Crazy Alien Weather: Lightning-Filled Rocket Dust Storms of Mars



Scientists have modeled the internal workings of lightning-filled “rocket dust storms” on Mars that rise at speeds 100 times faster than ordinary storms and inject dust high into the Martian atmosphere.


The Red Planet is a very dry and dusty place, with global storms that sometimes obscure the entire surface. Satellites orbiting Mars have seen persistent dust layers reaching very high altitudes, as much as 30 to 50 km above the ground, though scientists are at a loss to explain exactly how the dust got there.


Using a high-resolution model, researchers have shown that a thick blob-like dust pocket inside a storm may become heated by the sun, causing the surrounding atmosphere to warm quickly. Because hot air rises, these areas will shoot skyward super fast, much like a rocket launching into space, hence “rocket dust storms.”


“The vertical transport was so strong we want to come up with a kind of spectacular name, to give an idea of the very powerful rise,” said planetary scientist Aymeric Spiga from the Institut Pierre Simon Laplace in Paris, France, who is lead author on a paper describing the phenomena in the Journal of Geophysical Research: Planets on Jan. 14.



These speedily rising dust blobs can soar from near the surface to 30 or 40 km into the atmosphere in a matter of hours at speeds in excess of 10 meters per second (22 mph). This is far faster than the typical convection speeds in a dust storm of 0.1 meters per second (0.2 mph). Since the dust particles rub up against one another and create friction, the rocket dust storms may become charged with electrostatic forces, which could which could trigger fantastic lightning bolts.


Spiga and his team used detailed models of winds and dust on Mars to determine exactly how these rocket dust storms behave. Most previous models of Mars’ climate simulate large-scale global dust storms with fairly coarse resolution and so have not noticed the rocket storms. The team seeded their model with data from a dust storm observed by the OMEGA instrument aboard ESA’s Mars Express orbiting satellite and watched the rise of rocket storms.



Similar dust storms can’t happen on Earth. This is mainly because Mars’ atmosphere is about 100 times thinner than our own, meaning that it gets quickly and efficiently heated when dust particles absorb sunlight and then emit thermal radiation.


But a comparable phenomenon occurs in grey cumulonimbus thunderstorm clouds on Earth. The large accumulations of water particles in such clouds release latent heat, causing strong vertical motions and an extensive tall structure. Spiga’s team has used this Earthly analogy in the rocket dust storm’s more technical name, conio-cumulonimbus, from the Greek conious, which means dust.


“But I prefer to call them rocket dust storms,” Spiga said. “Then everyone knows what I’m talking about.”


Other researchers are impressed with the physical modeling done in the work. “I was a little surprised that such a small dust disturbance could remain intact over such long distances,” said planetary atmospheres scientist Scot Rafkin from the Southwest Research Institute in Boulder, Colorado. The mechanism could help explain how long-lasting layers of dust climb so high in the Martian atmosphere, he says. 


Because they appear to be relatively rare, it may take a while to track down more rocket dust storms. But Spiga is hopeful they will be found by orbiting satellites, which may even image the lightning flashes inside them.


Video: Spiga, Aymeric, et al. “Rocket dust storms and detached dust layers in the Martian atmosphere,” JGR:Planets, DOI: 10.1002/jgre.20046


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Singer Barry Manilow ill, Broadway comeback delayed






(Reuters) – Singer Barry Manilow on Thursday canceled the opening night and three other performances of his Broadway comeback run after coming down with bronchitis, according to Manilow‘s website.


The cancellations threaten to upend the “Could It Be Magic” singer’s return to Broadway following a more than two-decade absence.






The concerts, which had been slated for Thursday through Sunday, will be made up in February and March, his website said. Manilow, 69, will try to perform on Tuesday, the next scheduled show.


Manilow canceled two preview shows earlier in the week because of the illness, after which his website promised the singer would be ready for opening night “come hell or high water.”


“It turns out the only thing worse than hell and high water is bronchitis,” Manilow‘s website said of the cancellations. “Barry is deeply sorry to disappoint his fans and is doing everything he can to ensure a speedy recovery.”


