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In this tutorial, I will be taking you through the steps to create a rendering of a car. It will take you from initial sketch to this stylized polished off piece suitable for a presentation. The time taken to complete such a rendering depends on the complexity and the level of detail on the car. This particular one took me about an hour. So grab a cup of coffee and let's get started!
Final Image Preview
Take a look at the image we'll be creating.
Tutorial Details
- Program: Photoshop CS4
- Difficulty: Intermediate
- Estimated Completion Time: 1-2 hours
Step 1
For this tutorial I will be rendering the side of a vehicle. This is just a random sketch of mine that I chose. Notice the wheels are vastly exaggerated perhaps a little too much, but for the purpose of this tutorial it works fine.
There are countless different ways to render a vehicle and the purpose of the rendering should determine the style of the rendering. If you are in the initial stages of a project, you can be very loose with your rendering and only spend about ten minutes on it. If you are further along in the project the rendering will be tighter to demonstrate a truer illustration of what the real vehicle might look like. This tutorial demonstrates how I would tackle the latter. The style is my style and should be used as a guide and catalyst to developing your own style.
Scan your image and open it up in Photoshop. The quality of the sketch is not important in this case because the whole thing will be redrawn in Photoshop and any mistakes will be corrected (for example, one of the wheels might be smaller than the other).
Select Alt + Command + I and change the document size width to 210mm and the DPI to 300. This means that if the resulting image is printed at full size on an A4 sheet of paper the quality will be good, even if it were to be printed at A3 it would still look good.
By default the sketch will be on a layer called "Background" and the layer will be locked. To unlock it, right-click on it and select Layer from Background ... a New Layer dialog box will appear, click OK and the layer will change to "Layer 0." Now click "Layer 0" once so that it is selected, then double-click it and change its name to "sketch." Next click the little padlock above it to lock the layer.
Go to Layer > New > Layer to create a new layer, then rename it "bg." You can now drag and drop layers to reorder them. Place the "bg" layer below the "sketch" layer. These two layers will remain at the bottom of the layers tab.
Step 2
This is the most laborious of the process. Using the Pen Tool (P) trace over your sketched lines. Use as few points as possible to keep the sketch flowing, light and clean. As an example, the top curve uses only two points, the first one and the end.
Step 3
Go to the Brush Tool, select a Hard Round 1px brush and make sure the color is set to black. The Opacity and Flow should be set to 100%, which is the default.
Create a new layer (Shift + Command + N) and call it "outline." Click on the Pen Tool, right-click anywhere on the image and select Stroke Path, the dialog box should come up with the brush tool selected (this should be the brush that was defined earlier). Make sure simulated pressure is not selected and click OK.
In the path panel (Windows > Paths) the "work path" will be highlighted in blue. Click outside of the blue area to deselect it. The paths will now be invisible. To make them visible again click on the work path (notice that the background is a light blue color, this is just a personal preference of mine and is not necessary).
Step 4
Select a medium color, (I have chosen a light blue, but it can be anything in the midrange), make sure that this is the foreground color.
Make sure that the "outline" layer is selected, then use the Magic Want Tool (W) to select all the areas of the car that will be made into metal. Between each piece selected there will be a gap where the line is, so you need to expand the selection by 1 pixel. To do this go to Select > Modify > Expand, and enter 1 in the box, then apply.
Make sure that the selection is still active. Now create a new layer and Edit > Fill the foreground color. Rename this layer "base" and make sure that it's below the "outline" layer.
Step 5
Reduce the opacity of the "outline" layer.
Step 6
Using the Magic Wand Tool (W) select the wheels and ground area and any area which will be black. Now fill it with black. Put this layer underneath the "base" layer.
Step 7
For this next stage I have modeled some wheels using Alias (I am in the process of writing a tutorial on how to do this, visit Designer Mart for more news on this in the future), though you can find a stock image of wheels to use.
Step 8
Create a new layer and name it "outer lines." Go to the Brush Tool (B) and select a slightly thicker brush that is Hard and Round with 3 Pixels for size. Turn the paths on. Grab the Direct Selection Tool (A) and click on an outer path to select it, then right-click and select Stroke Path. Turn the paths off to get a clearer view of the new stroke.
Step 9
Create a new layer and name it "glue." Using the same method as Step 7, create the strokes to highlight the glasshouse and lights.
Step 10
Create a new layer and name it "shutlines." Use the same method as in step 7 to create some shutlines. Select the Eraser Tool (E), right-click anywhere on the image and select a large, soft, round shape. Use this eraser to rub out bits of the ends of the shutlines to make them look lighter towards the ends.
Step 11
It's important to decide which parts of the vehicle face upwards and which face downwards. Any part that faces up will reflect light and any part facing down will be darker.
Create a new layer and name it "ground darkness." Command + Right-click the base layer to select the area. Make sure that the "ground darkness" layer is selected.
Select the Gradient Tool (G) and make sure that the black to transparent setting is active and apply it from the bottom of the selection upwards.
Step 12
Make the "outline" layer active and use the Wand Tool (W) to select the shapes above the wheel arches. Create a new layer and name it highlights. Fill this layer with white, then use the Eraser (E) tool to soften the top edges of the arches. Using the techniques described above work your way down the car.
Step 13
The area underneath the glass is facing upwards so it will reflect light.
Step 14
The area at the top of the side of the car, known as the waistline, is a large area facing upwards so it will be lighter. I've added a little darker bit to the bottom right of it. Sometimes when something large reflects the sky it's nice to add a little break in it. Some houses or trees might create such a shadow.
Step 15
The sill area will reflect light.
Step 16
Add a little light coming in from the front to give it more depth.
Step 17
Select the area just below the waistline and add a slight gradient to that area, this will give the impression that the area below it is reflecting the atmosphere.
Step 18
Add a little shade to the front grille area.
Step 19
Add a little shadow just below the shoulder-line near the front to make it look like its slightly pinched.
Step 20
Then add a solid block to that to accentuate it further.
Step 21
Select the "base" and add a large gradient from the right. Play with the Opacity of it to make it subtle. This it to make it look like there is light coming from the right.
Step 22
Select the glasshouse area and fill it with a light blue color.
Step 23
Select the bottom half of the glasshouse and fill it with black and turn down the opacity until you get a nice gray color. Then select the upper section of the glasshouse and add a light gradient and again adjust the opacity until you get a realistic look.
Step 24
Often cars reflect road markings or the environment and creates nice flowing shapes on the side.
Step 25
Then add an outline to the reflection.
Step 26
Add a large shape to the left of the car and add a gradient to it. This will make the vehicle stand out.
Step 27
This step is to make the vehicle stand out. If there was a theme to the design, then the image might be more relevant. In this case, I just painted some random shapes using stock Photoshop brushes. Put this image in the bottom of the layer tab just in front of the "bg" layer and name it "atm."
Step 28
Make a copy of the "atm" layer and name it "atm reflect." Go to Edit > Transform > Scale to scale the "atm reflect" layer down a little bit. Command + Right-click the "base" layer to select the area. Command + Shift + I to select the inverse of what is selected. Make sure the "atm reflect" layer is selected then delete it.
Step 29
Now turn all your layers on apart from the "outline" layer.
Step 30
For the back light draw a random squiggle.
Step 31
Then apply an "outer glow" layer style to that layer to give it a glow.
Step 32
The front lights were created using a scatter brush painted in a straight line and erased towards the front. Then I added a glow on the back lights.
Step 33
It's nice to flip the outcome to see how it looks from the other side. Edit > Transform > Flip Horizontal
Step 34
Using this method you can easily change the color of the car without having to worry about the highlights, lowlights, etc... simply change the "base" color.
Step 35
Experiment with different wheels. (this is another of the designs) ...
Experiment with different background colors. The final design is below. There are lots of different styles of rendering, this is just one, have fun making your own!


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Photos: The Planet Money T-Shirt Goes To Indonesia
This week, Jess Jiang and Robert Smith visited the factory in Indonesia where U.S. cotton was spun into yarn for the Planet Money T-shirt. (They also visited several other factories.) Here are some of the pictures Robert posted to our .
Other than this woman spot checking some of the cotton, no human's hands touch the yarn. It's all machines, shooting strings of cotton, twisting and twirling and winding.
This photo is a montage of my favorite thing. The "sliver" (rhymes with MacGyver) is a wispy ponytail of cotton that swoops and twirls through the air, ducking in and out of big ugly machines. I wanted to grab it.
Jess Jiang records a room full of ring spinners, which put the final twist on the yarn.
Yarn is checked for contamination in the UV light room. Even a single strand of hair will show up.
When I was touring the spinning plant, I kept shoving samples into my pockets. What starts as raw American cotton (top left) turns into something like baby's hair (top right), then into cotton candy (bottom left), then into finished yarn (bottom right). The yarn is knit into the fabric to make T-shirts.
For more pictures and videos from our travels, see our . #seedtoshirt
Copyright 2021 NPR. To see more, visit https://www.npr.org.

