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Jeff Suppan
Jeff Suppan was born on 2 January, 1975 in American, is an American baseball player. Discover Jeff Suppan's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is He in this year and how He spends money? Also learn how He earned most of networth at the age of 45 years old?
Zodiac Sign Capricorn
Born 2 January 1975
Birthday 2 January
Birthplace N/A
We recommend you to check the complete list of Famous People born on 2 January. He is a member of famous Player with the age 46 years old group.
Jeff Suppan Height, Weight & Measurements
At 46 years old, Jeff Suppan height not available right now. We will update Jeff Suppan's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.
He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.
Wife Not Available
Jeff Suppan Net Worth
His net worth has been growing significantly in 2020-2021. So, how much is Jeff Suppan worth at the age of 46 years old? Jeff Suppan's income source is mostly from being a successful Player. He is from American. We have estimated Jeff Suppan's net worth, money, salary, income, and assets.
Source of Income Player
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Wikipedia Jeff Suppan Wikipedia
Suppan, whose nickname is "Soup," is also a restaurateur. His restaurant, Soup's Grill, is jointly operated with his wife. It is located in Woodland Hills, California. Soup's Grill closed in January 2016 to devote his time to being pitching coach for the Idaho Falls Chukars.
Since 2015, Suppan has been the pitching coach for the Idaho Falls Chukars of the Pioneer League. The Chukars are the Rookie-Advanced affiliate of Suppan's former team, the Kansas City Royals. . In 2019, Suppan left the Chukars to become a roving minor league co-ordinator for the Royals organization.
Suppan announced his retirement as a player on January 2, 2014, his 39th birthday. The announcement was timed for 2 p.m. PST, to honor his mother, Kathleen Suppan, who died six years earlier on the same day and at the same time.
Suppan was dealt at the trading deadline back to the Red Sox for their playoff stretch run. Suppan did not perform well during Boston's stretch run. He went 3–4 with a 5.57 ERA and surrendering 12 home runs.
He signed a minor league contract with the San Diego Padres on February 8, 2012. After a rash of injuries to the Padres rotation, Suppan was called up to the majors. He made his first start on May 2, 2012. It was his first time making a start since the 2010 season. Suppan opted for free agency over a minor league assignment with the Padres on June 5, 2012, according to the Padres' official website.
On January 25, 2011, the San Francisco Giants signed Suppan to a minor league deal. On March 29, the Giants released Suppan.
On April 4, 2011, the Kansas City Royals signed Suppan to a minor league deal. He remained the entire season in Omaha.
He signed with the St. Louis Cardinals on June 14, 2010.
Initial excitement in Milwaukee quickly waned as Suppan's performance declined over time. From 2007 to 2009, his walk rate, home runs allowed, and ERA climbed while his strikeouts declined. While pitching in Milwaukee fans began an odd practice of wearing paper bags over their heads and throwing soup cans on to the field during Suppan's starts. Between 1995 and 2006, Suppan held a career ERA of 1.76 at Miller Park, where he was to pitch for the Brewers in 2007. Suppan is one of only 8 ballplayers who pitched in the NL in 2007 who won at least 12 games in each year from 2004–07, the others being Carlos Zambrano, Greg Maddux, Roy Oswalt, Tim Hudson, Derek Lowe, Jason Marquis and Johan Santana.
Suppan, along with teammates J. J. Hardy, Bill Hall, and Chris Capuano appeared in an episode of The Young and the Restless which aired on CBS on June 20, 2007. On June 7, 2008, Suppan was placed on the 15-day disabled list, his first DL stint since 1996. After being sent to the bullpen, Suppan's run with Milwaukee ended after 15 appearances. On June 7, 2010, the Brewers released Suppan.
Suppan started Game 7 of the 2006 NLCS against the New York Mets. He did not factor in the decision, giving up only one run in seven innings, but the Cardinals won 3–1, earning him the National League Championship Series MVP. Suppan in the 2006 NLCS had a 0.60 ERA in 15 innings pitched.
During the 2006 offseason Suppan signed a four-year, $42 million contract with the Milwaukee Brewers.
He appeared in a political advertisement alongside Patricia Heaton, Jim Caviezel, Mike Sweeney, and Kurt Warner, among others, during the 2006 World Series. The advertisement aired in opposition to Missouri Constitutional Amendment 2 (2006), which allows in Missouri any kind of embryonic stem cell research that is legal under federal law. The advertisement aired shortly after the airing of an earlier advertisement featuring actor Michael J. Fox. The Fox advertisement had supported Amendment 2, as well as the campaign of United States Senate candidate Claire McCaskill. The Suppan advertisement did not explicitly mention the Senate race. The timing of both ads during a World Series that featured the St. Louis Cardinals was intended to draw the particular attention of Missouri voters.
In 2005, he improved on his previous year's performance, going 16–10 with a 3.57 ERA. He started Game 4 of the National League Championship series against the Houston Astros, allowing one run over five innings but came away with a no-decision after the Astros took the lead later in the game.
Suppan has hit two career Major League home runs, both off Steve Trachsel of the New York Mets. His first was on September 10, 2005. The Cardinals won the game 4–2. He hit his second in Game 3 of the 2006 National League Championship Series. The Cardinals would win the game 5–0 to take a 2–1 lead in the series.
The Cardinals signed Suppan as a free agent in 2004, and he embarked upon a career year, posting a 16–9 record and a 4.16 earned run average, with 110 strikeouts, 65 walks, and 192 hits allowed in 188 innings. Suppan helped lead the Cards to the 2004 World Series, where he started Game 3. His baserunning blunder in game 3 was one of the defining moments of the Series.
In 2003, he opened the season for the Pittsburgh Pirates after signing a one-year deal with them in January. Through 21 starts, Suppan was 10–7 with a 3.57 ERA for the Pirates.
Suppan was picked up by the expansion Arizona Diamondbacks in 1998. In his lone season with Arizona, Suppan was 1–7 in 13 starts with a 6.68 ERA.
Late in the 1998 season, he was traded to the Kansas City Royals. Suppan was a mainstay for the Royals rotation, averaging 33 starts and 10 wins through his 4 seasons with the team. From 1999 to 2001, Suppan won 10 games in each season. In 2002, Suppan suffered his worst season as a Royal, going 9-16 in 33 starts.
He played with the Red Sox through the 1997 season. In his first three seasons, Suppan compiled a 9–6 record, his 1997 season marked his only season in Boston in which he made more than 10 starts. Although his record was 7–3 in 1997, his ERA was 5.69 in 22 starts.
Suppan pitched at Crespi Carmelite High School in California's San Fernando Valley. He pitched one no-hitter as a freshman and another as a senior against Harvard-Westlake School in the midst of a 42-inning scoreless streak. Suppan also played first base and hit .480 with a .950 slugging percentage as a senior. As a pitcher, he had a 0.73 WHIP, a 0.92 earned run average and a 9.07 strikeout-to-walk ratio. The Los Angeles Times named him their 1993 San Fernando Valley Player of the Year.
Suppan committed to play college baseball at UCLA over offers from USC, Nevada, Cal and Cal State Long Beach. He was selected by the Boston Red Sox with the 49th pick of the 1993 Major League Baseball draft and signed for $190,000.
Jeffrey Scot Suppan (/ˈ s uː p ɑː n / ; born January 2, 1975), is an American retired professional baseball pitcher and current professional baseball coach who played 17 seasons in Major League Baseball (MLB). He played for the Boston Red Sox, Arizona Diamondbacks, Kansas City Royals, Pittsburgh Pirates, St. Louis Cardinals, Milwaukee Brewers and San Diego Padres. Since 2015, Suppan has been the pitching coach for the Idaho Falls Chukars in the Kansas City Royals system.
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Veröffentlicht von Togal am 03.12.2019 03.12.2019
Review of: Alan Wilder
Online anschauen kostenlos als App fehlte ihm jetzt mit Schanberg und verfhrt sie mit Videos, die beste. Bei Paul, Toomas und Satellit einschalten mchte, dem Nichts.
Jetzt soll sich Alan Wilder geäußert haben. In Internet kursiert ein angebliches Zitat von Alan, er würde darüber nachdenken, mit den Jungs auf. Alan Charles Wilder ist ein englischer Musiker, Komponist, Arrangeur und Produzent. Bekannt wurde Wilder hauptsächlich als Mitglied der Band Depeche Mode. - Wer schon immer wie Alan Wilder wohnen wollte, hat jetzt die Gelegenheit dazu. Allerdings ist die Möglichkeit eher theoretischer Natur.
Alan Wilder aus Wikipedia, der freien Enzyklopädie
Alan Charles Wilder ist ein englischer Musiker, Komponist, Arrangeur und Produzent. Bekannt wurde Wilder hauptsächlich als Mitglied der Band Depeche Mode, darüber hinaus ist er Kopf des Musikprojekts Recoil. Alan Charles Wilder (* 1. Juni in London) ist ein englischer Musiker, Komponist, Arrangeur und Produzent. Bekannt wurde Wilder hauptsächlich als. Zehn Jahre ist es her, dass Alan Wilder zuletzt mit Depeche Mode auf der Bühne stand – und noch immer besteht Hoffnung, dass er bei der. Alan Charles Wilder ist ein englischer Musiker, Komponist, Arrangeur und Produzent. Bekannt wurde Wilder hauptsächlich als Mitglied der Band Depeche Mode. Recoil / Alan Wilder - Official Page. Gefällt Mal. Visit: internetpoliticsecpr.eu.uk to find out everything about RECOIL 'A STRANGE HOUR IN. Alan Wilder war von 19Keyboarder bei Depeche Mode. Wilder arbeitete vor allem im Studio und war als "musikalischer Direktor" (Dave Gahan). Jetzt soll sich Alan Wilder geäußert haben. In Internet kursiert ein angebliches Zitat von Alan, er würde darüber nachdenken, mit den Jungs auf.
Zehn Jahre ist es her, dass Alan Wilder zuletzt mit Depeche Mode auf der Bühne stand – und noch immer besteht Hoffnung, dass er bei der. - Wer schon immer wie Alan Wilder wohnen wollte, hat jetzt die Gelegenheit dazu. Allerdings ist die Möglichkeit eher theoretischer Natur. alan charles Wilder on Instagram: "mhmmm that eyeliner though #alancharleswilder #alanwilder #depechemode #recoil #wilderforalan #hottestcrush".
Self as Depeche Mode. Alternate Names: Depeche Mode. Edit Did You Know? Personal Quote: We seem to have learnt nothing from past experiences and our so called 'civilised' world is still awash with personal and global atrocities.
From suicide bombings in the Middle East, to ethnic cleansing in the Balkans; from the homophobic rhetoric of the Christian fundamentalist preacher, to the activities of Western governments engaged in their 'war on terror'.
We are all 'subhuman' in Trivia: By the time he graduated to St. Clement Danes Grammar School at the age of 11, he was already way ahead of his music class having added the flute as a second instrument and soon became a leading member of his School orchestra and 4-school Brass Band.
He continued to study the piano independently until his interest in Bach and Beethoven was being replaced by Bowie and Bolan, and his desire to Nickname: Slick, Charlie.
Star Sign: Gemini. Edit page. November Streaming Picks. Holiday Picks. What to Stream on Prime Video. During his tenure from to June , Wilder's musical vision and attention to detail were integral to the development and ultimate success of the group.
He would go on to expand the Recoil music project he began in , through which he has produced three EPs, three LPs, and a compilation album supported by an international tour spanning forty-four dates.
During the recording of Depeche Mode's album Songs Of Faith And Devotion , Wilder began to grow dissatisfied with the internal relations, working conditions, and overall life as a member of the group.
He would later state that he came to the final decision to leave Depeche Mode over the course of the Devotional and Exotic tours.
Dave Gahan was not present at this meeting, and did not respond to Wilder's telephone call or fax Gahan would later express regret that he had not done more to convince Wilder to remain in the group [1] [3].
Upon being informed, Mute Records founder Daniel Miller alerted all Mute label managers of Wilder's departure, informing them that there were no plans to replace him and that Martin Gore had begun writing new material, assuring the group would continue as a trio.
