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Which brings me to the stones--as you can see from my top 5 list above, i don't favor the 60's classics such as "satisfaction", "under my thumb", "mother's little helper", etc. i really like those songs, but i'll take late 60's-early 70's stones to just about anything these days. like lennon mccartney, jagger richards were a songwriting duo of amazing proficiency and proclivity. but while the beatles copped largely from american r + b, the stones went ever further back to robert johnson, muddy waters, and the blues legends, gave the music a kick in its pants, and reformulated it into a far different beast that has ever been heard before. that music has all of the melodic hooks you could want, while favoring emotion over precision. this was music to dance to, to have sex to, to make you intuitively feel within the core of your being. and by the time they hit "sticky fingers" and "exile on main street", they had hit their peak. "sticky fingers" is just pure blues-rock perfection. only "you gotta move" prevents this from being of those "throw it, hit `random' and be happy" cds. how can you argue with an album that has both "brown sugar" and "wild horses"? throw in "can you hear." and "bitch", and you have a rock record that truly rolls. they take the innate sexuality and despair of the blues, the confessional lyricism of the modern songwriter, and punched it up with great sonic production values to rival the other sonic masterpiece of that year, the who's "who's next ; . a year later, when they recorded "exile", they went even deeper into the heart of their roots. "exile" is recorded to sound almost exactly like a scratchy blues record you can pick up in a 2nd hand store. the production seems to insinuate very little money was spent on the recording and mixing of the album. it's as direct a declaration of musical homage as you can get. and as such, you've got 17 dirty, nasty, messy tracks that get to the heart of rock and roll roots more than just about any record i have ever heard. "tumbling dice", "rocks off", "ventilator blues"; all classics which have entered into the language of songwriters just as much as "abbey road" and "the white album" which itself was the beatles trying to strip off the layers of perfection that had brought to their studio output ; . the five songs from my rolling stones list appeal to me for the same reason that phish now appeals to me. the stones in these songs and basically over the entire course of "exile" ; are looking to represent a specific musical moment that is difficult to recreate. the spontaneity laden in these tracks, the audible mistakes you can hear being made: all of these things are insignificant when weighed against the sheer emotive force behind these records. yes, they are the product of the studio, yes there are undoubtedly a few overdubs, but the organic nature of them is something i simply have a harder time finding in a beatles record. i want the innate danger of "gimme shelter". i want the boogie stomp of "bitch". i want the expansive, santana-esque jamming of "can you hear me knockin'". i want the even-grimier-than-lou-reed lyricism of "sister morphine". and most of all, i want the sheer, joyous, sensual abandon of "loving cup" which, non-incidentally, phish covers the hell out of ; . it's the spontaneity that lifts music like this above the sheen of pop music. this is why the rolling stones can endure for forty years while people wonder what in the sam hell happened to color me badd. to quote roger daltry, "give me a bum note and a bead of sweat anyday." 72.
