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Monday, September 3, 2012

No. 2 Alabama wins 41-14 over No. 8 Michigan

Alabama defensive back Dee Milliner (28) runs back a turnover as teammate Brandon Ivory (62) puts a block on Michigan running back Thomas Rawls (38) during the first half of an NCAA college football game at Cowboys Stadium in Arlington, Texas, Saturday, Sept. 1, 2012. (AP Photo/LM Otero)

Michigan running back Vincent Smith (2) is stopped by Alabama linebacker Xzavier Dickson (47) and defensive lineman Ed Stinson (49) during the first half of an NCAA college football game at Cowboys Stadium in Arlington, Texas, Saturday, Sept. 1, 2012. (AP Photo/LM Otero)

Michigan fans in the stands react to a play during the first half of an NCAA college football game against the Alabama at Cowboys Stadium in Arlington, Texas, Saturday, Sept. 1, 2012. (AP Photo/LM Otero)

Alabama tight end Michael Williams (89) pulls in a touchdown pass in front of Michigan linebacker Jake Ryan (90) and safety Jordan Kovacs (32) during the first half of an NCAA college football game at Cowboys Stadium in Arlington, Texas, Saturday, Sept. 1, 2012. (AP Photo/LM Otero)

Alabama running back T.J. Yeldon (4) picks up yardage against Michigan safety Thomas Gordon (30) during the first half of an NCAA college football game at Cowboys Stadium in Arlington, Texas, Saturday, Sept. 1, 2012. (AP Photo/LM Otero)

ARLINGTON, Texas (AP) ? Alabama coach Nick Saban believes his latest talented and tenacious team took a step toward creating its own identity.

Though it felt a lot like the 2011 Crimson Tide never left on Saturday night at Cowboys Stadium.

Dee Milliner and Alabama defense pushed around Michigan and showed they can still dominate, manhandling the eighth-ranked Wolverines and pounding Denard Robinson in a season-opening 41-14 victory Saturday night.

Alabama had to replace most of its starters, including three first-round draft picks, from a defense that led the nation in just about everything last year and helped the Tide win its second national title in three seasons.

"I think we came out in the first game and established the kind of identity we're going to have on this team," Milliner said. "On defense, we were aggressive. On offense, we came out and attacked."

C.J. Mosley returned an interception 16 yards for a touchdown for the second-ranked Tide. AJ McCarron, no longer with third overall draft pick Trent Richardson to hand the ball off to, threw two touchdowns as Alabama won its 11th consecutive season opener.

"I personally don't think we were trying to send any type of message," McCarron said. "We're just trying to do what coach (Saban) preaches. And that's to go out and play our game. Do what we're supposed to do."

Milliner, the primary nickelback last season now in a starting role, deflected four passes in the first half, and had an interception after shoving intended receiver Roy Roundtree to the ground and into the Alabama sideline. That set up a touchdown for the Crimson Tide, which shot out to a 31-0 lead.

While Michigan still can recover to contend for a Big Ten title and possible Rose Bowl bid, this could be a confidence-shaking performance. The most lopsided season-opening loss certainly wasn't what Michigan expected coming off an 11-win season under first-year coach Brady Hoke that ended with the Wolverines' first BCS victory since the 1999 season.

"Obviously, we didn't play Michigan football, and that's something that bothers our team, bothers the coaches," Hoke said. "Win or lose your first game, you learn a lot."

They were without suspended running back Fitzgerald Toussaint and defensive end Frank Clark, but even with them probably weren't ready for the toughest of tests.

Unfortunately for Hoke and the Wolverines, this is Alabama ? still at its very best.

Even Saban was applauding the performance as the final seconds ticked off the clock.

"This team had a challenge of trying to create an identity for itself," Saban said. "That happens over time and happens with consistency in performance. It's a big win over a very good team."

McCarron was 11-of-21 passing for 199 yards. Freshman T.J. Yeldon ran for 111 yards and a touchdown on 11 carries, while Eddie Lacy had a 9-yard TD run.

