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This work originated as a short course covering certain approaches to paint formula development. The course was intended as an aid in understanding formulation for newcomers to coatings technology, such as entry-level chemists and sales people calling on coatings laboratories. Experienced formulators might also have found the formulating approaches to be of value. The course was given to the Atlanta Section of the Southern Society for Coatings Technology (SSCT) by the writer as chairperson of the SSCT Education Committee. The laboratory work on which it is based was done as preparation for the teaching of that course. It was later presented as a single lecture to the annual meeting of the SSCT, after which the SSCT Board of Directors determined that a paper should be developed and published from this material.
Techniques for experimental development of a typical medium-quality interior latex flat wall paint are discussed, including formula design, compounding and testing. Emphasis is on determination of the best combination of non-structured and/or structured extender pigments. Non-structured pigments are represented by ground calcium carbonate and crystalline silica, structured pigments by calcined clay and diatomite.
Why Calcium Carbonate and Calcined Clay?Because calcium carbonate and calcined clay pigments are produced in very large quantities in the southeastern United States, and are utilized in a large number of commercial formulations, they are central to this discussion. Several silica pigments are also included to provide a variety of extender pigments for comparison.
Statistics on production and consumption of calcium carbonate and calcined clay pigments are presented in Table 1; this information is considerably dated, but it provides a general overview of the quantities involved.
The formula shown in Table 2, designated Formula ILF-01, is a medium-quality white interior latex wall paint and will be used as the starting point for this discussion. The types of materials chosen are widely used in commercial latex paints, in these and similar forms and under these and other trade names.
Major Formula Component CalculationsQuantities of the major formula components - total pigment content and resin solids (that is, solids in the vinyl-acrylic emulsion) - were calculated from parameters chosen by the formulator based on experience. These parameters were the following:
- Total solids by volume - 33% of paint volume (excluding additive solids); and
- Pigment volume concentration (PVC) - 63% (additive solids excluded by definition).
Additive solids are ignored in these calculations since they are usually not film-forming, are often water-soluble and therefore leachable, and their inclusion would greatly complicate calculations for very little gain. The defining equations for these two parameters are as follows. Note that % Solids by Volume including additives may be calculated by including additive volume solids in the numerator of the first equation.
Sum of Volumes of (Non-Additive)
Solids in Formula
% Solids by Volume=------------ X 100 (1)
Total Volume of Formula
Sum of Volumes of All Pigments
Sum of Volumes of (All Pigments + All Film-Forming Binders)
In equation (1), substituting 100 gallons for the total formula volume and 33 for the % solids by volume, and solving for volume of solids, results in
Volume of Solids = ------- = 33.00 gallons of Solids (3)
In equation (2), substituting the 33 gallons (just calculated) for the denominator in the equation (to which it is equivalent) and 63 for the % PVC, and solving for volume of pigments, results in
Volume of Pigments = ---- = 20.79 gallons of Pigments (4)
The volume of resin solids is then obtained by simply subtracting the volume of pigment from the volume of solids (which, since it includes no additives, contains only pigment and resin). Thus
Volume of Resin Solids = 33.00 - 20.79 = 12.21 gallons of Resin Solids (5)
This use of volume relationships, rather than weights, to compute the quantities of the principal formula components and ingredients is a crucial part of best formulating practice. This is because paint properties correlate much better with the volume relationships within a formula than with the weight relationships. The necessary calculations for volume relationships, such as the ones shown in this paper, can be intimidating if done manually. With the availability of good software for formula design, however, this disadvantage is eliminated, so that there should be no reason for formulators not to take advantage of the benefits of formulation using volume relationships. Software used in the present case is discussed later in this paper and the defining equations for other formula parameters appear later as well.
Other Raw Material Functions and QuantityThe function of each of the remaining raw materials in the formula, and the basis for the quantity used, are as follows. Where trade names are used, the supplier is indicated.
- Celflow S-100, from Noviant, is a carboxy methylcellulose-type water-soluble thickener. S-100 designates a medium-viscosity grade. The quantity necessary for the desired paint viscosity must be determined experimentally, but thickener can be post-added if necessary so that additional paints need not be compounded. In this formula the thickener was divided in order to provide desired viscosities in both the pigment dispersion and the finished paint.
- AMP-95 (amino methyl propanol) is used for pH adjustment and buffering (that is, to adjust the degree of alkalinity in the formula). The amount used here should provide a pH of about 9 (somewhat alkaline). While the quantity of AMP used must be determined experimentally, post-addition is again practical. Adequate pH activates the pigment dispersant and assists in stabilizing the paint against bacterial attack and against corrosion of metal containers.
- Propylene glycol lowers the freezing point of the wet paint and makes it more likely to remain stable if inadvertently frozen. It also provides a longer wet-edge during drying, due to its high boiling point and its ability to slow the evaporation of water. In addition it has some solvent power for resins and may assist film formation at low temperatures. The quantity used here, of 3% of the paint by volume, is typical for latex flat wall paints.
- Texanol, from Eastman Chemical, is a slow-evaporating solvent that softens the resin during drying and thus promotes better film formation (coalescence) at low temperatures. The quantity used here, about 6.5% Texanol based on resin solids, is typical.
- AMA-480, from Kemira, is a biocide used routinely at about the level shown (2 pounds per 100 gallons of paint) to protect paint against bacterial attack.
- Colloid 643, from Kemira, is a defoamer, used to control foam formation during pigment dispersion and also during incorporation of the thin-down, as well as during application by the user. The quantities shown, of 3 pounds initially and about 2 more pounds in the thin-down, per 100 gallons of paint, are typical but could be increased if foaming were a problem.
- Triton N-101, from Rohm & Haas, is a moderately hydrophilic nonionic surfactant that enhances acceptance of universal colorants by the paint and contributes to overall stability. Excessive use, however, can lead to foaming and to poor water resistance in the dry paint film.
- Colloid 226-35%, from Kemira, is an anionic pigment dispersant. The concentration used here, about 0.4% of active dispersant on pigment by weight, should be adequate in most cases. A titration technique can be used to establish optimum concentration if desired. Such dispersants work best at somewhat elevated pH.
- Enamel-grade TiO2 is the opaque white pigment, (used here at a level of 150 pounds per 100 gallons of paint), which should give sufficient hiding power for a white finish coat if the extender pigments are optimized to provide maximum TiO2 efficiency (and probably also assuming toning with, for example, a black pigment, although toning will not be used here). The use of enamel-grade, rather than flat-grade, TiO2 demonstrates the possibility of eliminating one grade of TiO2 from a manufacturing inventory through efficient use of extender pigments.
- CaCO3 and calcined clay are the extender pigments. The 13 micron (mean particle size) CaCO3 provides flatting and reduces cost, while the calcined clay enhances opacity through the air pockets provided by its structure as well as by improving TiO2 efficiency through spacing of particles. The quantity of calcined clay was set at about 150 pounds per 100 gallons of paint, based on the experience of the formulator (but experimental determination of extender pigment levels will be a major subject of this paper). The quantity of CaCO3 was then calculated as follows:
Volume of Calcined Clay = 149.43 lb / 21.92 lb/gal (density of calcined clay - see Table 3) = 6.82 gallons (7)
Volume of CaCO3 = 16.38 gal (Extender Pigment Volume) - 6.82 gal (Calcined Clay Volume) = 9.56 gallons (8)
Weight of CaCO3 = 9.56 gal X 22.6 lb/gal (density of CaCO3, from Table 3) = 216.08 pounds (9)
The vinyl acrylic emulsion provides the film-forming resin binder. The emulsion quantity is calculated as follows:
12.21 gal Resin Solids (see above)
Volume of = ------------------
Resin Emulsion 50.875% Volume of Emulsion Solids (Table 3) (10)
/ 100 = 24.00 gallons of Emulsion
Weight of Resin Emulsion = 24.00 gal X 9.10 lb/gal (density of Emulsion, Table 3) = 218.42 pounds of Emulsion (11)
Finally, the volumes of all ingredients except 'free' water (water not contained in the resin emulsion or in additives) are computed from their densities and totaled. The volume of water is then equal to this total subtracted from the formula volume of 100 gallons, and the weight of water is the resulting volume multiplied by 8.33 lb/gal, the density of water. A major part of this water will normally be used to adjust the pigment dispersion viscosity for maximum shear with good circulation, and the balance will be included in the letdown.
Raw Material DataRaw material data needed for the purposes of this work are shown in Table 3. (Some additional data items would be needed in order to build a data file for use by computer software for formula design.) These are largely self explanatory. All data are as published by the various suppliers of the materials. To the best of the writer's knowledge, all oil absorption values were obtained by the spatula rub-out method, ASTM 281. Unit costs are of course quite out-of-date, but serve perfectly well for illustration purposes.
Calculated Formula ParametersValues for the principal parameters of Formula ILF-01 are shown in Table 4. The defining equations for these values, if not already shown, follow below.
Sum of Weights of All Solids in Formula
% Solids by Weight = ----------- X 100 (12)
Total Weight of Formula
(Equations for % Solids by Volume and for PVC appear earlier in this paper.)
1 + (OAComposite X SGComposite ) / 93.5
where OAComposite = Composite (i.e., Average) Oil Absorption of All Pigments and SGComposite = Composite Specific Gravity of All Pigments
In the above equation, the factor 93.5 converts oil absorption from weight units to volume units of measure.
Lambda = ------ (14)
Sum of Individual Costs of All Materials
Cost per Gallon = --------------- (15)
Total Volume of Formula in Gallons
Critical Pigment Volume ConcentrationPhysically, critical pigment volume concentration, or CPVC, is the PVC at which the volume of binder present is exactly sufficient to saturate all pigment surfaces and fill all interstices between pigment particles. For many paint properties there is a discontinuity in plots of the property against pigment volume. This is because at a PVC immediately above CPVC, voids begin to form in the film, and they increase in volume as PVC is increased above this point. For example, scrubability and porosity begin to decrease more rapidly, and hiding power increases due to the effect of light refraction at void interfaces.
