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METROPOLITAN CORRIDOR: RAILROADS AND THE AMERICAN SCENE


Metropolitan Corridor, by John R. Stilgoe

Detail

softcover: 398 pages
Publisher: Yale University Press; this edition (September 10, 1985)
Language: English
ISBN-10: 0300034814
ISBN-13: 978-0300034813


Chicago Illinois Moline Rock Island Davenport Bettendorf Iowa City
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Union Station Great Hall, Chicago 1943




CHICAGO & NORTHWESTERN ROUNDHOUSE WIPERS

Women workers employed as wipers in the roundhouse having lunch in their rest room,
Chicago & Northwestern Railroad, Clinton, Iowa, April 1943. Jack Delano, photographer.
Reproduction from color slide LC-USW361-644 LC-DIG-fsac-1a34808, Library of Congress.
Chicago & North Western - A Capsule History


CHICAGO & NORTHWESTERN


CHICAGO & NORTHWESTERN: Passenger Trains of the 400 Fleet PHOTO ARCHIVE | John Kelly







CHICAGO STATIONS & TRAINS


CHICAGO STATIONS & TRAINS: PHOTO ARCHIVE | John Kelly



CHICAGO: A BIOGRAPHY


CHICAGO: A Biography, by Dominic Pacyga

Detail

Hardcover: 472 pages
Publisher: University Of Chicago Press; 1 edition (October 1, 2009)
Language: English
ISBN-10: 0226644316
ISBN-13: 978-0226644318


THE COMPLETE BOOK OF CLASSIC GM MUSCLE


THE COMPLETE BOOK OF CLASSIC GM MUSCLE:
BUICK CHEVROLET OLDSMOBILE PONTIAC | MIKE MUELLER



Monster Garage: How to Weld Damn Near Anything


Monster Garage: How to Weld Damn Near Anything

Detail

Paperback: 160 pages
Publisher: Motorbooks
Origin: edition 1 (July 31, 2004)
Language: (original): English
ISBN-10: 0760318085
ISBN-13: 978-0760318089


At End of Act II:

The grand and dastardly scheme was to construct an organization to control/monetize the Orphans — might they get away with it? It seems they might — in fact everyone seems to be playing the role that was laid out for them by Google et al. As seen in the New York Times today, they may be getting what they want: “Laying out a path forward, the [Justice] department said some of its antitrust concerns could be mitigated by ’some mechanism by which Google’s competitors’ could gain comparable access to orphan works.” If so, the plan to control and monetize would be left in place.

If this happens then we are being played for fools in someone else’s play. And that will hurt access to books and book culture — past, present, and future.

With the Justice Department objection, we are just where the Google+TradeLawyers may have hoped we would be. The question now is: do we play the concluding Act III of this saga according to their script or do we build a competitive and rich digital world?


Please grant me a moment to explain.

Act I: Google makes secret agreements with libraries to scan all books, calls it “search,” is greeted as a savior. When the details come out and are quite dark, it is too late as people remember it as a good thing.

Act II: Google is sued (surprise!) and secretly negotiates for maximum rights with as small a number of lawyers as possible. Having it be a class action is the stroke of genius — the parties get to rewrite copyright law. Google+TradeLawyers make a backroom deal — Google would get to solely control the out-of-print book world (most of the books of the 20th century) and the lawyers from the Authors Guild and the AAP would share tens of millions of dollars. Seems like a tidy deal. But there are two troubles — copyright and anti-trust. They need an act of Congress or the Justice Department to bless their cabal.

So where are we? They drafted a settlement that is completely self-serving, while short-changing authors, publishers, libraries, other countries, and Internet companies (if you don’t believe me, please read the words of hundreds of well-reasoned objections to the suit). The Justice Department did the right thing to cry anti-trust foul about the *two* monopolies that are proposed: Google and the Books Rights Registry. But interestingly, Google could only make a settlement where they were the only beneficiary because this was done as a class-action suit. This bizarre circumstance means they could not offer their protection to any others because the others were not party to the suit and they wanted a small room to negotiate in — you can only commit others with a law or judicial approval. So they set out to allow their monopoly to be blown and still rule the day. Yes, they seem to have set this up so that they win if the Justice Department objected and said “anyone has to be able to get the deal that you got.” (This idea of non-exclusive access is consistent with the rhetoric that Google has been slathering on the media for the last several months.) And then, voila, Google would fall back on the 2nd tier monopoly, the Books Rights Registry, to allow them to control all out-of-print books. Justice would then look like they got something, when in fact, they did not.