It was a tough night for Robinson, even though he accounted for both Michigan touchdowns. Most of his 200 yards passing (he was 11 of 26) came on two plays ? a 71-yard pass right before halftime that came before his 6-yard TD run and his 44-yard scoring pass to Devin Gardner in the third quarter.

"I didn't make the throws that I should have made today and I feel that I didn't play as the Michigan quarterback today," Robinson said. "I've got to step it up and be more accountable."

Robinson, held to 27 yards rushing on 10 carries, showed his toughness when he didn't miss a snap immediately after being hurt on a fourth-down run in the third quarter.

The Heisman hopeful got hurt when he stretched and landed awkwardly trying to lunge for a first down on fourth-and-3. He appeared to reach for his lower back while on the ground, where he remained for several minutes before being helped up and then walking gingerly off the field.

Officials first marked Robinson's run as first down. But while Robinson was being tended to, the play was reviewed and it was determined that his elbow came down short of the first down. But he was back in the Michigan huddle after Cade Foster kicked a 51-yard field goal.

After Alabama went three-and-out on the opening drive of the game, and its defense quickly set the tone with Milliner knocking down two passes on Michigan's first possession, the Crimson Tide got rolling.

McCarron faked a handoff to perfection, after Lacy and Yeldon had carried the ball down the field, and tossed a 2-yard TD pass to Michael Williams for a 7-0 lead.

Robinson overthrew two receivers before another Michigan punt, and McCarron hit DeAndrew White in stride streaking down the sideline for a 51-yard score. Cornerback Courtney Avery, in after starter Blake Countless sustained an early knee injury, slipped down on the play.

Then came Milliner's big shove that he got away with for a big play. With Roundtree on the ground and the ball in the air, Milliner caught the ball near midfield and returned it to the Michigan 17. Robinson helped make a touchdown-saving tackle, and appeared to grab his right shoulder then.

"I got a good jam," Milliner explained. "When I looked up, the ball was coming and I made a play on it."

Lacy, limited coming off an ankle sprain, broke two tackles on a hard-charging score that made it 21-0, still in the first quarter.

When Jeremy Shelley's 22-yard field goal made it 24-0 with 10 minutes left in the first half, the Crimson Tide had 233 total yards ? 199 more than Michigan. It was 31-0 after Robinson inexplicably threw a pass right into Mosley's chest.

Alabama finished with 431 total yards, and Michigan had 269.

The crowd of 90,413 was the largest ever to see a college game at Cowboys Stadium, where the crowd was distinctly split by fans in crimson and those in maize.

At the end, the Alabama fans were chanting "S-E-C!, S-E-C!" and "Roll Tide!"

"It's a deflating loss, it should sting," Michigan safety Jordan Kovacs said. "But at the end of the day, you can't let Alabama beat you twice."

Associated Press

Source: http://hosted2.ap.org/APDEFAULT/3d281c11a96b4ad082fe88aa0db04305/Article_2012-09-02-T25-Alabama-Michigan/id-7bc2971bd8fc4d3d9f36ba9420404a47

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NASA awards $100,000 grant for sideways supersonic plane concept, sonic boom not included

NASA isn't just interested in extra-terrestrial exploration, but in pushing the boundaries of atmospheric flight as well, which is why it's just awarded $100,000 in funding for the supersonic plane concept shown above. As you can see, the symmetrical plane is basically all wing, and that's because it has two different configurations based on how fast you want to go. For normal, subsonic flight, a plane needs a decent wingspan to get off the ground and sustain flight at lower speeds. But, when you want to go supersonic, large wings become a bit of a drag, which is where the concept's bi-functional design comes in. The plane begins its journey in the long-winged setup, but spins 90 degrees amongst the clouds to use its stubby wings for efficient faster-than-sound flight and "virtually zero sonic boom." Gecheng Zha from the University of Miami has been touting his concept for quite some time, but now he's got the cash to refine the design, run simulations and do some wind tunnel testing, with the potential for more funding in the future. Unfortunately, the concept is, at best, decades from becoming a reality, but we're sold on the ninja star-like design. Guile, however, is not impressed.