As already stated, calculation of CPVC first requires the calculation of composite values for oil absorption and specific gravity for the formula pigmentation. If not handled by available formula design software, this can be done by using spreadsheet computer software. (The writer has a spreadsheet program for this purpose, which he will share on request.) Table 5 shows the step-by-step process for ILF-01, the starting-point formula.
Stepping through this table, the columns specific gravity, oil absorption and formula weight simply show the necessary data for the calculations. For the column pigment fraction, each formula weight has been divided by the weight of total pigment in the formula to compute the individual fractions. The column pigment specific gravity repeats the data from specific gravity, above, and each of these values is then multiplied by its pigment fraction to obtain the next column, specific gravity fraction. In like manner, the column oil absorption is a repeat of the column by the same name above, and the column following it, oil absorption fraction, is obtained by multiplying each of these values by its pigment fraction. The specific gravity and oil absorption for the pigment blend are then obtained by totaling the specific gravity fractions and the oil absorption fractions, respectively. Substitution of these two values for the pigment blend, into the equation previously given for computing CPVC, will result in the value shown in Table 4, of 53.87%.
Lambda - the PVC/CPVC RatioProbably the most useful of the formula parameters for many coatings are the solids by volume, which determines the thickness of dry film per unit of wet film thickness, and Lambda, the PVC/CPVC ratio. Note that this ratio is much more meaningful than is PVC alone, since PVC gives no information on the effect of the pigment on the binder. Lambda, on the other hand, indicates the amount of free binder - that is, binder not tied up in some way by pigment surfaces or structure - that is available. Whether the quantity of free binder is positive or negative (if negative, of course, there are voids rather than free binder), this information is of great importance to the formulator.
Substitution of the values shown in Table 4 for PVC, of 63.00%, and for CPVC, of 53.87%, into the equation previously given for computing Lambda will result in the value shown in Table 4, of 1.17. While it cannot be assumed that this equation is always perfectly accurate - in many cases it almost certainly is not - the writer has found it to be sufficiently reliable to be of great value in formula design. This Lambda value of 1.17 indicates that this formula results in the presence of a relatively small volume of voids in the dry film. A value of 1.00, of course, would result if PVC was exactly equal to CPVC and binder content was exactly equal to pigment demand. The design, compounding and testing of five experimental formulas will now be discussed in detail.
Design of Experimental FormulasAll formula ingredients are those discussed above for the starting-point formula except for the extender pigments, of which a variety will be used. Pigmentation will be discussed in a later section. Quantities of some ingredients will vary, as discussed below. The purpose of this series is to illustrate the effects of the various extender pigments on paint properties.
Certain parameters and properties of these paints will be maintained as nearly constant as possible, while others will be allowed to vary. The parameters and properties that will be held constant are as follows:
- cost per gallon;
- TiO2 loading (at 150 pounds per gallon, which means that wet hiding power should be the same for all five formulas);
- Lambda;
- 85º sheen and 60º gloss;
- color (All paints are designed for maximum whiteness through use of the whitest available extender of each type. However, some extenders are not available in extremely bright white versions, causing colors to vary somewhat.); and
- viscosity.
Parameters that will be allowed to vary are: % PVC, % solids by volume, and thickener level (lbs/100 gal).
Development of five formulas with the desired properties required a certain amount of trial and error, and a total of 16 paints were actually compounded and tested. Several of these additional trials were for the purpose of establishing the necessary ratios of coarse to fine calcium carbonate and crystalline silica for the sheen desired. Several others were necessitated by the fact that the calculated value of Lambda for the crystalline silicas, based on published oil absorption values, did not agree with the values indicated by test results.
Computer-Assisted Formula DesignDesign and calculation of a series of paint formulas based on parameters such as total solids by volume and Lambda, and with restraints such as constant cost for all formulas, would be a formidable problem without computer assistance. With suitable software, however, such calculations are very quickly done.
The software used in the present case, Labcal, is no longer available to new users due to the retirement of its programmer. (This author has contact with the Labcal programmer who no longer considers the Labcal algorithms proprietary and is open to sharing them.) Formulators who do not have such software should survey the current market for packages having the necessary attributes. For example, Labcal allows specification of up to two basic parameters. Ingredients are specified either by quantity (pounds or gallons per 100 gallons of paint) or by a variety of relationships with major formula components or with other ingredients. (For example, in the ILF-01 formula in this paper, pigment dispersant might be specified as a percentage of total pigment weight, and Texanol as a percentage of resin solids.) Up to three ingredient quantities, depending on the number of parameter specifications used, are left unspecified to allow the necessary degrees of freedom for calculation. Desired unit cost for the formula may be specified. Formula ladders may be generated, all having the same specifications except for a single value, such as PVC or TiO2 loading. Unit cost of formulas in such a ladder may be held constant.
Labcal, the last version of which was written over 20 years ago, does not compute or allow specification of CPVC or Lambda, but there is no reason that a modern software package should not include these abilities.
Software packages should also provide detailed physical and cost analyses of formulas, information on other values of interest such as air pollutant content, and the capability to work in either U.S. or metric units of measure, but these things are easily programmed and should be present in all packages.
Formulas, Pigmentation and Compounding ProceduresThe five formulas that were selected and tested, from the 16 formulas compounded, are shown in Table 6. Extender pigment ratios, order of addition and procedures used in compounding are also shown in this table.
Parameters calculated for the formulas in Table 6, using equations previously discussed, are shown in Table 7. Experimentally determined Lambdas are discussed in the next section.
As already discussed, these five paints were designed to have essentially identical viscosities, wet hiding power, sheen/gloss and cost per gallon, and as nearly the same white color as possible. Lambdas of the first four paints were also intended to be equal, but, as discussed below, it was necessary to develop the fifth paint, ILF-14, to obtain a silica-containing paint having the desired Lambda. Total solids, PVC and thickener levels in all formulas were allowed to vary as necessary.
The first formula was ILF-01. This paint therefore demonstrated properties provided by a blend of structured (calcined clay) and nonstructured (CaCO3) extender pigments.
The second formula, ILF-16, contained only CaCO3 as extender pigment, using the ratio of coarse (13 micron) and fine (3 micron) pigments necessary to provide the desired sheen/gloss. Thus this paint contained only nonstructured extender pigment. The low oil absorption of the CaCO3 pigments led to a very high value for CPVC (above 69%), so that it was necessary for the PVC to be much higher than in ILF-01 in order to achieve the same Lambda. This resulted in a very high loading of low-cost CaCO3, requiring higher total solids to match the cost of ILF-01 and less thickener to achieve the desired viscosity in this high-solids paint. Also the high PVC required much less resin emulsion.
Formula ILF-13 contained only structured extender pigments, using a combination of calcined clay and diatomite, which were again blended in the ratio required to match the desired sheen/gloss. This time, due to the high oil absorption of both extenders but particularly the diatomite, the CPVC was low (just under 40%) and PVC, for equal Lambda, was therefore also low. The resulting higher level of resin emulsion resulted in a high cost, requiring low total solids in order to achieve cost matching the other formulas. With more free water, therefore, more thickener was required.
The final two formulas, ILF-04 and ILF-14, were similar to ILF-16 in that only nonstructured extender pigments, crystalline silicas, were used. The fourth formula, ILF-04, was compounded first, but several problems appeared. Its very low sheen and gloss indicated that some of the coarse (12.5 micron) silica should be replaced with silica of a finer particles size, similar to the blend of CaCO3 in ILF-16. More serious, however, was a strong indication that the value of Lambda computed for this formula was incorrect. The evidence for this came from test results for relative tinting strength, scattering coefficient, porosity and scrub resistance. Examination of these four results in Table 8, as compared to results from the same tests for the first three formulas, shows poor agreement, and in each case the difference is decidedly in the direction that would be expected if the CPVC were substantially higher than the computed value. The reasonable conclusion is that the oil absorption for the silica pigment used is not the value needed for an accurate calculation of CPVC, perhaps due to use of a different oil absorption test method by the pigment supplier.
Additional formula ladders were therefore designed, compounded and tested, one ladder to determine the ratio of 12.5 micron to 3 micron silica needed to provide sheen and gloss essentially equal to those of the first three formulas, and one of increasing PVCs. Based on comparison of test results for opacity/light-scattering and for scrub resistance, a PVC was chosen that was believed to be at very nearly the same true Lambda as those of the first three formulas. Table 7 shows both the calculated and the experimentally determined values of Lambda.
The formula developed in this way, ILF-14, had a high PVC and high total solids for the same reasons as did ILF-16, although the ILF-14 values were not quite as high as required with 100% CaCO3 in ILF-16.
Paint TestingThe paints compounded as just described were thoroughly tested and the data shown in Table 8. Test methods are described in the Appendix.
As intended, wet hiding power of the paints (not shown in the table) was essentially identical (resulting from equal levels of TiO2). Eighty-five degree sheen and 60º gloss were, for all practical purposes, the same for all paints (with the exception of ILF-04). Viscosities were as nearly alike as can reasonably be expected.
Fineness of grind varied a little, as expected, depending on the particle sizes of the extender pigments. All were quite acceptable for flat wall paints. All densities were in good agreement with calculated values obtained by dividing the weight of 100 gallons by 100. All pH readings were in the expected range.
Paints ILF-04 and ILF-14, with crystalline silica, were lower in reflectance (that is, less white) than the other paints due to the darker color of the silica extenders as compared to the other extenders used. This darker color resulted in slightly higher opacities (contrast ratios) at the two film thicknesses tested, as would be true, for example, if a trace of black pigment were added to a white paint. ILF-01, with calcined clay and CaCO3, had best reflectance (brightest whiteness) by a slight margin. ILF-01 and ILF-16, with all CaCO3, were essentially equal in opacity, with ILF-13 (calcined clay and diatomite) having very slightly less.