Not following me? Sorry, but let me take another shot.

Let’s say the Justice Department says “anyone else should be able to do what Google has just negotiated for itself” and allows the judge to approve this complicated mess-of-a-settlement or goes to Congress who obliges with a law to that effect. Then, Google, with a five-year head start, and setting out the rules of how the Books Rights Registry works, gets to be the only compelling offering for libraries to subscribe to. If you get a five-year head start AND write the rules of the game, then if you lose, you are an idiot. And if there is something we should all be sure of, these lawyers are not idiots.

So how do we know if we are being played? At the end of the day, if the Books Rights Registry is allowed to control and collect money for the Orphan Works, then we have been had.

Remember, this is all about controlling the Orphans, or out-of-print works. These works are those that are too expensive to research to figure out if they are the property of publishers or authors or even if they knew they would want them accessible. The contracts are often hard to track down and they are not making money anyway. If an organization gets to control the orphans, then they can determine who can have a complete library and on what terms.

The Book Rights Registry that has been designed by this cabal, which would be controlled by a few of the lawyers that wrote this settlement, would control the out-of-print/Orphan works and be able to charge whatever they wanted for them.

The Internet Archive

Google, who has said they have scanned 10 million books, is off to a healthy head start. A subscription service of bundled services will favor those with the most books, hence Google wins.

So what should we do to change this outcome?

Only one thing needs to be changed: Don’t let anyone control the Orphans/Out-of-print. Only if an owner comes forward and prove they own a work (with penalties for overreaching, and not just weak anyone-can-claim-anything-with-no-negative-consequences as it is proposed now) then they can negotiate for money. Otherwise Orphan/Out-of-Print works can be used by anyone, say, for non-commercial use. This is roughly how the Orphan Works legislation works, which almost made it through congress last session. But it should not be surprising that these guys are trying to substitute a closed system for that open approach.

Walter Benjamin | The Work of Art in the Age of Mechanical Reproduction


What would happen if no one controlled the orphans? Is would be best for the industry, best for libraries, publishers, authors, and best for the general public.

» Even Google would be better off because they would be able to make the Orphans available to everyone not just to subscribers. (Remember, they are an advertising based business.)
» The AAP would also be serving their publishers because Google would not be the only game in town to negotiate with.
» Libraries would be better off because they could digitize, preserve, and provide access to millions of digitized books for researchers historians scholars and the general public.
» The Authors Guild would be better off because they could build membership by offering to negotiate on authors behalf with many parties.
» Many author associations and registries would compete to provide good services to those that sign up with them.
» Authors would be better off because this would help create a diverse ecology of publishers, libraries, and readers.
» The general public would be better off because they would leverage many search engines and many reading devices to buy and borrow digital books from many different booksellers and libraries.
» The only loser is the Books Rights Registry, but it does not even exist yet. This would be the World Wide Web of Books that we have been dreaming of rather than a Monopoly of Books. Google has helped build momentum — let’s take it the rest of the way without blowing it. This could be done by Congress or the Justice Department — both of which are working on this right now.

Free the Orphans -- stay tuned for Act III

See source for comments

Full text of Justice objection: STATEMENT OF INTEREST... (pdf)

XF-11 FAIL (LA 1946) | The Aviator (2004)

RYAN NYP --Spirit of St. Louis-- over Paris in 1927

Lindbergh Does It! To Paris in 33 1/2 Hours; Flies 1,000 Miles Through Snow and Sleet; Cheering French Carry Him Off Field - New York Times, May 21, 1927

RYAN NYP draft
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When the Ryan NYP Spirit of St. Louis classic airplane was introduced in 1927, the United States was poised on the brink of an aviation revolution. The aftermath of the flight was the "Lindbergh boom" in aviation: aircraft industry stocks rose in value and interest in flying skyrocketed. New designs were appearing, the stock-market was strong, and the nation, immersed in the giddy whirl of the 1920s, was ready to embrace a new hero.