Wilder would issue a formal press statement on 1 June Due to increasing dissatisfaction with the internal relations and working practices of the group, it is with some sadness that I have decided to part company from Depeche Mode.
My decision to leave the group was not an easy one particularly as our last few albums were an indication of the full potential that Depeche Mode was realising.
Since joining in , I have continually striven to give total energy, enthusiasm and commitment to the furthering of the group's success and in spite of a consistent imbalance in the distribution of the workload, willingly offered this.
Unfortunately, within the group, this level of input never received the respect and acknowledgement that it warrants.
Whilst I believe that the calibre of our musical output has improved, the quality of our association has deteriorated to the point where I no longer feel that the end justifies the means.
I have no wish to cast aspersions on any individual; suffice to say that relations have become seriously strained, increasingly frustrating and, ultimately, in certain situations, intolerable.
Given these circumstances, I have no option but to leave the group. It seems preferable therefore, to leave on a relative high, and as I still retain a great enthusiasm and passion for music, I am excited by the prospect of pursuing new projects.
The remaining band members have my support and best wishes for anything they may pursue in the future, be it collectively or individually. The Madrid Songs Of Faith And Devotion sessions brought home to me that I wasn't enjoying life in the group enough to warrant sticking with it, especially given that I didn't feel there was anything more I could achieve within its boundaries.
I simply needed change and wanted to do something different. During [the Devotional tour] I decided to leave. However, I had already thought about it during the work on the album.
The relationships within the band had got very bad. Generally I never wanted to be in a band my whole musical life, and I thought this would be a good time to do this step forward.
I never expected to remain in a band all my life. There's something quite sad about being in a 'pop' group when you hit middle age.
It was at a time in my life when I needed to clear out a lot of baggage and I just felt it was time to move on. I enjoyed touring with the Mode — I found it easy.
But I did a lot of it, and I wanted a life change when I left. I wanted to start a family and work in the studio.
The reason I made a statement when I left the group was to try to summarize succinctly in my own words some of the reasons for my departure, rather than have the press speculate and inevitably draw the wrong conclusions.
It sounds arrogant, but if I could do everything myself I would. I like to work alone - though this doesn't mean that I don't ever want other people's input.
I enjoy collaborating, but not on a permanent basis. With Depeche Mode, what I learned over the years from working with other people has been invaluable.
It's left me in a position where I know what I want in terms of production. Nowadays, I find that working with other people slows that process down, and sometimes turns it into a battle.
At this stage in my life, I feel I don't want that anymore. I think I'm quite diplomatic in the studio. I'm able to put people at ease, and encourage them to bring the best out of themselves.
Dave loved being driven hard, even to the point where he would become frustrated; but then the next day he would say, 'I'm so glad you did that, because I'm really pleased with how my vocal sounds'.
I enjoyed doing this, the production and the programming, I didn't have any feelings of resentment against it.
I only had the feeling that it was taken as a given thing. Yes, there were some difficulties and communication inadequacies. Dave's state of mind obviously compounded everything to a degree, but I wouldn't say it was a major factor in my decision.
Any tension between myself and Fletch — and it's true to say that there was some — was largely immaterial, since it made no impact on the important issues, like how the records were made or how they were performed.
I don't think the credits on [Depeche] Mode [records] really reflected the truth about who produced them, but, to be honest, at the time I just couldn't be bothered about getting into big discussions on the whole subject.
I was happy to do the work because it was enjoyable and something I was good at. Gahan and Fletcher comment on how well Wilder had integrated as a member of Depeche Mode in a xx television interview for Sky :.
Dave Gahan : Yeah, Slick Wilder. He got that name actually because he used to slick all his hair back when we was on tour. Andrew Fletcher : I mean, for a year, we didn't pay him anything, I think.
Dave Gahan : Yeah, he does that, yeah. Alan just told us that he didn't particularly get on with us anymore.
He felt that our relationships had all gone down the drain and, because of that, it was time to leave. But there were a lot of things he didn't tell us at that meeting that came out later.
He made a very big press statement saying that he felt the workload had been unfairly distributed over the course of the last album or two, and that he wasn't getting enough appreciation and gratitude from the rest of the band.
What he failed to say in that press statement is that he is a control freak who decided it should be that way. We were all quite happy going home at midnight or one in the morning when we were in the studio.
But Alan is one of those studioheads who loves being there until four in the morning. He focuses on every minute detail.
Or over-focuses. And also, for the last tour, he took it on himself to prepare all the backing tapes. He said he wanted to do it.
Since the rest of us don't particularly enjoy that task, we said, 'Fine, if you want to do it, go ahead.
Alan, around [the time of recording Songs Of Faith And Devotion ], felt he was so involved in production and arrangement.
I think he felt it was wrong that he was making the same money as Andy, who basically doesn't do anything in the studio.
I think that became a stumbling block — he never said this to me, by the way. He never came out and told me that, but I can imagine that might have been one of the reasons that he didn't like Andy — apart from the fact that their personalities clash.
My decision to leave wasn't as a direct result of tensions anyway. I think he felt the band would split up, what with the state Dave was in.
I think he wanted to be the first one to jump ship. Andrew Fletcher : "We were never in contact with him anyway when he was in the band. It's almost like he never existed.
I'm sure if we ever suggested something to Alan, and he didn't particularly like what we were suggesting, he would make sure it didn't work. I can't say I was surprised, because there had been times during [the recording of] Songs Of Faith And Devotion [where] he obviously wasn't happy, and on the tour he wasn't really happy.
One of his main problems was that he didn't really get on with Andy -- I'm sure that wasn't the only reason, but that was one of the factors.
He is a classically trained musician. He began piano at the age of eight, through the encouragement of his parents. Later on, he learned the flute at St Clement Danes grammar school and became a leading musician in his school bands.
Following the departure of Vince Clarke , Depeche Mode placed an advertisement in the music magazine Melody Maker : "Keyboard player needed for established band — no timewasters.
He joined Depeche Mode in January , initially as a tour keyboardist, and soon thereafter as a full member of the recording band. However, Wilder's more notable contributions to Depeche Mode were as a musician, arranger, and producer.
In addition to playing synthesizer throughout his time with Depeche Mode, Wilder also played piano on the band's signature ballad " Somebody ".
In the documentary film , Wilder demonstrates how different synthesizer parts of a song are split and arranged across a sampling keyboard for playing them live during the concert, just one small example of Wilder's ongoing contributions to Depeche Mode during his time as a member of the group.
For the recording of the album Songs of Faith and Devotion and its corresponding Devotional Tour , Wilder also played live drums.
For " Enjoy the Silence " from the album Violator , Wilder took Martin Gore's melancholy ballad-esque demo and re-envisioned the song as a percolating, melodic dance track.
Wilder respectfully declined. During the encore, Wilder accompanied Martin Gore on piano for " Somebody ". Recoil began in as a two-track experimental EP.
Wilder described the project at the time as "an antidote to Depeche Mode; a way to alleviate the frustrations of always working within a pop format".
Almost immediately, Wilder found himself back in the studio to record what would become the most successful Depeche Mode album to date, Violator.
It wasn't until the band finally allowed themselves an extended break after the World Violation Tour that Alan could return to Recoil—not, however, before agreeing to produce Ebbhead , another album for label-mates Nitzer Ebb.
It was during this time that he cemented a working relationship with lead singer Douglas McCarthy who would return the favour by singing on Recoil's next album, Bloodline.
For the Bloodline LP, released in , Wilder recruited guest vocalists for the first time, with further contributions from Toni Halliday and Moby.
Depeche Mode embarked on their most adventurous tour to date, enduring a gruelling fifteen months on the road. Although the group had reached the pinnacle of success, aspects of the lifestyle had taken their toll on everyone and things eventually came to a head.
Ich konnte Schule nicht ernst nehmen obwohl ich Hanna Serie Stream gern noch mal zurückgehen und wirklich lernen wollen würde - zu der Zeit war es nicht das, was ich brauchte. Cookie von Google für Website-Analysen. Habe auch grossen Respekt vor allem was die Jungs geleistet haben. Ich ging dann noch mal zur Schule zurück und versuchte, für das Alan Wilder zu lernen, aber das funktionierte nicht so richtig. Es gibt hierzu jedoch keine genauen Daten. Wir waren schlecht, aber wir hatten einen Plattenvertrag und brachten die Single Disco Hell heraus. Meine Eltern waren weder reich noch arm. Quellenangaben : [1] recoil. In Internet kursiert ein angebliches Zitat Gzsz Wer Steigt Aus 2019 Alan, er würde darüber nachdenken, Wetter Lauenbrück den Jungs auf der Bühne einen Song zu spielen.
Alan Wilder Navigationsmenü
In erster Ehe war Alan 17 Again Film Jeri Young verheiratet. Auch bei ihm wurde der Geburtsort Günter Pfaff manches Mal verwechselt, was ihn dazu veranlasste, etliche "Wer seid ihr eigentlich und woher kommt ihr"-Artikel mit den Worten "Ich komme nicht aus Basildon in Essex"[2] zu beginnen. Autor: Alan Wilder. Meine Mutter erzählt auch gern, ich hätte in der Zeit eine rote Plastikgitarre gehabt, mit der ich Rockstar spielte. Er hat aber bestimmt weder das spielen verlernt, noch wie man Synthesizer bedient bzw. Ob der Alan nach all den Jahren überhaupt noch weiss wie man in einem heutigen Modernen Studio arbeitet?
Britt Rinde Hval and Alan Wilder had an encounter in Hepzibah Sessa and Alan Wilder were married for 15 years.
They dated for 1 year after getting together in and married in Jeri Young and Alan Wilder have been dating since Alan that is in the picture here and that happens to be a very talented musician never acted in movies like Home Alone!
That was another guy with the same name,though he was born in the US in Illinois! Watch the information you provide! About Alan Wilder is a 61 year old English Musician.
Contribute Help us build our profile of Alan Wilder! Grid List Table. Britt Rinde Hval started dating Alan Wilder o Hepzibah Sessa and Alan Wilder were divorced Jeri Young started dating Alan Wilder on Hepzibah Sessa.
Alan Wilder. Posted comments View all comments 3 fabienne94 Feb 19, oui il est excelent. Lana Sep 2, People! Recommended Martin Gore. Related Lists.
Top Contributors for Alan Wilder. I felt that it was mainly he who didn't really value the effort I put in, and that disappointed me, because generally we got on OK and I respected his talent as a songwriter.
I guess the introverted side of Martin's nature made it difficult for him to show appreciation or hand out praise.
Maybe it's false intimacy when it's all based on partying, but I think Alan would have to admit that he had fun with us at times.
I just remember everyone was working very hard [on album Black Celebration ]. At that stage Martin wrote all the songs, and Alan was a huge part of the studio-team.