Manilow has signed on for a 25-show run at the St. James Theatre in New York. The native New Yorker typically performs long-running shows at Las Vegas hotels.


(Reporting by Eric Kelsey; Editing by Jill Serjeant and Xavier Briand)


Music News Headlines – Yahoo! News





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The Haggler: When Customer Service Is a Dead-End Street





SEVERAL readers have surprised the Haggler by rising to the defense of McDonald’s and its in-store ad for the McRib sandwich — “It’s real pork!” — as described in our last episode. The ad suggests that McDonald’s thinks that its customers have pathetically low expectations about the chain’s raw materials. Just as bad, it breaks the Haggler’s unwritten rule that companies should never boast about the realness of any product that consumers have every right to assume is real.




Au contraire, argued a fearless few. One reader said he thought McDonald’s might simply be trying to alert people who don’t eat pork — Muslims and kosher-observant Jews, for instance.


But would someone with a dietetic restriction against pork ever even consider ordering something called a McRib? Even if the answer is yes, there is another problem here. If the point of the ad is to give a heads-up to the pork-averse, it would need only say “It’s pork!” The world “real” in this context is unnecessary.


Of course, if McDonald’s posted ads for the McRib that merely stated “It’s pork!” the subtext of the ad would be, “We believe our customers are really stupid.”


Someone else argued that the ad helps because pigs aren’t the only animals with ribs that are barbecued. Beef ribs are popular, too. Fair enough. Yet, again, if the goal is to eliminate any doubts about the origins of the meat, “It’s pork!” would suffice. No need for “real.”


But another reader made a point that the Haggler believes must be shared.


“I thought you were going to note that there are no ribs in the McRib,” wrote Jack Schwartz of Baltimore. “It’s parts of the pig that have been formed to look like ribs.”


Actually, according to a McDonald’s spokeswoman quoted in a Business Insider article in December, the McRib is made of “simple ground pork.” Which sounds like a combination of pig parts that could very well include ribs. But the rib look of the McRib — that is indeed an illusion.


So perhaps a more illuminating slogan might be “McRib: Only the look is fake!” That might not sell as many sandwiches, but it is certainly more informative.


O.K., letter time.


Q. On May 9, 2012, a certificate of title was awarded to Bank of America as part of a foreclosure on property I own — a vacant lot that I had hoped to build on. But Bank of America has continued to report delinquent payments to credit-score agencies, like Equifax. This means that I could have bad credit reports for all eternity, with no hope of ever improving my credit score.


Rectifying this problem has proved impossible. The call-in procedure at Bank of America seems designed to frustrate. No one seems to know the correct number to call. When I finally reached service reps, they were not allowed to call me back and could only repeat a robotic litany: “We have no record of a foreclosure sale. Would you like to make a payment?”


 I finally reached a supervisor, but she would not provide me with a direct number.  I had to go  through another generic number.  Two people who answered said they did not know who my contact person was.  “We have no knowledge of a foreclosure sale,” onesaid. Round and round we go.


Can you help? CONRAD REVAK


Naples, Fla.


A. First, the Haggler would like to point out that this is the first mortgage-related question ever posted in this space. That seems crazy, given that millions of Americans have been complaining for years that their bank won’t return calls or has mishandled paperwork, entered incorrect data and so on. Mortgages surely have caused more consumer heartburn than anything else since the housing crisis began.


But for some reason, only a handful of people have ever thought the Haggler could help. And the other cases were either too convoluted or were resolved before interventions could be made.


So you think the Haggler can’t handle a mortgage? Phooey. If you’ve got a good, clear case and can summarize it in less than 300 words, do share.


In this instance, the Haggler wrote to Bank of America, which resolved the entire problem in about a day and a half. The details here are that Mr. Revak — or more specifically, his lawyer — asked a court to grant what is called a deed-in-lieu, a financial instrument that lets a borrower give the title of a property to a bank, bypassing the standard and more arduous foreclosure proceeding.