The RYAN NYP with Wright Whirlwind engine
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All of these circumstance were glued together on May 20, 1927, when young Charles A. Lindbergh set off alone in his tiny, silver Ryan NYP monoplane, the Spirit of St. Louis, from Roosevelt Field, Long Island, in solo transatlantic flight to Paris (5,810 kilometers (3,610 miles) between Roosevelt Field on Long Island, New York, and Paris, France; flight time: 33 hours, 30 minutes). He had no navigator, no radio, and only the simplest of maps. Lindbergh's subsequent U.S. tour in the "Spirit of St. Louis" demonstrated the potential of the airplane as a safe, reliable mode of transportation.

When Lindbergh took the NYP on a goodwill flight to Central and South America, the flags of the countries he visited were painted on the cowling.

Following the U.S. tour, Lindbergh took the aircraft on a goodwill flight to Central and South America, where flags of the countries he visited were painted on the cowling.

Charles Lindbergh with the Spirit of St. Louis
The Ryan NYP monoplane, Spirit of St. Louis, is inextricably
linked with American aviator Charles Lindbergh. On May
21st 1927, the 25-year-old flier made the first nonstop
solo flight across the Atlantic, from New York to Paris.
(Time: 33.5 hours)

Most people believed that Lindbergh couln't possibly make the dangerous flight, which had already claimed many lives, including those of the famous ace Charles Nungesser and his navigator, Francois Coli. The trans-Atlantic flight was long and hazardous, and the Ryan had only a single engine.

Wright J-5C 'Whirl-Wind' engine
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But Lindbergh knew the nine-cylinder Wright Whirlwind radial was extraordinarily reliable, and he trusted it -- as well as himself.

New air route opened

NYP - Spirit of St. Louis | Registration: N-X-211 After a hazardous take-off, Lindbergh spent 33 hours and 30 minutes in a sleepy haze, well described in his 1953 book, The Spirit of St. Louis, but he overcame all obstacles to reach Paris and win the $25,000 Ortieg Prize (A prize offered by New York hotel owner Raymond Orteig to the first aviator to fly an aircraft directly across the Atlantic between New York and Paris). Although worried that there might be no one at the airport to meet him, Lindbergh landed to a huge crowd crazed with enthusiasm. The feat thrilled the world and after landing at Le Bourget Field in Paris, he suffered instant world fame and would remain in the public eye for decades. The Ryan, too, entered legend.

Lindbergh's Ryan NYP, which he called the Spirit of St. Louis, was designed by Donald Hall under the direct supervision of Lindbergh.

Ryan M-2

It is a highly modified version of a standard -- and rather pedestrian -- Ryan M-2 strut-braced monoplane, powered by the reliable Wright J-5C engine.

Wright J-5C engine without cowling

A long wing was built and a huge fuel capacity was installed. Because the fuel tanks were located ahead of the cockpit for safety in case of an accident, the plane had no windscreen.

NYP in flight

Visibility directly forward was impossible. If the pilot wanted an immediate view of what was ahead of him, his options were to use a periscope on the left side, or else bank the airplane and crane his head to look out from the side window. Lindbergh loved the airplane, even though it was

unstable and notoriously unpleasant to fly. He always used the term "we," meaning the plane and himself, when he referred to the flight. The Spirit of St. Louis hangs today in the National Air and Space Museum in Washington, D.C.

Ryan NYP, 'Spirit of St. Louis'

NYP on display at the Smithsonian National Air and Space Museum
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Spirit of St. Louis was named in honor of Lindbergh's supporters in St. Louis, Missouri, who paid for the aircraft. NYP is an acronym for "New York-Paris,"
the object of the flight.

Milestone: First Nonstop Solo Transatlantic Flight
Date of Milestone: May 21, 1927
Aircraft: Ryan NYP "Spirit of St. Louis"
Aircraft Location: Smithsonian Institution, National Air and Space Museum,
Milestones of Flight Gallery

Charles A. Lindbergh
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Pilot: Charles A. Lindbergh

Specs:
Wingspan: 14 m (46 ft)
Length: 8 m (27 ft 8 in)
Height: 3 m (9 ft 10 in)
Weight, gross: 2,330 kg (5,135 lb)
Weight, empty: 975 kg (2,150 lb)

Technical illustration of the Wright J-5C 'Whirl-Wind' engine

Engine: Wright Whirlwind J-5C, 223hp

The Ryan Team at San Diego

Manufacturer: Ryan Airlines Co., San Diego, 1927

Roll-out at San Diego

More Information on the Ryan NYP 'Spirit of St. Louis' at the Smithsonian National Air and Space Museum


Wright brothers' 1903 aircraft
4-Stroke Internal Combustion
Engine

• simple five cylinder radial (above)

The J-5C Whirlwind (nine cylinders)
was the progenitor of all the great
radials that came afterwards.