Filed under: Transportation

NASA awards $100,000 grant for sideways supersonic plane concept, sonic boom not included originally appeared on Engadget on Sat, 01 Sep 2012 18:45:00 EDT. Please see our terms for use of feeds.

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Source: http://www.engadget.com/2012/09/01/nasa-funds-sideways-supersonic-plane-concept/

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Sunday, September 2, 2012

Top songs by Hal David and Burt Bacharach

AAA??Sep. 1, 2012?11:26 PM ET
Top songs by Hal David and Burt Bacharach
By The Associated Press? THE ASSOCIATED PRESS STATEMENT OF NEWS VALUES AND PRINCIPLES

THE ASSOCIATED PRESS STATEMENT OF NEWS VALUES AND PRINCIPLES

?By The Associated Press

FILE - In this March 17, 1971 file photo, The Carpenters: Richard and Karen, pose with their Grammy during the 13th annual 1970 Grammy Awards in Los Angeles. The brother-sister duo was named best new artist of the year, 1970, and also won as the best contemporary duo or group vocalists for "Close to You." Hal David, the stylish, heartfelt lyricist who teamed with Burt Bacharach on dozens of timeless songs for movies, television and a variety of recording artists in the 1960s and beyond, died Saturday, Sept. 1, 2012. He was 91. David and Bacharach wrote and composed the lyrics for "Close to You." (AP Photo/File)

FILE - In this Jan. 30, 1995 file photo, Tom Jones, co-host of the American Music Awards, sings "I Wanna Get Back With You" during his performance segment of the telecast at the Shrine Auditorium in Los Angeles. Hal David, the stylish, heartfelt lyricist who teamed with Burt Bacharach on dozens of timeless songs for movies, television and a variety of recording artists in the 1960s and beyond, died Saturday, Sept. 1, 2012. He was 91. David and Bacharach wrote the lyrics for "What's New Pussycat," made famous by Jones. (AP Photo/Reed Saxon, File)

FILE - In this March 18, 2002 file photo, singer Isaac Hayes, center, performs during the opening of the Rock and Roll Hall of Fame inductee ceremony at New York's Waldorf Astoria. Hayes was among the 2002 class of inductees into the hall of fame. Hal David, the stylish, heartfelt lyricist who teamed with Burt Bacharach on dozens of timeless songs for movies, television and a variety of recording artists in the 1960s and beyond, died Saturday, Sept. 1, 2012. He was 91. David wrote the lyrics for a song Hayes performed with Dionne Warwick entitled "Walk On By." (AP Photo/Kathy Willens, File)

FILE - This Oct. 17, 2011 file photo shows legendary songwriters Bert Bacharach, left, and Hal David pose with singer Dionne Warwick at the "Love, Sweet Love" musical tribute to Hal David on his 90th birthday in Los Angeles, Calif. David, who along with partner Burt Bacharach penned dozens of top 40 hits for a variety of recording artists in the 1960s and beyond, died Saturday Sept. 1, 2012 in Los Angeles. (AP Photo/Vince Bucci, File)

The notable songs of Hal David and Burt Bacharach. David died Saturday at age 91:

? "Raindrops Keep Fallin' on My Head"

?"This Guy's in Love with You"

?"I'll Never Fall in Love Again"

?"Do You Know the Way to San Jose"

?"Don't Make Me Over"

?"(They Long to Be) Close to You"

?"Walk On By"

?"What the World Needs Now Is Love"

?"I Say a Little Prayer"

?"The Story of My Life"

?"Magic Moments"

?"(There's) Always Something There to Remind Me"

?"One Less Bell to Answer"

?"Anyone Who Had a Heart"

?"What's New Pussycat?"