Relative tinting strength and scattering coefficient are both measures of the amount of light scattering that takes place in a dried paint film, caused by the refraction (bending) of light at interfaces between highly-refractive TiO2 and surrounding materials, and at interfaces between voids in the film and surrounding materials. Light scattering is the source of white opacity (that is, hiding power). Relative tinting strength could also reflect the degree of universal colorant acceptance of a particular paint, but in the present case all paints contain identical materials except for extender pigments and should have equal colorant acceptance. For relative tinting strength, paint ILF-01 was arbitrarily assumed to have a zero value and the other paints were rated relative to it. With the exception of ILF-04, already discussed, all differences were small, and the two tests were not in full agreement as to the relative scattering provided by the other four paints. In general, however, ILF-14 with silica is best, ILF-01 with calcined clay and CaCO3 is next and the other two paints are slightly inferior.
Porosities of ILF-01, ILF-16 and ILF-13 were very similar and fairly low, as should be the case since their Lambdas indicate only low levels of film voids. ILF-14 was slightly more porous. The two paints containing calcined clay, ILF-13 and ILF-01, had the best scrub resistance (excluding ILF-04) and ILF-16 had the poorest. This reflects the hardness of the extender pigments, CaCO3 being quite soft. As already discussed, ILF-04, with its PVC probably below CPVC, had consequent low porosity and high scrub resistance.
The remaining six tests, which have to do with wet paint properties and early appearance of dried paint, are all rated on a scale of 0 to 10 (very poor to perfect) and are easily understood from the test methods in the Appendix. The only one of these to show more than moderate differences was touch-up (the degree to which retouching of damage to the dried paint blends with previous appearance). The structured pigment paints, ILF-13 and ILF-01, were best, with ILF-16 with CaCO3 poorest, for touch-up. Figures 1-8 show many of the test results graphically.
Relative PerformanceIn order to compare the overall performance of the five paints, test results were assigned relative performance values on a scale of 0 to 10, where 0 represents total failure or very poor performance, and 10 represents perfect performance (Table 9). Some tests were combined, such as sheen and gloss, framing and touch-up, etc., so that properties rated would be as nearly as possible equal in importance. Volume solids were also included as an important property.
This relative performance comparison placed the blend of structured and non-structured extenders, calcined clay and CaCO3 in paint ILF-01, first, with the all-structured extenders in paint ILF-13 (calcined clay and diatomite) a close second despite the low solids of this paint. Among the three paints having all-non-structured extenders, the two containing silica ranked next, with the higher PVC version, ILF-14, out-performing ILF-04 due mainly to the poor optical properties (brightness, opacity, tinting strength) of the latter. The 100% CaCO3 paint, ILF-16, rated poorest despite its very high solids, being particularly deficient in scrub resistance, leveling and framing/touch-up.
Such a rating system, however, is obviously quite subjective. It is shown here primarily to illustrate the method. Products formulated for specific purposes may require very different weighting of various properties from those shown here. Formulators may use this method to good advantage by carefully weighting paint properties according to needs and desires of their markets.
Opacity versus Film ToughnessAnother means of choosing between competing formulations is by selecting two most essential and opposing properties, and plotting test results that best represent them in order to determine the best compromise formulation. For example, hiding power and resistance to abuse might be selected as critical properties, and they might be represented by scattering coefficient and scrub resistance. These test results are plotted in Figure 9.
By plotting a trend line, this comparison shows how scrub resistance diminishes as scattering increases. This trendline immediately eliminates paint ILF-16, with 100% CaCO3, since both properties plotted can be improved by choice of another paint. Also, ILF-04 with 100% silica sacrificed an unacceptable amount of scattering for its high scrub resistance. A formulation may then be selected from the other three paints, depending on the relative importance of the two paint characteristics for the intended purpose.
ConclusionsConclusions that may be drawn from the work and information presented are the following.
- Formula design based on volume relationships within the formula is much superior to use of weight relationships, but may require excessive time for calculation if done without computer assistance.
- Formulators who lack adequate formula design software should urgently search for a suitable package.
- Lambda, the PVC/CPVC ratio, can be computed from published oil absorption values with sufficient accuracy to be useful in a great many cases, and is a uniquely valuable parameter for paints having moderate to high PVCs.
- Every new paint formulation can and should be designed for the specific purposes for which it is intended, and this may require placement of widely varying importance on individual properties.
- A combination of hiding power and film toughness is likely to be best obtained by use of structured extender pigments.
- Where maximum solids content is important, nonstructured extender pigments should be investigated.
- In many situations, a combination of structured and nonstructured extender pigments may offer the best solution.
- Combinations of calcined clay and coarse crystalline silica pigments were not tested in this work, but may offer the best combination of opacity and scrub resistance.
- Based on the outstanding performance of structured pigments in this study, more highly structured pigments such as flash calcined clay and synthetic sodium alumino silicate pigments may offer additional advantages beyond the conventional calcined clay used in this work.
AcknowledgmentsThe author wishes to thank several people for their tremendous help in completing this work and writing this paper. Mr. Jeremiah Echols made most of the test panels and performed all laboratory testing. Ms. Kristy Hiner for keeping the Atlanta Section Education classes together and obtaining many of the raw material samples. Mr. Hermann Wentz as Chairperson of the Atlanta Section. Thanks to Mr. Edwin J. Lowrey for his help in editing this paper. And thanks to the Southern Society for covering all cost related to doing this work and writing this paper.
Appendix A: Test Methods
Density of Liquid Paint, ASTM D 1475
A calibrated weight-per-gallon cup allows weighing a precise volume of paint in grams, with direct conversion to pounds-per-gallon. Paint is brought to 25 oC before measurement. A cover prevents evaporation loss.
Fineness of Grind (or Fineness of Dispersion) of Liquid Paint, ASTM D 1210
Paint is spread by a scraper in a calibrated path that is tapered in depth from zero to 4 mils (100 microns). At some point in this path, depending on their size, particles and/or agglomerates in the paint are pushed up through the liquid surface by the sloping floor of the path, and become visible. The grind is read on the 0-to-8 Hegman scale, which parallels the path, where 0 represents the coarsest dispersion measurable and 8 represents no visible particles.
Framing of Applied Interior Flat Wall Paint
This test evaluates uniformity obtainable when paint is applied to an area (wall or ceiling) primarily by roller, but with edges trimmed using a brush. An Upson board panel, having an area of 1-1/2 square feet or more, is primed with the test paint and allowed to dry 24 hours. With paint and panel at room temperature (approximately 25 oC), a frame several inches wide is then painted by brush around the outside of the panel, and the balance of the panel is immediately painted using a roller, overlapping into the brushed frame. After 24 hour dry, uniformity is rated on a 0-to-10 scale, where 0 represents no detectable difference between brushed and rolled areas, and 10 represents a severe, unacceptable difference.
Gloss, Specular, 60o, and Sheen, 85o, of Dry Paint Film, ASTM D-523
Specular gloss is the amount of light reflected from a surface in the mirror direction -- that is, where angles of incidence and reflection are equal. An angle of 60º (from the perpendicular) is commonly used to test the gloss (shininess) from low-gloss coatings. To measure gloss, the test paint is applied by applicator bar to a panel of glass or sealed paper at the wet thickness specified in the Table of Test Results, and dried. Gloss is then measured using a meter of the desired geometry, consisting of a light beam directed against the paint surface at the desired angle and reflected into a photosensitive device at the opposite equal angle, where this receptor drives the pointer on a scale of 0 to 100. The meter is calibrated on a glass standard of known gloss immediately before use. Sheen is measured in the exact same manner but using a meter having 85º geometry. This is the most useful angle of specular reflection when examining finishes classified as flat, satin or eggshell.
Leveling of Liquid Paint, ASTM D 4062
This test evaluates the ability of a paint to flow out after application and thus obliterate any surface irregularities such as brush marks. To simulate the shear created by brush application, the paint is pre-sheared by ejection through a needle, using a syringe. It is then applied to a sealed chart by means of a special applicator blade designed to lay down a film with parallel ridges simulating brush marks. After drying for 24 hours in a horizontal position, the paint is rated for leveling by viewing under a strong oblique light source, comparing the contrast of lightness and shadow, caused by the paint ridges, to those on a series of plastic leveling standards under the same lighting conditions.
Opacity (or Hiding Power) of Dry Paint Film by Contrast Ratio, ASTM D 2805
A simplification of the ASTM method is used, which allows comparison of relative opacities of a group of paints. Paints are applied to sealed paper charts that have both black and white areas, using an applicator bar to apply wet films of the thickness specified in the Table of Test Results. Reflectances (see Reflectance, below) are then measured on the dry films over both white and black backgrounds. The ratios of reflectance-over-black to reflectance-over-white (contrast ratios), which are less than 1.000 and are measures of opacity, are then computed, converted to percentages and compared. Differences in the first decimal place may be visually significant.
Opacity of Wet Paint Film
Relative opacities of a test paint and a control are compared visually immediately after application of the two paints over a paper chart of the type described under Opacity of Dry Film, above, where the two paints are applied simultaneously by the applicator bar indicated in the Table of Test Results.
pH of Liquid Paint
The pH of a solution is the negative logarithm (to the base 10) of the hydrogen ion concentration in the solution. A neutral solution has a pH of 7.0, pH below 7.0 indicates increasing acidity and pH above 7.0 (to 14) indicates alkalinity. Measurement of pH makes use of a meter consisting of two suitably designed electrodes that measure the electrical potential between them while they are immersed in the test paint and converts the potential to pH.
Porosity of Dry Paint Film, ASTM D 3258
This test measures the relative porosities of a group of white paint films of similar opacities. Paints are applied by applicator bar to a non-porous surface, dried, and reflectances are measured (see Reflectance, below). A standard staining medium, consisting of dark colored pigment and dye dispersed in a mineral-spirits-soluble carrier (oil), is applied by applicator bar over each paint film. Time for penetration is allowed, and the medium is then removed by washing with mineral spirits. Reflectances are again measured, and reported. Loss of reflectance as compared to the unstained paint is a measure of film porosity.