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"it did seem a bit strange at the time." academic fame ultimately won out over the proprietary im- pulse. by the end of their conversation, the pair agreed to cite each other in their papers. in early 1998, page submitted his first paper, an overview of the pagerank algorithm, to the special interest group on information retrieval of the association for computing machinery sigir-acm ; . but the paper was rejected. one peer re- viewer wrote of the paper, "i found the overall presentation dis- jointed. this needs to focus more on the ir issues and less on web analysis." page nevertheless persevered, and the paper was ulti- mately published in conjunction with a stanford digital libraries project. shortly thereafter page and brin published a paper on google itself. that paper, "the anatomy of a large-scale hypertextual web search engine, " has become the most widely cited search- related publication in the world. given the ultimate success of google itself, it seems page and brin had their academic cake and got to eat it, too. back in the early years, page and brin weren't sure they wanted to go through the travails of starting and running a company. dur- ing page's first year at stanford, his father had died, and friends re- call that page viewed finishing his phd as something of a tribute to his father's life. given his own academic upbringing, brin, too, was reluctant to leave the program. brin recalls speaking with his ad- viser, who told him, "look, if this google thing pans out, then great. if not, you can return to graduate school and finish your the- sis." brin chuckled, then added: "i said, `yeah, ok, why not? i'll just give it a try. page: 83 , total suck: 1673 google is born 83 through stanford, page and brin had access to an extraordinary network of silicon valley business intelligence, and by 1997, page's brother carl was already hard at work building egroups. the con- sensus view held that there were already a gaggle of search-related businesses, all well funded and thriving. yahoo, excite, altavista, infoseek, wired digital's hotbot: the list was long and growing. page and brin reasoned that the best course might be to license their new technology to another company. the inventors faced a classic entrepreneurial dilemma: if they started a company, it could be crushed by larger, richer competitors. on the other hand, if the company took off and became best of breed, the upside would be huge. yahoo, excite, and others already had multi-hundred-million-dollar valuations. but taking them on was risky. page and brin chose a more conservative course. better to license the technology to a major player, they reasoned, and avoid the risks of a start-up. the first attempt to license google's technology occurred very early in the project's life. vinod khosla, the well-connected partner at the venture capital firm kleiner perkins caulfield & byers, had learned of google through his own stanford connections. im- pressed, he tried to persuade a company he had invested in-the newly public excite-to acquire the technology and its creators' services. this incited a flurry of e-mail between khosla, page, winograd, and brin. page set the price for google at .6 million. khosla said he thought he could persuade excite to offer 0, 000. reviewing these early e-mail exchanges, it's remarkable to see page's incipient business savvy. he knew that excite and casino poker or online poker. 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With over 120 parks and open spaces, croydon's countryside has much to offer. about one quarter of croydon's area is designated as metropolitan green belt nearly all of which has been identified as heritage land - extensive areas of open land that are important to london as a whole because of their combined value for landscape, historical interest and nature conservation. interest. dominated by the central valley, there are many footpaths and bridleways. there is a children's playground in ellis road. 29 for example, product research and development costs are spread over more machines as the number of manufactured machines increases. 30 some major manufacturers, such as igt and bally technologies, have entered the class ii machine manufacturing market in the past few years as a result of the increasing demand for class ii machines. if this demand is eliminated or reduced by the proposed class ii regulation changes, it is likely that a number of manufacturers will leave the market because of a likely decrease in profitability. as a matter of fact, at least one manufacturer has unequivocally said that it would not continue making class ii machines if the regulation changes were enacted. other manufacturers have stated they are unsure whether they would remain in the market. source: discussions with gaming machine manufacturers. 31 for the manufacturers that make both class ii and iii machines, the loss in the class ii market may be offset to some degree by a gain in the class iii market if they earn some of the shift in business. 32 based upon phone discussions with several major class ii gaming machine manufacturers and comments from industry participants. 33 if existing class ii machines are modified or replaced with compliant machines, then what is relevant is the number of class ii machine manufacturers that remain in the market and their manufacturing modification capacities. however, if some tribes were to switch to class iii gaming, then the number of class iii machine manufacturers and their manufacturing capacities also become important.