?"Alfie"

?"The Look of Love"

Associated Press

Source: http://hosted2.ap.org/APDEFAULT/386c25518f464186bf7a2ac026580ce7/Article_2012-09-02-Hal%20David-Greatest%20Hits/id-3e0af70955c649f7b148c6648e7ed4a8

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Source: http://kevinssoftware.com/wordpress/?p=282

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Source: http://hamel-goof.blogspot.com/2012/09/use-auto-responders-5-key-reasons-for.html

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What Are The Signs Of Menopause? | Jackies Womens Interest ...

That?s the question that lingers most in elderly women?s minds particularly after some of the initially ignored symptoms begin to intensify. As age catches up with women, their bodies fail to produce sufficient hormones leading to hormonal imbalance which is often characterized by a number of menopausal signs including night sweats, hot flashes, loss of libido, weight gain and exhaustion.

Source:What Are The Signs Of Menopause?

Saturday, September 1, 2012

A Better Way to Practice [Motivation]

A Better Way to Practice While it may be true that there are no shortcuts to anywhere worth going, there certainly are ways of needlessly prolonging the journey. We often waste lots of time because nobody ever taught us the most effective and efficient way to practice. Whether it's learning how to code, improving your writing skills, or playing a musical instrument, practicing the right way can mean the difference between good and great.

You have probably heard the old joke about the tourist who asks a cab driver how to get to Carnegie Hall, only to be told: "Practice, practice, practice!"

I began playing the violin at age two, and for as long as I can remember, there was one question which haunted me every day.

Am I practicing enough?

What Do Performers Say?

I scoured books and interviews with great artists, looking for a consensus on practice time that would ease my conscience. I read an interview with Rubinstein, in which he stated that nobody should have to practice more than four hours a day. He explained that if you needed that much time, you probably weren't doing it right.

And then there was violinist Nathan Milstein who once asked his teacher Leopold Auer how many hours a day he should be practicing. Auer responded by saying "Practice with your fingers and you need all day. Practice with your mind and you will do as much in 1 1/2 hours."

Even Heifetz indicated that he never believed in practicing too much, and that excessive practice is "just as bad as practicing too little!" He claimed that he practiced no more than three hours per day on average, and that he didn't practice at all on Sundays.

It seemed that four hours should be enough. So I breathed easy for a bit. And then I learned about the work of Dr. K. Anders Ericsson.

What Do Psychologists Say?

When it comes to understanding expertise and expert performance, psychologist Dr. Ericsson is perhaps the world's leading authority. His research is the basis for the "10,000-hour rule" which suggests that it requires at least ten years and/or 10,000 hours of deliberate practice to achieve an expert level of performance in any given domain ? and in the case of musicians, more like 15-25 years in order to attain an elite international level.

Those are some pretty big numbers. So large, that at first I missed the most important factor in the equation.

Deliberate practice.

Meaning, that there is a specific type of practice that facilitates the attainment of an elite level of performance. And then there's the other kind of practice that most of us are more familiar with.

Mindless Practice

Have you ever observed a musician (or athlete, actor, trial attorney) engage in practice? You'll notice that most practice resembles one of the following distinct patterns.

1. Broken record method: This is where we simply repeat the same thing over and over. Same tennis serve. Same passage on the piano. Same powerpoint presentation. From a distance it might look like practice, but much of it is simply mindless repetition.

2. Autopilot method: This is where we activate our autopilot system and coast. Recite our sales pitch three times. Play a round of golf. Run through a piece from beginning to end.

3. Hybrid method: Then there's the combined approach. For most of my life, practicing meant playing through a piece until I heard something I didn't like, at which point I'd stop, repeat the passage over and over until it started to sound better, and then resume playing until I heard the next thing I wasn't pleased with, at which point I'd repeat the whole process over again.

Three Problems

Unfortunately, there are three problems with practicing this way.