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Steven Daily
Steven James Daily incorporates the wonder of new vision with the transformative detail of a mature mind. His journey has allowed him to witness key elements in the American artistic landscape and to have stood shoulder to shoulder with both the brutal and the benign. Born in Southern California in 1973, Mr. Daily's career in the visual arts was placed on a set of polyurethane wheels and given the neon-baked smog-scape to stoke the initial fire of creativity. Mr. Daily later relocated to the southern United States where his imagination was given free reign to explore the dilapidated corners of the American Dream. Busted rail spurs lead to careful consideration of brushwork and technique. Abandoned houses become the locus for the energy of old masters, who create fervor, for that which is ancient and useful. Ghosts spill from the eyes of Mr. Daily and suffuse canvases and physical forms with a style that is simultaneously mature and provocative, yet providing a glimpse into a spidery, parallel world where hearts beat backwards as Rembrandt meets entropy under a magenta moon.
Mr. Daily has painted a ribbon of bows and a track of scars across the North American continent, working with thousands of interesting human beings in the process. Some of the astonishing entities who have withstood the physical presence of our intrepid explorer of dreams and nightmares include Disney, Sony, Slave Labor Graphics and HBO. All those who retain the steady hand and fine line of Steven James Daily for purposes related to commerce or art find as much satisfaction in the result as Mr. Daily does in the craft. Every piece staves off decay while adding new layers to the compost of culture, creating updrafts of creativity that reach far beyond the space in which you view the art. A broad landscape of modern culture and the wreckage of the ghosts of history; this is what the eyes of Steven James Daily have seen and this is what his works reflect.
Check out Steven's Website for more awesome work.
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Michael Hussar & Steven Daily collaboration 01
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Got a book in your head? Get it published
"I ought to write a book."
If you are a wannabe author, there perhaps is no better time than the present to put your thoughts into words and those words onto paper.
Print-on-demand publishers such as AuthorHouse (formerly 1stBooks) are making it increasingly easy for authors who are not named Stephen King or John Grisham to get their works into print.
"Our tagline is 'Get your voice in print,'" said Keith Ogorek, director of marketing for AuthorHouse, which on its Web site says it has "helped more authors publish more titles than any other company."
AuthorHouse provides editing and proofreading services, helps with marketing and sales, and offers distribution and royalty payment assistance — while allowing authors to have creative control over the finished product.
Many potential authors write with their dream of publication left unfulfilled, Ogorek said.
"Many people never quite know how to get it done," he said. "A lot of people don't know that services are available to get published.''
To get the words of new authors out, AuthorHouse is promoting a campaign for writers with a book in their head to make it a resolution to publish it in 2008. To assist with that writing process, the publisher is providing a set of six tips for getting published.
"Not everyone is going to be the next J.K. Rowling, but that's OK," Ogorek said. "A lot of people think that to be a successful author you've got to sell a lot of copies. In reality, the way to be a successful author is accomplishing the goal — seeing the book in print — realizing that by accomplishing that goal you are going to be influencing people's lives.
"The joy of writing a book is seeing the book published. That's a very satisfying thing. One of the reasons a lot of people don't finish their books is because they think it takes years," said Ogorek, "when in reality, with self-publishing, many authors can, for a few hundred dollars, publish a book in a very short time."
Reach Repository Living Section Editor Gary Brown at (330) 580-8303 or e-mail email@example.com
Six Tips for Getting Your Book Published in 2008
1. Pick a target date for holding the first copy of your book in your hands. Staying focused on this date will help you remain productive and avoid procrastinating. Many first-time authors pick dates that have special personal significance, like their 50th birthday or a professional meeting or convention.
2. Pay attention to the best time and place for you to write productively. Most experienced writers will tell you they've learned there are better times for them to write then others — and better settings. Once you've figured out where and when you do your best writing every day, commit to it. One author, for example, stated he could write more in one hour between 7:30 and 8:30 a.m. than he could in the 3 hours between 2 and 5 p.m.
3. Outline a schedule and stick to it. Once you pick your publication date, work backward to where you are now and put dates on a calendar of when you need to have your manuscript complete and submitted. Also, build in time if you need illustrations or editing.
4. Make yourself accountable to someone for finishing your book. Choose someone who will check in periodically and make sure you're staying focused. It can be a friend or family member or someone familiar with the process.
5. Create a plan for marketing your finished book. The success of a book is often directly tied to a successful marketing program. Put together a plan for how you'll get the word out about your fantastic new book. Your own Web site, press releases, book signings and speaking engagements are all things you should consider.
6. Plan an event to celebrate the publication of your book. Writing a book is one of the greatest accomplishments of your life. Celebrate this achievement by throwing a launch party or schedule a book signing at a local bookstore. This is more than a book, its part of your legacy. Take a few moments to pat yourself on the back and enjoy your achievement.
Source: www.authorhouse.com


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First impressions in Major Pettigrew's Last Stand can be deceiving. Which characters do you think changed the most during the book; and how did your perceptions of them change?
Created: 03/24/11
Replies: 13
Join Date: 11/16/10
Posts: 50
Join Date: 04/21/11
Posts: 264
I thought this very much applied to Mrs. Ali's nephew. Our first introduction to him, through Mrs. Ali's description, was not very favorable and, when he made his first appearance, he was described as a "frowning face" and quite taciturn. It was when he was the guest in Major Pettigrew's home that we got to know him and learned that these surface attributes were just that -- surface.
Join Date: 10/15/10
Posts: 3134
Paulak - very good point. He definitely didn't strike me as particularly likable up front; in fact I remember thinking that he was a bit of a letdown as a character when first introduced as he seemed to be typecast - but, as you say, there was more to him than met the eye. As the saying goes, 'don't judge a man until you've walked a mile in his shoes' (or something like that!) - and isn't that the beauty of a good book - that we actually get a glimpse of the world from somebody else's point of view?
Join Date: 04/21/11
Posts: 31
Found this to be very true with this book which is one of the reasons I liked it so much. Roger's girlfriend Sandy was not very likable when she was first introduced, but as the story progressed I came to really like her and admired her for leaving Roger. Also thought the character of Grace became interesting. She started out like a caricature of the village spinster throwing herself at the eligible bachelor Major. However, she changed and became very support of the Major and Mrs. Ali and I really warmed to Grace.
Join Date: 05/08/11
Posts: 6
I actually thought Major Pettigrew changed the most. He lived his whole life thinking things like having the rifles together was what defined him and his family. He thought that being proper was important and I think it definitely was to him as a person but sometime he seemed to be more concerned about what others would think rather than about what he wanted to do. He let what he thought others might think guide him at the beginning of the book. At the end of the book he was still thoughtful and chivalrous and a gentleman but he did what was in his heart and didn't worry about how it would look.
Join Date: 04/14/11
Posts: 20
Major Pettigrew's Last Stand was really all about the development of the characters . . .and that's what I loved about it.
Major Pettigrew definitely went from a person who was a bit judgemental and very concerned with how he looked to others. But love really changed him, and he realized that in order to truly have love, he needed to put these superficial concerns behind him and focus on making choices that would allow love to blossom.
Mrs. Ali also grew as a character. She was always a kind, thoughtful person, but she needed to break away from the expectations of her husband's family in order to fully realize her own happiness. It seemed like she was always putting herself second to everyone else's needs, but as the story evolves, she realizes that she needed to stop doing that in order to achieve the happiness that she deserved.
Join Date: 05/08/11
Posts: 103
I agree. When the book started I thought I would be reading about only stock characters -- the grasping, selfish son, the staid and proper father, the self effacing immigrant, and so on. I had picked this book up several times in the bookstore and put it down each time after reading the first few pages because the characters seemed so trite. When this book group started, I statred reading as a "chore" to be done. Fortunately after the first introduction to the characters and getting past the first several chapters I realized the characters were going to grow and change and become more "fleshed out." The book quickly became a joy to read as I got acquainted with the people. I loved watching them grow, evolve and become real people.
Join Date: 04/24/11
Posts: 16
I agree Beckyh. This is the crux of the entire story. In the beginning we are briefly introduced to each character, then each one begins to evolve. Circumstances change and the characters adapt, thus showing their true selves and their depth. Some stay true to form, some grow, some don't. This is what makes the story so good.
Join Date: 04/13/11
Posts: 20
Join Date: 05/24/11
Posts: 55
I can't agree more with Beckyh and trezelineb. I was slogging through the first couple of chapters wondering why everyone was raving about the book about some stuffy, typically stiff, English major but I kept at it and and grew to love the book. As the major learned to let things go, I started to get more entrenched in the story. It was delightful to see the characters come into their own, and start revealing who they really were to the reader.
Join Date: 04/25/11
Posts: 59
I had a hard time warming up to the characters in the beginning but I think that the true value of the book was in their development. Initially I didn't really like any of the characters, although I felt sorry for Mrs Ali, but as the tale progressed, I appreciated their uniqueness and their insight into the workings of the village and the powers that be.
Join Date: 05/24/11
Posts: 55
I have been thinking about Major Pettigrew and why it takes so long to warm up to the characters. I think at the beginning of the book, with the exception of Mrs. Ali, the rest of the characters are stereotypes - and they have almost all negative traits of a stereotype. Then as the story unfolds, the stereotypes become characters.
Join Date: 10/15/10
Posts: 3134
Perhaps the character development in "Major Pettigrew" is closer to real life than many books?
Who among us can judge a person by that first appearance? If I meet someone for the first time I know nothing about them and thus, consciously or unconsciously, have to assume they are as their stereotype suggests; but overtime, if I get to know them, there is inevitably more than at first met the eye!
However, in books we expect characters to be of interest from the get-go and are in danger of switching off if we don't form an attachment quickly to one or more protagonists. So, arguably, it is the brave author who keeps us at arms length with initial stereotypes, only letting us into the characters' more complex selves as the story develops and we earn the right to know these things having spent time with the characters?
Join Date: 04/14/11
Posts: 20
Ok, Marys and Davina, I agree 100% with your insights. I was trying to put my finger on why I liked this book so much, and I think you hit the nail on the head. The characters weren't instantly likable or even knowable - - and I thought that made the book MORE interesting. It was like real life where layers of the characters unveil themselves, and you realize that these are good, complex people who struggle with their image and their obligations and their desire for happiness. Just like we all do!
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Marking Tapes
Marking tapes identify and mark specific areas, pathways, hazards, and equipment storage areas. They are commonly used in large facilities to guide foot traffic, designate pathways for indoor vehicles, warn of unsafe areas, and cordon off restricted areas. Marking tapes vary in thickness depending on the application. Thicker marking tapes are ideal for use on floors and are highly resistant to wear, abrasion, and tearing. Marking tapes are coated for added strength and durability and are very quick and easy to install or replace.
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What will you get if you go to the USA?
Tue, June 4, 2013, 00:01 11 Comments
Seems like I will be going to the USA soon for a business trip, and I was wondering what people would buy if they have the chance to go to a Lego store there (or is able to have some online shopping shipped to the hotel)? Apart from the polybags, I'm not sure if the biggish boxes are worth the trouble of lugging back if I get 20% off all year round anyway (hey, I'm predicting a heavy enough luggage from all the clothes and shoes shopping there…)?
To be honest the latest modular Cinema set was my 1st choice until I realised that it's finally in Singapore this week. I've gotten all the earlier exclusives so those are out too… since I really don't want to come back and then wanna tear my hair out from not buy set XXXXX, suggestions would be greatly appreciated! An advance thanks! 🙂