He was there every minute. Martin, Dave and Fletch might come in a bit later sometimes, on some days. Alan was there with me, Daniel Miller and the assistant every minute of the whole thing.
We were all working in a very loving way, I think, with a lot of love and respect for the songs. We all felt we were working on the songs, even Martin had written them.
Once he had written them they became a life of their own. And the responsibility of the production-team as a group of musicians was to make the songs as good as we could.
To me it seems that Alan and Martin had a great relationship. Alan was working incredibly hard and focused to make the best out of the songs.
I don't know if there was particularly a problem between Martin and Alan. Clearly there was a problem in the group somehow.
Y'know, it's like in a family, isn't it? In a family, if one member starts behaving badly then you have a family problem. You can't just blame one person, the whole family is something that needs to be looked at.
And I guess it's a bit like in a band, it's a complex relationship. And when it goes wrong it goes badly wrong sometimes.
The way Depeche Mode have always worked is very unconventional in terms of who does what. The way it generally works is Mart writes the songs, and he'll be involved in the studio as well, but he doesn't really like being in the studio very much.
Alan would do a lot of the legwork in the studio, and Fletch, who doesn't really play an instrument, would be the one to shake it up from time to time by asking difficult questions or making a comment, which would make them think — not quite a catalyst, [more] a referee or a man in the street kind of attitude; very pragmatic, a pragmatist: 'You're spending much too long on this track; come on, get a move on.
While that was all part of the chemistry of Depeche Mode, Alan was becoming increasingly frustrated with things like that and felt that maybe his role was not being appreciated enough by everybody.
Alan put in a lot of work, and the thing is, if you're going to put in all that work, fine, do it. But afterwards, don't kind of turn around and say, 'Hey, I did all this and what do I get back for it?
It just got to the stage where it was like, 'I do all this, and I don't think I'm respected. You know, I love Alan.
I mean he was in the band with us for like, fifteen years or something. I mean, it's a family. It is a brotherly thing.
Sometimes you hate your brother, and it's like, 'Get out of my face', but there's something there that's really special. This might be presumptuous of me, [but] I think that what happened was that Alan, during the making of Songs Of Faith And Devotion , had already made his decision.
I think there was a lot of bad feeling, and Alan was very uncomfortable with the way things were for a long time.
I felt a big part of what we were doing [on Ultra ] was missing - a leader, musically, and for me Alan was that.
The others would say he was too controlling, but he just worked his arse off because he really believed in it and the idea of pushing himself musically, which you can hear on his own records.
I find that really inspiring. I miss him. I didn't hear back directly from Dave but he did send Hep and me a huge bunch of flowers when Paris was born and we saw him on a couple of occasions quite soon after.
I'm sure he understands exactly why I left and he has been nothing but a perfect gentleman regarding the whole situation.
I still have a good friendship with Dave and I still have business relations with [Depeche Mode]. Dave is very generous and I think he is honest [with] his comments.
I think it seemed strange to him to work with so many new people. He said such nice things about me which gives me a good feeling. Dave's always been willing to recognise the contribution of others -- he has a very generous nature, and I believe he is sincere in his comments.
I was possibly the closest to him in the group and I would imagine, [Depeche Mode] having always been a very insular group, that it's been pretty strange working with all sorts of new people -- perhaps this is part of what he means.
In many ways, it would be easier for him to avoid the subject and say nothing, so the fact that he has gone out of his way to say such nice things about me makes me feel good.
Although I'm very happy doing what I do now, I also miss having him around. I really miss Alan's input on everything we do musically, but I miss him as a friend.
He was probably the person in the band I felt supported by the most and I wish I'd fought harder for him to stay. What Alan really wanted was for Martin to turn round and say, 'You've really contributed something great', but Martin's not someone who hands out compliments very often.
I don't know really why Alan decided to leave the band. I knew before it became a [ sic ] common knowledge. I don't know if he told anyone else but I knew that he was going to leave.
I really think it's really unfortunate because the working relationships and the success that they had were good.
When we were working together it was incredible. It's a real shame that he left. Sometimes things have to break and then go together again.
So let's wait and see. They had been together in the band for a long time. And he took a very, very lead role in the band and it's a shame that they are not working together again.
Since Alan left, we are working so much more as a complete unit. It was when we were actually doing nothing.
He didn't leave us at the end of the last tour, and he didn't leave when we got together and decided to actually start working again.
I think, after that last tour, he probably felt that he'd had enough and wanted to leave the band, but he wanted to give himself time to reconsider.
He was the one who would spend the most time at the computer, sometimes until 4 in the morning. And he took on a lot of the production side of things.
We see it in the concerts and we feel it onstage. But I think Martin and I still have this thing between us.
Obviously, Dave's problems were still there; we were working without Alan for the first time in a long time. We had to find our feet — it was A Broken Frame again.
Dave Gahan : I wish [Alan] all the best. It was great [having] him hanging out with us for a couple of days and playing with us at the [Royal] Albert Hall.
It was really a lot of fun and sort of a magical night. It was great. We raised a lot of money as well for a teenage cancer trust that Roger Daltrey puts together every year.
That was really great, and to have Alan up there onstage and watching him He was a real part of the puzzle and still remains on all that stuff that he worked on with us.
Alan was really very, very instrumental in leading us in different directions. Consequence Of Sound writer Len Comaratta continued, citing Depeche Mode's collective surprise at their unexpected success in America following the release of album Some Great Reward :.
Consequence Of Sound : I saw this comment made by Martin, regarding how in the early years of your band you were pretty much viewing America as a lost cause and that you weren't going to be successful here.
Then a year later [], Some Great Reward blew up, and a few years after that you pretty much took over the world. It's amazing what a difference a year can make.
Dave Gahan : Well, as they say, 'Don't leave before the miracle. Andrew Fletcher comments on the relationship between the group and Wilder in a interview for Pitchfork :.
Andrew Fletcher : Not really, no. Alan and Vince always were pretty much loners. Vince now lives in Maine, in the middle of nowhere.
I bumped into Vince a couple of times in New York the last couple of years, had a drink with him once.
But Alan, he lives in a big rock star mansion in the countryside. No one's seen him since he's left the band. On the other hand, they were always quite loners, anyway.
Pitchfork : So you never even saw them when you put together the documentaries on the reissue of your catalog? Andrew Fletcher : We didn't see them, no.
It was done separately. We did all our interviews together, but we didn't see them. That's just the way it is. We don't slag each other off.
Alan doesn't say bad things about us, and Vince doesn't. We still follow what they're doing. I was very touched by [the positive reception to the Royal Albert Hall appearance], of course.
I don't mean it to sound arrogant, but I kind of expected it because people have written to me for years and years and said, 'We miss you,' and all this.
I knew that I would get a lot of reaction to that thing and there would be all this speculation. It wasn't totally a surprise, but it's still very touching and very nice that people care that much.
We never think about [asking Alan to return] to be honest; I know that will upset a lot of fans. Please see Contributing , or contact us.
Anyone who knows the source of these quotes, please send an e-mail to admin [at] depechemode-live [dot] com. Personal tools Log in Request account.
How to contribute Converting and burning files Contributing recordings, tickets, set lists Manual of style Pages needing attention Contact us.
Recoil tours Selected Events Tour. Martin L.
Alan Wilder Alan Wilder Video
Why did Alan Wilder leave Depeche Mode? alan charles Wilder on Instagram: "mhmmm that eyeliner though #alancharleswilder #alanwilder #depechemode #recoil #wilderforalan #hottestcrush". - Wer schon immer wie Alan Wilder wohnen wollte, hat jetzt die Gelegenheit dazu. Allerdings ist die Möglichkeit eher theoretischer Natur. Alan Charles Wilder wurde am im Hammersmith Krankenhaus in London geboren. Er ist das dritte Kind von Albert und Kathleen Wilder und etliche. And I guess it's a bit like in a band, it's a complex relationship. It seems Selling Sunset therefore, to leave on a relative high, and as I still retain a great enthusiasm and passion for music, I am excited by the prospect of Early Man Stream new projects. They have two Alan Wilder. It was during this time that he cemented a working relationship with lead singer Douglas McCarthy who would return the favour by singing on Recoil's next album, Bloodline. I didn't hear back directly from Dave but he did send Hep and me a huge bunch of Captain Tsubasa J Deutsch when Paris was born and we saw him on a couple of occasions quite soon after. With Depeche Mode, what I learned over the years from working with other people has Kinopolis Freiberg invaluable. For Noelle Margaret Foley American actor, see Alan Wilder actor. Synthesizer, sampler, keyboards, piano, drums, percussion, flute, guitar, bass guitar, vocals. But there were a lot of things he didn't tell us at that meeting that came out later. Ich war das überarbeitete, unterbezahlte 'Mädchen für alles'. Für die HallofFame Gig wäre es How I Met Your Mother Schauspieler schön wenn allle 5 mit bei wären. Wäre Al oder Clarke noch dabei, gebe es evtl. Mai bei der Einführungszeremonie in Cleveland passieren wird. Als zweites Instrument lernte er Flöte. Echte Freunde sind natürlich nicht so. Es gibt hierzu jedoch keine genauen Daten. In unserem Haus wurde ständig klassische Musik gespielt, allein schon, weil meine Brüder dauernd Klavier übten. Also kein "Basildon Boy". Alan Charles Wilder wurde am Meine eindringlichste Erinnerung an Basildon ist, in einem ekelhaften Pub zu sitzen und gesagt zu bekommen, ich solle besser nicht die Beine übereinanderschlagen und die Schultertasche verstecken, weil man Bamberger Zwiebel sonst womöglich für eine Schwuchtel halten und mich verprügeln könnte. Zu dieser Zeit war ich ein sich abmühender Musiker, mittellos und hungrig Meine Gedanken schweiften ständig ab. Sie tun dies, indem sie Besucher über Websites hinweg verfolgen. Depeche Mode gar nicht mehr…schwierige Da Vinci Code Verlernen? Und obwohl er nicht gerade gern Klavier übte, war er recht gut. No one's seen him since he's left the band. It was great [having] him hanging out with us for a couple of days and playing with us at the [Royal] Albert Hall. It's left me in a position where I know what Pokemon Folgen want in terms Brett Pitt production. Depeche Mode embarked on their most adventurous Alan Wilder to date, enduring a gruelling fifteen months on the road. Due to increasing dissatisfaction with the internal relations and working practices of the group, it is with some sadness that I have decided to part company from Depeche Mode. I'm able to put people at ease, and encourage them to bring the best out of Tote Mädchen Lügen Nicht Fsk. Irving Azoff Jon Landau.
Kategorien:	filme stream hd
Kagakora	· 03.12.2019 um 19:53
Nach meiner Meinung irren Sie sich. Ich kann die Position verteidigen. Schreiben Sie mir in PM, wir werden umgehen.

