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Believe it or not, but with everything else that's been going on lately—Gallery1988's Breaking Bad series (and that crazy gallery show), Ltd. Art Gallery's PRESS START exhibition, Bottleneck Gallery's More Than You Imagined, Mark Englert's new stuff, and everything else we've covered over the past couple weeks—it's actually been quite a while since we checked in with the Mondo guys. And as it turns out, today's a perfect day to do just that: not only is the Austin-based dropping two new posters from Kevin Tong and Tom Whalen this afternoon, but they've also just issued a formal announcement about their latest gallery show. Wanna know more? Of course you do. Meet me after the jump.
Y'know, when we started Limited Paper here at Collider.com, one of the first "rules" we established for the column—if not the very first—was that we'd make a point to cover a variety of things happening in Poster Land, not just the stuff being released by Mondo. At the outset, this actually seemed like it might be a bit of a challenge: Mondo's the reigning champ of the poster-producing industry these days, and with the pace that the Mondo crew has set this year (I haven't done the math, but surely they've averaged more than 2 prints per week at this point), it was going to be hard not to cover them at every turn.
Oh, how naïve we were. It hadn't even occurred to me until just this morning—when the formal announcement for Mondo's latest gallery show arrived in my inbox—but it's actually been a couple of weeks since we ran an edition of Limited Paper that focused solely on Mondo-related shenanigans. Let's rectify that right now and take a look at what's happening in Mondo-land right now, starting with the posters being released sometime today (note: they may already have dropped by the time you read this; here's hoping you were waiting on the Tweet to come in):
- Jurassic Park by Kevin Tong
- 24×36"
- $45 edition of 275
- What's Opera, Doc? By Tom Whalen
- 18×24"
- $40 regular edition of 270
- $65 variant edition of 90
So, up top you've got the latest in Mondo's long-running (like, really long-running) Jurassic Park series. This one's by Kevin Tong, most recently seen producing one of the top-five greatest prints in Gallery88's Breaking Bad series. So far, reaction to this one seems to be split up the middle…but let's be frank: it's part of Mondo's Jurassic Park series—it's gonna go quick. The two posters below that, meanwhile, belong to Tom Whalen, and are the latest in Mondo's Looney Tunes series. That series kicked off all the way back in March, when Whalen's Duck Dodgers dropped during the opening of the Mondo Gallery. The series seemed to go on hiatus for a while, and then popped up again in the past few weeks with the release of Rabbit Season. Looks like Whalen's staked a claim on this license now that the Disney license has run its course, and who better? If there was ever a perfect marriage between style and content…
In other Mondo news, the latest Mondo Gallery show has been announced…and it's arriving sooner than some expected. September 14th, to be precise. Let's take a look at the fliers Mondo sent over :
Now, if you're a frequent reader here at Limited Paper, you may have noticed that "Robert Brandenburg" and "Craig Drake" are not two of Mondo's better-known contributing artists. But if you're a longtime fan of the Mondo brand (and, in particular, the Mondo gallery), you've almost certainly seen their work before: Brandenburg's the guy that did that enormous portrait of Blade Runner's Rachel at the first Mondo Gallery show (see below), while Drake's the guy that did the Spongebob Squarepants/20,000 Leagues Under The Sea mashup (also below). Here's what Mondo's press release says we can expect from the show:
Mondo, the collectible art division of Alamo Drafthouse Cinema, announces its next gallery show, which runs from September 14 – October 6, featuring both prints and original works of art from Robert Brandenburg and Craig Drake. The gallery opening on September 14 will be from 7:00 – 10:00pm with regular hours to follow for the show's duration…
Mondo fans may recognize Craig Drake's style from an original Blade Runner painting of Rachael at the gallery's sci-fi themed show at SXSW. "I find Craig Drake's sharp, sleek portraits very interesting. He created my favorite piece at our inaugural show, which I am proud to have hanging in my house," said Mondo's Mitch Putnam. Drake has delivered stunning works of art for Mondo's upcoming show, bringing his sleek 80s pop style to characters from Metropolis, Black Swan, Kill Bill and more.
Artist Robert Brandenburg will be reinterpreting classic movie posters by adding embellishments to the original one-sheets for the Mondo show. "If you are in the area, you must come see Robert Brandenburg's pieces in person. His attention to detail is unmatched," commented Putnam. His subtle and sometimes not-so-subtle tweaks to iconic art are sublime, adding new meaning to familiar poster art from movies like Deliverance, Manhattan and more.
So Mitch is the one that ended up with that Rachel. Huh. Anyway, let's stay focused: this show sounds like it's going to be pretty interesting, the latest in what's turned out to be a series of out-of-left-field choices for the Mondo Gallery ever since that March opening: no one saw this one coming, just as no one saw a full-blown Adventure Time show coming, or an all-Jay-Shaw show (devoted entirely to an obscure series of exploitation movies, no less). Can't say I know what to expect from this one when it arrives next week, but you can bet your candy-ass that Limited Paper will be there to cover it, and we'll be reporting back with video, photos, and whatever else we can snag while we're in there.
Well, folks, that gets you all caught up on the happenings over at Mondo for the time being, but—as we noted above—stay tuned: in the very near future, we're going to have exclusive coverage from the Sept. 14th premiere of the Brandenburg and Drake gallery show (including a "walking tour" video that'll show you every piece on display at the gallery…y'know, if you're not already coming into town for the show), and soon after that we're going to have some exciting Mondo-related coverage from Fantastic Fest 2012. Word on the street is, Mondo's going to be releasing some pretty awesome stuff during this year's Fantastic Fest, and if the rumors we've heard are true…there's going to be plenty to discuss.
Stay tuned for that—and more!—in the near future, my fellow Limited Paper enthusiasts. As always, if you're a gallery owner with a show you'd like to tell us about, an artist with some badass artwork on the way, or just some guy that overheard some mindblowing, poster-related gossip, we want to hear from you: drop Limited Paper a line directly via email at email@example.com, and be sure to follow us on Twitter via @LimitedPaper for other updates, shenanigans, and what-have-you's. If you've got something to say about today's releases—or the upcoming Brandenburg and Drake Mondo Gallery show—don't hesitate to sound off in the comments section below. See ya next time, folks: we'll be back tomorrow with the winners from last week's Last of Us giveaway!