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MSNBC host Rachel Maddow said she received the documents from journalist David Cay Johnston, who said on her show that he received them in the mail, Joinfo.com reports with reference to Reuters.
The returns, which MSNBC posted on its website, showed Trump paid an effective federal tax rate of 25 percent in 2005 after writing off $100 million in losses.
The White House said in a statement that Trump took into account "large scale depreciation for construction."
Trump has repeatedly refused to release his tax returns, drawing criticism throughout his campaign last year and speculation from his political rivals he was hiding something.
A New York Times report in October said Trump, a New York real estate developer, declared a $916 million loss on his 1995 income tax returns. The newspaper said the large tax deduction could have allowed him to avoid paying federal income taxes for up to 18 years.
But the returns posted by MSNBC on Tuesday showed that he did pay taxes in 2005. The returns do not indicate whether he paid taxes in other years or how much he might have paid. The Washington Post reported last year that Trump paid no federal income taxes for at least two years in the late 1970s.
The White House said in a statement on Tuesday that Trump, as head of the Trump Organization, had a responsibility "to pay no more tax than legally required."
Presidents and major candidates for the White House have routinely released their income tax returns.
Trump says he has not released his tax returns because they are under audit by the Internal Revenue Service. Experts say an IRS audit does not bar someone from releasing the documents.
During a September presidential debate, Democratic candidate Hillary Clinton criticized Trump, a Republican, for paying no federal income taxes.
"That makes me smart," he responded.
Trump has feuded with the media since his inauguration, often accusing it of promoting "fake news" intended to undermine his presidency.
"The dishonest media can continue to make this part of their agenda, while the President will focus on his, which includes tax reform that will benefit all Americans," the White House said on Tuesday.


text:
By Alex Veiga
AP Business Writer
LOS ANGELES (AP) -- More Americans fell behind on their auto-loan payments in the third quarter, when back-to-school shopping and other needs traditionally put a strain on consumers' wallets.
But the uptick is likely only a seasonal blip in an otherwise multiyear decline in auto-loan delinquencies, reporting agency TransUnion said Tuesday.
The rate of U.S. auto-loan payments at least 60 days overdue rose to 0.38 percent from 0.33 percent in the second quarter, the company said.
That represents only a slight uptick from the second quarter, which marked the lowest delinquency rate on TransUnion's records going back to 1999.
The July-to-September delinquency rate also was down 19 percent from the 0.47 percent rate a year earlier, the firm said.
All told, the auto-loan delinquency rate has fallen on an annual basis for 12 consecutive quarters.
"Based on the data, this looks like it's attributed to really just the seasonal factors," said Peter Turek, a vice president of TransUnion's financial services business unit.
Since the housing collapse in 2007 and recession that followed, many borrowers have made keeping up with car payments a priority above paying their mortgage or other financial obligations.
Other factors also have influence the trend, including low interest rates on loans, which have made financing more affordable. A strong market for used cars also has played a role in lowering auto-loan delinquency rates because it has given borrowers an incentive to avoid falling behind on payments.
As a result, auto-loan delinquencies have fallen 56 percent since the recession high of 0.86 percent set in the fourth quarter of 2008, TransUnion said.
The trend has held up even as drivers have been taking on higher levels of auto-loan debt.
In the third quarter, bank auto debt per borrower grew 5 percent to $13,571, up from $12,902 a year earlier, TransUnion said.
One reason for that is that banks are making more auto loans, which tend to have higher balances early on, as it typically takes several years for borrowers to pay them down.
The rise in auto sales also has spurred banks to step up lending even to borrowers with less-than-stellar credit.
TransUnion's analysis of data on new auto loans lags by a quarter, so the most recent figures are for the second quarter.
Nearly 33 percent of new auto loans issued in the April-to-June period were made to nonprime borrowers, up from 30.2 percent a year earlier. Non-prime borrowers are defined as those with a score between 501 and 700 on the VantageScore credit scale, which runs between 501 and 990, with borrowers scoring at 900 or above being considered prime borrowers, or the safest credit bet.
The portion of all auto loans that went to nonprime borrowers in the second quarter was up 27.5 percent from the same period two years earlier.
In all, new auto loans and leases grew by 16 percent in the second quarter from a year earlier, TransUnion said.
The average balance of new auto loans also increased on an annual basis in the second quarter, rising 2.4 percent to $17,829.
Given the rise in auto loans going to higher-risk borrowers and the uptick in average balances, it's plausible that the auto-loan delinquency rate could inch up in the fourth quarter, Turek noted.
"However, as the economy continues to improve and new and used auto demand maintains its current pace, we believe that the auto-loan delinquency rate will either remain the same or even drop a few basis points by the end of the year," he said.
Published: Wed, Nov 28, 2012


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The Agriculture Department proposed July 19 to lower the pork checkoff rate from 0.45% to 0.40% of the market value of a hog, as recommended by the National Pork Producers Council (Pork Act) Delegate Body in March.
Following a 30-day comment period, USDA is expected to publish a final rule and enact the change sometime this fall.
That change, estimated to decrease funds by $5-6 million/year, reflects an 11.1% reduction in the annual checkoff revenue on average, explains Mike Simpson, executive vice president of the National Pork Board. The Pork Board collects about $50 million annually in checkoff revenues, on average.
Originally, total program expenditures for fiscal year 2002 were $45.8 million. Recent revisions have lowered anticipated spending to $42.5 million, he says.
For fiscal year 2003, with the reduction in the checkoff rate, revenues are projected at $42 million, and expenditures are being targeted downward to $39.2 million. About 20% of checkoff revenues are returned to the states, reminds Simpson.
Checkoff spending for 2002 and 2003 includes the infusion of about $5 million from reserve funds each year.
USDA is also proposing to reduce the assessment rate on imported pork and pork products to reflect the 0.05% reduction in the assessment rate and an adjustment for average U.S. market hog prices. That is expected to reduce importer checkoff assessments by about $290,000.
All assessments, authorized by the Pork Promotion, Research and Consumer Information Act of 1985, are used to fund research, education and promotional activities aimed at strengthening the demand for pork.


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Daughters under Siege
- Rebecca Hagelin Author, 30 Ways in 30 Days to Save Your Family
- 2009 7 Sep
Recently I wrote about the trend in public schools to push an "if it feels good, do it" brand of sex education on our kids. Those who write the "health education" curriculum, oversee the lesson plans and have the greatest authority in education believe that there are no taboos, and no boundaries on a teenager's sex life.
That they actually believe teens should engage in sex at all should be enough to cause outrage - but it goes much further than that. Dr. Miriam Grossman's new book, "You're Teaching My Child What?" documents how they seek to shape an entire generation's world view to support and advance a free sex mentality that would shock even a "free love" child of the radical 60's.
Many educators are obsessed with promoting a promiscuous lifestyle. One particularly disturbing tactic is to strip our little girls of their natural inclination toward modesty and replace it with an attitude of sexual dominance. They teach young women that the way to get ahead in the world is not through their grace, or goodness, or intelligence - but through their sexual power.
Combine this reality with the theme of my last two columns, which are about the entertainment industry's elevation of a highly sexual and crassly powerful young female image, and we've created a culture in which our precious little daughters are constantly bombarded by messages that degrade their innate value, reducing them to nothing more than sex objects.
If our young women continue to be used and manipulated like this, what do you think America's families will be like in 20 years?
Make no mistake: this attack on our daughters is also an attack on the nuclear family unit itself. It is an insidiously evil brand of radical feminism that now pervades education and entertainment. If you can warp an entire generation of women into believing that sex is merely a tool to be used for advancement, then you destroy all notions of fidelity, and commitment for both genders. By default, our sons adopt the view that they do not need to be loyal or true in marriage either.
When you destroy the beautiful and selfless concept of committing one's sexuality and heart to only one person for life, then there's no room for the traditional family unit in our future.
We are at a crossroads in our nation and the pawn being used by those who seek to check-mate the family - the sacred and basic building block of all civil societies - is a little girl. She will be used and abused and then cast aside as the next little girls are born and brainwashed with ever increasing dangerous messages.
There are steps you must take now to protect and equip your daughter with her own moral authority over those who would abuse her femininity.
Through deliberate parenting every day you can affirm her value as a whole person. Find other families who share your personal values and surround her with friends and unconditional love. Encourage and help her to find strong female mentors who are marked by their goodness, wisdom, and sincere committment to family. Teach her to discern and dissect the messages of those who seek to advance a radical agenda. Help your daughter discover the joy and peace of mind that comes with teen years that are free from the threat of sexually transmitted diseases, pregnancy, and the low self- esteem sexually active girls report having deep in their hearts.
(Many of these timeless truths and practices, not coincidentally, also serve our sons. I'll expound on them next week.)
Please don't delay in making a committment to empower your own daughter to have the strength, wisdom, grace and courage to tower above the mire. God has given her honor and value. Don't let anyone rob her of it or her full potential.
September 7, 2009
Rebecca Hagelin is a public speaker on the family and culture and the author of the new best seller, 30 Ways in 30 Days to Save Your Family. Visit her website at www.HowToSaveYourFamily.com. where you can sign up to receive her free e-newsletter containing the Culture Challenge of the Week and how to fight back. Hagelin is also senior communications fellow for The Heritage Foundation.