Reflectance of Dry Paint Film, ASTM E 308
Measurement of light reflected from a surface under daylight conditions, as perceived by the human eye, represents the brightness of the surface, being equal to light received, minus light absorbed, by the surface. To measure reflectance, paint is applied by applicator bar to a sealed surface at a thickness that achieves complete opacity, where additional paint will not change the reflectance. A spectrophotometer is calibrated on a standard surface having similar reflectance, and light reflected from the dry paint surface at the perpendicular, when illuminated at a 45o angle, is measured at the Y tristimulus wavelength, representing the sensitivity of the average human eye. Reflectance is stated as a percentage of the reflectance of a theoretical perfect reflector.
Sag Resistance of Liquid Paint, ASTM D 4400
Sagging, the tendency of a wet paint to flow downward over itself when applied to a vertical surface, is measured using an applicator bar having a series of 12 increasingly deep rectangular notches. The result is a series of 12 horizontal stripes of paint on a sealed black panel that is immediately placed in a vertical position so that each stripe is slightly thicker than the stripe above it. Notch clearances range from 2 to 24 mils (50 to 600 microns), and the sag rating assigned to the paint is the clearance in mils for the thickest stripe which does not overlap the stripe of bare panel just below it. If appropriate, the paint may be pre-sheared before testing to simulate shear created by some methods of application.
Scattering Coefficient of White Paint
This coefficient, defined by equations of the universally accepted Kubelka-Munk theory of light scattering, is an indication of white hiding power and can be used with reflectance and wet film thickness to compute the exact hiding power of a given paint in square feet per gallon. It is computed from Reflectance of Dry Paint, described above, reflectance over a black surface, described under Opacity of Dry Paint, above, and wet film thickness, using the method described in The Handbook, Titanium Pigment Corporation, New York, 1955 as revised, p. 99.
Scrub Resistance of Dry Interior Flat Wall Paint Film, ASTM D 2486
The paint is applied to a 6-1/2 x17 inch x10 mil black plastic panel, by applicator bar at a wet thickness of about 3.5 mils (88 microns), and dried for one week. The panel is clamped on a heavy glass plate, with a brass shim, 1/2 inch wide and 10 mils thick, between glass and plastic across the panel center. The plate is placed on a scrub machine, consisting of a platform, oscillating bristle brush and cycle counter. A standard aqueous scrub medium containing silica grit and other household cleanser ingredients is applied to the brush and is replenished at intervals. Scrubbing is continued until the paint film is worn through at the bump created by the shim. This number of scrub cycles is reported.
Spatter Resistance of Liquid Paint when Applied by Roller, ASTM D 4707
This method is similar but not identical to the ASTM method. An Upson board panel having an area of 1-1/2 or more square feet is primed with the test paint and allowed to dry 24 hours. When the test paint is intended as a finish coat, tinted paint, prepared as described below for testing tinting strength, is used for this test, as tinting may reduce viscosity and maximize spatter. Using a new 3 inch trim roller having a 1/2-inch nap, and with the panel in a horizontal position, a pre-weighed quantity of paint is applied to a known area to achieve a spreading rate of approximately 400 square feet per gallon. The panel is then immediately raised and secured in a vertical position. A black plastic panel, as used for testing scrub resistance, is placed in a horizontal position just below and in front of the panel, and the panel is again rolled, making 25 cycles, with the roller moving in the vertical direction, in approximately 30 seconds. The amount of spatter deposited on the black plastic panel is then rated on a scale of 0-to-10, where 10 represents no spatter, and 0 represents a pattern of hundreds of drops of spatter within an area of approximately 7 x 9 inches, where many drops are within 1/8 inch of the next closest drop. Rating depends on number, rather than size, of drops.
Tinting Strength of White Paint, Relative
This test measures the amount of tinting colorant required by a white paint (or tint base) to achieve a given depth of color, as a positive or negative percentage relative to a paint that is designated as standard. The higher the tinting strength of a paint, the more colorant it requires. Paints are tinted with industry-standard glycol-based colorant, in the amounts indicated in the table of test results, and are hand-mixed followed by 15 minutes of mixing by powered impeller at maximum practical speed and impeller size. Reflectance measurements are made on opaque dry films, and relative tinting strengths are computed using the method described in The Handbook, Titanium Pigment Corporation, New York, 1955 as revised, p. 92.
Touch-up of Applied Interior Flat Wall Paint
This test evaluates the degree to which repair of damage to a painted surface will blend into the appearance of the surface. Panels prepared for framing, above, are used, immediately after completion of the framing test. A large X is applied by 2-inch brush to the rolled area of each panel. After 24 hour dry, visibility of the X is rated on a 0-to-10 scale, where 0 represents an undetectable X and 10 represents an X highly visible to the point of unacceptable appearance.
Viscosity of Liquid Paint Using Stormer Viscometer, ASTM D 562
This is the predominant method used for measuring viscosity (consistency) of architectural paints and coatings as well as certain other types of coatings. With the paint at a temperature of 25 oC, adjustable weights are used to drive an offset paddle immersed in the paint at a rotational speed of 200 rpm. Krebs units (KU) of viscosity are determined empirically from the weight required. A stroboscopic timer may be used to measure the rotational speed of the paddle.
Water Spotting Resistance of Dry Interior Flat Wall Paint Film
This test is performed on panels previously used for the framing and touch-up tests, both described above. Immediately after judging of touch-up results (24 hours after touch-up application), 0.5 ml of water is allowed to drain in a vertical streak down the panel. After an additional 24 hours, the paint is rated for water spotting, using essentially the same 0-to-10 scale and criteria as for framing and touch-up.


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I thought I published Part 1, but,um, it looks like it was just still in draft form. I'm going to still run with I'm new to this shit. Ok…Sooooo Part 1 of my 3 part rant…
Stress is a killing factor for a bipolar person. It can drive you so close to the edge, well, over it for some people. It just weighs heavier on us compared with other people. Not many people would decide the best way to deal with the speeding ticket you just got is to drag yourself out to the desert, slit your wrists and feed the wildlife.
Then no one would have to deal with your cold, soulless body in what would surely be a traumatizing experience to said handlers. I had it figured out how to feed the dog enough food so that she had to find the other food over time. She'd probably just start eating it all up if I fed her enough to survive until someone noticed I wasn't taking care of business.
But I'm here, obviously, taking care of business. I bought some pot and honestly, I feel like I don't even know who that person was. Seriously. Like it was a dream or something. But that's what stress does. I just melt into a pool of myself. Useless. Irrational. And crying hysterically. Truly a pathetic site.
But it's rare these days and that's the beauty of it. The past month, the doc has been changing my meds and I know it's been a rough transition. Serious withdraws like never before from the one, citalopram. I'm still nibbling a small morsel off of a pill because I'm afraid to get sick again. Only once before in the 13 or so years of my adult life have I wanted (and did) go to the ER for pain. This time, it passed because there was no way I was driving myself 30 minutes to the hospital and it didn't last too long. But that was some rough shit.
Years ago, pre-prescribed legal drugs, I was a mess all the time. I had a lot of issues and would black out, oh I don't know, maybe monthly, for a few years. And just because I didn't black out more than that doesn't mean I wasn't shit face wasted most of that month as well. It's the blacking out that scared me.
At 110 lbs and cute, not being conscious is not good. I'm lucky. I've remained fairly unscathed. No one's unscathed. That's fucking life. You're going to get scathed over time, no two ways about it.
Ahh, but why I've drifted there, couldn't tell you. I've got the "bipolar barfious" going on lately. Sounds more official then, right? If you add –ious to it…Again, I've been delighted to hear from others out there in blogville about the barfing condition that happens to all of us. We often say wayyyyy more than we probably should have. Shhhhit, I'm actually dealing with the consequences of my fucking mouth right now.
I moved on to the grounds of an Inn. I rent an apartment in the back and answer the phones in the evening for a discount on my rent. It technically works out to like $0.80/ hr but I'm home anyways and the phone rings maybe once a night. I also can go eat breakfast for free when there are guests and I get my sorry ass out of bed in time. I go about once a week.
It's kind of like working because I grew up in the service industry. It's like a disease. I can't help but be hospitable. "How was your stay?" "Where are you from?" I just want to eat, shoot the shit with the cook and roll out, but it's a disease. I've got Server Disorder as well. Damn, I'm fucked up.

subset: commoncrawl


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Throughout the course of a long season, odds for futures markets in sports betting can fluctuate.
The latest case in point: The outright odds for the NBA Championship have shifted again, with the Los Angeles Lakers having recently fallen from their perch as the favorites, only weeks after surpassing the rival L.A. Clippers for the best odds.
The Lakers now have the second best odds to win the 2020 NBA Championship at +320 after the Milwaukee Bucks took over as the favorites. Milwaukee now has outright odds of +300 to win it all this year, surging to the top of the board with a 32-6 record and MVP favorite Giannis Antetokounmpo leading the way once again on offense.
That the Lakers have slipped isn't necessarily a bad thing for bettors looking to put down a wager on LeBron James and company winning the title this year. It simply means bettors can do so at a price that has the potential for a slightly better payout in the end.
The headlines belonged to the Lakers and Clippers this off-season, as they both went all-in to build super teams in order to contend for a championship.
It's been the Lakers who have jumped to the top of the Western Conference standings with a 30-7 record, backed by a six-game winning streak. It would certainly appear the Lakers have been able to turn things back in the right direction after a four-game losing skid in mid-December.
All four of those losses were to teams either in a playoff position, like the Indiana Pacers and Denver Nuggets, or considered top tier championship contenders like the Bucks and Clippers.
The Lakers have emerged as the clear favorites to win the Pacific Division, with odds of -225.
Meanwhile, the Clippers have been up and down lately, with five losses in the last 11 games. Yes, they defeated the Lakers during that stretch. But they've also lost to the Chicago Bulls and Memphis Grizzlies, who are most certainly not heavyweights in the NBA.
With the Clippers looking for traction, the odds on them to win the division are now +140. They're currently fourth in the Western Conference with a 26-12 record, and odds to win the championship at +320 as of Wednesday.


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Teach the old dog some new tricks: Let LotusScript consume REST Services the easy way
This article shows you how to consume REST Services in LotusScript like this:
You can both GET and POST with the classes.