A spokeswoman at Bank of America, Jumana Bauwens, said the wheels were grinding slowly in Mr. Revak’s case because his deed-in-lieu approach was unusual, and the “bank’s legal team felt they needed to do some more research to ensure that we wouldn’t have title issues when we sold the property in the future.”


O.K., but what’s up with the Bank of America’s phone system, which runs customers from one dead end to another? Might the company want to rethink that issue?


The Haggler tried to get the spokeswoman to say anything about this subject, but with no success. Which is maddening. How about just telling the Haggler that it’s working on the phone problem, or wants to, or is really bummed that it hasn’t already? Anything would be better than ignoring the issue.


As for Mr. Revak, he wrote to say that Bank of America got in touch by phone with a whole new and far more helpful attitude. Apologies were offered, and a promise was made that the bank would contact the credit scoring agencies and correct the record.


If Bank of America follows through with that promise, Mr. Revak wrote, “I will consider the case closed. The big unanswered question, though, is how many Americans are taking a hit on their credit score for no reason?”


E-mail: haggler@nytimes.com. Keep it brief and family-friendly, include your hometown and go easy on the caps-lock key. Letters may be edited for clarity and length.



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Protesters slam Egypt government two years after revolution









CAIRO -- Young men and boys clashed with security forces as tens of thousands of Egyptians protested Friday against the Islamist-led government’s failure to fix the economy and heal the politically divided nation two years after the overthrow of Hosni Mubarak.


The anniversary of the revolution that led to Mubarak’s downfall was marked more by rancor than joy as familiar and troubling scenes played out across the country: Rock-throwing youths lunging at police through clouds of tear gas while peaceful demonstrators waved banners and shouted epithets against those in power.


President Mohamed Morsi has been engulfed by months of anger from secularists, who claim he and his Muslim Brotherhood party have turned increasingly authoritarian in a bid to advance an Islamic state at the expense of social justice. The protests were the latest reminder of the volatile politics and persistent mistrust that threaten Egypt’s transition.








PHOTOS: 2011 Egyptian protests


“Morsi is finished,” said Tarik Salama, an activist. “A big part of the population hates him now. It’s too late for him to turn around and say, ‘Hey guys, I love you.’ He’s in the same place as Mubarak was two years ago.


"Morsi’s biggest problem is that he failed to unify the country. A lot of people voted for him, but he failed.”


One banner raised in Tahrir read: "Two years since the revolution, and Egypt still needs another revolution." Protest chants harked back to the 18-day revolt that toppled Mubarak but were now directed at Morsi: “Leave, leave.”


The days ahead may prove more violent. Many of the youths clashing with police in Cairo, Alexandria and other cities are angry over an economy that offers little hope. They have been joined by hard-core soccer fans, known as Ultras, demanding that police officials be held accountable in the deaths of 74 soccer fans killed last year in a stadium riot.


A court verdict in that case is expected Saturday.


In recent days, youths in Cairo have battled police with stones and gasoline bombs around high cement barricades blocking streets leading from Tahrir Square to the parliament. Young men pulled part of the wall down but police drove them back, firing steady volleys of tear gas that cloaked the square and drifted over the Nile.


“These young men and kids have no jobs,” said Salama. “The young in Egypt feel there is no future for them. This is the big danger.”


By dusk Friday, youths with rags and scarves over their faces hurled stones and rushed barriers, preparing for another night of clashes. The unrest spurred the emergence of an anarchist group, known as the Black Bloc, whose masked, black-clad members threw Molotov cocktails and attempted to overrun the presidential palace and the upper house of parliament or Shura Council.  


More than 60 protesters and at least 30 police have been injured nationwide since early Friday in clashes that also led to attacks on offices of the Muslim Brotherhood.


The backlash against Morsi intensified in November when he expanded his presidential powers and, sidestepping the courts, pushed through a referendum on an Islamist-backed constitution. The liberal opposition, which has long been disorganized, attacked him for spoiling promises of democracy that inspired the 2011 revolution.


Morsi has said his actions were an effort to root out Mubarak-era loyalists from the government and propel the country toward parliamentary elections in the spring. But his biggest challenge, perhaps, is Egypt’s troubled economy that has lost more than half of its foreign reserves and worsened conditions for about 40% of Egyptians who live on $2 a day.