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Spiritual Emphasis Week 2009 featured sermons on Tuesday, Wednesday and Thursday by evangelist Dr. Junior Hill. Dr. Hill powerfully expounded on 2 Timothy 1:16-18. He encouraged Christians to respond to other Christians like Onesiphorus did to Paul in his weakness. He stated that we should "bring refreshment to those who are negative and/or troubled, refresh others by writing notes of encouragement, and bless others with good deeds."
To Listen click on link below:
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ArtPlaq Mounted Fine Art Print (Ready to Hang)
My most popular print display option. A fine art ink print with vibrant and accurate colors is mounted on eco-friendly HDF smooth wood and sealed with a special satin semi-gloss UV laminate, which protects the print and eliminates reflections while maintaining excellent image clarity and contrast. The mount is finished with a beveled 1"-deep black edge, resulting in an elegant, modern, and durable print display that hangs flush against the wall. (more info)
Please allow 4-6 weeks for production and delivery.
Bamboo Wood Mounted Fine Art Print (Ready to Hang)
This is my new favorite print style! A fine art paper print is mounted onto an eco-friendly bamboo wood backer. The print paper has a subtle metallic base that gives the colors a vibrant glow, and a protective matte surface laminate completely eliminates any reflections or glare. The 3/4" bamboo backer is hand-sanded and stained, with a beautiful multi-hued wood edge pattern which offers a modern but natural aesthetic that's a perfect match for a home with wood trim. A recessed wooden float frame with wire hanger makes it easy to hang. Available in sizes up to 30" x 40". (more info)
Please allow 2-3 weeks for production and delivery.
Glossy Metal Print (Ready to Hang)
Unlike all my other options which involve mounted paper prints, this attractive display option uses a dye sublimation technique to infuse the image into a thin, rigid ChromaLuxe aluminum panel with an ultra glossy finish. The result is a luscious display of vivid colors with excellent clarity, high contrast, and an extraordinary depth of imagery. The aluminum print has an extra 1/8" black dibond backer for added rigidity and durability, and is mounted on a 3/4" deep recessed float frame, so the print appears to float off the wall with no hanging system visible. (more info)
Please allow 2-3 weeks for production and delivery.
Lumachrome Trulife-Glass Mounted Fine Art Print (Ready to Hang)
For art collectors who want the best of the best. It starts with the Lumachrome® fine art print with razor sharp details, a subtle metallic sheen, vibrant colors, and lifelike vividness. The print is face-mounted onto a special 1/8" museum-grade, UV protected, scratch-resistant Trulife® acrylic glass with significantly reduced reflectivity; and is backed by a 1/4" black substrate. A robust inset french-cleat hanging system is attached to the back, so that the print appears like a glass framed print is floating on the wall, but without the mat and frame. This is the option for those who desire the ultimate print display quality, period. (more info)
Please allow 2-4 weeks for production and delivery.
Fine Art Print (Loose Print for Framing)
This is the option if you want a fine art print to have matted and framed behind glass. These high quality giclee prints feature vivid, color-accurate ink pigments on heavyweight Canson Infinity Platine Fibre Rag fine art paper with a finely textured, satin semi-gloss surface. The prints have a white border around the image for easy matting and framing. With high archival ratings, these prints will last for many decades without fading.
The loose print is delivered without mounting or framing, so you'll need to handle it with care and take it to a local framer to have it matted and framed as you'd like. (more info)
Please allow 2-3 weeks for production and delivery.
Not sure which display option to order? This might help.
* Free shipping for all U.S. orders!
** Free shipping for all international Acrylic or Loose Print orders! (more info)
All prints are custom made upon ordering. Production and delivery timeframes range from 2-6 weeks, depending on the display option chosen. Specific timeframes are listed above for each display option.


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SUNDAY, April 13, 2008 (HealthDay News) -- New research suggests that muscle weakness in a child with autism may point to an underlying genetic defect that's causing mitochondrial disease, which means the muscles don't get the energy they need.
Conversely, it's possible that the mitochondrial disease may also play a role in the development of autism, perhaps by preventing the brain from getting the energy it needs to perform properly, the researchers noted.
"In large studies of kids with autism, about 20 percent have markers of mitochondrial disease in the blood," explained Dr. John Shoffner, an associate professor of biology at Georgia State University and president of Medical Neurogenetics.
Shoffner recently completely a retrospective analysis of 37 children with autism spectrum disorders and found that 65 percent of these children -- children who had been referred to him because their doctors suspected additional problems -- had mitochondrial defects.
He was expected to present the findings April 13 at the American Academy of Neurology's annual meeting, in Chicago.
Mitochondria are found in every cell of the body, with the exception of red blood cells, according to the United Mitochondrial Disease Foundation (UMDF). Mitochondria are vital to survival, because they make oxygen available to cells and metabolize food into energy for cells to thrive. Defects in mitochondria can lead to cell injury, or even cell death, according to UMDF.
Symptoms of mitochondrial disease depend on which body system is affected but may include muscle weakness, loss of muscle control, poor growth, heart disease, diabetes, developmental delays, an increased risk of infection and more.
Shoffner said that the mitochondrial energy production system is the only one in the body that requires two genomes to work -- genes inherited from both the mother and the father, and genes exclusively from the mother. "To make this system work, it requires a lot of genes. Hence the opportunity for lots of problems," said Shoffner, who added that there are several hundred known mitochondrial disorders.
Twenty-four (65 percent) of the children included in this study had genetic defects in their skeletal muscles. However, that doesn't mean that 65 percent of children with autism likely have mitochondrial disease. This was a select population of kids with autism, ones that had specifically been referred, because their doctors suspected a problem.
But, Shoffner pointed out that as many as one in five youngsters with autism spectrum disorders have shown signs of mitochondrial disease.
"If you're talking about 20 percent of kids with autism, that's a whole lot of children, and may represent an important segment of the autism spectrum disorder population. And we may be getting a foothold into the underlying cause of autism spectrum disorders," he said, adding, "This is a really important step forward that lets us put effort into understanding the mechanisms of disease."
"This study is a call to action. We need to know what is the real prevalence of mitochondrial conditions in children with autism," said Geraldine Dawson, chief science officer for Autism Speaks. "The more we can identify these subgroups of kids, the more we're going to parse apart the many forms of autism. This gives us clues to etiology."
"If we find that mitochondrial disease is a prevalent condition, having a better understanding of the kinds of symptoms that children may show if they have it might be helpful for parents," she said.
Shoffner said these findings may also open up new avenues of research into potentially more effective treatments for the future.
More information
To learn more about autism, visit Autism Speaks.