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The average person in the U.S. consumes 3,500 milligrams of sodium a day. That's equivalent to almost 9 grams of salt, or nearly 2 teaspoonfuls—way more than the 2,300 milligrams per day suggested by the Dietary Guidelines for Americans.
But the majority of excess salt, or 77%, isn't spooned into your food—it comes from processed foods.
The FDA recently announced a plan to gradually scale back on salt in processed foods, which may be the end of the line for super salty products.
In the meantime, keep an eye out for excess sodium and adjust your intake accordingly. Check out these 25 hidden salt traps you can find lurking in the grocery store.


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David Schraub and I have exchanged some book titles to read. The second book suggested was Negrophobia and Reasonable Racism by Jody Armour. Below the fold find my initial thoughts on this book, I've skimmed a little more than a third.
One of the things Mr Armour does in starting out this book is to establish three stereotypical strategies of racism still prevalent. These are:
- Reasonable Racist — the argument made by the reasonable racist is that the opinion being held, is customary and typical in their society. That is that the opinion being ventured, typically framed by our author in legal settings, is customary … then it is not unreasonable that the court allow it.
- Bayesian Racists — "intelligent Bayesian" racism sounds suspiciously in Mr Armour's hands like the profiling arguments and discussions I had with Mr Schraub somewhat earlier. Oddly enough the argument used against the use of this is exactly the one I had used. That is, this method is flawed because normally the statistical foundations are flawed. Fix the statistics and the argument against it fails. If the statistics are right, then one is using "intelligent" Bayesian methods. If the statistics are wrong, this is defense or argument devolves to the one above (reasonable racism), as the reasoning is based on custom and hearsay prettied up (lies, damned lies, and statistics as it were).
- Involuntary Racists — involuntary racists are those who become racist based on past harm. Being beaten or raped by a black man/men in the past might make one prejudicial against blacks (or men) in the future. But, Mr Armour is not specifically interested in your prejudicial feelings more instead on courts and juries being influenced by the prior history of a person so affected. This last argument is likely last for a reason, and it is on this one I will now consider.
Oddly enough on the last point, I'd like to (against my better judgement) dredge some faint epistemology from my own feeble past. Mr Schraub, who I very much hope has commented, has been quite dismissive of any attempt of mine to enter my own, in his view highly privileged, life into this sort of discussion. But here goes my little story anyhow. When I was growing up, in the late 60s, my mother became very much involved in inner-city (Trenton) tutoring and volunteer assistant teaching in schools. As well, there was a local summer program which brought inner city, primarily black kids, out for educational activities and summer schooling in our township. These kids in the afternoons would be picked up by host families for, well, whatever and some of those kids came over and played and got to know us and our family. That was all well and good. Twice however, my mother brought my brother and I swimming with the larger community of kids. So, what was occurring is we had (on the first occasion) was an Olympic sized indoor swimming pool with a hundred or more kids romping about. Two of those kids, my brother and I aged about 7 and 9, were the only white children in the pool area. At some point, my memory now is hazy, one of those kids decided that seeing me swimming around in deeper water to try to drown me. Fortunately someone noticed and I was not successfully drowned. In the next year, with a smaller group at the organizers house in their pool, a similar occurance happened. As a result, I have had instinctive, a somewhat Pavlovian reaction of strong fear in similar situation. What situation is the trigger? Is it Race? … My answer is no. Unlike the "involuntary racist" of Mr Armour's I am not prejudiced due to those in any way that I can determine by self-inspection based on color or race. However, if I am grabbed and surprised underwater … that is the trigger. And that would be my suggestion or my point. That is, that in cases where a defense of "involuntary racism" is used, that race might not be the prevalent trigger of fear. A women raped, is more likely fearful of men not specifically only those men who are in appearance are reminscient of her original assailant.
He tells a case of a women who in the lobby of a bank in dim light sees the approach of a Black man. She interprets his approach (incorrectly) as menacing. She says something fearful, he reaches in his coat for identification. She interprests this as threat and pulls out a ladies gun and shoots him fatally. Mr Armour treats this case as a legal one and considers the three points above for the validity of use as defense.
What if the race was reversed? If the lady had been Black and the murdered bank client, say, White how would the "involuntary racist" claim play. She had been assulted in the past by a White man. The man approaching frightened her, she was alone in a dim place and this person dredged up memory of past harm done. In response to her fear he moved to pull a gun, she supposed so she shot him.
What if the race was the same? If the lady had been Black and the client Black? Or both White? Can one claim that memory of past harm based on similarities to the appearance of a past crime triggered fear and caused her to overreact?
If racism is an assumption of verdict in only the first case that makes no sense.
Mr Armour interprets citing "race" as reason as continuation of racism. My guess is that he would not do so in the second. My personal take on either is that one would have to establish that psychological cues tying the latter event to the former were in play in causing her to shoot. Race is not an issue. Trigger and cue is. A "color blind" court which Mr Armour thinks is inappropriate … is actually appropriate here. Race is not necessarily an issue. It is the requirement of expert witness (psychologists) to establish that race in a particular case is for that individual an actual cue for an involuntary flush of fear. In the case of mine, cited above, using that defense would be a lie. It seems likely I'm not exceptional.
On the other hand as an aside, I have little feel, being not a lawyer for the effect and workings of common law vs regulation and legislation. Mr Armour quotes case and judgement and points to influence. However this influence, I think, is one more felt within the legal community than by those without. This opinion is however to be taken with a grain of salt. I'm not enough of a student of British and American history to take a good reading on the efficacy of common law vs the other forms of government to effect social change and to change the things Mr Armour wants changed. My guess is that it has less effect than Mr Armour might think (he being a lawyer) and more than I think (me being not a lawyer).