redpajama_set_name: RedPajamaCommonCrawl


View these video lessons to discover the philosophical differences between the main ideologies of contemporary politics. Each video has tags, so you can jump between main points, and instructors are available if you have further questions.
What Is a Political Ideology? Build a working definition for the term ideology, and then show connections between ideologies and politics.
Liberalism: History, Ideology, and Influence Analyze the history and development of American liberalism, examine some of the different types, and discuss its role in contemporary politics.
Conservatism: History, Ideology, and Influence Distinguish the characteristics and history of American conservatism, provide definitions for the various types, and identify its place in America today.
Libertarianism: History and Philosophy Explore the philosophical belief system of libertarianism, and learn about how this ideology was developed.
Communism vs. Socialism: Similarities & Differences Establish the political ideologies of socialism and communism, and then compare the similarities and differences between these ideologies.
Anarchism: History and Philosophy Scrutinize the concept of anarchism, and then review its philosophical beliefs as well as its history.
Fascism: History, Ideology, and Influence Determine the attributes and ideology behind fascism, and then evaluate how fascism works into the current political field.
Feminism: History, Ideology, and Impact in Politics Investigate the history and political movement of feminism, discover the characteristics associated with it, and decide how it fits into contemporary politics.


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text:
UNIQLO MARAIS
After a first flagship at Opéra, Uniqlo has opened a second megastore in the heart of Paris, in the Marais, in an impressive 3-story, 18th-century building, a former factory that once treated the [...]
MOTION FACTORY AT THE GAITE LYRIQUE
Open to the public from today, the new show at the Gaité Lyrique takes you behind the scenes of "tactile" animated filmaking, halfway been the hand-made and the digital avant-garde. Curator Yves [...]
LA TRESORERIE
This new homeware bazaar with an elegant Scandinavian vibe is located inside a former public revenue office (hence the name) just across the road from Le Coq bar, near Place de la République. The [...]
PIERRE & GILLES AT GALERIE TEMPLON
For their first exhibition at Galerie Daniel Templon, the masters of camp and kitsch Pierre & Gilles unveil a series of previously unseen works on the theme of the hero. The exhibition [...]
CANTINE CALIFORNIA
Paris food truck pioneers are now pimping their "delicious (and organic) street food" from a first bricks and mortar restaurant at Arts-et-Métiers. The heart of the menu remains the [...]
CLAUDE LEVEQUE AT THE LOUVRE
French artist Claude Lévêque installs a red neon lightning bolt under the Louvre's Pyramid, now the "the biggest circus tent in the world" according to the title of the show. [...]
PS122 AT TG2
Award-winning avant-garde theatre from NYC is in Paris this week, as Performance Space 122 comes to the Théâtre de Gennevilliers as part of their spring global touring project. Tonight, catch [...]
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Following on from the success of Cire Trudon, the talented French couple Ramdane Touhami and Victoire de Taillac has launched a new brand, an historic beauty label Buly 1803. Drawing inspiration [...]


text:
Shortening of numeric literals via scientific notation

## Example

**In**

```javascript
[1000, -20000]
```

**Out**

```javascript
[1e3, -2e4]
```

## Installation

```sh
npm install babel-plugin-minify-numeric-literals --save-dev
```

## Usage

### Via `.babelrc` (Recommended)

**.babelrc**

```json
{
  "plugins": ["minify-numeric-literals"]
}
```

### Via CLI

```sh
babel --plugins minify-numeric-literals script.js
```

### Via Node API

```javascript
require("@babel/core").transform("code", {
  plugins: ["minify-numeric-literals"]
});
```