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Betty Kay Rangel
Nov. 14, 1941-July 20, 2013
Age: 71
Residence: Greeley
Betty Kay Rangel, 71, of Greeley, died Saturday, July 20, 2013, at her home surrounded by her family. She was born on Nov. 14, 1941, in Lincoln, Neb., to Fredrick LeRoy "Roy" and Lillian (Woodward) Wymore.
Betty lived in Lincoln, until her family moved to Grand Island, Neb., where she attended Walnut Jr. High. The family then moved to Greeley, where she finished her education at Greeley High School, graduating in 1960. On Oct. 2, 1959, she married Richard Rangel at First United Methodist Church in Greeley. Betty volunteered as a room mother, was a member of Greeley School District 6 accountability committee and was very active volunteering in many school activities and in the community. Betty focused on her children and grandchildren. She was known as "Grandma Betty" to many high school students. She raised two kids who lost parents, and treated them as her own. She made sure the additional children she helped did well in school and they knew she cared a great deal for them. She never knew a stranger and was loved and respected by all who met her. She helped many in need, whom may have been a stranger. Christmas was her very favorite holiday and she made it very special for her family. During holidays, birthdays and family gatherings she made her house a home. She was especially fond of her "grand dogs," Smokey and Molly.
Betty is survived by her husband, Richard; three sons, Don Vincent Rangel, Sr. (Kristin) of Fort Collins, Michael Richard Rangel and Mark David Rangel (Paulette), all of Greeley; sister, Nancy Barden (Rex) of Greeley; brother-in-law, David Rangel of Greeley; and six grandchildren, Don Vincent Rangel, Jr. of Fort Collins, Joshua David Rangel of Greeley, Bradley Michael Rangel of Fort Collins, Michael Jerome Rangel of Greeley, Jessica Marie Rangel of Greeley and Matthew Joseph Rangel of Fort Collins.
She was preceded in death by a granddaughter, Holly Marie Rangel; and a brother, Don Neal.
Visitation will be from 5-7 p.m. Wednesday, at Stoddard Funeral Home, funeral service at 10 a.m. Thursday, at Christ Community Church, and interment at Sunset Memorial Gardens.
Memorial contributions may be made to Habitat for Humanity and/or Humane Society of Weld County, in care of Stoddard Funeral Home, 3205 28th St., Greeley, CO 80634.
Please visit www.stoddardsunset.com to sign online guest book.
Harlan James Sorensen
April 10, 1930-July 19, 2013
Age: 83
Residence: Greeley
Harlan James "Swede" Sorensen, 83, of Greeley, died Friday, July 19, 2013, at North Colorado Medical Center. He was born April 10, 1930, in Bancroft, Neb., to Herman N. and Austra (Berg) Sorensen.
Harlan graduated from Bancroft High School in 1948, and then entered into the Air Force. After his discharge, he returned to Nebraska, where he met Janet Kort. They married Aug. 25, 1956, at the Trinity Lutheran Church in Greeley.
Harlan attended Wayne State Teacher's College and transferred to CSC (now UNC) and received his B.A. in business. He taught business and was the basketball coach in Brule, Neb., for three years. He then taught at Marquette, Neb., for one year. Then he moved to Keenesburg/ Greeley, where he taught business at Weld Central High School for 24 years. He received his master's degree in 1971 and, after his retirement in 1986, he was part-time business lab supervisor at Aim's Community College.
He loved to golf with his friends and family, fish, and play cards like pinochle, bridge, poker and cribbage. He also had several collections and was an avid University of Nebraska and Denver Broncos football fan. Above all was his love for his wife, children and grandchildren and their time together. He also enjoyed the bi-annual Sorensen Family Reunions.
Harlan is survived by his wife, Janet; daughters, Cindy Dennis (Bruce) of Greeley, and Carol Kildow (Britt Terry) of Erie; son, David Sorensen (Mary Ann Kramer) of Loveland; sisters, Betty Palmer (Richard) of Livermore, Calif., Joan Forney (Jerry) of Sparks, Nev., and Delores Mendoya of Livermore, Calif.; brother, Harold Sorensen (Karen) of Pullman, Wash.; nine grandchildren, Christopher Sorensen (Suzanne Scymanski) of Seattle, Wash., Jesse Miller of Greeley, Corben Kildow of Alamosa, Kylie Kildow of Boulder, Brittney Terry of Erie, Brooke Terry of Erie, Bruce William Dennis (Lacy) of Greeley, Jamie Dennis of Greeley, and Christopher Dennis (Jaime) of Greeley; one great-grandson, Ethan Dennis.
He was preceded in death by four sisters, Lorraine Pizziol, Helen Sorensen, Dorothy Erickson, and Karen Palmer; and three brothers, Francis, George and Donald.
Visitation will be held from 5-7 p.m. Friday, July 26 at Stoddard Funeral Home. Funeral service will be held at 10 a.m. Saturday, July 27 at Gloria Christi Lutheran Church, 1322 31st Ave. Interment will follow at Sunset Memorial Gardens.
Memorial contributions may be made to Hospice of Northern Colorado or Gloria Christi Lutheran Church, in care of Stoddard Funeral Home, 3205 28th St., Greeley, CO 80634.
Please visit www.stoddardsunset.com to sign online guest book.
Dr. James K. Bowen
Nov. 25, 1932-July 18, 2013
Age: 80
Residence: Delray Beach, Fla., formerly of Greeley
Dr. James K. Bowen, 80, from Kansas City, Mo., Greeley, and Delray Beach, Fla., passed away peacefully on July 18, 2013. Jim was born in Medina, Mo., to Kenneth and Irene Bowen.
Jim was the beloved husband of Maureen (Maloney) Bowen. They were happily married for 39 years. Jim was an Air Force veteran. He received his B.S. in Business and M.S. in Counseling and Guidance from Kansas State Teachers College. Jim then earned his PhD in Psychology, Counseling and Guidance and Special Education from the University of Wyoming. While at the University of Northern Colorado from 1966-1994, he was an Associate Dean of Students for Academic Standards, Dean of Special Programs and Services, Professor of College Student Personnel Administration and he developed the nationally recognized program, Resources for the Disabled. He retired as Professor Emeritus from the College of Student Personnel Administration in 1994.
Besides his wife, Maureen, he is survived by his children, Michael Bowen, Stacey Friebus, Melissa Bowen, Debbie Brinster and James Bowen; along with 11 grandchildren and five great-grandchildren. He was the brother of Barbara Burks, Lois Bishop, and the late Jeanne Way, as well as the brother-in-law to Eddie, Barbara, Jimmy, Peter, Jeffrey, Mari, and Tara Maloney (Parsley), along with Bob Burks, Lee Bishop and Bob Way.
Funeral services will be held at 11:30 a.m. Wednesday, July 24, 2013, at the South Florida VA National Cemetery, Lake Worth, Fla.
In lieu of flowers, please donate to MyLifeLine.org Cancer Foundation, (1355 S. Colorado Blvd. Bldg. C-601, Denver, CO 80222), a nonprofit organization providing free personal websites to those affected by cancer. Patients and caregivers are able to communicate with their friends and family knowing that no one should ever feel alone. Our daughter, Melissa, is the director of this organization, which accommodates families across the country and around the world. Please visit www.lorneandsons.com to share condolences and sign the online register book.
Lois Coffman
Oct. 5, 1935-June 8, 2013
Age: 77
Residence: Greeley
Lois Coffman was born Oct. 5, 1935, in a farm house in rural South English, Iowa, to Harry and Eva Coffman.
Lois attended a one-room schoolhouse through the sixth grade, then one year at South English, graduating in 1954, from Kinross, Iowa, High School.
During her seventh through 12th grades, she participated in varsity basketball. In 1953, she led the Kinross team to the Iowa State Tournament, where they finished fourth.
After high school graduation, she attended St. Luke's Methodist Hospital School of Nursing at Cedar Rapids, Iowa. Following graduation, she came to Greeley with a longtime friend, Janice Hahn Weidenkeller.
Lois worked at Weld County General Hospital for four months and then the Greeley Clinic for 17 years. From 1976 until 1999, she was employed at Surgical Associates and then enjoyed her retirement.
Lois was a member of the GWBA-Greeley USBC for 56 years and bowled in 52 CWBA tournaments and 46 national tournaments. She was involved at the local level, serving 26 years as treasurer and also served 23 years on the CWBA board. She enjoyed traveling, visiting all 50 states, and cruising in Europe and Canada.
She wanted to say "Thank You" to her many friends and caregivers.
Services will be held Friday, July 26, 2013, at the First Congregational Church. Visitation will be at 1 p.m., with services beginning at 2 p.m. A reception will follow the service in the church fellowship hall.
In lieu of flowers, please make memorial contributions to the First Congregational Church Organ Fund or to Make a Wish, in care of Allnutt Funeral Service, 702 13th St., Greeley, CO 80631. Friends may view the online obituary and send condolences at www.allnutt.com.
Janet K. Drieth
March 2, 1945-July 19, 2013
Age: 68
Residence: Grand Junction, Colo.
Janet Drieth, 68, passed away July 19, 2013, at her home in Grand Junction. She was born March 2, 1945, to Ted and Ruth (Weickum) Horst in Platteville.
Janet graduated from Valley High School in 1963. She married Larry Drieth on June 29, 1963. They were married 50 years. Janet was a member of the Clifton Christian Church in Grand Junction.
Janet is survived by her husband, Larry; sister, June (Glenn) Bohlender of Greeley; and many nieces and nephews.
She was preceded in death by her parents.
Services will be held at 10 a.m. July 23, 2013, at Clifton Christian Church in Grand Junction. Graveside memorial will be held at 1 p.m. Wednesday, July 24, 2013, at Johnstown Cemetery in Johnstown, Colo., Hwy. 60 and County Road 13.
Omari Danger Murrill
Jan. 13, 2012-July 14, 2013
Age: 18 months
Residence: Alaska
Omari Danger Murrill was born Jan. 13, 2012, at Fairbanks Memorial Hospital, Alaska. Her parents are Jeremy Murrill and Ashley Leffler. She departed at 18 months of age on July 14, 2013, at St. Louis Children's Hospital, Mo.
Surviving family include her parents; sister, Kailee Murrill; brother, Oden Leffler; grandfather, Kelly Murrill and wife, Diane; grandmother, Lisa Murrill; grandfather, Phillip Leffler and Joan Hegland; grandmother, MaryBeth Groves; aunt, Andrea Jarboe and family, Jason, Taylor, Kara, and Kyle; uncle, Derrick Murrill, Sr. and cousin, Derrick Jr.; aunt, Jessica Bobo and family; great-grandparents, James and Carolyn Brown, and Don and Grace Murrill; along with numerous second cousins and great-aunts and great-uncles.
She was preceded in death by an uncle, Owen Leffler; great-uncle, Tony Murrill; great-aunt, Carolyn Martin; and great-grandparents, Victor and Elizabeth Leffler, and Jack and Beverly Groves.
Omari was a strong, beautiful, blue-eyed, curly haired little girl, who never let her spirit wither against any and all odds. She was diagnosed with Alveolar Capillary Dysplasia at the age of 7 months, and lived with that extremely challenging fate, with a smile upon her face. We treasured every moment of time together. We were especially thankful that we decided to put off the transplant for the priceless 6 months we spent at home in Alaska, celebrating the holidays and Omari's first birthday. She underwent a double lung transplant on April 21, 2013, and was, at that time, the oldest living child with her diagnosis. Omari did well for the first month post-transplant, but respiratory distress plagued her last two months and, on Sunday, July 14, 2013, God called her home.
Though in our lives a very short time, she touched many hearts and inspired us all. We will be honoring her with a memorial service at 2 p.m. July 27, 2013, at Faith Lutheran Church in Eaton, Colo. A private family interment will be held Monday, July 29, 2013, at Sunset Memorial Gardens.
Hazel Marie Severin
Sept. 28, 1926-July 19, 2013
Age: 86
Residence: Eaton, Colo.
Hazel Marie Severin, 86, of Eaton, passed away on her family farm in Eaton, on July 19, 2013. She was born Sept. 28, 1926, to Arthur and Cecil (Smillie) King in Eaton.
Hazel married Dean Edwin Severin on July 23, 1947, in Greeley. They both attended Colorado College, with Hazel graduating Phi Beta Kappa in 1948, with a B.A. in geology. Afterward , they returned to work the family farm that they both loved. Subsequently, she went on to earn her M. A. in teaching from UNC in 1962. She taught K-6 for 23 years in District 6 schools. During her tenure, she wrote K-6 science curricula, as well as worked on numerous district committees.
Hazel was an active member of the First Congregational Church of Eaton/Ault, which was founded by her grandfather, John King. She served as a deaconess, church school superintendent, youth leader, and member of the mission and music committees. She loved singing in the church choir on Sundays.
Hazel enriched her spiritual life as an active member of chapter AB of PEO, Camps Farthest Out (CFO), and Order of Saint Luke (OSL).
Hazel is survived by her husband, Dean Severin of Eaton; daughter, Linda J. Heesch of Littleton, Colo.; son, Dr. Carl Severin of Parker, Colo., and his wife, Juleigh. She will also be missed by her grandchildren, Dr. Ashleigh M. Bruns and husband, Dr. Corey Bruns of Whitewater, Wis.; Devany Bourdo and husband, Lorne Bourdo of Denver; and Anika Severin of Denver. Also, Hazel will be missed by her namesake, great-granddaughter, Emilie Hazel Bruns of Whitewater, Wis.
Hazel was preceded in death by her parents; and sister, Dorothietta (King) Houghton.
A celebration of life service will be held at 10 a.m. Friday, July 26, 2013, at the First Congregational Church of Eaton/Ault, 325 Second St., Eaton, Colo.
In lieu of flowers, memorial contributions may be made to World Vision, in care of Allnutt Funeral Service, 702 13th St., Greeley, CO 80631.
Friends may view the online obituary and send condolences at www.allnutt.com.
Mary Cleo Torrez
March 12, 1933-July 13, 2013
Age: 80
Residence: Greeley
Mary was born March 12, 1933, to Paul and Clara Gutierrez in Fountain, Colo.
Mary went to Greeley High and was in the Glee Club, and sang for KFKA radio station. She was a homemaker.
Mary is survived by her husband of 45 years, Benito; daughters, Clara Dobbins and Mary Victoria Sanchez-Pizana; grandchildren, Adrianna Dobbins, William Dobbins, Crystal Valdez, Angle Erebia, Nickie Erebia, Ieshia Erebia, and Dulce Avear; great-grandchildren, Alexus Conover, Synthia Conover, Elias Conover, Los Ortiz, Ava Qualls, and Raul Torres.
Memorial mass will be 3 p.m. Wednesday, July 24, 2013, at St. Peter Catholic Church, 915 12th St. in Greeley.
To extend condolences to the family go to www.adamsonchapels.com.