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U.N. expert launches investigation of drones, targeted killings





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Jonathan Coulton Explains How <em>Glee</em> Ripped Off His Cover Song &mdash; And Why He's Not Alone



Fans of indie musician Jonathan Coulton were incensed last week when an alleged Glee version of “Baby Got Back” surfaced on the internet that seemed to shamelessly rip off Coulton’s distinctive arrangement of the 1992 Sir Mix-A-Lot song. Last night, that cover version was confirmed as an official Glee track when it appeared on the mid-season premiere of the Fox show, and is currently for sale on iTunes.


‘If this were an episode of Glee I would win.’

— Jonathan Coulton



Fox’s hard-nosed, corporate disregard for the work of an independent musician seems ironic particularly in the context of Glee, a television show whose core themes have so often revolved around the plight — and triumph — of the underdog. “If this were an episode of Glee I would win. The way they’re behaving is so antithetical to the message of their show.”


“It’s a little frustrating,” Coulton told Wired. “Whether or not they’re in the right legally, it doesn’t seem like the best way to handle it. If you’re going to claim that you’re giving an artist exposure and they should be grateful — there’s a right way to do that. Contact them ahead of time. Say this is great, we’re going to talk about it on our blog and tell all our fans that they should be fans of yours. We’re going to put a credit in the show. That doesn’t cost them anything.It’s a show with something like a $3.5 million budget for episode, but there are still so many free things they could have done to engender goodwill.”


Coulton told Wired that while his lawyers have been looking into the copyright issue, it seems unlikely that he will have any legal recourse. ”It seems that because of the compulsory license I purchased when I made a cover of this song, the arrangement itself is not protected under copyright, although it’s the darkest gray of the gray areas [of the law]… While there may be some weird offshoot of the law, it doesn’t seem like something where a little guy could sue to get any satisfaction.”


After the “Sadie Hawkins” episode aired, Coulton posted a tweet that read “I am pretty angry,” and elaborated further on his blog:


Well, they aired it, seemingly unchanged. And it’s now for sale in the US iTunes store. They also got in touch with my peeps to basically say that they’re within their legal rights to do this, and that I should be happy for the exposure (even though they do not credit me, and have not even publicly acknowledged that it’s my version – so you know, it’s kind of SECRET exposure). While they appear not to be legally obligated to do any of these things, they did not apologize, offer to credit me, or offer to pay me, and indicated that this was their general policy in regards to covers of covers. It does not appear that I have a copyright claim, but I’m still investigating the possibility (which I consider likely) that they used some or all of my audio.




After the track first leaked, Coulton asked audio-savvy fans on Twitter to analyze the similarities between the two tracks, speculating that portions of his actual recording may have been lifted for the Glee version, particularly the hand claps and a duck quacks sound he had substituted for an expletive. At least one fan, Paul Potts, conducted an in-depth analysis of both files during the duck quack, and while he says it was hard to prove definitively using only the compressed Fox audio, the waveforms appears remarkably similar.


“I’ve thought a lot about what satisfaction I can possibly get out of this situation and I’m not sure yet what the answer is,” said Coulton. “I’m still looking into what I consider to be a very real possibility that they used the audio tracks… That would be a pretty cut and dry violation. You can’t just use somebody’s audio without their permission. If they did, there’s not much question that they’re violated my copyright, as I understand the law. There’s still a chapter yet to come.”


Coulton’s willingness to speak up and enlist the support of his online audience also prompted other artists to come forward, claiming that their song arrangements had also been lifted wholesale by Glee for songs aired on the show and sold for profit on iTunes.


DJ Earworm, a.k.a. the San Francisco-based mashup artist Jonathan Roseman, pointed out that a 2012 Glee cover of R. Kelly’s “I Believe I Can Fly” similarly appeared to be lifted from his arrangement of the song, as did  singer/songwriter Greg Laswell, who told The Hollywood Reporter in 2011 that his version of Cyndi Lauper’s “Girls Just Want to Have Fun” also appeared to have been used without permission on the Fox show.