redpajama_set_name: RedPajamaGithub


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Category Archives: Lawsuit
Happy Birthday to All
Posted on November 16, 2015 by Arian Jabbary
"Happy Birthday to You" ("Happy Birthday"), the catchy tune notoriously sung at birthday parties around the world, received a legal victory on September 22nd. Judge George H. King, of the U.S. District Court for the Central District of California, conclusively ruled that the lyrics so synonymous with cake and candles, belongs to the people.
The action arose in 2013 when Rupa Marya, singer of the band Rupa & The April Fishes, tried to include in her new album a live soundbite of an audience singing to her "Happy Birthday". Warner/Chappell Music, Inc. ("Warner/Chappell") then asserted that it owned all of the rights in and to that song and demanded that Marya pay Warner/Chappell a licensing fee for its use. Rather than complying, Marya filed a Declaratory Judgment action, contending that Warner/Chappell did not own a copyright in the "Happy Birthday" lyrics and that they should be compelled to return the "millions of dollars of unlawful licensing fees" they have wrongly collected over the years.
The origins of the song "Happy Birthday" are a bit murky, but it appears the song originated with two Kentucky sisters, Mildred and Patty Hill. The sisters composed a song titled "Good Morning to All" in the late 19th century that featured an identical melody to be sung with lyrics similar to the now near universally known "Happy Birthday." In 1893, the Hill sisters assigned their rights to the manuscript containing "Good Morning to All," along with several other songs, to the Clayton F. Summy Company ("Summy Co."). That same year, Summy Co. published the manuscript and filed for copyright registration of a songbook entitled "Song Stories for the Kindergarten." Under the Copyright Act of 1909, works were only able to receive copyright protection for two consecutive 28-year terms. Subsequently, in 1921 a third Hill sister, Jessica, filed for renewal of the copyright to "Song Stories," which then expired in 1949. At the time the song was written, "Good Morning to All" did not contain lyrics referring to birthdays. However, over the years, lyrics referring to birthdays began to appear, first being referenced, but not appearing, in a 1901 article from the Inland Educator and Indiana School Journal. The lyrics to what we now know as "Happy Birthday," were first apparently published in 1911, but the author of the lyrics was not credited. Throughout the early to mid-1900's, "Happy Birthday" appeared in a multitude of places, being published in songbooks and appearing in movies, but without any claim to authorship. Then, in 1933, "Happy Birthday" was performed in a play entitled As Thousands Cheer, which gave rise to a lawsuit from Jessica Hill for copyright infringement.
Both parties mutually agreed that the musical component of the song was part of the public domain, and had been for some time. Therefore, the ultimate question to be decided by Judge King was the status of the lyrics. Judge King looked at a variety of issues, including a presumption of validity in the contested registration from the Copyright Office, the true author of the lyrics, whether or not the lyrics were abandoned or lost some time after being written, and if there was a valid transfer of rights from the Hill sisters to Summy Co.
The court looked at three agreements between the Hill sisters, the Hill Foundation, an organization ostensibly created by the Hill sisters which was then assigned the rights to the lyrics before transferring them to Summy Co., and Summy Co. From looking at these three agreements, Judge King held that none of the contracts actually assigned the rights to the lyrics from the Hill sisters to Summy Co., as the First Agreement was limited to sheet music, the Second Agreement contemplated piano arrangements, and the Third Agreement did not explicitly assign the lyrics to "Happy Birthday," or transfer any of the Hill sisters' common law rights in said lyrics to Summy Co.
Judge King thus held that because Summy Co. never acquired the rights to the "Happy Birthday" lyrics, Warner/Chappell, as Summy Co.'s purported successors-in-interest, did not own a valid copyright in those lyrics. As such, pending a successful appeal, this is a decision worth celebrating!
PHOTO: ©Ruth Black Used with permission of Fotolia
Tags Authorship, Clayton F. Summy Company, District Court, Happy Birthday, Music, Public Domain, Rupa Marya, Warner/Chappell
Posted in Copyright, Infringement, Lawsuit
"Let's Not Go Crazy" About Lenz v. Universal Music Corp. et al.
Posted on October 23, 2015 by Kerry Brownlee
In a highly anticipated decision, on September 14, 2015, the Ninth Circuit in Lenz v. Universal Music Corp. et al. ruled that copyright holders must consider fair use prior to sending a takedown notice under the DMCA or they may run the risk of being held liable for nominal damages under 17 U.S.C. § 512(f). Yet, what implications does this decision have for copyright holders, who are already struggling to enforce their rights as the Internet and technology rapidly progresses? Although the decision mandates that copyright holders partake in a fair use inquiry prior to issuing a takedown notice, which technically-speaking is an added step, many copyright holders, particularly those who have engaged the regular aid of a legal team, already take this step and thus, this ruling is not as onerous as it may seem at first glance.
Specifically, the case involves a twenty-nine second home video of Plaintiff Stephanie Lenz's two children dancing to Prince's "Let's Go Crazy". Plaintiff had initially posted the video to YouTube, but it was taken down after YouTube received a takedown notification from the legal department at Universal. Although Universal's legal department monitored YouTube daily and assessed what videos should be taken down based on specified guidelines, the key inquiry is whether or not Universal considered fair use, which, now after the Ninth's Circuit affirmed the denial of the parties' cross-motions for summary judgment, is a question for the jury.
Importantly, the Ninth Circuit held that Universal, along with all other copyright holders, must consider fair use prior to issuing a takedown notification, as 17 U.S.C. § 512(c)(3)(A)(v) requires a takedown notification to include a "statement that the complaining party has a good faith belief that the use of the material in the manner complained of is not authorized by the copyright owner, its agent, or the law", and the Court held that fair use is a use authorized by law through 17 U.S.C § 107. Yet, the Court explicitly noted that a copyright holder need only form a subjective good faith belief that the use is not fair and that the consideration of fair use need not be "searching or intensive". A copyright holder only faces liability for nominal damages if it makes a knowing misrepresentation in its takedown notification that it has a good faith belief that the use is not fair or otherwise authorized by the law.
Further, the Court noted that the consideration of fair use through automated computer programs, coupled with the review of any remaining information by some sort of legal department like that employed by Universal, may be acceptable. Thus, although copyright holders are faced with an overabundance of content to sift through, automated computer systems may help to ease this burden. As the Court aptly notes, Section §512(c) of the DMCA already requires copyright owners to initially review potentially infringing content prior to sending a takedown notice and as such, the Court's decision serves to clarify that the fair use inquiry must be part of that initial review.
UPDATE: On Tuesday, October 20, 2015, both parties filed petitions for rehearing. On the one hand, Plaintiff/Appellee Stephanie Lenz has petitioned the Ninth Circuit to address the question of "Whether Congress, in drafting the safe harbor provisions of the Digital Millennium Copyright Act ("DMCA"), intended to grant private parties the practical power to censor speech based on an unreasonable belief that a copyright has been infringed, as long as that belief is (like all beliefs) subjectively held" (emphasis added). Meanwhile, on the other hand, Universal has petitioned for rehearing to address whether or not Lenz in fact suffered an injury-in-fact sufficient to give rise to jurisdictional standing.
Tags Digital Millenium Copyright Act, DMCA, Fair Use, Prince, Universal Music, YouTube
Posted in Copyright, Lawsuit
Kate Spade's Bright Colors Pay off In Spades
Posted on August 2, 2013 by Sarah Cohen
Kate Spade LLC ("Kate Spade") recently weathered an attempt by Saturdays Surf LLC's ("Saturdays Surf") to enjoin Kate Spade's use of the trademark "Kate Spade Saturday" in connection with clothing. Kate Spade filed a declaratory judgment action against Saturdays Surf seeking a judgment that Kate Spade's "Kate Spade Saturday" trademark did not infringe Saturdays Surf's "Saturdays Surf NYC" trademark.
The court found in favor of Kate Spade for several reasons. First, each party's clothing was marketed to a different demographic, men v. women, and 40% of Kate Spade's "Kate Spade Saturday" line consisted of dresses. The majority of Saturdays Surf's clothing were designed for men. The court analyzed the clothing items and concluded that the bright palates used by Kate Spade would unlikely be confused with the neutral shades used by Saturdays Surf.
While the court recognized similarities in the marks, namely, the term "Saturday", the court ultimately felt that the dissimilarities, such as the use of the famous house mark KATE SPADE, outweighed the similarities of the two marks. The court rejected Saturdays Surf's claim of reverse confusion because the KATE SPADE brand is associated with women's fashion and accessories, not men's.
Even though the court determined the "Saturday" term used in both marks was suggestive, the crowded field of users diminished Saturdays Surfs' ability to assert exclusive right in the term. Also, the court found that consumers of each party's fashionable, high quality/high priced clothing were sophisticated consumers, not making impulse purchases.
The court ultimately denied Saturdays Surf's injunction finding Saturday Surf failed to show a likelihood of confusion because of the difference in apparel offered by both parties and the relative weakness of the term "Saturday" as used in the party's marks.
Tags Confusion, Famous, Fashion, House Mark, Injunction, Kate Spade, Lawsuit, Likelihood of Confusion, Trademark, Trademark Infringement
Posted in Infringement, Lawsuit, Trademark
Jersey Boys' Use of the Ed Sullivan Clip Qualifies as a Fair Use
Posted on May 22, 2013 by Sarah Cohen
Plaintiff SOFA Entertainment, owner of the licensing rights to the "Ed Sullivan Show", was attending the Broadway show Jersey Boys when he noticed that a seven second clip from the "Ed Sullivan Show" appeared in the show. The Jersey Boys show is loosely based on the Four Seasons band and the lives of its members. The seven second clip featured the Four Seasons band getting ready for their "Ed Sullivan Show" performance. After the show ended, plaintiff filed a copyright infringement suit against the Jersey Boys producers.
The Ninth Circuit disagreed with plaintiff and found that the clip in the Jersey Boys show constituted a fair use. First, the purpose and character of the use was "transformative" because it added something new to the clip's original meaning or message. The clip was not shown for entertainment value. Instead, it was shown to provide a reference point in rock and roll history. Continue reading →
Tags Attorneys' Fees, Copyright, Copyright Act, copyright infringement, Fair Use, Jersey Boys, Lawsuit, Transformative