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With Treasonous Donald Trump being the questionable President and Republican Traitors controlling the White House, House of Representatives and the Senate, can America's Democracy survive?
At any other time and in any other situation, this questionable President, Donald Trump would have already been Impeached, along with his Vice President Mike Pence and his entire Administration removed. However, Republicans control both Houses of Congress and they are exactly like Trump, dishonest Traitors to America and the American people and it seems self evident that under no circumstances, would Republicans impeach the Treasonous, con man, corrupt, law breaking questionable President, Liar In Chief, Donald Trump.
At the present time, Special Counsel Robert Muller has made much progress and as Mr. Muller now reaches inside the White House, Donald Trump and 95% of Congressional Republicans, are paving the way to "remove" Robert Muller. Republicans in Congress have no loyalty to Country, Rule of Law or 99% of the American people. For decades, Republicans have dedicated their lives to America's top 1% in order to remain in Power and Control, and those that can't see these facts and vote for Republicans, they are either Billionaires or Fools. One way to find out is to check your Bank Account and you would undoubtedly know which one you are.
Donald Trump has violated the Constitution in just about every manner possible and as he continues to destroy America, he is aided by Republican Traitors who are intertwined and entwined with him in the Russia Scandal, Tax Scam and Religious fanaticism, pretending to be Christians when in fact they are bankrupt of Christ. They also pretend to be Patriots but they are void of Patriotism.
How America digs itself out of this deep and unforgiving waters is any body's guess, but somewhere deep inside of me, I still believe that good triumphs' evil and somehow, someday, America will again stand upright rather than upside down and, America will be a better place, after Donald Trump and the Republican Traitors.
Twitter @sheriffali


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The Commission for Aviation Regulation regulates certain aspects of the aviation and travel trade sectors in Ireland. It was established on the 27th February 2001 under the Aviation Regulation Act, 2001. The 2001 Act was subsequently amended by the State Airports Act, 2004 and the Aviation Act, 2006. The Commission has put together an administrative document which shows, in tracked changes, the Aviation Regulation Act, 2001, as amended. This document can be be downloaded by clicking on this link.(*)
The Commission is an independent public body under the auspices of the Department of Transport, and is accountable to the Houses of the Oireachtas. The Commission is guided in its actions by the legislation governing the areas that it regulates. The principal function of the Commission is to set the maximum level of airport charges at Dublin Airport.
The Commission is responsible, under EU legislation, for discharging Ireland's responsibilities for schedule coordination/slot allocation at Irish airports and the appointment where necessary of a schedules facilitator/slot co-ordinator.
The Commission is also responsible for licensing the travel trade in Ireland, and grants licences to both tour operators and travel agents. As part of this function, the Commission administers a bonding scheme to re-imburse consumers in the event of a travel agent collapse. The Commission also licenses airlines and approves groundhandling services providers under regulations implementing EU legislation.
The Commission has a significant consumer protection role. The Commission is the national enforcement body tasked with the monitoring and regulation of EU legislation covering Air Passenger Rights and the provision of assistance to Passengers with Reduced Mobility (PRM).
The Commission uses this website as a means for disseminating information as well as for discussion of issues falling under its jurisdiction. The text of Commission papers as well as views of interested parties and the public are posted at regular intervals.
The Commission is required under Section 26 of the Aviation Regulation Act 2001 to prepare and submit an annual report to the Minister, who arranges for it to be laid before the Houses of the Oireachtas, after which the reports are published.
(*) Please note that this is purely an adminstrative document, and parties who wish to refer to the Aviation Regulation Act, 2001 as amended should refer to the actual text of the Acts in question.