“Of the Glee version, I think they have enough talent over there that they shouldn’t need to go rummaging through other artists’ work,” said Laswell at THR. “Public acknowledgement of their note-for-note rendition would have gone a long way.”


“It does seems to be kind of a pattern,” said Coulton. “It doesn’t seem like it could possibly be a mistake you would make if you had that legal team… They decided it was a legal risk they feel comfortable taking.”


At the very least, he suggested, they could offer to pay artists whose arrangements they use the same amount of money they would have otherwise paid an arranger. “If they opened with that, I’m sure a lot of artists would jump at the chance.”


Still, Coulton says he isn’t interested in financial compensation so much as he is a conversation about the way Fox treats the artists whose musical arrangements they use and profit from.


“The most frustrating thing is the complete silent nature of their approach to this ‘exposure bonus’ for me. The thing I would wish for most is a frank and open and public discussion with them about what they have done, what they believe they have done and what their actual policy is on this kind of thing. And I don’t know if I’m going to get that,” said Coulton.


When asked for comment on the issue, Fox representatives did not respond.


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Veteran showman Dick Van Dyke reflects on lifetime’s work






(Reuters) – From “Mary Poppins” to “Night at the Museum” and his own long-running TV comedy, Dick Van Dyke has done it all during a show business career spanning seven decades.


On Sunday, Van Dyke, 87, gets a lifetime achievement award from the Screen Actors Guild in Los Angeles, just a year after his 1960s “Dick Van Dyke Show” co-star Mary Tyler Moore received the same honor.






Reuters spoke to Van Dyke about his career, his thoughts on today’s comedies and being a newlywed in his 80s.


Q: Was it really as much fun working on “The Dick Van Dyke Show” as it seemed?


A: “It was just absolutely wonderful. (Co-star) Morey Amsterdam used to say it was like going to a party every morning. It was the perfect improv group. I think it was the best five years of all of our lives.”


Q: Do you have a favorite episode?


A: “‘Coast-to-Coast Big Mouth,’ where Mary gives away that Alan Brady, Dick’s boss (played by show creator Carl Reiner) is bald, is one that comes to mind. I tend to like the ones that I had the most fun on, and I think the one I recall immediately is ‘Where Did I Come From?,’ the story of Richie’s birth, and all the hijinks that happen with the nervous father. A lot of crazy things happened, a lot of slapstick, which, of course, I love to do. It was a farce, but I just had so much fun on that one.”


Q: How have sitcoms changed since “The Dick Van Dyke Show’s” run from 1961-66?


A: “I think the big change is that 10 minutes of every 30 are commercials. We had 28 minutes to tell our story. Today they get 20 minutes. It’s just a one-line joke and a canned laughter, and a one-line joke and a canned laughter. I won’t say it’s bad, it’s just that I have trouble understanding it.


“It seems to me that relationships are what’s missing. I think back to ‘All in the Family,’ when you knew what those relationships were and the comedy that came out of that. Today it’s just one line after another, and they seem to try to cover too much in the way of story in a short time. Then I think they signal when they’re trying to be funny, and the minute I catch someone trying to be funny, then I won’t laugh.”


Q: What do you watch on television?


A: “I have to admit, I don’t get the comedies today. Maybe it’s just my vintage. Actually I stick pretty much with the news, and I love ‘Jeopardy!’ I watch Al Jazeera. They have news that you can’t find anywhere else. They do great documentaries, too.”


Q: Do children tend to recognize you from your earlier roles in film classics such as “Mary Poppins” (1964), or for your more recent work in the 2006 family film “Night at the Museum“?


A: “It’s just thrilling. I get little kids who recognize me from ‘Mary Poppins,’ and it just delights me because it’s our third generation. I was in the market the other day and a woman said to her daughter, ‘Honey, that’s the man who played Bert.’ And she ran over to her little brother and said, ‘I just met Bert’s grandpa!’ So to be recognized by kids is just wonderful. Kids have all seen ‘Mary Poppins,’ almost every family has a copy of it, and the children have come up and sung all the words from the songs of ‘Mary Poppins‘ for me. It’s amazing.”