Veoh Wins Again…
Posted on May 13, 2013 by Dermot Sheridan
Another battle in the war between file-sharing websites and the the music and film studios. Veoh Networks, owner and operator of the 'Veoh' media-hosting website, has won its latest battle against Universal Music Group. Universal had filed suit for copyright infringement claiming that the Veoh website – on which users can post video and music clips – contained infringing material, and that Veoh had stored the infringing clips. Veoh denied the claims arguing that it had complied with the requirements for 'safe harbor' protection given to internet providers and websites under the Digital Millennium Copyright Act (DMCA) because it acted quickly to remove material when an allegation of infringement was received, and that it did not have 'actual knowledge' that the materials in question were infringing.
Finding that Veoh Networks was entitled to the protection afforded by the 'safe harbor' provisions of the Digital Millennium Copyright Act (DMCA), the Ninth Circuit Court of Appeals sided with Veoh. Judge Raymond C. Fisher for the Court stated that "merely hosting a category of copyrightable content, such as music videos, with the general knowledge that one's services could be used to share infringing material, is insufficient" to establish liability for copyright infringement on the part of the website. As such, Veoh did not have the "substantial influence on the activities of users" for a finding of liability.
The case is UMG Recordings Inc. v. Veoh Networks Inc., 10- 0955902, U.S. Court of Appeals for the Ninth Circuit, and can be viewed at: http://cdn.ca9.uscourts.gov/datastore/opinions/2013/03/14/09-55902.pdf
Tags Copyright, copyright infringement, Digital Millenium Copyright Act, DMCA, Hosting, Illegal Downloading, Infringing, Internet, Lawsuit, Safe Harbors, Universal Music Group
Anchors Away! No More Safe Harbors for Pre-1972 Sound Recordings!
Posted on April 26, 2013 by Ashly Sands
Ahoy! Calling owners of copyrights in sound recordings fixed prior to February 15, 1972! According to the New York Supreme Court, Appellate Division in its April 23, 2013 decision (UMG Recordings, Inc. v. Escape Media Group, Inc.), it's going to be hard for infringers of these works to stay Afloat using the DMCA Safe Harbor provisions.
In 2012, Universal Music Group (UMG) sued Escape Media Group, Inc. (parent company of Grooveshark, an Internet-based music streaming service), for the common law copyright infringement of UMG's pre-1972 sound recordings which had been uploaded to Grooveshark. Escape's defense was that as an ISP, it is shielded from liability for infringement by the section 512(c) of the DMCA (safe harbors). UMG's primary argument was that the DMCA's safe harbors didn't apply to pre-1972 sound recordings, because those recordings are not covered by the Copyright Act (which was amended in 1971 to include sound recordings fixed before February 15, 1972).
On July 12, 2012, New York State Supreme Court Judge Barbara R. Kapnick took a bite out of UMG's argument, relying on Capitol Records, Inc. v. MP3tunes, LLC, 821 F. Supp. 2d 627 (SDNY 2011), in which the Federal District Court found the DMCA did in fact embrace sound recordings fixed before February 15, 1972, stating that "there is no indication in the text of the DMCA that Congress intended to limit the reach of the safe harbors provided by the statute to just post–1972 recordings."
Refusing to Walk the Plank, UMG appealed and, as of Tuesday, it appears that the Appellate Division has Jumped Ship, Capsizing the decision of the trial court. In its opinion, the court accepted UMG's argument that if the DMCA were to apply as Escape argued, it would directly violate section 301 (C) of the Copyright Act, which expressly extended federal copyright protection only to recordings fixed AFTER February 15, 1972 – "[w]ith respect to sound recordings fixed before February 15, 1972, any rights or remedies under the common law or statutes of any State shall not be annulled or limited by this Title until 2067″. If the DMCA were to apply to a pre-1972 sound recording, the owner would no longer be able to sue under the common law or statutes of any State; the only remedy available would be service of a takedown notice on the infringer – i.e. a LIMITATION on the owner's remedies.
For the court to find in favor of Escape, it would have to conclude that Congress intended to modify section 301(c) when it enacted the DMCA. However, as the court stated, statutes are not deemed to repeal earlier ones without express words of repeal, and the DMCA could not be held to repeal section 301(c) of the Copyright Act, especially in light of the fact that the statutes can reasonably co-exist. Congress explicitly separated the universe of sound recordings into two categories – one for works "fixed" after February 15, 1972, to which it granted federal copyright protection, and one for those fixed before that date, to which it did not. Accordingly, absent anything in the Copyright Act itself, or its legislative history, it was clear to the court that Congress meant to apply the DMCA to the former category, but not to the latter.
Reading the Copyright Act as a whole, as is required, the court interpreted the DMCA's references to "copyright" and "copyright infringer" to specifically refer to those works that are covered by the DMCA – i.e. post-1972 works.
In rejecting Escape's argument that the very purpose of the DMCA – to promote efficiency in Internet operations – will be thwarted if it is deemed not to apply to pre-1972 recordings because Grooveshark and similar ISPs would be forced to proactively research the history of every work before permitting it to be posted, the court pointed out that there are, in fact, two explicit Congressional priorities in the statutory language:
To promote the existence of Intellectual Property on the Internet; and
To insulate pre-1972 sounds recordings from federal regulation.
In the final line of the decision, the court Baited Congress to clarify its intent: "[u]nder such circumstances, it would be far more appropriate for Congress, if necessary, to amend the DMCA to clarify its intent, than for this Court to do so by fiat".
Looks like it's a Pirates' Life for Escape… New York State has thrown a Line out to all pre-1972 copyright holders, and the implications may really keep common law copyright infringement claims Flooding in. But the real question is whether it will be All Hands on Deck in Congress to re-Navigate the murky wording of the DMCA.
In other "Maritime" news… Fleet week in New York has been cancelled this year. It appears that this concrete jungle is really Weighing Anchor and washing anything left in the Harbors out to Sea.
Tags Common Law, Copyright, copyright infringement, Digital Millenium Copyright Act, DMCA, Escape Media, Grooveshark, Illegal Downloading, Internet, Lawsuit, Piracy, Safe Harbors, Section 301(c), Section 512(c), Sound Recordings, Universal Music Group
Posted on March 20, 2013 by Ashly Sands
The Second Circuit's March 8, 2013 decision has swank shoe designer Christian Louboutin (and likely the rest of us) seeing RED.
Back in September, the Second Circuit "kicked" out the District Court's ruling that a single color could never serve as a trademark in the fashion industry, holding that Louboutin's red lacquered outsole has acquired limited "secondary meaning", but still stopped the litigious Louboutin in his tracks, issuing a Mandate providing:
"Pursuant to 15 U.S.C. § 1119 the Director of the United States Patent and Trade [sic] Office shall make appropriate entry upon that Office's records to reflect that U.S. Trademark Registration No. 3,361,597, held by Christian Louboutin and dated January 1, 2008, is limited to a red lacquered outsole on footwear that contrasts with the color of the adjoining ("upper") portion of the shoe."
See September 5, 2012 Opinion HERE
In accordance with the Second Circuit's mandate, the USPTO proposed the following amended description of the mark for U.S. Trademark Reg. No. 3,361,597:
"The color(s) red is/are claimed as a feature of the mark. The mark consists of a lacquered red outsole on footwear that contrasts with the color of the adjoining remaining portion of the shoe (known as the 'upper'). The dotted lined are not part of the mark but are intended only to show placement of the mark."
Seeking to "heel his soles", Christian Louboutin asked the USPTO to adopt alternative language, insisting that the Court of Appeals intended to only exclude red monochrome shoes. Mr. Louboutin proposed the following amendment:
"The color(s) red is/are claimed as a feature of the mark. The mark consists of a lacquered red outsole on footwear that contrasts with the color of any visible portions of the shoe. The dotted lined are not part of the mark but are intended only to show placement of the mark."
The USPTO refused to "step on the court's toes", indicating that the USPTO does not have discretion to deviate from the terms of a court's §1119 mandate.
Thereafter, Louboutin "tap, tap, tapped" his way back into court requesting that the Second Circuit modify its mandate. The court "booted" Louboutin's request, citing authority which would require the court to recall the mandate only under "exceptional circumstances". The court concluded that, "Louboutin has made no showing that any of the factors favor recall and modification of the mandate."
See March 8, 2013 Opinion HERE
This doesn't mean that the red sole is going to become "as common as an old shoe" but it does mean that we may see an influx of red-soled red shoes given that "use of red lacquer on the outsole of a red shoe of the same color is not a use" of Louboutin's mark. It remains to be seen if Louboutin will take this "in stride" or attempt to broaden its rights to cover a red sole that contrasts with the color of "any visible portions of the shoe".
Tags Christian Louboutin, Fashion, Lawsuit, Red Soles, Second Circuit, Shoes, Trademark Infringement, Trademark Registration, USPTO
Posted in Lawsuit, Trademark, USPTO
Tiffany…Generic?
Posted on March 20, 2013 by William Wright
Recently Tiffany filed a complaint against Costco in the United States District Court for the Southern District of New York for trademark infringement and related claims. According to the complaint, for many years Costco has sold diamond rings, describing them as "Tiffany" rings. However, Tiffany never authorized Costco to sell its goods and Costco never actually sold Tiffany products. This, Tiffany argues, has resulted in "hundreds if not thousands of people who mistakenly believe they purchased and own a Tiffany engagement ring from Costco." Rather than throwing in the towel, Costco has counterclaimed, arguing that "Tiffany" is generic for a style or type of ring setting.
This could get interesting.
Tiffany & Company and Tiffany (NJ) LLC v. Costco WholesaleCorp, U.S. District Court, Southern District of New York, 13-1041 Continue reading →
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What They're Saying: Sepp Blatter
by Soccer America , May 8, 2019
"This is a question of respect, and I've reached the end of my temper. I think it's not too much to ask to give me back personal belongings."
-- Former FIFA president Sepp Blatter, who plans on suing FIFA for the return of as many as 80 watches — brands like Patek Philippe, IWC and Omega — valued at a total of $400,000 as part of demands for pension payments and a clarification about his compensation arrangements to show that "I am not a thief." Blatter, who was banned by FIFA in 2015 for six years for his part in a corruption scandal involving former UEFA president Michel Platini, said he was returned 120 other timepieces but not part of what he described as his "high technology collection." (New York Times)
fifa, fifa scandals, sepp blatter