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Listening for the Echo: The Klem Loskot Profile
For years Klem Loskot was a driving force in the evolution of bouldering, raising standards in some of the world's most famous areas. Then he dropped off the map. Ten years later he resurfaced, still hovering near a ceiling that's difficult to define.
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Our image of Klem Loskot began with the Yell: a shout of exhortation, elation and insistence. The thundering exclamation threatens and dares you or anyone to try your hardest. Its reverberations conceal the source. Has this voice come from within?
The call hammers across alpine meadows scattered with blue blocks. Aimed at a climber 60 feet above the battling, roiling sea, it blasts out like a foghorn, amplified by the cave. The climber leaps—to catch and, swinging mightily, hold.
These shouts have been in our heads since the year 2000, when Loskot's marshaling call hit the States with BigUp Production's Dosage 1. You still can't go to any bouldering area without hearing a Klem impersonation. The yell is a power-boosting Kiaa! that frees up the chi and fires us like burning arrows. Or maybe when it booms across the gym as you hesitate on the big swingin' huck, you laugh yourself into a heap, crumpled at the base of the wall. The yell centers and disperses, tricking you into focusing and also reminding you to lighten up.
Loskot was a developer and standard-shifter in the 1990s and early 2000s, during what 10 years from now will be called bouldering's golden age. Those from that subculture knew bits about his climbing, knew his face, and especially knew his yell, primarily from video taken of him at the height of his powers.
Loskot's routes and especially his boulder problems were some of the hardest in the world. Nanuk, in Berchtesgaden, Germany, done in 1997 and a contender as the world's first 8B+ or V14, only finally saw a second ascent last year. Bügeleisen (which he guessed to be V13) may have only one repeat. Loskot contributed dozens of new routes at nearly every major bouldering area in the world, from Mallorca to Haampi to Vietnam, from South Africa to Australia to Austria. Behind the war cry, he spoke like a shaman, wrote a beautiful, ethereal book called Emotional Landscapes, and then suddenly, and completely, dropped out of climbing.
Loskot raised the bar and inspired a generation of boulderers, me among them, around the world to look within, to try and find the thing that makes us exist at our best, if only for a split second in the midst of a handful of movements.
Joe Kinder, a longtime leading American climber and boulderer originally from Bedford, New Hampshire, calls Loskot's approach "a really pure way of climbing."
"It always seemed [Loskot] had nothing to prove," he says, "other than his emphasis on having a good time."
For myself, at age 35, it was bolstering news to hear that at 38, one of my greatest bouldering heroes had suddenly resurfaced—and with new world-class first ascents.
Almost curiously, despite the size and build of this 6-foot, 190-pound roaring monster, you always saw him move through technical sequences with snap and precision. A dancer's swoop of the feet, the setup: then an explosion of power and willpower. It was a smooth style, with an obvious flow that seemed to indicate a cognitive and corporeal enjoyment. Old footage of Loskot taking flight in a powerful dyno somehow made sense, like a medieval catapult slinging stones makes sense. You could see he wanted the climb, to sense the myriad experiences of problem-solving and effort. No screams for himself in his effort—only the puff of a strong exhalation now and then.
"For me he was a huge inspiration," says Jimmy Webb, a boulder crusher from Chattanooga, Tennessee, who has climbed up to V14 in just about every area he's visited. "He's a bigger climber, like me. It made everything seem possible."
Klem was born in Austria, on the northern border of the Alps in a region packed with limestone and piqued with four distinct seasons of mountain weather. Family trips kept him outdoors and in motion until age 15, when Klem, "bored a lot and too old to play kids' stuff," as he put it, began climbing with school friends. Climbing, he says, "felt like a big adventure, being somewhere in the woods by a cliff, no other people, free, away and gone." He was "inspired by the place and its nature." The movement was more engaging than soccer or tennis, recruiting the whole body and the brain, and providing a humbling dose of fear. Just a month after he started climbing, Loskot and a friend bicycled to Italy for his first climbing trip.
He and his friends climbed daily, on ropes, bouldering and free soloing. Loskot knew right away that the soloing wasn't for him. He got scared on a rope as well, but was able, he says, "to have fun and get over it." Mostly, though, those disciplines seemed too serious. "I didn't want to have to get over the scare," he wrote me in one of many e-mail exchanges over several months. "I more liked to play." Most appealing to him from the start were bouldering and short routes, where the movements became more involved and intense.
In the gentle winter that followed his first few months as a climber, Loskot began going to a small, south-facing cliff near his house and bouldering in the mild sunshine. He recalls this time, spent in an untouched place and finding his own new lines through the cliff band, fondly: "I went alone a lot that holiday because I think it was too intense"—or difficult—"for my friends."
Six months in and Klem was climbing harder than the older, more experienced climbers in his group. He had always possessed a natural aptitude for any sport. Climbing suited him well, he thinks, and with Teutonic efficiency he cites the names of slightly older friends from that time who demonstrated the techniques and theory he absorbed. Just a year and a half after he found climbing, he placed third in the Austrian Nationals, his first competition ever, at age 16. The first person to climb in the final, he quickly rose high on the wall, and watchers thought that the route must be too easy for the field. Eyebrows rose when most of the other contestants finished before anyone else reached Klem's high point.
The young man continued to participate in comps for the next year, but found he had little motivation to train for the "pumpy" indoor style. Instead he preferred to find his own way and rewards outside.
"I was cooking my own soup," he says, meaning that he was working with ingredients or elements of his own choosing.
Moving away from the small, competition-oriented scene in Salzburg, he went outdoors, finding inspiration in the cliffs and the woods: "being free and following my inner things."
In his late teens, he began traveling more often, to Italy, to France, looking for bouldery routes and unfinished projects, which he then quickly dispatched, leaving a wake of rumor behind him. During that time he met the punk rocker and bouldering giant Toni Lamprecht in the South of France, and Lamprecht took Loskot to see some of the lines that the legendary Fred Nicole had been quietly establishing. It was the first time that Klem had even bouldered with pads; his previous problems had mostly been traverses or short bouldery routes.
After Loskot quickly repeated a number of Nicole's hardest problems, such as the groundbreaking Radja (V13) in Branson, Switzerland, and Eau Profonde (V14) in Kesserloch, Switzerland, the press caught wind of his talent and he was all over the global climbing media. He was doubted by some because he was an unknown entity. Conversely, he was also touted in print as the strongest boulderer in the world, and featured in a number of films that revealed a thinker, ever in search of what he terms "flow experience," a fleeting, hard-won feeling he describes as being without weight or limits.
Throughout the 1990s and early 2000s, Loskot traveled the world as a professional climber, following his own path of dreams. He established lines like Bugeleisen, in 2001, originally tagged at V13 but unrepeated for a dozen years despite dedicated reconnaissance by more than a handful of the world's strongest. The line finally bowed last year to the Finnish standard setter Nalle Hukkataival, who confirmed it at V14, and describes it in his blog as "one of the best hard boulders in the world. Hats off to Klem for opening such an amazing boulder." Loskot's 1997 Nanuk (V14) was only just repeated last fall, by Martin Schidlowski from Germany.
Loskot also contributed greatly to the now famous collection of hard lines in South Africa, with first ascents like Armed Response (V12), Desperado (V13) and Oral Office (V12). In 1999, in the Grampians, Australia, he opened Cave Rave (V13), which became the foundation for iconic megablocs like Dai Koyamada's The Wheel of Life (V15). At home in Austria, Loskot's fabled "Carinthian Projects" at Carinthia's Maltal, the Austrian Alps, included The Power of Goodbye (V13/14) and Wrestling With an Alligator (V13), still coveted ticks. The Welsh bouldering ace Chris Davies has said of The Power of Goodbye, "Truly harder than 8b, unless every other is overgraded."
Of his lifelong approach, Loskot says: "I prefer to find my own lines. While [I am] repeating, it's all set, I just have to execute. It can feel like work for me, as it was not like my own baby. I'm not with the rock so much, and sometimes there are silly thoughts like Aha, this guy did it in two days, so … On first ascents I can follow only my dream. I don't repeat other people's dreams. I search for what makes me most happy."
Moving away from the small, competition-oriented scene in Salzburg, he went outdoors, finding inspiration in the cliffs and the woods: "being free and following my inner things."
His knife-dance at the edge of what was possible generated an ongoing question: How hard were these things, and how hard is hard, anyway? In the introduction to his first book, The Eleventh Grade, Klem asks this question of us and of himself: "Was it really that difficult, was it really the limit? How can you answer these questions with a number?"
It's clear he wrestled with the dualistic notion of grades: the necessity of a ballpark figure as a personal yardstick and the futility of compressing a multi-layered experience into a numeric value, especially when that must include the magical experience of weightlessness.
With such queries and perspectives as a jumping-off point, Loskot assembled two books: The 11th Grade and Emotional Landscapes, each filled with diaphanous micro-parables and color-tasting declarations. He tried to communicate what it was that he was pursuing, to forge a delicate link between the concrete characteristics of a number grade only dimly understood by a handful of climbers, and its connection to a collection of feelings and sensations we can all relate to.
The search to define the experience afflicts many climbers who hover around the upper reaches of our sport—and many of the best seem to go through a stage where they decline to grade anything they do. One can only describe a climb by how it felt at the time, by comparison and correlation of a huge number of variables, and the result can either bolster or tarnish one's reputation as repeats are (or are not) made. When the world relies on someone to say what is hard, maybe he'll take a shot and guess. When the best climbers disagree and experiences differ, where is the line drawn, and by whom? Eventually, Loskot stopped trying to grade his climbs.
Asked about grades today, he seems to think that if you're climbing for yourself, you know the difference between one climb and another.
"I want to be free like a bird and not think about how other people climb and compare. It's great to see other people climb and get inspired and motivated, but to compare is not my world." Yet the life he was living demanded simple numbers from media, the industry and other climbers. "Soon I realized they were only interested in facts, not the background. That's what made me lose interest.
"Doing it as a profession wasn't good for the passion."
A climbing and surfing trip to India resulted in a month in the hospital with typhoid fever, which featured attendant hallucinations, pain, weight loss and risk of complications. On the rebound, he surprised himself a little when he opened Emotional Landscapes (V14), and then "the oven went out."
At what seemed an apex for Loskot, in the first few years after the millennium, he stopped climbing completely.
He drifted toward surfing more, traveling around Indonesia with friends and living a life on water instead of stone. Later on, he earned turns for a while, skiing and hiking in the mountains near his home in Austria.
"When I was skiing and surfing, I felt not at all as a climber," he says today. "I forgot all about it. It was as if I had never climbed." He did some rigging work for a friend who arranges rope-dancing performances on luxury yachts and hotels. He studied to become a high school teacher, and met his wife, Michi, on a surfing trip to Indonesia. They now have two children, Nils, 5, and Emilia, 2, and family has taken over as the central course in Klem's life.
"I still live where I grew up, even in the same house," he says. "It's a real paradise."
Loskot's parents gave the young couple the house when the kids came. "It's very kind of them," he says. "My parents play a big role in my life. They gave me the basics like a good education, university, and they always supported me in what I liked." His folks live close by, and spend a lot of time with the children. "When I was a kid," he recalls, "we had a van and we traveled all over Europe in the summertime, [to] just be in nature and the outdoors. My parents like the mountains and hiking, and just like me stay outdoors and move with the body."
Vacations nowadays with Klem's own family are as they were back then: in the van, maybe by the Mediterranean with "some little waves to jump on." Sometimes Loskot does little trips to climb, maybe for three days or so, but not at all often. "I want to stay with the family," he says.
Within climbing, surfing or skiing, he says, he always felt a sense that he was in the right place for him: "I am on this earth. I feel [as if I am] myself more than going to daily work, for example. Just now being a dad is also like that, but totally different.
"I am hungry for harmony, I would say. Also my climbing is a lot about harmony. Harmony makes me and is leading me to having the flow. It's the same in life outside climbing. Feeling harmony is a great feeling to me and I watch out to feel so … Just let it flow and be as it is, and adapt."
Within harmony lies balance, and the pendulum has begun to complete its swing. About three years ago Loskot quietly returned to climbing in the woods near his home outside of Salzburg. "It's where I grew up climbing and my first climbing adventures were born there. I have again these adventures and feeling great there, like it was 1989." He has since re-lit the furnace with "my greatest experience in climbing," as he told Rock and Ice, with an ascent that fulfilled all the requisites of flow and feeling: the FA of The Balcony (5.15a). He also made a rare repeat of the Austrian climber Berni Schwaiger's benchmark Zunami (V15). In the last three years Loskot has opened nearly 40 new problems on the bone-white limestone of home, each estimated at V12 or much, much harder, including his Desert Fox (V15?), of which time may tell more.
Though Loskot cites an expanding perception regarding the feasibility of some lines over time, he doesn't think much has changed in bouldering over the last hundred years. "People are getting more specialized in everything they do. Of course it will always continue in a way, but what I think is the single hardest move on a boulder couldn't get so much more. Like in the '80s, those slabs have hard single moves. In the '90s, the overhanging stuff has hard single moves."
Boulders and routes are both getting longer, but he contends that for him "the limit of human performance is not about linking 70 meters of hard climbing, but doing the hardest moves. Long endurance stuff is for workers. One-move wonders are for those who are fast as lightning."
When I ask Loskot about how personal limits evolve and expand, he replies that such concepts are all in the brain. In the last couple of years he has climbed at least 12 V14s and at least one V15, as well as two routes graded 5.15. "I was not able to do these routes before when I also felt strong, but I did not have the horizon. I could not imagine so much, finding good solutions, reading the rock, using the structure, bringing everything to the point and … climbing smooth[ly] like a river flows."
Asked further, though, how he possibly gained such powers, Loskot says his "intellect" grew. And with it his sense, perhaps, of a place in his community and in history. "Right now I don't have time to travel, but I would like to try some other people's lines. I am more open-mind[ed] now. Today I feel like sharing the experience. I realized it's something great to inspire other people, but to follow my intuition. Just going to the rocks, that's what makes me most happy."
Chris Schulte heard the call back in 1993 and has been bouldering ever since.