Behind the scenes this is accomplished with two script libraries. One back-end worker class made with Java (class:CWebContentConsumerJava) which does all the heavy lifting, and a LotusScript wrapper class (class:CWebContentConsumer) which uses the LotusScript-to-Java bridge LS2J to interface the back-end java directly.
Click on "Read more" to read the details.
One of the missing pieces in LotusScript has always been some kind of HttpReader, enabling us to communicate directly with the web. Lots of Notes-developers has therefore performed these tasks in Java within Notes/Domino. Java has excellent support for this, and luckily Notes/Domino host Java in a decent way.
Note that I don't do anything new here, I simply combine stuff from various places. If you download and check out the code, you'll see links to several sites where I got the original idea, snippet or code from. Hopefully I haven't forgotten any! One particular blog was very inspirational for me, Eric McCormic's "Server REST with authentication".
The whole trick is:
- A set of java classes with base class CoreConsumer. It contains most core logic, such as getContentCore and postContentCore. These methods contains the code that actually communicates with the REST Services. Subclasses JSONConsumer, XMLConsumer and HTMLConsumer contains more tuned methods for their respective content types, and also preset the content-type for you. At the time present, the JSONConsumer is the only one with a reasonable feature set. The XML and HTML consumers are only there to show the logic. Furture improvements may go along the lines of letting XMLConsumer have a powerful XPath query mechanism etc. JSONConsumer now has JSonPath-support and an internal XPath-like way of querying JSON.
- A LotusScript class wrapping the java class above via the LotusScript-to-Java bridge LS2J.
- Use the LotusScript-class in your own code as you see in the sample above.
How to use in your own code?
The sample database contain two script libraries, the "class:CWebContentConsumerJava" and "class:CWebContentConsumer". The first script library is written in java, while the latter is written in LotusScript.
Copy these two script libraries to your own database, and you are ready to go.
Personally I like design inheritance, so I rather inherit the design from a central code-snippet database. Makes it much easier to maintain the code in one place! But that is of course up to you.
A litte heads-up on public REST services you can test on
In the following explanations I use REST services from some companies that kindly provide dummy services for us to use. Note that both the services can disappear or they can change the way they work, so please don't focus too hard on the services themselves. If they disappear, simply look up other sample REST Services on the net.
A birds view on what you can do with the LotusScript class
Below you'll see a lot of LotusScript code, simply using the script library class:CWebContentConsumer. Later I'll point out some details about how the LS2J works and some details from the back-end java code.
You will also find the code presented below in two agents named "Test GET" and "Test POST" if you download the sample database. Note that I have skipped some of the ordinary variable definitions in the description below. The code in the sample database is fully working.
In the first screenshot you see how small the code can be.
Define the variable
Define your variable;
Dim json As New CJSONConsumer
Get the content from the REST Service
You can call a buch of methods before you get REST service's content, but that is mostly if you need to control stuff like timeouts, what characterset you'd expect to receive and what not. Below I retrieve a list of countries from a REST Service;
strJson = json.GetJson("http://services.groupkt.com/country/get/all")
If the REST Service required authentication, the classes also support so-called basic authentication, with another method like this;
strJson = json.GetJsonWithAuth("http://services.groupkt.com/country/get/all", "Username", "Password")
Check errors
If everything goes well you have the complete JSON in the string variable! You can of course check if any errors occurred as well.
If json.GetLastErrorCode() <> 0 Then
strLastError = json.GetLastErrorMessage()
End if
The classes support different kinds of errors, and you will get error messages from the back-end java classes, from the LS2J-bridge and from LotusScript itself. It might be a good thing to check on errors often
Inspect debugging information
The classes also support a simple debugging system, so you can track the different steps in the back-end java class. You may want to see extra debug information from the back-end java classes. Turn it on with SetJavaDebugLevel before other calls, and retrieve the result with GetJavaDebugInfo after other calls.
Call json.SetJavaDebugLevel(1) ' 0=Off (default), 1=On
The degug information can be retrieved with the GetJavaDebugInfo-method. All steps are delimited by a simple semi-colon (I said it was simple )
strValue = json.GetJavaDebugInfo()
Instruct the classes to behave your way before retrieving content
Remember to call most of these Set-methods before the Get-methods.
Some REST Services may be slow to respond. By default the classes will wait 5 seconds. Perhaps you need to extend this time?
Call json.SetTimeout(16000) ' 16 seconds = 16000 ms
Character set
You may need to change the character set that the content is retrieved as. The default is UTF-8. Another often used character set are ISO-8859-1
Call json.SetURLCharsetName("UTF-8")
Add Request Headers
Some REST Services needs additional co-called Request Headers to be set. This can be information such as customer-identification, tokens etc. You can add any number of additional request headers with AddRequestHeader, like this;
Call json.AddRequestHeader("MyID", "123")
Add URL Parameters
Some REST Services also needs URL parameters, which ends up in the URL itself. Instead of specifying them directly at URL-level, you can use the AddURLParameter to add any number of URL parameters.
Call json.AddURLParameter("CustomerID", "123")
Cleanup between calls if necessary
Note that you also can empty the request headers with EmptyRequestHeaders and ditto with the EmptyURLParameters.
What content-type do you want?
REST Services typically return their response in one of many so-called content types. You might receive JSON, XML, HTML, text or whatever. By default the classes CJSONConsumer sets the content type to "application/json", while CXMLConsumer sets "application/xml" and finally CHTMLConsumer use "text/html". You can set your own like this;
Call json.SetAccept("text/html")
Request Type
These classes has been designed to work primarily with GET and POST. The methods you see in the description typically reflects this with GetJson, GetJsonWithAuth, PostJson and PostJsonWithAuth. You can experiment with others by using;
Call json.SetRequestType("PUT")
User Agent
Many REST Services wants to know what kind of system requesting their services. This information is controlled by the request header User Agent. By default, these classes are very honest and report "no.vcode.webcontentconsumer/1.2". You can however set this to whatever you want, and thus spoof the REST Service;
Call json.SetUserAgent("Mozilla/5.0 (Windows NT 6.1; WOW64) AppleWebKit/537.11 (KHTML, like Gecko) Chrome/23.0.1271.95 Safari/537.11")
After retrieval methods
When the Get- or Post-methods has been called, you should have data within the bowls of these classes. Back to the initial REST Service-call;
strJson = json.GetJson("http://services.groupkt.com/country/get/all")
Below you see a screen shot of the service in a Chrome browser with a JSON viewer in place;
Each country has an element like this;
How to get values with JsonPath?
JsonPath Is a library that let you query the JSON almost like XPath. In other words, it is pretty easy to retrieve elements via queries.
If you are working with JSON, head over to the super resource JSONPath Online Evaluator. Simply copy the JSON from the browser, and paste it into the online evaluator, and start querying. Below you see the c ountry-JSON and the instant query result!
First (marked by 1) I pasted the JSON. Then I entered the JsonPath-query, marked by 2. Instantly the result is shown at 3.
Simply copy the query and use it directly in your code, like this;
strValue = json.GetJsonPathValue("$.RestResponse.result[165].name")
You can of course grab elements and arrays and what not from the JSON. My classes also support that you can use a method prepareJsonPath with any other JSON, and use the same GetJsonPathValue-calls on your JSON.
How to get values by "json path"?
What?! Didn't you just show me JsonPath? Well, yes. JsonPath is all nice and good, but it isn't necessarily so easy to loop through JSON-arrays etc. Coming from LotusScript, I'd rather want a LotusScript-list, that I can loop through and find the same information. Therefore, the CJSONConsumer-class also have an "Array Maker", looping through the JSON after it has been retrieved by the Get- methods. Every JSON-element is given a "key" built up almost like XPath (hence "json path" …), making it possible to grab values like this;
strValue = json.GetJsonValueByKey("root\RestResponse\result\name:2:495")
As you see, the "path" consist of a "root" with the sub-elemenet levels following suit. If you have multiple, equal names, such as from the countries-JSON in this description, it is nice to know that every key also have information about both the level within the JSON file, and an unique record number within each level. So, from the key above, we can see that the "Norway"-name lives on level 3 (levels are 0-based), and have the unique record number 495. Now, this is not so easy to remember! If the JSON is simpler and not repeating equal elements, you can simply use;
strValue = json.GetJsonValueByKey("root\RestResponse\result\name")
… Which will retrieve the first name at the specified path.
Not good enough? You might get the internal structure yourself with the following calls;
iMax = json.GetJsonKeysAndValuesCount()
For iCur = 0 To iMax - 1
strValue = json.GetJsonValueByIndex(iCur)
How to POST instead?
The agent "Test POST" calls a REST Service and post information.
I have been using the RequestBin (https://requestb.in) which allows you to create a temporary URL and post up to 20 times to it.
These classes support posting with or without basic authentication, just like the Get-methods. When posting you often need to add additional HTTP request headers and perhaps even add URL parameters. When posting finishes, it often returns some kind of response in the form of response headers together with perhaps json or XML.
Note that all the sub classes (CJSONConsumer, CXMLConsumer and CHTMLConsumer, has heir own post-methods, in order to get everything right regarding content-types etc. This means that CJSONConsumer has a postJson and PostJsonWithAuth, CXMLConsumer has PostXML and PostXMLWithAuth and finally CHTMLConsumer has PostHTML and PostHTMLWithAuth.
You can, if you want to control everything yourself (using SetUserAgent, SetRequestType, SetURLCharsetName, SetTimeout etc), use the core-class CCoreConsumer's PostContent and PostContentWithAuth. This way you can control lots of stuff!
Below I show you how to call a REST service at the testing site https://requestb.in/
Remember, it it easy to *use* other rest services (in other words GET) and inspect the response etc, but it is somewhat harder to test a POST. This because it means that the server needs to respond to arbitrary rest POSTS.
Services like RequestBin let you create a temporary "bin" meaning that you end up with your own bucket you can test to. Often these services also shows you want headers and payload the POST has posted.
In the sample below, I use the RequestBin URL https://requestb.in/ychjq7yc NOTE THAT THIS MAY NOT EXIST WHEN YOU TRY THE CODE!!!!