National Air and Space Museum Collections Database

The Spirit of St. Louis

Lindbergh's Transatlantic Flight: Timeline, May 20-21, 1927

NYP Designer: Donald A. Hall

Browse article Ryan NYP Spirit of St. Louis Ryan NYP Spirit of St. Louis

Credits:

• Editors of Publications International, Ltd.

early days of radio

His Master's Voice Nipper
Website bigdealbooks.com is a soft beta in early development. All music downloads at this site are from iTunes via imeem.com

You can browse, shop, and download songs, albums, and playlists at Imeem without being a registered user there to a remarkably fair extent. Visit Imeem for more information.



Tipsy is a combo out of San Francisco that uses samples and loops from various loungey, exotica, and easy listening tracks as the primary soundbed for some really neato music. Brought together by their shared fascination for experimental music and noise, the lounge-collage duo consists of Tim Digulla and David Gardner.

imeem -- the best of    instant messaging and social networking combined
bigdealbooks.imeem.com Featured Artist Tipsy


Previously, Gardner worked with sonic manipulators like PGR and Big City Orchestra; Digulla began recording noise projects on his walkman while in junior high under the name No One. He continued his experiments in the San Francisco noise scene, through which he connected with Gardner at a warehouse sound event. Interested in the possibilities early easy listening and lounge music presented for tweaking and remixing, the duo formed Tipsy and recorded 1997's Trip Tease at the Bloody Angle Compound, their label Asphodel's recording studio.

In 1998, the band applied their whack touch to a remix on Pulp's This Is Hardcore single. After a two-year period out of the spotlight, Tipsy returned in late 2000 with the Hard Petting single, which pointed to a more streamlined, less lounge-inspired sound. Trip Tease mixes modern and retro dance beats and the sensibility of '50s and '60s easy listening into a surreal musical confection; three singles, Flying Monkey Fist/Space Golf, Space Golf/Nude on the Moon and Grossenhosen Mit Mr. Excitement were released.

'TRIP TEASE' THE SEDUCTIVE SOUND OF tipsy

Trip Tease
Release Date: 2001
Label:
Download Album

Download from iTunes

'Trip Tease' was released in 2001. All instrumental and often clearly tongue-in-cheek, the samples are used tastefully in combination with some obvious additional instrumentation. Mr. Excitement, Tuatara, Liquordelic, and Something Tropical are among the most direct references to Martin Denny / Yma Sumac style exotica. Tunes like Space Golf and Nude On The Moon take their cue straight out of the "Sounds In Space" type stereo demonstration records that used to populate record bins. Grossenhosen sounds like a quirky number you might hear led by the organ of Klaus Wunderlich. El Bombo Atomico shuffles along with a Caribbean calypso guitar sound punctuated by sax honks every few measures or so. Cinnabar is one of my big favorites - very bassy with a super relaxed Hawaiian style slide guitar accent over a skittering shaker.

The Trip Tease sound continued on their second album, Uh-Oh!. Tipsy's members worked on other projects, including music for commercials, before reconvening in the studio in 2005 for their third album. The group finished recording in fall 2007, but the product of their labor, Buzzz, didn't arrive until a year later on Ipecac Records.

Credits :

All Music Guide

Goofspot

Originally established in Madison, Wisconsin in November of 2004, website bigdealbooks.com was created in association with that store in March of 2005. Presently hosted by AT&T Yahoo!, bigdealbooks.com is in ongoing development. Search function and commerce haven't yet been launched.

Ordering, shipping, and payment policies as well as search and browse functions will all be found in designated fields or on dedicated pages, in due course. Membership is by invitation at this stage of building. You are welcome to browse and watch progress and you may find updates, which will be posted on our news page. You may also find the information on our terms page interesting or helpful.

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