1. It's a waste of time: Why? For one, very little productive learning takes place when we practice this way. This is why you can "practice" something for hours, days, or weeks, and still not improve all that much. Even worse, you are actually digging yourself a hole, because what this model of practicing does is strengthen undesirable habits and errors, increasing the likelihood of more consistently inconsistent performances.

This also makes it more difficult to clean up these bad habits as time goes on ? so you are essentially adding to the amount of future practice time you will need in order to eliminate these undesirable tendencies. To quote a saxophone professor I once worked with: "Practice doesn't make perfect, practice makes permanent."

2. It makes you less confident: In addition, practicing mindlessly lowers your confidence, as a part of you realizes you don't really know how to produce the results you are looking for. Even if you have a fairly high success rate in the most difficult passages, there's a sense of uncertainty deep down that just won't go away.

Real on-stage confidence comes from (a) being able to nail it consistently, (b) knowing that this isn't a coincidence but that you can do it the correct way on demand, because (c) you know precisely why you nail it or miss it ? i.e. you have identified the key technical or mechanical factors that are necessary to play the passage perfectly every time.

3. It is mind-numbingly dull: Practicing mindlessly is a chore. We've all had well-meaning parents and teachers tell us to go home and practice a certain passage x number of times, or to practice x number of hours, right? But why are we measuring success in units of practice time? What we need are more specific results-oriented outcome goals ? such as, practice this passage until it sounds like XYZ, or practice this passage until you can figure out how to make it sound like ABC.

Deliberate Practice

So what is the alternative? Deliberate, or mindful practice is a systematic and highly structured activity, that is, for lack of a better word, more scientific. Instead of mindless trial and error, it is an active and thoughtful process of hypothesis testing where we relentlessly seek solutions to clearly defined problems.

Deliberate practice is often slow, and involves repetition of small and very specific sections of a skill instead of just playing through. For example, if you were a musician, you might work on just the opening note of a solo to make sure that it "speaks" exactly the way you want, instead of playing the entire opening phrase.

Deliberate practice also involves monitoring one's performance - in real-time and via recordings - continually looking for new ways to improve. This means being observant and keenly aware of what happens, so that you can tell yourself exactly what went wrong. For instance, was the first note note sharp? Flat? Too loud? Too soft? Too harsh? Too short? Too long?

Let's say that the note was too sharp and too long with not enough of an attack to begin the note. Well, how sharp was it? A little? A lot? How much longer was the note than you wanted it to be? How much more of an attack did you want?

Ok, the note was a little sharp, just a hair too long, and required a much clearer attack in order to be consistent with the marked articulation and dynamics. So, why was the note sharp? What did you do? What do you need to do instead to make sure the note is perfectly in tune every time? How do you ensure that the length is just as you want it to be, and how do you get a consistently clean and clear attack to begin the note so it begins in the right character?

Now, let's imagine you recorded each trial repetition, and could listen back to the last attempt. Does that combination of ingredients give you the desired result? Does that combination of elements convey the mood or character you want to communicate to the listener as effectively as you thought it would? Does it help the listener experience what you want them to feel?

If this sounds like a lot of work, that's because it is. Which might explain why few take the time to practice this way. To stop, analyze what went wrong, why it happened, and how they can produce different results the next time.

Simple though it may sound, it took me years to figure this out. Yet it remains the most valuable and enduring lesson I learned from my 23 years of training. In the dozen or so years since I put down my violin, the principles of deliberate practice have remained relevant no matter what skill I must learn next. Be it the practice of psychology, building an audience for a blog, parenting, or making the perfect smoothie, how I spend my practice time remains more important than how much time I spend practicing.

How to Accelerate Skill Development

Here are the five principles I would want to share with a younger version of myself. I hope you find something of value on this list as well.

1. Focus is everything: ?Keep practice sessions limited to a duration that allows you to stay focused. This may be as short as 10-20 minutes, and as long as 45-60+ minutes.