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One of the more depressing things i've seen in this parts in recent years, right up there with a drive down genesee street through the east side of buffalo, came during a curiosity visit a few years ago to the then-new casino in niagara falls, ontario. along with the usual "gaming" tables and slot machines we've all seen in hundreds of movies, this one also has a room crammed with video terminals. in front of each was a person armed only with a plastic card with credits for the amount of money they had put on it. you sit, plug in your card, and press a button on the terminal to start the game. no pulling of levers, no rubbing elbows with other gamblers, no dice to blow on for good luck, no chips or currency to give you an image of what you're losing. game ends, you press the button again. repeat until you're out of money. it's an astonishingly efficient way of separating people from their money. but what made it that much more depressing was that no one at these machines looked remotely like they were enjoying themselves. they reminded me of the cocooned humans in the matrix, who only dream that they're having lives while alien machines harvest their energies. video online poker terminals are ubiquitous in las vegas bars these days. one of those bars is the setting for losing ground, an arresting independent film about the human propensity for addiction. it puts us into one of these shabby roadside taverns and sits us there for 90 minutes to watch the people who frequent the place. there aren't many, just a handful of them. if the bar has a name we never hear it; these people probably frequent it primarily because they live nearby. several feel that they've plugged so much money into this machine or that--one fellow dropped 00 here just the day before--that it "owes" them; each losing game, they tell themselves, must be bringing them that much closer to a winning game. losing ground was written and directed by bryan wizemann. the script is adapted from his play, which he developed with the aid of tom noonan. you may recall noonan as the writer, director and co-star of 1994's what happened was., a movie set in real time on a single set about a date between two office workers. noonan is clearly the film's godfather: all of the cast has also worked with him in productions by his manhattan theater group. wizemann's film is also set in real time and, like noonan, he's less interested in plot than character observation. the dramatic motion of losing ground is slight: everyone is desperate to win, though it's unlikely any of them will. when one gambler does hit a jackpot, the emotional trauma she's gone through makes it impossible to feel any joy for her. all she's really won, it's clear, is a chance to gamble awhile longer without having to scrounge for more money. losing ground isn't a melodramatic anti-gambling screed. it's about people trying to plug up the holes in their lives, unable to recognize the true natures of their problems. the script doesn't give us much back story, just enough to let us connect with them. a pair of revelatory speeches near the end, while sharply handled, seem to be here primarily to give two of the performers a showy moment. ; shooting for a minimal budget with digital video in a brooklyn bar, wizemann made one brilliant choice that defines the movie. he shoots the interior of this bar in darkness, illuminated only by some neon beer signs and the glow of the terminals. the few times the outside door is opened, the sunlight is like a knife on our retinas; at times you can barely see anything at all--though wizemann and cinematographer mark schwartzbard are clearly choosing what to show us and what not. with perpetual noise from the highway outside the building's thin walls to remind us what a faade this is, the film viscerally evokes the atmosphere of a circle of hell populated by people desperately willing themselves into blindness. losing ground opens a new series of independent films at the screening room, the cozy digital projection theater that has been operating for the past decade in amherst's northtown plaza. the proper address is 3131 sheridan drive, though it's easier to find if you enter the plaza from north bailey. ; at a time when hollywood offerings are so worthless that advance screenings are becoming a rarity, opportunities like this and the programs offered by emerging cinema at the market arcade are a godsend to anyone who wants to get out of the house to see a good movie. losing ground will be shown at 9: 15pm on friday, saturday and tuesday. for more information, call 837-0376 or visit screeningroom.
On the evening of the big day, when the online poker run is completed and the dinner crowd has arrived and checked in, you will have handed out the last envelope and made the last entry in your key. at that moment, you can unlock the mystery and determine who the winners are before any envelopes are opened! this can be done with a paper key but it's much easier using a computer spreadsheet. either way, you'll determine the "hand" that each player has in their unopened envelopes ; and rank those hands. this is best done alone, but if you have anyone help you, do it in a private setting, not in front of the entire group. remember, this is the control process you put in place when you put the cards in the envelopes. it's to help you prevent or lessen the opportunity for mishaps or card mix-ups, so keep it to yourself. we've already discussed scoring, so you already know how to do that. so, once you've determined who the winners are and have that information, you can wait until the appropriate time usually once dinner is almost over and everyone has their dessert and make your announcements for the scoring session. as the scoring unfolds, assuming things go well and there were no mix-ups when you put the cards in the envelopes and your key was properly maintained, the "real" winners will be the same ones your key told you they would be.
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The fact that in online poker hands emotions can't be guessed from gestures or physical reactions makes of this game one of the most exciting and mysterious on the net.Poker shareware | Poker games | Absolute poker | Paid to play poker |
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