You may use the URL https://requestb.in/ychjq7yc?inspect to see the responses!
The code below sets up a poster-variable, add some request headers, one URL parameter and post away;
Dim poster As New CJsonConsumer
Call poster.SetJavaDebugLevel(1)
Call poster.AddRequestHeader("MyHeader1", "Is there anybody out there?")
Call poster.AddRequestHeader("MyHeader2", "Hey ho, let's go!")
Call poster.AddURLParameter("CustomerID", "123")
strJson = poster.postContent("https://requestb.in/ychjq7yc")
The result can instantly be seen on RequestBin;
I have marked with red some of the request headers and parameters coming from my code.
Check the Response Headers
Both Get- and Post-methods also retrieve so-called Response Headers from the REST Services. In fact, that is also displayed by RequestBin, like this;
You can get all response headers with the following call;
strValue = poster.GetResponseHeaders("<My own separator>")
Or, you can get a single one, if you know the name.
strValue = poster.GetResponseHeader("Cookie")
By the way, the return code is always stored as "ReturnCode";
strValue = poster.GetResponseHeader("ReturnCode")
Use the back-end java JsonPath and "Array Maker" with your own JSON!
Behind the scenes, the methods that prepare the retrieved JSON-strings for use with both JsonPath and the "Array Maker", has also been made available to you.
For example, you stuff your own JSON like this;
strJson = |{ "returncode" : "ok" }|
bOk = poster.PrepareJsonPath(strJson)
If bOk Then
strValue = poster.GetJsonPathValue("$.returncode")
End If
' Perhaps you want the Keys and Values instead? Kanena problema!
bOk = poster.PrepareJsonKeysAndValues(strJson)
If bOk Then
strValue = poster.GetJsonKeysAndValues("<My sep>")
strValue = poster.GetJsonValueByKey("root\returncode")
End If
Phew! Good luck folks, hope this helps somebody!
By the way; The downloadable sample database is here.


text:
The Desert Caballeros Western Museum in Wickenburg, Arizona presents "All Over The Map: The Cicerone Collection of Arizona Landmark Art". This exhibition showcases representational paintings of Arizona's mountains, canyons, vistas and wide open spaces. The focus is primarily on the early twentieth century landscape paintings of the state. The show can be seen at the Desert Caballeros Western Museum until March 4, 2018.
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text:
A Conspiracy of Wolves, Edmonds Bookshop, Geoffrey Chaucer, Leeds, the Leeds Library, the Owen Archer series, York, York St John University
I am so excited that my new publisher, Severn House, has chosen A Conspiracy of Wolves, the 11th Owen Archer, as their Editor's Pick for April in the UK! They have some wonderful things to say about it, too.
"With A CONSPIRACY OF WOLVES, Severn House is delighted to welcome to the list the highly-acclaimed historical mystery writer Candace Robb who, after a 10-year gap, has chosen to return to the bestselling medieval mystery series that made her name….
"Wonderfully atmospheric and impeccably researched, A CONSPIRACY OF WOLVES reintroduces readers to Robb's eclectic cast of much-loved characters, including the enigmatic healer Magda, the fastidious Brother Michaelo, and not least the upright, fairminded Owen Archer himself, as he doggedly pursues the truth behind the shocking deaths of Bartolf and Hoban Swann. Real historical figures mingle seamlessly with fictitious: I particularly liked Robb's portrayal of the garrulous, gossipy Geoffrey Chaucer, who makes for a brilliantly contrasting sidekick to the more sober, taciturn Owen."
You can read the entire blog post here!
And just in case you haven't check out my appearances/events page, here's where you can find me in the UK in May!
UK events in May–I look forward to seeing you!
16 May, Thursday, 6:30-8:00 pm, I'll be at the Leeds Library, Commercial St., Leeds, in conversation with Chris Nickson and Sara Porter (editor, Severn House)
18 May, Saturday, 2:00-3:00 pm, I'll be giving a talk at Pontefract Castle: Kings, Wolves, & Coroners (£3–tickets here) More details here. I look forward to seeing you!
21 May, Tuesday, 6:00-8:00 pm, I'll be in York! De Grey Lecture Theatre, York St. John University, in conversation with Chris Nickson and Kate Lyall Grant (publisher, Severn House)
Of course I'll also rush around York signing all copies of my books everywhere. So stock up!
First signing date for the US is:
17 August 2019, Saturday, noon-1:00pm Come chat with me while I sign copies of A Conspiracy of Wolves (and many other books!) at the wonderful Edmonds Bookshop
(111 Fifth Ave South Edmonds, WA 98020) Make a day of it and explore this beautiful town on the Sound!


text:
Currency Displayed in
1973-1987 GMC C10 2wd 3/5" Lowering Kit W/ No Shocks - MaxTrac K331135-NS
MaxTrac K331135-NS lowering kit without shocks for the 1973-1987 GMC C10 2wd has 3" front lowering spring and a 5" rear flip kit.
Install Time -
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text:
This object is an aspersorium, a vessel for holding holy water. It is made with ice glass, a decorative effect that causes the surface of the glass to resemble cracked ice. The aspersorium has a handle attached by two loops, an edge wrap, and a body wrap. See 360˚ photography and learn more about this object in The Techniques of Renaissance Venetian Glassworking by William Gudenrath.
The Venetian glass industry enjoyed a golden age during the Renaissance. By the early 1500s, the wonders of Venetian glass were well known throughout western Europe. Not well known, however, was how these objects were made. Until now. The result of 30+ years of research by William Gudenrath, The Techniques of Renaissance Venetian Glassworking presents 35 complete reconstructions of Venetian glassmaking techniques through detailed 360˚ photography and high-definition video.


text:
A 3-year-old girl in Oregon awoke on May 13 to find herself unable to stand or use her arms.
Evelyn Lewis' mother, Amanda Lewis, filmed her daughter's failed attempts to stand with help from her husband.
WGHP reported that the parents took Evelyn to the emergency room, where a doctor discovered a small but dangerous reason for her condition.
After combing through Evelyn's hair, the doctor discovered a tick, diagnosing her with a condition called "tick paralysis."
"The doctor talked to us for a minute and said over the past 15 years he had seen about seven or eight children her age with identical symptoms and more than likely she had a tick," Amanda Lewis wrote on Facebook. "It can affect dogs also and can be fatal. I'm glad we took her in when we did and that it wasn't something worse and that we found it before it got worse."
According to the American Lyme Disease Foundation, tick paralysis attacks a person's muscles and results in symptoms like muscle pains and numbness of the legs. These begin after a tick has attached itself to a host, generally on the scalp.
>> Related: Rare tick-borne illness worries some medical professionals
Fortunately, Evelyn is now doing much better, as her mother wrote on Facebook that she "is now pretty much completely back to her feisty little self. She complains a lot about her head itching but otherwise, she's just fine."
About the Author


text: Welcome to the clinic of Acupuncture & Herbal Medicine in Coventry, RI - safe, gentle, effective treatment for a wide range of physical and emotional health concerns, pain management, & women's health issues. Free Initial Consult Offered. Practicing wellness care - preventive medicine, natural healing. Additional therapies include whole food nutrition, herbal formulation, Tui Na Massage. Wellness workshops are offered including certified Qigong & Taijiquan instruction. Visit www.NaturesHealing.info for more information.


text:
Search the Community
Showing results for tags 'reports'.
Found 14 results
graphic in header with conditional logicI have a table of docents who are in one of two programs (art or garden). The docent logs in with authentication. After logging in, the docent sees a tabular report of all lessons they have signed up to teach. Is it possible to customize the header with javascript so it contains the graphic (logo) specific to the art or garden program?
Caspio User logs
LynnR posted a question in General QuestionsWas wondering if there is any way to have the activity from the user logs displayed and filtered in reports?
i have a search page where i am searching using a view and i would like to hide columns that are totally empty
Reports DashboardI might be over thinking this, as usual. I would like to create a dashboard page where the user can click a button and run a static commonly requested report, This page would contain 10 or so of the most commonly requested on reports. People would just visit the page, click a report icon, be shown the results, and be done - without having to search, sort, or use other results page functions. Is this a built in option, or is really just a graphic button hyperlinked to a webpage that contains the embedded Caspio report datapage code? Is there a better cooler way? ;^)
ThomasKollmann posted a question in API and IntegrationMy company has a very simple website on Wix Platform and we utilize Pipedrive advanced as well. The reports, called Insights, on Pipedrive are very simple and limited in this plan we afford to pay. So.. I am building another automatic way of getting those reports and making them accessible to our team of sellers. I found out Zapier, which made half of the job done. I integrated Pipedrive with Googlesheets and then .... when I started learning how to integrate Googlesheets with the website (WIX) I discovered Caspio.... which seems to do it all.... I have been watching tutorials videos for the past 2 hours and tried to import my datasheet to start testing the limits of the free plan but its has been quite complicated... I don't have a specific question... If someone could give me a few tips about the task I am trying accomplish would be really helpful. =) Thank you!
Report problem - How to?
Colnocode posted a question in General QuestionsI am trying to produce a report that is 101 with a spreadsheet but can't figure out how to do it with Caspio. Very simplified so I can explain my difficulty. I have two tables <Income> and <Cost>. Each table contain the following fields:- ID; Project#; and Amount. My desired report something like this Project# ~ Income_Amount ~ Cost_Amount 1 $200 1 $250 1 $150 1 $250 Total Project $450 $400 Profit $50 I tried to use a View to get the <Income> & <Cost> by project , However, I wound up hundreds of records - seemed to combine every <Income> with every<Cost>. And the report was meaningless. Simple task but how?
Copying Records from a report into new records
JaredL posted a question in Tables, Views and RelationshipsI have a list report where i can edit records. I would like to be able to edit the records, but when I save them, I don't want to update the previous ones. I would like to save them as a new set of records. In a way I would like to be able to "transform" a report table into a submission form. The reason I am doing it this way is because a submission form has a fix number of fields, and it submits one row at a time. In my case I may already have defined some events, and some of them may have a few records or rows in the report and others may have more. Once I make changes to the rows I would like to submit them at the same time.