2. Timing is everything, too: Keep track of times during the day when you tend to have the most energy. This may be first thing in the morning, or right before lunch. Try to do your practicing during these naturally productive periods, when you are able to focus and think most clearly. What to do in your naturally unproductive times? I say take a guilt-free nap.

3. Don't trust your memory: Use a practice notebook. Plan out your practice, and keep track of your practice goals and what you discover during your practice sessions. The key to getting into "flow" when practicing is to constantly strive for clarity of intention. Have a crystal clear idea of what you want (e.g. the sound you want to produce, or particular phrasing you'd like to try, or specific articulation, intonation, etc. that you'd like to be able to execute consistently), and be relentless in your search for ever better solutions.

When you stumble onto a new insight or discover a solution to a problem, write it down! As you practice more mindfully, you'll began making so many micro-discoveries that you will need written reminders to remember them all.

4. Smarter, not harder: When things aren't working, sometimes we simply have to practice more. And then there are times when it means we have to go in a different direction.

I remember struggling with the left-hand pizzicato variation in Paganini's 24th Caprice when I was studying at Juilliard. I kept trying harder and harder to make the notes speak, but all I got was sore fingers, a couple of which actually started to bleed (well, just a tiny bit).

Instead of stubbornly persisting with a strategy that clearly wasn't working, I forced myself to stop. I brainstormed solutions to the problem for a day or two, and wrote down ideas as they occurred to me. When I had a list of some promising solutions, I started experimenting.

I eventually came up with a solution that worked, and the next time I played for my teacher, he actually asked me to show him how I made the notes speak so clearly!

5. Stay on target with a problem-solving model: ?It's extraordinarily easy to drift into mindless practice mode. Keep yourself on task using the 6-step problem solving model below.

Define the problem. (What result did I just get? What do I want this note/phrase to sound like instead?)
Analyze the problem. (What is causing it to sound like this?)
Identify potential solutions. (What can I tweak to make it sound more like I want?)
Test the potential solutions and select the most effective one. (What tweaks seem to work best?)
Implement the best solution. (Reinforce these tweaks to make the changes permanent.)
Monitor implementation. (Do these changes continue to produce the results I'm looking for?
Make Your Time Count

It doesn't matter if we are talking about perfecting violin technique, improving your golf game, becoming a better writer, improving your marketing skills, or becoming a more effective surgeon.

Life is short. Time is our most valuable commodity. If you're going to practice, you might as well do it right.

The Most Valuable Lesson I Learned From Playing the Violin | Creativity Post

Noa Kageyama is a Juilliard-trained violinist turned sport & performance psychologist. He specializes in teaching performing artists how to perform up to their full abilities under pressure.

Image remixed from dicogm (Shutterstock) and tovovan (Shutterstock).

Want to see your work on Lifehacker? Email Tessa.

Source: http://feeds.gawker.com/~r/lifehacker/full/~3/mJhbnmkkeG4/a-better-way-to-practice

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Flood insurance deadline approaches for those affected by Little ...

RUIDOSO The 30-day waiting period waiver for purchase of National Flood Insurance is fast approaching the communities surrounding the Little Bear fire.

The deadline to apply for flood insurance under NFIP is Tuesday.

Any policies written after Tuesday's deadline are subject to the standard 30-day waiting period.

Flash floods, particularly common after wildfires, can occur within minutes after the onset of a rainstorm. Even areas that are not traditionally flood-prone are at risk due to changes to the landscape caused by fire.

Citizens whose communities participate in the NFIP are eligible to purchase NFIP flood insurance.

Participating communities are: Lincoln County, Ruidoso, Ruidoso Downs, Carrizozo and Capitan. Participating communities agree to adopt and enforce ordinances that meet or exceed FEMA requirements to reduce the risk of flooding. As a result, flood insurance premium rates are discounted.

For information about NFIP visit http://floodsmart.gov or call (800) 427-2419.

Source: http://www.alamogordonews.com/alamogordo-news/ci_21440174/flood-insurance-deadline-approaches-those-affected-by-little?source=rss

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