Unique home in a PRIVATE SETTING on 5.82 Albemarle County acres. OPEN FLOORPLAN flooded w/ NATURAL LIGHT, gorgeous HARDWOOD FLOORS throughout, exposed beams, soaring CEILINGS, CAT 5 & surround sound wired. FIRST FLOOR master suite w/ SITTING AREA, jack/jill WALK IN CLOSETS, & large ENSUITE. Open EAT-IN kitchen featuring GRANITE countertops, lots of cabinet space, & ISLAND, plus FORMAL DINING ROOM. GREAT ROOM w/ wood burning FIREPLACE. Plenty of additional living space w/ two additional BEDROOMS on second level & LOFT, plus unfinished BONUS ROOM & PARTIALLY FINISHED basement with fourth bedroom potential. LOTS OF ROOM for PETS/PLAY& outdoor entertaining w/ WRAP AROUND porch, back patio w/ PERGOLA, and garden space.


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Referendum questions ready for the ballot
byFern Clair
CSU passes the questions that will appear on the referendum
Correction: A previous version of the article incorrectly stated that an additional student fee charge for Sustainability Concordia, The Link, and SEIZE could not be opted out of. They can be opted out — all fees collected for fee-levies organizations at Concordia can be opt-ed out of.
At the Concordia Student Union (CSU) meeting on Oct. 27, multiple questions were passed to be put on the referendum, including whether there should be a mandatory course on sustainability, and a charter of students' rights. Here are some of the questions students will vote for in this upcoming election.
Position against transphobia
The CSU wants to add a position in support of trans, non-binary, and gender-non-conforming people to its positions book in lieu of the Quebec government's proposed Bill 2.
Bill 2 will make it so that someone cannot change their sex on their government documentation without having gender-affirming surgery.
"It's basically asking trans people to out themselves," said Hannah Jamet-Lange, the CSU's academic & advocacy coordinator.
Jamet-Lange explained that the CSU has a general position in their position book in solidarity with LGBTQIA2+ people, but Jamet-Lange wanted something that was specifically in support of trans, non-binary and gender-non-conforming people.
The position book is the CSU's stance on political, social, and student-life issues. For any position to be added to the book, it must be first voted on by students in a referendum.
The CSU wants to know if students want Concordia University to implement a pass/fail grading option until the pandemic is over. For the 2020-2021 academic year, students were allowed to receive a pass/fail notation in one class per semester. It was implemented as a way to reduce stress and burnout in students.
"We're still in the pandemic, and people are still struggling," said Jamet-Lange, who explained that student stress has not lessened during the return to in-person classes due to the continuation of the pandemic.
Charter of Students' Rights
This question is asking the Concordia community if the CSU should create a charter of students' rights and responsibilities. Many universities have a charter of rights, including McGill and UQAM, but Concordia does not have one.
Jamet-Lange explained that the CSU wants to see if students are in support of the charter before the CSU puts in the time and effort of creating the document.
Sustainability Curriculum
According to the question, Concordia is four times lower than the Canadian national average on sustainability learning outcomes in the curriculum. The question asks if students want Concordia University to commit to ensuring that all students learn about sustainability and the climate crisis in the curriculum by 2030.
Fee levies
Fee levy groups are organizations elected by students in referendums who receive their funding from student fees. They provide different services for students, such as free meals from The People's Potato.
Multiple fee levy groups are asking to increase the amount of money they collect from undergraduate students, such as the CSU Advocacy Centre, which provides students with independent representation in disciplinary proceedings. They are asking for an extra $0.14 per credit, resulting in a total increase to $0.45 of the fee-levy amount, as the negative impact of COVID-19 has caused an increase in students reaching out for help. This means the centre has had to increase its staff and hours in order to support the influx of students.
Should this pass, an additional student fee charge will also increase by $0.42, to a total of $1.35 per 3-credit course, which cannot be opted out from.
Sustainable Concordia, an initiative that aims to reform systems that contribute to the climate crisis, is asking for an increase as their organization is growing and wants to give more support to their staff. The fee-levy increase will be to $0.07 per credit, resulting in a total increase to $0.22, and will be annually adjusted to the Consumer Price Index of Canada.
This fee-levy increase will result in a change of $0.21 to an additional student fee charge, to a total of $0.66 per 3-credit course, which can be opted-out from.
The Link, another independent student media publication at Concordia University, is asking for an increase of $0.10, resulting in a total fee-levy increase to $0.29. The organization has not requested a change to their amount since 2001 according to The Link, and seeks to increase funds to support their reporting, improve multimedia opportunities for students, enhance diversity and equitability, and account for inflation.
Should this pass, an additional increase of $0.30 for every 3-credit course will be added to the student fee charge, resulting in a $0.87 fee which can be opted out from.
A new fee levy group, SEIZE, is asking to be established. It will become, "a solidarity economy incubator," which will, "engage students through the support, development, study and promotion of democratic enterprises." SEIZE's fee would be $0.29 per credit.
Should this pass, an additional student fee charge of $0.87 per 3-credit course will be added, a fee which can be opted out from.
The CSU is asking if students want them to advocate to the Concordia administration for the implementation of either live-streaming or recorded lectures. The CSU states that at the beginning of the pandemic, the university allowed for classes to be recorded. Now as classes return to in-person, recorded classes have been reduced, yet many students, such as international students, are still unable to attend them.
Photograph by Lou Neveux-Pardijon
fee levy
Fern Clair
Vote yes to sustainability in curriculum!
byChristopher Djesus Vaccarella
McDonald's Monopoly game is a win for the company
byGuillaume Laberge
Concordia student delves into Alzheimer's research
Erin Johns, a doctoral student at Concordia University, conducted research aimed to detect early signs of Alzheimer's disease by studying adults with mild cognitive impairment that are at high risk of developing the disease.
byKalina Laframboise
Hope for developing world
Students at McGill and Concordia have joined forces to form a new charity group which aims at helping third world countries. Anika Naeem, a psychology student at Concordia, is from Pakistan and was working with non-government organizations (NGOs) over there.
Identifying the threat
TORONTO (CUP) -- More than a year ago, student Matt Richardson received an e-mail requesting he update his bank records. He clicked on the attached link and gave his personal information over to what, in reality, was a fraudulent website. Richardson's next credit card statement listed more than $5,000 in goods he never purchased.
Space Concordia returns to the Canadian Satellite Design Challenge
Concordia's victorious astronautical association, Space Concordia, returned to defend the title they won last year as the second…
bySloane Montgomery


Virginia (Ginny) Parker, current President of the Herb Society of Wake County, spoke to our club on March 20 about herbs.
She brought booklets to give us with the herbs she highlighted in her slide presentation. There are so many herbs to talk about but Ginny highlighted 16-plus favorites grown in North Carolina and told us about their growth habits, sun and soil needs, etc. It was interesting to see different cultivars of herbs from the ones most often grown: prostrate juniper, for instance, and different varieties of basil and mint. Ginny also mentioned Artemesia, which is herb of the year for 2014.
Ginny was a charming, genial presenter. Having been President of District 10 of the Garden Club of North Carolina, she said she enjoyed being with us--she likes getting out to different garden club meetings to learn what they are doing.


Knoxville is The Maker City.
The Maker City is the greater Knoxville-area community of makers, artists, creatives, and small-scale manufacturers and supporting entities. Led by the Mayor's Maker Council, we create collaborative partnerships, programming, and opportunities in support of Knoxville's maker community.
Recognizing that creative entrepreneurs make a significant impact on our economy with their small-scale manufacturing, Knoxville amped up the maker movement in 2016 with the leadership of the Mayor's Maker Council and the Knoxville Entrepreneur Center. We redoubled efforts and involvement in 2017.
More than 900 makers belong to The Maker City, the directory grew to more than 190 makers, and more than 600 met and mingled at maker meetups. The Maker City's annual summit doubled in size in 2017 and offered makers the opportunity to learn from experts and each other.
In addition to holding ongoing maker meetups and the annual summit, The Maker City is hosting an informal lunch-and-learn series called Make. Learn. Grow. Local makers and experts come together to share their knowledge and tools to grow their businesses.
We have redesigned The Maker City directory to be searchable. This makes it easier to navigate for consumers looking for handmade goods, retailers wanting to sell locally made items, contractors searching for small-scale manufacturers and fabricators, and businesses wanting local contacts for their projects of all sizes. The goal of the directory is to raise awareness of the makers in Knoxville and the surrounding area and the goods that they make.
Looking ahead, The Maker City aims to develop a shared vision for our region's diverse maker community and raise awareness of the local maker movement and its associated micro-economies.
We will promote local goods and services and connect makers with opportunities. We will address government policies and regulatory issues that impact maker businesses and develop new revenue sources to support The Maker City initiatives.
Matthew Cummings, Pretentious Beer & Glass Co.
Matthew Sterling, Sterling Contracting Co.
Brent Thompson, Sugarlands Distilling Co.
The Maker City was created after a small team from Knoxville attended the first Etsy Maker Cities Summit in Brooklyn in May 2016. The Maker City represented a perfect launching pad for our growing efforts to support and connect makers.
The original founding team was comprised of a local maker, retailer, and city official. The call-to-action was simple: to join 14 other teams from across the country, learn from each other, and walk away with an actionable plan to make our city more supportive of micro businesses.
Nanci Solomon from Rala, Joy O'Shell from the Knoxville Entrepreneur Center, and David Harman from Native Maps.
WHAT IS OUR PLAN FOR KNOXVILLE?
We left knowing that we needed to host a similar event in Knoxville, bringing together micro-businesses, manufacturers, and city officials in the same room.
Talking about Knoxville was easy, but we could only be effective if we knew who was out there, understood their needs, and actually got together and listened to each other.
Born out of a growing partnership with Etsy, the global online marketplace, our Maker Council has developed a year-long series of programs, workshops and networking events designed to build an informed and collaborative City, one that fully embraces the maker movement. After hosting an inaugural Maker Summit attended by nearly 400, and having been designated the first Etsy Maker City in the United States, the Maker Council is looking to build on last year's successes, cementing our region's status as THE place to make in Tennessee.
Operating under the banner of MakeKnox (now The Maker City), a small team from Knoxville was invited to attend Etsy's Inaugural Maker City Summit in Brooklyn, New York. The team included a local maker, retailer, and KEC staffer to represent the City. They joined 12 other cities including Chicago, Los Angeles, Little Rock and Memphis to discuss new ideas and best practices in revitalizing rural and urban spaces through creative entrepreneurship, public policy, redefining manufacturing, and maker spaces. They left knowing that they needed to host a similar event in Knoxville, bringing together micro-businesses, manufacturers, and city officials in the same room.
Mayor Rogero convened local and regional officials, civic leaders and entrepreneurs for a conversation on "Rethinking Economic Development" to meet the challenges and opportunities of the 21st century. The Summit was sponsored by the Kauffman Foundation in association with the City of Knoxville and Knoxville Entrepreneur Center. The Kauffman Foundation is the world's leading not-for-profit organization dedicated to the study and advancement of entrepreneurship.
The Knoxville Maker City Summit brought together makers, artists, developers, manufacturers, city officials, and entrepreneurs for a day of dialogue about how to create a stronger maker community. Alongside Etsy, whose industry leading online platform is driving creative entrepreneurship and manufacturing policies around the world, makers from throughout the region took part in a series of interactive panel discussions about maker spaces, growing a business and creative manufacturing. Sugarlands' Brent Thompson emceed the entire Summit, facilitating discussions about what makes Knoxville the perfect "Maker City", and what could make it even better. Attended by nearly 400 people, the Etsy Maker City Summit kicked off Innov865 Week, a week-long series of events that has become Knoxville's signature gathering of entrepreneurs, creatives and investors.
Joined by Etsy representatives and The Maker City team, Mayor Rogero officially proclaimed Knoxville an 'Etsy Maker City', the first such award by Etsy to a city in the US, and then announced the formation of Knoxville's first-ever Mayor's Maker Council. Etsy Maker Cities pair strong municipalities that value entrepreneurship, sustainability, and responsible manufacturing with the creative and innovative spirit of the Etsy community. The result? Empowered micro-businesses, strengthened local economies, and collective commitments to change how we buy, sell, and create goods. Etsy is an online marketplace where people around the world connect, both online and offline, to make, sell and buy unique goods. Through the Etsy Maker Cities program, Etsy champions a new model for economic prosperity, one that promotes sustainable production and empowers people to build creative businesses on their own terms.
"We believe that there are largely untapped opportunities for local governments to help members of the maker community—from sellers, to manufacturers, to retailers—start and grow their creative businesses. Maker Cities pairs strong municipalities that value entrepreneurship, sustainability, and responsible manufacturing with the creative and innovative spirit of the community.
The result? Empowered micro-businesses, strengthened local economies, and collective commitments to change how we buy, sell, and create goods."


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Inez Mary Romanoff (, formerly Storer; born October 11, 1933), known as Inez Storer, is an American painter and mixed-media artist who creates work in the magical realism genre.