Q: You’re a member of the barbershop quartet, Dick Van Dyke and the Vantastix. Where do you perform?


A: “We sing mostly at fundraisers and benefits. We also sing the opening theme song from “The Dick Van Dyke Show.” Morey Amsterdam wrote the lyrics, but I don’t think they’ve ever been published. I sing with guys half my age in the group, so they keep me young. A couple years ago we sang at Ford’s Theater for the president, so that was a big thrill for us.”


Q: You married makeup artist Arlene Silver last February. You two met at the SAG awards seven years ago. How’s married life treating you?


A: “Absolutely wonderful! She sings and dances, so there is a lot of that going on around our house. She’s a joy and she just lights up my life!”


(Reporting by Jill Jacobs in New York; Editing by Eric Kelsey and Eric Beech)


Celebrity News Headlines – Yahoo! News





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DealBook: Rumble on Basic Cable, as Ackman Takes On Icahn Live

For about 15 minutes on Friday afternoon, all of Wall Street was tuned into the battle that everyone wanted to see: William A. Ackman taking on Carl C. Icahn, live on air.

And the battle proved even stranger than anyone would have expected: Profanities were dropped; old battles were refought; taunts were slung.

Years of bad blood between the two hedge fund magnates spilled publicly onto CNBC’s airwaves, with Mr. Icahn deriding his younger counterpart as a “crybaby,” and Mr. Ackman declaring the veteran investor a “bully.” It was a smackdown that regularly prompted whoops from traders on the New York Stock Exchange floor, especially on the occasions that Mr. Icahn flung an occasional reference to bovine excrement.

Nominally, the two were set to talk about Herbalife, the health supplements company in which Mr. Ackman has publicly bet against. Speculation has ripped across Wall Street that Mr. Icahn has taken a contrary bullish bet on the company.

Of course, that’s not all that they argued about.

Instead, the two men squabbled over a nearly decade-old court case involving a real estate company, where Mr. Ackman sold his investment to Mr. Icahn. (You can read all about the lengthy battle here.) Mr. Ackman to this day alleges that Mr. Icahn reneged on a deal to share profits from a stock sale; the elder investor sees things differently.

How did that shape the battle between the two rich men? It became perhaps the financial world’s most-watched schoolyard match, in which Mr. Icahn shouted repeatedly and Mr. Ackman passionately argued his position at length.

Mr. Icahn dubbed Mr. Ackman “the crybaby in the schoolyard” and called his opponent “the quintessential example of on Wall Street, if you want a friend get a dog.” Clearly the more inflamed combatant, Mr. Icahn declared to his foe, “I wouldn’t want to invest with you if you were the last man on Earth.” He even picked a fight with CNBC host Scott Wapner, declaring him the bully. “I don’t give a damn what you want to know, I came on to talk about what I want to talk about,” the investor thundered, refusing to declare his position on Herbalife. [That said, Mr. Icahn mused that Herbalife could be "the mother of all short squeezes."]

For his part, Mr. Ackman repeatedly argued that Mr. Icahn was a bully who had taken advantage of a young investor stumbling in the early part of his career. The younger hedge fund manager repeatedly defended his bet against Herbalife, positing himself as the target of a major campaign by the health products marketer.

“He’s not an honest guy, he doesn’t live up to his word, and he takes advantage of little people,” Mr. Ackman flatly declared of Mr. Icahn.

Later in the exchange, Mr. Icahn sneered to his opponent, “I appreciate you called me a great investor.” Then he added, “I can’t say the same about you.”

And based on the reaction on Twitter, viewers could not get enough:

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'California did the impossible,' Brown says in State of the State









SACRAMENTO -- In a strident and sweeping State of the State address, Gov. Jerry Brown declared Thursday morning that "California did the impossible," bouncing back from the precipice of fiscal collapse to emerge as an economic leader.