Table Autoscroll
Same record returned multiple times in report
EilisD posted a question in Tables, Views and RelationshipsI have a separate search datapage and report datapage, the search has three listboxes which a user can choose an option from (only the first listbox is required the other two are optional). I have embedded the datapages on the same web page and each time I choose either one or all of the three listbox options the resulting records are repeated three times in the report. Can anyone advise on why this might be happening? I have tried having just one filter on the report datapage but the records are still shown three times.
Urgent help wanted!!
wvantongeren posted a question in General QuestionsUrgent help wanted with my DataPage: Reports Details!! I want to select a field from anathor table. te fieldname is: MJOB Inspectiebrief File, its a file. I want to do that with a virtual field, but I cant select an Parent field? Please help. With the Form element I only
Display Count Total Only
HekimaWallaceQualls posted a topic in User JavaScript and CSS DiscussionsI want to display the total number of records in a table without showing the rows of data. For instances, if the record count is 21, I just need 21 but I don't need any other data.
Updating A Record From A Report TableHi, first time user with no HTML so please go easy on me. We want to allocate various jobs to a user. We currently run a tabular report to select a range of jobs but then have to go into the detail view of each job (record) to select the appropriate user from a dropdown in the allocate duser field, click update and return to results to allocate the next job. It works but but the guy using it says it was a lot simpler in Excel where he could simply click on the dropdown list in the appropriate cell under allocated user column and select a user. Is it possible to update using a dropdown in the tabular report? Or maybe design an update sheet where we could see multiple jobs and just update the allocated user field? Thanks


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BP gains access to shale-rich Ohio site
A shale-rich basin northeast of Ohio has been leased by BP as part of a bid to expand its onshore gas portfolio.
The Utica/Point Pleasant is a relatively new and promising shale basin which could contain between 1.3 and 5.5bn barrels of oil and between 3.8 and 15.7 tr cubic feet of natural gas, said BP.
The rock formation spans 1000 acres, has a depth of 6000 feet and, and according to BP, is of similar thickness to the Marcellus.
Lamar McKay, chairman and president of BP America said the investment will "create jobs, bolster the local economy and provide additional sources of energy from an important emerging American resource".
"Over the last five years BP has been America's largest energy investor with vast experience in developing natural gas resources. We intend to bring our expertise and the highest industry safety and environmental management practices to this project," he added.
BP is the second largest oil and gas producer in the US with a workforce of about 23,000 people, making BP the country's second largest oil and gas employer.
In the lower 48 US states, BP and its co-owners operate fields holding some 50tr cubic feet of natural gas, enough to satisfy US needs for more than two years, claims BP.
Currently BP has active shale positions in the Woodford, Haynesville, Fayetteville and Eagle Ford.
Earlier this month rival energy giant, Shell, entered into a production agreement with China National Petroleum Corporation (CNPC) to help China explore its vast, and currently untapped, shale gas reserves.
India has also stepped up momentum to unleash the resource, opening bidding on 23 March for energy companies to access its shale reserves by 2013.
Exploration news for the oil and gas industry, covering technology, development, discoveries and more for onshore and offshore sectors
Oil and gas production news for the global petroleum industry


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The CIA is a rogue institution. It undermines national security. It was dishonest about the threat from Iraq. It hid the truth from the American public. It has plotted against other parts of the government. It has betrayed the country.
That's not the latest lefty screed against the spooks. This critique is the central point of a new book written by a darling of the neoconservative claque running much of President Bush's foreign policy. In Bush vs. the Beltway, Laurie Mylroie, an adjunct fellow at the Washington-based American Enterprise Institute (neocon HQ), offers a j'accuse-like indictment summed up by this slim volume's subtitle: "How the CIA and the State Department Tried To Stop the War on Terror." Mylroie charges that a conspiracy of head-in-the-sand intelligence analysts and don't-rock-the-boat foreign service apparatchiks covered up, ignored and dismissed evidence that Saddam Hussein orchestrated the 9/11 attacks and that al Qaeda has been a front for Iraqi intelligence. Moreover, she claims that midlevel CIA bureaucrats — no names, of course — were able to thwart Bush, Vice President Dick Cheney, Defense Secretary Donald Rumsfeld, Deputy Defense Secretary Paul Wolfowitz and others from presenting the best possible case for war against Iraq.
Mylroie's theories might not deserve much attention except for the fact she has influential admirers. Richard Perle, a member of the Pentagon's Defense Policy Board, R. James Woolsey, a former CIA director, and Christopher Hitchens, the leftist writer turned Wolfowitz fan, have endorsed her book. Her past work has been hailed by former U.N. Ambassador Jeanne Kirkpatrick (the godmother of the neocons) and Wolfowitz. Several years ago, Mylroie co-wrote a book on Saddam Hussein with New York Times reporter Judith Miller. Mylroie is a terrorism consultant for the Pentagon. She recently testified before the independent commission investigating the 9/11 attacks.
So, what Mylroie says matters — at least to some important folks. And her work reflects the suspicions (and biases) held by the neocons and hawks who derided and disregarded intelligence assessments that did not support their prewar assertions about Hussein's weapons of mass destruction, Baghdad's supposed alliance with al Qaeda, and the threat posed by Hussein. Her embrace by the neocons illustrates that some of this bunch are happy to engage in the most liberal (and apprehensive) interpretations of reality when it suits their interests.
Mylroie argues that "substantial evidence did exist to tie Iraq to al Qaeda and to suggest that Iraq was involved in the September 11 attacks." Substantial evidence — that's a big claim for a big charge. But boiled down, her case rests on the unproven assertion that key 9/11 plotters were not Islamic fundamentalists but Iraqi intelligence operatives. She starts with Ramzi Yousef, the convicted mastermind of the 1993 World Trade Center bombing. She raises intriguing questions about an alias he used and speculates that Kuwaiti files supporting this alias were manipulated by Iraqi intelligence. And, to her, that means Hussein was behind the first attack on the World Trade Center. She then turns to Khalid Sheik Mohammed, the supposed author of the 9/11 attacks. He is Yousef's uncle and, like his nephew, a Pakistani. Without evidence, she surmises that his identity might be a concoction, too. Noting that Yousef's two older brothers and a cousin also are involved with al Qaeda, she asks, what are the odds that one Pakistani family would be at the center of a terrorism crusade? It is more probable, she argues, that Iraqi intelligence set up fake identities for its own operatives so they seemed to be Islamic fundamentalists.
Appearing before the 9/11 commission, Mylroie was asked if any information indicated Khalid Sheik Mohammed was indeed an Iraqi operative. She replied that a friend of hers — a retired Israeli intelligence official she would not name — had told her, "It's obvious that these [identities] are legends." As Judith Yaphe, a professor at the National Defense University who for 20 years was a CIA analyst, snapped, "That is not evidence."
Even if Mylroie offers more theory than proof, wouldn't the CIA be keen on demonstrating that Hussein was responsible for 9/11? Au contraire, she says. CIA officials, she maintains, have been "systematically denying any evidence of an Iraqi connection with terrorist activity." During her testimony before the 9/11 commission, Mylroie recalled, "A senior administration official told me in specific that the question of the identities of the terrorist masterminds [particularly that of Khalid Sheik Mohammed] could not be pursued because of bureaucratic obstructionism." Who said that to her? Mylroie wouldn't say. Obviously, the Bush administration would love to connect Hussein to 9/11. So, I asked Mylroie, how could midlevel CIA bureaucrats foil the White House and the Pentagon? "I don't really know all the details of it," she answered.
Why would the CIA be undermining the war on terrorism? Mylroie's answer is simple. In the 1990s, the CIA and the State Department concluded that modern-day terrorism was mostly a "stateless" endeavor conducted by evildoers unattached to any particular government and not sponsored by regimes. So to protect themselves, national-security bureaucrats have smothered evidence that Hussein was responsible for 9/11 ("evidence" being a loosely defined term). According to Mylroie, they rigged intelligence reports and spoke to reporters off the record to cast doubt on supposed Baghdad–bin Laden links. The bottom line: The world was kept in the dark because career-first intelligence officials gave anonymous quotes to a few reporters.
Mylroie offers some sound points about the self-protective nature of bureaucracies in Washington and the inability of agencies to rethink prevailing assumptions. But her investigative techniques do not inspire confidence. She notes that Hussein's gleeful responses to the 9/11 attacks ("Americans should feel the pain they have inflicted on other peoples") reinforced "the impression . . . that Iraq was linked to the attacks." But these comments could as easily have been seen as Hussein exploiting the tragedy. Mylroie stands by the disputed charge that Mohammed Atta, the supposed ringleader of the 9/11 hijackers, met an Iraqi intelligence officer in Prague in April 2001. She neglects to mention that the FBI investigated and found no corroborating information and that in October 2002 The New York Times reported that Czech President Václav Havel informed the White House there was no evidence to confirm the meeting. By the way, this Iraqi intelligence officer was captured by U.S. forces in early July. So far, there's been no word that he has acknowledged meeting with Atta.
Mylroie is still fighting the last battle — in which Pentagon neocons and their allies wrestled with other government officials who questioned their Hussein-is-a-threat rhetoric — even though her side was victorious in that face-off. During the prewar debate, Bush and his aides relied on belief more than facts to argue that Hussein was an imminent danger. That has become increasingly clear in the postwar period, which has yet to yield evidence to back up their most dramatic charges. Now Mylroie enters the fray, providing even less proof for a harsher case against Iraq and, more importantly, seeking to discredit those government forces that occasionally questioned the factual basis for the invasion. She literally pronounces the CIA the enemy within.
It is no secret that before the war Cheney, Rumsfeld, Wolfowitz and other Bush officials were suspicious of CIA analysts who were unable to confirm what these war advocates assumed to be true — that Hussein was in cahoots with al Qaeda, that he possessed WMDs, that he was a 9/11 co-conspirator. These hawks did not want to be inconvenienced by facts (or the lack thereof). For this choir, Mylroie's book is a hymnal. She offers them full justification for adhering to their own assumptions and disregarding the analysis of others. For the rest of us, she unintentionally supplies insight into a paranoid corner of the neocon world where truth is based on presumptions rather than facts.