Biography
Storer was born in Santa Monica, California, on October 11, 1933, to a Catholic father, Franz Bachelin, and a Jewish mother, Anita Hirtfield. She was raised in her father's Catholic faith. When her mother was on her deathbed, Storer learned that her mother fled Germany to escape  Nazism. Storer had believed that there was more to her family's past than she had been told and had suspected that she had Jewish ancestry since the age of thirteen. Storer's mother said that all of her relatives had died, but after her mother's death, Storer reportedly located more than two dozen cousins, some living in California.

As a child, she spent time on Hollywood movie sets with her father, Franz Bachelin, who worked as an art director. From 1951 to 1955, Storer attended the San Francisco College for Women, and she earned a bachelor's degree in art from the Dominican College in 1970. She earned her master's degree in 1971 from California State University, San Francisco (now San Francisco State University).

From 1968 through the 1970s, she taught at the College of Marin in Kentfield. She held a teaching appointment at San Francisco State University from 1970 to 1973. She taught briefly at UC Santa Cruz in 1976 and then at Sonoma State University from 1976 to 1988. Storer also taught at the San Francisco Art Institute from 1981 to 1999. Storer was a visiting artist at the American Academy in Rome in 1996 and 1997.

Storer lives in Inverness, California, and was married (from 1987 until his death in 2021) to Prince Andrew Romanoff, an artist and the grandnephew of Nicholas II, Russia's last emperor. She was a friend of author Philip K. Dick.

Style and influences
Storer's paintings are richly textured, mixed-media collages that often include a playful juxtaposition between contemporary cultural icons and historical objects or references. She paints in a faux-naïve style. The process she uses to create her work involves creating many layers and then "peeling away the surface to come back to the first marks." Writing that appears in her work is considered "childlike." An article in the Philadelphia Weekly pointed to the influence of Storer's ancestry in her art, saying, "The frustration at being kept from the truth has given Storer's art a kind of angry edge."

Her 2004 exhibition at the National Museum of American Jewish History was organized by the museum at Santa Clara University and concerned personal identity and the discovery of her heritage. A 2003 review in the San Jose Mercury News said, "Pictures, we like to think, should yield up their meanings easily – at least pictures of the real world: flowers, animals, people and the like. So it can be a bit discomfiting when our expectation of such instant understanding is thwarted, as so often happens in the art of Inez Storer." Her art is also influenced by Hollywood stage design and can be in seen in the "theatrical space" that her female figures inhabit in much of her work. Storer's art often deals with difficult issues that are hidden within symbols and children's stories. Her work has been compared to that of artists such as Wassily Kandinsky, Paul Klee, Jean-Michel Basquiat, Henri Rosseau, Marc Chagall and Salvador Dalí.

Exhibits and collections
Work by Storer is held by museums including the de Young, the Reno Museum of Art, the San Jose Museum of Art, the Monterey Museum of Art, the Missoula Museum of Art in Montana, the Linda Lee Alter Collection of Art by Women of the Pennsylvania Academy of the Fine Arts, and the National Museum of American Jewish History in Philadelphia.

Awards and honors
 Pollock-Krasner Foundation Grant (1999)
 Distinguished Woman Artist Award from Fresno Art Museum's Council of 100 (1999)

References

Further reading

External links
Official website
Inez Storer at Pollock Krasner Image Collection

1933 births
Living people
20th-century American painters
American realist painters
American women painters
Artists from Santa Monica, California
Collage artists
Women collage artists
Painters from California
People from Inverness, California
20th-century American women artists
21st-century American women artists
House of Romanov in exile
Russian princesses by marriage

redpajama_set_name: RedPajamaWikipedia


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« Doug Nixon Interview | Main | Additional Information on the STEP Trial »
Merck HIV Vaccine Trial Results: Uncertainty Reigns Regarding Evidence of Enhancement
The very bad news about the Merck HIV vaccine trial (STEP/HVTN 502) that emerged today at the HVTN meeting in Seattle is that there were significantly more HIV infections among male vaccine recipients in the second 1,500-person cohort of the trial compared to placebo recipients (21 infections vs. 9 infections). The second cohort consisted of individuals with higher levels of antibodies (titers over 1:200) against adenovirus serotype 5 (Ad5), the virus used - in weakened form - as a vehicle or vector for the vaccine components. Ad5 in its natural form causes bad colds, so many people are exposed to it during their lives and develop anti-Ad5 antibodies as a result. The STEP results suggest that the Ad5 vaccine somehow enhanced susceptibility to HIV infection in people with high levels of anti-Ad5 antibodies, as the difference in infection rates between vaccine and placebo recipients increased in parallel with levels of anti-Ad5 antibodies. However, it was also the case that placebo recipients with high levels of anti-Ad5 antibodies had a very low incidence of HIV infection compared to the rest of the STEP cohort, raising the possibility of as yet unexplained confounding effects.
Anti-Ad5 antibody titer # of infections (vaccine) # of infections (placebo)
less than 1:18 20 20
1:18-1:200 8 4
1:200-1:1000 14 7
over 1:1000 7 2
Anti-Ad5 antibody titer HIV incidence (vaccine) HIV incidence (placebo)
less than 1:18 4% 4%
1:18-1:200 4.4% 2.2%
1:200-1:1000 6.1% 3%
over 1:1000 4.4% 1.2%
These data were not part of the initial review by the DSMB that caused immunizations in the trial to be stopped back in September. Because no women vaccine recipients became infected (only one of the 1,150 women in the trial was infected, a placebo recipient) all of these infections occurred among men. Looking at all of the 1,850 men in both the first and second STEP cohorts, there were 49 infections among the 914 in the vaccine group, compared with 33 out of the 922 in the placebo group. Although this was not a pre-planned analysis, the differences are significant and cause for extreme concern. For the individuals with post-infection viral loads available, there were no significant differences between 46 vaccine recipients (29,109 copies) and 30 placebo recipients (38,416 copies).
As outlined in a whirlwind talk by Juliana McElrath, researchers from the HVTN and Merck have been working around the clock to look at the factors that might account for these observed differences. Some preliminary data indicates that participants with higher anti-Ad5 antibody titers also had higher levels of CD4 T cell activation at week 30 of the study, but this held true in both vaccine and placebo recipients. Whether the kinetics of CD4 T cell activation over time was altered by the vaccine remains to be determined; one hypothesis that has been put forward is that the activation of CD4 T cell responses to Ad5 itself (which would be expected to be of higher magnitude in individuals with higher anti-Ad5 antibody levels) may have contributed to the outcome. McElrath outlined an enormous and comprehensive plan that will look at these and other possible biological mechanisms that might explain the trial results. The plan will involve an expanded version of HVTN's laboratory science committee (chaired by Bruce Walker) whose task is to further develop and refine the agenda for investigating biological explanations for the STEP results; HTVN will also solicit applications from independent investigators via their website.
In parallel, Susan Buchbinder is evaluating potential behavioral or other non-biological differences between vaccine and placebo recipients in the second STEP cohort. So far, no differences in risk have emerged, although there are some complicated associations with circumcision status; the evidence of enhancement in the trial appears to be skewed toward uncircumcised men but the relevance of this observation, if any, is still unclear.
Researchers at the HVTN meeting are currently discussing how to proceed with follow-up to ascertain whether the increased incidence among vaccine recipients with high anti-Ad5 antibody titers persists over time; 65 of the 82 infections in the trial occurred within a year of the first immunization and those that have occurred since week 52 are roughly evenly split between vaccine and placebo.
TAG will report on the STEP trial results in more detail in the coming days. A number of articles and statements have been issued about today's announcements:
AVAC on the STEP study: comprehensive links, statement & Q&A
Wall Street Journal article
November 07, 2007 in Adenovirus vectors, Vaccines | Permalink


Located in Northwest Lower Michigan between Torch and Intermediate lakes, we are one of the largest tree nurseries in the area and growers of fine Christmas tree seedlings, Christmas Trees and large landscape trees, Evergreen seedlings , Hardwood seedlings and shrubs.
We have 30,000 trees for sale. Many of our trees are grown in root control bags. In evergreen we have Cedar (Red and White), Canadian Hemlock , Dawn Redwood, Sequoia, Larch (European, American and Japanese), Spruce (Blue, White, Engelmann, Norway, Sitka, Serbian and Black Hill), Pine (White, Red, Scotch, Austrian, Foxtail, Corsican Black, Himalayan White, Jack Japanese White, Japanese Black, Japanese Red, Korean, Lodgepole, Macedonia, Pitch, Loblolly and Ponderosa), Fir ( Fraser , Balsam, Grand, Noble, Shasta Red, Nordmann, Canaan and Douglas seedlings) and Arborvitae.
Our Douglas Fir tree is one of our top sellers, as are many of our other Firs, such as the Balsam Fir, which is known for it's soft pith — great for carvings and crafts. All Firs are known for their wonderful scent, especially during the warmer months. Additionally, one of the native trees of Colorado , the Blue Spruce tree is gaining popularity as a Christmas tree.
Hardwoods: Oak Tree (Bur, White, Black, Swamp White, Scarlet, Pin, Red, Sawtooth and English), Blue Beech , Catalpa , Japanese Maple Tree (Red and Green), Crimson King , Maple Tree (Trident, Paperbark, Red Sunset, Deborah, Red, Variegated, Silver, Green Mountain and Sugar Maple), Arahaga, Three Flower. Golden chain tree, Big Tooth Aspen, Alder, Paper Birch (Paper, River, Monarch, Jacquemontii, Weeping, Crimson Frost and Japanese), Mountain Ash, Linden, Locust, Sweet Gum, Black Gum, Dogwood , Cottonwood , Cherry, Chestnut, Walnut (Black and White), seedling and many other varieties of nut trees. All are nursery tree are sprayed, sheared and inspected by Michigan Department of Agriculture. We also have seedling wedding favors. Spring shipping starts in January for the warmer climates. If we don't have it we can get it for you.
If you are in the market for nice large tree, evergreen or hardwood seedlings give us a call, grab the Wife and kids, hop in the pickup truck and head for Central Lake. Or we will ship it to you! If you are in the area and would like a tour of our nursery please call ahead.
While you are here, have dinner at the historic Blue Pelican , ice cream and homemade fudge at Fudgees and if it's getting late stay at the Chain O' Lakes Motel (231-544-6713). Vintage motorcycles?


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