With references to the Bible, the history of the California republic and Irish poet William Butler Yeats, Brown mapped out a vision for the state that includes big investment in its water and rail systems and schools free of regulations that he says inhibit flexibility and creativity.


Brown also called a special session of the Legislature for implementation of President Obama's healthcare law, "to deal with those issues that must be decided quickly if California is to get the Affordable Care Act started by next January."








But he stressed that his top priority is keeping the state from falling back into financial chaos.


"We have promises to keep," Brown said, alluding to his successful campaign last fall to persuade voters to raise taxes by billions of dollars. "And the most important one we made to the people if Proposition 30 passed: that we would guard jealously the money…. Fiscal discipline is not the enemy of our good intentions but the basis for realizing them."


He praised lawmakers for helping the state dig out of its fiscal morass but also called on them to show restraint. "What we need to do for our future will require more than producing hundreds of new laws each year," Brown said.


He warned of the dangers of "constantly expanding the coercive power of government by adding each year so many minute prescriptions to our already detailed and turgid legal system."


The governor cited schools as an area where the deluge of laws has undermined good policy. Returning to one of his favorite themes, he urged lawmakers to consider the "principle of subsidiarity … the idea that a central authority should only perform those tasks which cannot be performed at a more immediate or local level."


Brown repeated the call he made earlier this month to free local districts from dozens of state mandates for school spending and to shift more state money to districts with poorer students and non-native English speakers.


He said the steady tuition hikes at the state's institutions of higher education need to stop.


"I will not let the students become the default financiers of our colleges and universities," Brown said, to standing applause in the packed Assembly chamber that held the entire Legislature.


In calling a special session on healthcare, Brown said the state will next year begin providing insurance to nearly 1 million Californians under the federal law and in the coming years will steadily reduce the number of uninsured.


But he warned of attendant risks: "The ultimate costs of expanding our healthcare system under the Affordable Care Act are unknown."


The governor also used his address to tout his ambitious plans for refurbishing the state's water systems. He acknowledged that it will be costly. But inaction, he said, would likely prove more expensive, leaving California exposed to an economic disaster on the scale of that wrought elsewhere by Hurricanes Katrina and Sandy.


The governor also made a plug for his other costly infrastructure initiative, high-speed rail. He said the United States is lagging far behind other countries in this sector, saying that even Morocco is building a high-speed train system.


He called the state's bullet-train plan, which would eventually link San Francisco and Los Angeles, bold, like "everything about California."


The governor also announced will lead a trade mission to China to strengthen California's economic ties with that country and officially open the state's new trade and investment office in Shanghai.


evan.halper@latimes.com





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Hands-On: Vine Is Twitter's Bet on an Easy Video-Sharing App



Twitter has just leapfrogged everyone in the mobile, social video space with Vine, a video-sharing app that’s actually easy to use.


The company has introduced Vine, a new app that allows you to share six-second looping video creations with your friends on social networks. Vine also officially announced it has been acquired by Twitter, though it by no means is a Twitter-exclusive experience.


We took the app for a spin and found it incredibly simple and enjoyable to use. Instead of the standard video-sharing experience, you record videos by holding your finger on the screen. By lifting your finger, you can momentarily pause the recording, making it possible to create a miniature narrative out of multiple scenes. The app does all the stitching automatically for you, editing together a six-second movie with a series of jump cuts. The results often end up looking more like an animated GIF with audio than traditional, single-shot videos you see shared on apps like Viddy or Socialcam.


With the six-second limit and stop-and-go recording, Vine is the closest thing to an “Instagram for video” I’ve seen to date. It’s not about literally porting filters over to video, but rather making it simple to create entertaining clips. The mobile-only experience is about capturing very short, in-the-moment videos that require very little effort but can also be incredibly different from one another.


Though Vine is a Twitter-owned app, you don’t need a Twitter account to get started. And Vine can also connect to Facebook, allowing you to post videos there as well. When you first install the app, you have the option to sign in via Twitter or create a new account with an e-mail address.