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Faith Outreach Representative Needed in Hamilton County!
ORGANIZATION: Alzheimer's Association of Northeastern New York
Please visit the new page to apply.
Are you passionate about putting an end to Alzheimer's disease? Do you want to get more involved with the Alzheimer's Association and help us to spread awareness and expand our reach in your community? Do you have connections in faith communities in your area? Then we need you!
We are looking for effective communicators who can help us to conduct outreach in faith communities and represent the Alzheimer's Association at faith events in your community. We provide training and ongoing education.
This role can be virtual, in person, or both - it is up to the comfort of volunteer. The Alzheimer's Association adheres to each chapter's local and state guidelines.
The Alzheimer's Association is the world's leading voluntary health organization in Alzheimer's care, support and research. Our vision is a world without Alzheimer's.
Join Today, Fight Back!
38 More opportunities with Alzheimer's Association of Northeastern New York
About Alzheimer's Association of Northeastern New York
1003 New Loudon Road, Suite 201, Cohoes, NY 12047, US
Mission Statement
Our mission: To eliminate Alzheimer's disease through the advancement of research; to provide and enhance care and support for all affected; and to reduce the risk of dementia through the promotion of brain health. Our vision: A world without Alzheimer's disease.
The Northeastern New York Chapter of the Alzheimer's Association serves a 17-county area in the northeastern most corner of New York State. These counties cover over 15,000 square miles, representing approximately 30% of New York State, and are home to 1.5 million people. It is estimated that 40,000 of the friends and neighbors living in this area have Alzheimer's disease. As is the fact across the country, almost 80% of all persons who have Alzheimer's live at home and are cared for by a family caregiver and 1 out of 3 adults personally know someone with the disease. This means that there are approximately ½ million people in the northeastern region of New York who need education, information and referral services and approximately 24,000 family caregivers who need support, respite care and an array of tools to help them with this difficult task.
We pride ourselves for being here for our families and those who work with our families. To make sure that we are accessible we have an administrative office in Albany and 11 Point-of-Services located throughout the region, including Sidney, Delhi, Cooperstown, Glens Falls, Queensbury, Indian Lake, Hudson, Catskill, Johnstown, Amsterdam and Fort Edward.
Lake Pleasant Public Library2864 New York 8640 Bay RoadLake Pleasant, NY 12108
September 19, 2022
- Community Outreach
- Basic Computer Skills
- Faith-based Leadership
- Networking
- Relationship Building
- Verbal / Written Communication
- People 55+
- Must be at least 18
- Orientation or Training
- 1-3 hours per month


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The Cleveland Orchestra gave not a single regular subscription performance this week. And yet the group managed to accomplish more than usual.
In devoting the whole week to education, the orchestra entered the lives of countless thousands of young people and shed needed light on the full spectrum of ways music is made and enjoyed.
Every foothold the orchestra has in area schools came into play as the ensemble and music director Franz Welser-Most performed for, featured, or collaborated with throngs of students at Severance Hall and elsewhere.
The first event of the week, not counting a steady stream of appearances by individual musicians in Northeast Ohio schools, was an education concert Wednesday morning featuring both the orchestra and the Great Lakes Theater Festival.
Led by Welser-Most and narrator Donald Carrier, the program for students in grades six through eight considered the musical legacy of Shakespeare's "Romeo and Juliet." Some 1,500 students from 28 area schools watched and listened as actors from GLFT performed excerpts from the tragedy and the orchestra played related selections from famous scores by Tchaikovsky, Prokofiev and Bernstein.
The iconic couple's meeting, balcony scene, and death were ably brought to life by a pair of costumed actors. The two even staged a sword-fight. In between, the orchestra and two singers from area music schools repeated the scenes in their musical versions, including arias from Bernstein's "West Side Story."
Strikingly clear and effective, the presentation begged to be replicated. As the large student crowd sat quietly in mostly rapt attention, this observer could not help but imagine more offerings in a similar vein for other students as well as adults.
The orchestra also gave two concerts for children in grades one to three, and was scheduled Friday to present, with guest conductor Robert Franz and Cleveland's Singing Angels, a family concert called "Under the Sea." But the high point, in terms of scale, was a "Special Showcase Concert" Thursday involving the orchestra and all four student ensembles with which it's linked: the Cleveland Orchestra Youth Orchestra, Chorus and Children's Chorus, and El Sistema @ Rainey, a strings program at Cleveland's Rainey Institute.
At night's end, a sizable number of orchestra musicians joined COYO in dashing performances of Dvorak's "Carnival Overture" and the Finale from Tchaikovsky's Symphony No. 5.
The event was unprecedented. While all four groups have appeared at Severance individually, not until Thursday had they shared one billing. Moreover, the concert, taped for broadcast next Friday on WVIZ/PBS, marked the kickoff of "Make Music! ," a new effort at including the public in the act of performance.
"We start tonight," Welser-Most told the audience.
The initiative got off to a modest launch with a sing-along performance of Handel's "Hallelujah" Chorus. Though well-known, the piece is complex, and many participants Thursday seemed unsure of when or what to sing. Still, the experience, though tentative, was joyful.
Even more inspiring were the performances that came before.
The 45 youngsters of the Cleveland Orchestra Children's Chorus handled works by Purcell, Humperdinck, and Patriquin with startling aplomb, while the 85-member Cleveland Orchestra Youth Chorus displayed remarkable maturity in weightier works by Mendelssohn, Argento and Brahms. Parents and others alike surely must have been proud.
Inspiring doesn't even begin to describe the opening performance by students from Rainey. With "God Bless America" and a short work called "Burst," the small ensemble and its director, Cleveland Orchestra violinist Isabel Trautwein, captured the crowd's heart and set the tone for an ennobling evening.
Trautwein later shared a stage with Welser-Most when the two addressed a sold-out house Friday at The Club of Cleveland.
In a fruitful, earnest conversation about the value of music education, the artists testified to the impact early exposure to music had on their own lives and articulated a vision for the region as a capital for music. They also shared success stories from their recent efforts in spreading the power of classical music.
Already, they said, Northeast Ohio is home to one of the best orchestras and some of the top music schools in the nation. Therefore it's a not a stretch to imagine the area as a place where everyone is grounded in music and has some chance to participate in it. Passion and effort are all that's required.
"You have to set a goal, and you have to go for that," said Welser-Most. "I believe Cleveland has all the components to be the musical city of America."
Repeating a topic from a speech he gave last year in Vienna, Welser-Most also pointed again to "Asianization" in music, noting how much countries like China and South Korea are reaping from their commitments to music education.
Like those nations, the conductor explained, Northeast Ohio also stands to benefit from more robust participation in the arts. Youth here could gain invaluable social, educational and emotional skills while the region as a whole would rise on the strengths of a cultural economy and musical tourism.
"We are shooting ourselves in the foot as a culture . . . if we take away education and its creativity from children," he said.
Busy as it has been, the week is not over. Saturday morning, trumpeter Michael Miller presents a Musical Rainbow" program at the Warrensville Heights branch of the Cuyahoga County Public Library, and Sunday evening, the Cleveland Orchestra Youth Orchestra and Chorus present a full-length concert under conductor James Feddeck.


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I thought I knew enough about a nine year-old named Manny. A stand-to-the-side kid who didn't say much. Then, I caught him, his buddy Edgar, and two other kids just inside the school fence last Sunday. His friend Edgar had already been knocked down, and Manny prepared to return fire. He had his black hair combed straight back, flannel shirt unbuttoned, sleeves rolled, and fists clenched. I saw his rib cage heaving with fight energy ready to pop.
I stepped forward and called Hey! Two outsiders bolted over the chain link and were gone. Manny and his pal paused for an instant. He made eye contact – the first time he ever looked me in the eyes. I got a slight chill. Whoa! Then, these boys also took off. That left me alone on the playground.
Whoa indeed, I had a few questions!
Children are teachers carrying messages. I thought of Manny, for example, as shy, scrawny, and quiet. He tucked his head down as he spoke and tended to back up when grown-ups approached. He was a boy who kept his distance. None of this Sunday encounter lined up with the boy I thought I knew.
I pulled together other observations. While he did not talk much, he did like to build things – towers and houses made from scrap – winding paths from bits of rocks. Most of all, he built bridges. Dozens of them. A calling card from a silent boy. If he'd been to the school grounds over the weekend, I'd find his patchwork everywhere – Sticks, stones, and now I added the prospect of broken bones.
On Monday, I sought him out during the first recess and chose to leave Edgar till another time. He had tucked himself into a "cave" cut out from a huge shrub along the building's west side. Chosen bits of brick lined a path to the cave's entrance within which he sat, surrounded by a small ring of children – both boys and girls. What have we here? I wondered. He had carved this space for his circle? Could that be true?
He brown-eye blinked me, but he did not speak. Intense, but not so shy, I thought. Then, he stood up and stepped from the cave.
"You want to talk to me?"
I hadn't said so, but he was right. So he joined me as we walked the perimeter of the playground. He gave me a short summary of Sunday. Of the boys from down the hill who had come "to do some bad stuff." No further details provided. He was a protector. He didn't boast or flash as he spoke. Only a precious few details of a line that had been crossed by strangers.
Manny's summary: "They aren't good kids. They don't belong here."
At nine, this quiet kid knew a great deal. I reflected upon that boy in me still licking wounds from stumble upon stumble. It took me years to become stronger, and everything that mattered had to fight its way up from within. Had Manny figured out some of this already?
Notes to consider: The shortest pause comes before a sudden surprise. Stillness in a blue jay as it ponders flight is stunning. An entire universe of prospects awaits a sign to step forward. I know little about prospecting in chance or why time chooses a particular child as it leaves another behind.
How much can hide within one shy boy! How much I more I see when I remember to look a second time.