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Product 5/13
Working from their villages in northern Thailand, the Akha artisans craft this shoulder bag in the traditional cross-stitch embroidered Pamee pattern. In Pamee, geometric designs dominate. There can be found spades, mazes, screens, squares within squares, triangles, quadrilaterals etc. Depending on their mood, memories, imagination and their own taste, the women varies these traditional geometric designs, often mixing them with borrowings from other ethnic groups' patterns, making the bag you will receive truly unique. This particular piece, named Ethnic Harvest, is hand-woven with cotton, colored from natural dyes and entirely decorated by hand.
Color discrepancies may occur between this handmade item and your computer screen.
Bag: 34.0 cm width x 28.0 cm height x 1.0 cm depth
Strap: 100.0 cm length x 10.0 cm width
Weight: 0.205 kg
Materials: 100% cotton, attachments include plastic beads, silver studs, chicken feather tassels and old coins.
About the Artisan:
This shoulder bag is entirely handcrafted by an Akha artisan. The making process starts with the harvest of cotton, which the woman then spins into rolls. After weaving and dyeing, she cuts a strip from the cloth and embroiders half of this, which will be the front of the bag. After attaching the shoulder strap she borders the design with color bands, rows of beads, cowries and coins to the extent desired, creating a spectacular decorative design.
For more information, read "THE ART OF LOOKING AKHA" on Ezistock Blog.


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Fact Sheet #17O: Technologists and Technicians and the Part 541 Exemptions Under the Fair Labor Standards Act (FLSA)
Revised September 2019
*Note: The Department of Labor revised the regulations located at 29 C.F.R. part 541 with an effective date of January 1, 2020. WHD will continue to enforce the 2004 part 541 regulations through December 31, 2019, including the $455 per week standard salary level and $100,000 annual compensation level for Highly Compensated Employees. The final rule is available at: https://www.federalregister.gov/documents/2019/09/27/2019-20353/defining-and-delimiting-the-exemptions-for-executive-administrative-professional-outside-sales-and.
This fact sheet provides information on the exemption from minimum wage and overtime pay provided by Section 13(a)(1) of the FLSA as it applies to technologists and technicians.
The FLSA requires that most employees in the United States be paid at least the federal minimum wage for all hours worked and overtime pay at not less than time and one-half the regular rate of pay for all hours worked over 40 in a workweek.
However, Section 13(a)(1) of the FLSA provides an exemption from both minimum wage and overtime pay for employees employed as bona fide executive, administrative, professional and outside sales employees. Section 13(a)(1) and Section 13(a)(17) also exempts certain computer employees. To qualify for exemption, employees must meet certain tests regarding their job duties and be paid on a salary basis at not less than $684 per week.
Technologists and Technicians
Technologists and technicians, such as engineering technicians, ultrasound technologists, licensed veterinary technicians, avionics technicians and other similar employees are not exempt under Section 13(a)(1) from the minimum wage and overtime requirements of the FLSA because they generally do not meet the requirements for the learned professional exemption.
To qualify for the learned professional employee exemption under 29 C.F.R. § 541.301, all of the following tests must be met:
- The employee must be compensated on a salary or fee basis (as defined in the regulations) at a rate not less than $684 per week;
- The employee's primary duty must be the performance of work requiring advanced knowledge, defined as work which is predominantly intellectual in character and which includes work requiring the consistent exercise of discretion and judgment;
- The advanced knowledge must be in a field of science or learning; and
- The advanced knowledge must be customarily acquired by a prolonged course of specialized intellectual instruction.
Technologists and technicians do not meet these requirements for the learned professional exemption because they do not work in occupations that have attained recognized professional status, which requires that an advanced specialized academic degree is a standard prerequisite for entrance into the profession.
Where to Obtain Additional Information
For additional information, visit our Wage and Hour Division Website: http://www.dol.gov/agencies/whd and/or call our toll-free information and helpline, available 8 a.m. to 5 p.m. in your time zone, 1-866-4USWAGE (1-866-487-9243).
This publication is for general information and is not to be considered in the same light as official statements of position contained in the regulations.


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Cynderbock is Exalted with Gilneas before Cataclysm.
Wait, what?
That's crazy to think about, considering it took, at most about … 10 runs of Deadmines, max, to achieve? The new Gilneas Tabard (one of the new City Tabards, available at vendors near the home city Flight Points) allows you to gain reputation gains in dungeons, and if you do them at-level, they reward pretty substantial rep.
How substantial? 15 rep for each mob, 300 for each boss. If you're Human, that's 16-17 each mob, 330 each boss.
So making a level 19 Ambassador just got a whole lot easier. Lock your XP, get tabards, run LFD for profit and a title. Easy. You could do LFD at level 15, even, if you like RFC – or if you have friends who will run you, you can enter the dungeons at level 8-10.
This is a great change for the game, making it easier to use LFD as a leveling tool without missing out on all the benefits of questing.
Does it trivialize the Ambassador title on Cynderblock? Not really. Yes, it's vastly easier to get now, and I expect I'll see even more of them than I did before. That's fine. No, really, it is!
See, the changes now can't take away the fun I had in getting that title. Or, for that matter, getting Exalted with a faction that isn't even really in the game yet. I mean, it's not like I get anything from the deal, since 'block still can't use a mount. (Not that Gilneas has a mount to get, anyways.)
No, it's time to move on and look forward to all the new things Cataclysm will bring us. And no matter what else – they love me behind that wall.


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You are currently browsing the daily archive for February 26, 2009.
Boats on ships . . that's what tenders are, and tenders or lifeboats don't beg for much attention until an emergency. Last spring when I foto'd a cigarette boat high atop a container ship, I experienced a major appetite whetting. Since then, I'm always scanning among the containers for something different, not rectangular.
By the way, some of my work happens just to the right (above) of the distant tower emerging from the stern of Marie Maersk.
What caught my attention on this deckload was just forward of the tug.
I feared this irregular shape would be invisible after the vessel rotated off Bergen Point.
But the February sunlight so illuminated the colors that
that their brilliance would have satisfied anyhow with
a glimmer of spring light and energy. But as Marie Maersk passed my Killside "office" I
was neither completely satisfied nor
entirely frustrated by this view of
the telecommunications rack. Anyone see enough clues here to identify the shrink-wrapped small ship on the ship? Oh, that's Ellen McAllister speeding past the bow.
I'm clueless. And I'll admit I don't know where Dragor is. Intriguing name, Dragor. It sounds almost like a location in a Tolkein fantasy. Some vitals though: built in Odense Steel Shipyard in Denmark in 1990, 964′ loa by 104.' She cruises at 28 kts (32 mph). And can any color exude more peaceful vibes than Maersk blue?
An example of blogging perk to me is learning what I did here just now about Dragor, an area of Denmark settled by Dutch farmers encouraged in by King Christian 2. Hey . . . maybe that's how the Danish tendril entered our family tree.
I'd love to hear if anyone hazards an ID of the mini-ship on the ship.
Photos, WVD.


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Every week I read thousands of blog posts. For your weekend enjoyment, here are some of those highlights. What are you reading this weekend?
On Starting Up…
Spot the music green.
On Design & Product Experience…
Exercise your metamemory!
On Modular Innovation…
Participate in the culture of Modular Innovation.
Have a great weekend!
Jeremy Horn
The Product Guy