900,000 euros ($828,180 to $1.2 million), and a 1984 acrylic of Keith Haring's "Sneeze," from 500,000 to 700,000 euros.
"We are the new artists. Graffiti art is the world's biggest art movement," said Mear One, an artist from Los Angeles who was painting live outside the Drouot Auction House on Thursday. "In the 1970s, art was so elite that only the upper level people could do art or appreciate. So it got boring ... and now, we are in a situation where this is the art form.
"All that other art is cool, but it has roots in the past, and we are the here and the now."
Natural dyes from common (and a few uncommon) ingredients: A new video by the American Chemical Society
PUBLIC RELEASE DATE:
24-Oct-2013
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Contact: Michael Bernstein m_bernstein@acs.org 202-872-6042 American Chemical Society
From crimson red to lavender to mustard yellow, vibrant hues can be coaxed from common and a few uncommon ingredients to add color to fabrics. The American Chemical Society's (ACS') Bytesize Science series explains the chemistry behind natural dyes with a new episode filmed at the Textile Arts Center in Brooklyn. The episode is available now on http://www.BytesizeScience.com.
"The process of this is taking natural things from the earth like fruits and vegetables, different roots and taking the color from them and translating them into a fiber," says Sahara Johnson, an intern at the Textile Arts Center. In the video, she demonstrates how to dye material using ingredients from the grocery store plus one color source that's a little harder to get, a bug found on cacti. Johnson pours chopped red cabbage into one large metal pot. Into another, she adds cochineal bugs, which have been used for centuries for their red pigment.
As Johnson dyes white silk lavender and pink in the pots of colored water, the video explains the chemistry of the different dyes and how acidity can change their colors. Acidic lemon juice, for example, can turn a bowl of cabbage dye from purple to red, but adding baking soda, which is basic, transforms it into a blue-green hue.
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Subscribe to Bytesize Science on YouTube for more videos that uncover the chemistry in everyday life.
For more entertaining, informative science videos and podcasts from the ACS Office of Public Affairs, view Prized Science, Spellbound, Science Elements and Global Challenges/Chemistry Solutions.
The American Chemical Society is a nonprofit organization chartered by the U.S. Congress. With more than 163,000 members, ACS is the world's largest scientific society and a global leader in providing access to chemistry-related research through its multiple databases, peer-reviewed journals and scientific conferences. Its main offices are in Washington, D.C., and Columbus, Ohio.
To automatically receive news releases from the American Chemical Society, contact newsroom@acs.org.
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AAAS and EurekAlert! are not responsible for the accuracy of news releases posted to EurekAlert! by contributing institutions or for the use of any information through the EurekAlert! system.
Natural dyes from common (and a few uncommon) ingredients: A new video by the American Chemical Society
PUBLIC RELEASE DATE:
24-Oct-2013
[
| E-mail
]
Share
Contact: Michael Bernstein m_bernstein@acs.org 202-872-6042 American Chemical Society
From crimson red to lavender to mustard yellow, vibrant hues can be coaxed from common and a few uncommon ingredients to add color to fabrics. The American Chemical Society's (ACS') Bytesize Science series explains the chemistry behind natural dyes with a new episode filmed at the Textile Arts Center in Brooklyn. The episode is available now on http://www.BytesizeScience.com.
"The process of this is taking natural things from the earth like fruits and vegetables, different roots and taking the color from them and translating them into a fiber," says Sahara Johnson, an intern at the Textile Arts Center. In the video, she demonstrates how to dye material using ingredients from the grocery store plus one color source that's a little harder to get, a bug found on cacti. Johnson pours chopped red cabbage into one large metal pot. Into another, she adds cochineal bugs, which have been used for centuries for their red pigment.
As Johnson dyes white silk lavender and pink in the pots of colored water, the video explains the chemistry of the different dyes and how acidity can change their colors. Acidic lemon juice, for example, can turn a bowl of cabbage dye from purple to red, but adding baking soda, which is basic, transforms it into a blue-green hue.
###
Subscribe to Bytesize Science on YouTube for more videos that uncover the chemistry in everyday life.
For more entertaining, informative science videos and podcasts from the ACS Office of Public Affairs, view Prized Science, Spellbound, Science Elements and Global Challenges/Chemistry Solutions.
The American Chemical Society is a nonprofit organization chartered by the U.S. Congress. With more than 163,000 members, ACS is the world's largest scientific society and a global leader in providing access to chemistry-related research through its multiple databases, peer-reviewed journals and scientific conferences. Its main offices are in Washington, D.C., and Columbus, Ohio.