Once you’re in the app, you see a home screen with a scrollable list of Vine creations. Assuming you don’t have any followers when you sign up, you’ll get a list of Editor’s Picks. You can also find other Vine videos through the Explore tab, which brings you lists of Editor’s Picks, Popular Now, All Posts, and various hashtags like #food, #howto, and #firstpost. Start poking around the Explore tab and you’ll find some pretty amazing Vine videos — everything from stop-motion animations to quick run-throughs of how to make coffee.




In its current state, Vine is definitely still buggy. No matter how many times I tried, I could not sign in with my Twitter account. The app consistently crashed as soon as I entered in my Twitter login and hit “authorize,” so I ended up needing to go the e-mail route. A few of my Wired colleagues, however, were able to sign in via Twitter without problem. Finding friends — which you can do by searching Twitter or your phone’s address book for matches — was also an issue for me, though other testers at Wired only saw an error message pop up once or twice and eventually had no problems finding friends through Twitter.


It’s clear that Vine’s unique recording process, and specific six-second time limitation, is what will spark creative videos. (But the app also won’t let you just post super short videos — you’ll need at least around 2.5 seconds before an upload icon appears.)


And when you’re scrolling through the app, videos automatically start looping once you get to them. There’s no need to tap to open a video, or press play. In this sense, it’s much more like scrolling through Instagram and taking quick glances at everything rather than having to commit a lot more time to watch videos. That’s the kind of low barrier to entry that video-sharing apps need.


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Beyonce lets others do talking on lip-synch drama






LOS ANGELES (Reuters) – Beyonce‘s lips remained sealed on Wednesday over her headline-making rendition of the U.S. national anthem at President Barack Obama‘s inauguration, leaving others to do the talking over whether she lip-synched to a pre-recorded track.


Celebrity magazine Us Weekly quoted a source saying the Grammy-winning artist was disappointed by the controversy she stirred by singing “The Star-Spangled Banner” at Monday’s solemn ceremony using a backing track – and drew a comparison to late Italian opera singer Luciano Pavarotti.






As some of America’s singing stars offered sympathy and understanding, an inaugural official, who declined to be identified, told CNN that Beyonce “did not sing live.”


“Because she didn’t have time to rehearse with the U.S. Marine Band, she decided to use her recording with the Marine Band,” the official told CNN on Wednesday.


The U.S. Marine band said in a statement on Tuesday that no one in the band “is in a position to assess whether it was live or pre-recorded.”


Us Weekly meanwhile quoted a different, also unidentified source, as saying “She did sing, but used a track.”


“She didn’t think there was anything wrong with it,” the source told the celebrity magazine‘s website on Wednesday.


“Pavarotti has done it! It was freezing out, and if she messed up just one note, that would have been the story … Everybody uses these tracks, and the music director advised it,” the Us Weekly source added.


Pavarotti lip-synched his last performance, at the 2006 Winter Olympics in Turin, because of the bitter weather and his failing health, according to orchestra conductor Leone Magiera in a 2008 book. The Italian tenor died in 2007 of pancreatic cancer at age 71.


Beyonce‘s publicist has declined to comment on the furor, but Aretha Franklin and Jennifer Lopez chimed in with their support.


“When I heard the news … that she was pre-recorded I really laughed,” Franklin, 70, who sang live at Obama‘s first inauguration in 2009, told ABC News.


“I thought it was funny because the weather down there was about 46 or 44 degrees and for most singers that is just not good singing weather … she did a beautiful job with the pre-record … next time I’ll probably do the same.”


Lopez told Jon Stewart on “The Daily Show” on Tuesday that many performers resort to using pre-recorded tracks.


“You know, sometimes it happens,” Lopez said. “When you’re in certain stadiums and in certain venues, they do pre-record things because you’re going to have that terrible slapback.”


Beyonce, 31, was giving her first major public performance since giving birth to a baby in January 2012. On Sunday, she had posted on Instagram photo of herself in a recording studio holding the sheet music for “The Star-Spangled Banner.”


She is due to take the spotlight again next month by performing, live, at the February 3 Super Bowl halftime show.


(Reporting by Jill Serjeant; Editing by Lisa Shumaker)


Music News Headlines – Yahoo! News





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