To automatically receive news releases from the American Chemical Society, contact newsroom@acs.org.
Follow us: Twitter Facebook
[
| E-mail
Share
]
AAAS and EurekAlert! are not responsible for the accuracy of news releases posted to EurekAlert! by contributing institutions or for the use of any information through the EurekAlert! system.
In this Nov. 8, 2011, photo, NASA fan David Parmet signs his name on a Twitter logo during a tweetup event for about 50 of NASA's Twitter followers at the Langley Research Center in Hampton, Va.
Brock Vergakis/AP
In this Nov. 8, 2011, photo, NASA fan David Parmet signs his name on a Twitter logo during a tweetup event for about 50 of NASA's Twitter followers at the Langley Research Center in Hampton, Va.
Brock Vergakis/AP
Twitter announced today that it plans on selling 70 million shares at $17 to $20 each, during its initial public offering.
Bloomberg and The Wall Street Journal did the math and it means that the company is looking to raise about $1.4 billion and values itself at about $11 billion at the high end. This is the biggest tech IPO since Facebook went public in May of 2012.
"'They're picking a slightly lower valuation to ensure that the IPO goes up on the first day of trading,' Francis Gaskins, president of IPODesktop.com, said in an interview. 'I would definitely buy them in the offering at this valuation.'
"The six-year-old short-messaging site, which draws more than 230 million monthly active users and has transformed the way people communicate, is taking advantage of renewed appetite for social-media stocks to sell a 13 percent stake. While the company has more than doubled revenue annually, it hasn't yet turned a profit and the pace of user gains is slowing. Still, Chief Executive Officer Dick Costolo is betting the service's popularity on mobile phones will help lure advertisers."
Of course, Facebook didn't fare so well during its early days, so investors are watching Twitter closely. The Journal adds:
"Facebook's shares began tumbling shortly after its IPO. In part, the offering was affected by a glitch at the Nasdaq Stock Market. NDAQ 0.00% But some traders and investors also said that Facebook's raised price and expanded size of the offering caused them to sell.
"Twitter is aiming for an IPO price that avoids Facebook's fate, but also one that doesn't produce an enormous 'pop,' or first day jump, people familiar with the company's thinking have said. A big pop can be a sign that the company didn't raise as much money as it could have."
IBM has licensed smartphone and tablet processor designs from ARM, which will be used in new communications and networking gear.
With the new licenses, IBM has the "capability to add mobile processing to complement our high-performance networking and mobile 'front-end' businesses -- tablets and handsets," said Michael Corrado, an IBM spokesman, in an e-mail.
IBM has licensed ARM's Cortex-A15, Cortex-A12, Cortex-A7 processors, which are largely for use in smartphones and tablets. IBM did not directly comment on whether it would build smartphones and tablets based on the chips, but said it will make communications and networking gear as it prepares for the "convergence of networking and consumer applications," Corrado said.
IBM has been an ARM licensee for 13 years and the deal is an extension of that partnership. IBM already makes ARM-based chips in its foundries and the companies have also partnered on chip research and manufacturing technologies.
"It certainly could be part of a larger network-to-the-endpoint offerings," said Charles King, principal analyst at Pund-IT.
IBM could also make networking chips in its foundries for its customers based on ARM's intellectual property, King said.
But the new 32-bit cores licensed by IBM have been used more in mobile devices than networking equipment. Companies like Broadcom and Cavium have instead turned to ARM's new 64-bit ARM Cortex-A57 and A53 cores for use in networking gear. The 64-bit processor designs can be tweaked to handle network tasks like packet inspection and security.
IBM won't build smartphones and tablets for consumers, King said. But the new processors could be used in communications equipment for industrial customers, he said.
As an example, he said the processors could be used in point-of-sale systems, which are becoming increasingly portable.
IBM has also licensed the Mali-450 graphics processing unit, which is not ARM's most advanced graphics processor design. The extremely low-power Cortex-M0 processor was also licensed by IBM.
The new ARM licenses won't have an effect on IBM's Power core for low-power chips.
"Our Power IP will continue to play a key role in this segment," Corrado said.
Agam Shah covers PCs, tablets, servers, chips and semiconductors for IDG News Service. Follow Agam on Twitter at @agamsh. Agam's e-mail address is agam_shah@idg.com
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