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Who wants to live in the ghetto?
Four kinds of people
1. Pimps (they run it)
2. Losers (they don't know any better)
3. Disaster tourists (it's kind of fun to frolic amid decaying dreams)
4. Escapees (they are there until they aren't).
Those are the same types of people in the ghettos of academia.
Consider this in the context of the defenestration of Brian Rathburn. After writing (and deleting) a since-reconstructed post, Brian issued a self-criticism, and then a second-self-criticism that doubled as a resignation from Daniel Nexon's group-blog, Duck of Minerva.
Over at American Power, Donald Douglas reacted thusly:
Academe nowadays (more than ever) is the egg-shells realm of the perpetually aggrieved. Who wants to be around it? I mean seriously. You can't speak your mind. And you especially can't speak your mind if you're a man. There's nothing you dare say that won't be spun into something so objectionable by the leftist thought police that you won't be on your knees begging for absolution, if not your job. It's just depressing. Or, it's depressing if you fall for that sh*t.
As a conservative Donald is particular aggravated by the casual attacks on conservative that are typical in the ghettos of academia, but ultimately this view is a provincial as that of a ho in the ghettos of Detroit, who becomes embittered against the casual misogyny of pimps. The casual and insular attacks against the weak is not the central problem, it's a symptom of the problem.
The real problem is the ghetto.
The ghettos of Detroit, and the ghettos of academia, are places of low-employment and low-wages. Only the formal education, race, and job title change. But a professor at in the academic ghetto is a petty tyrant exploiting losers, servicing tourists, and indifferent to escapes as surely as is a manager of & security contractor for sex workers in the City of Detroit.
If you are young and thinking of entering the humanities ghetto — don't.
Practice normal science.
Or at least least a useful skill.
And run.


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Maks Chmerkovskiy, Kirstie Alley, Sherri Shepherd, Tony Dovolani Talk DWTS, All Star Season, & More
Entertainment Tonight interviewed Maks at his Birthday bash last Friday night!! He talks of how thankful he is for everyone who came for the event. He remarks on Demi Moore's recent troubles saying he hopes everyone will leave her in peace so she can get better. Kirstie Alley is interviewed as well. She's asked on whether she will be Mak's partner if there is an "Dancing With The Stars All Star Season" which is possibly in the works two seasons from now as you might have read from a previous posting. They interview Tony and his wife. He plugs Victor Cruz for Dancing With The Stars. Check out Sherri Shepherd as well. She is literally dying to dance on Dancing With The Stars (in my opinion!). She remarks of wanting to Samba, but, doesn't think she can "keep up with the youngsters". Erin Andrews and Chelsie Hightower gives Maks' future partners some good advise (and I mean some REALLY good advise!! LOL). Lots more below….
Below is Tony with Extra also interviewing Kirstie. He also asks her on the Dancing With The Stars All Star Season too. I am so game if she will be his partner!!


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Chronic Disease Self-Management (CDSM) Series for Seniors 55+
Join a No-Charge Chronic Disease Self-Management (CDSM) workshop. You'll learn how to do more of what YOU want to do, find practical ways to deal with symptoms and challenges, set your own weekly goals, make a step-by-step plan to improve your health, make better eating and exercise choices, understand new treatment options, and discover better ways to talk to your doctor and family about your health.
This series is provided through Fairhill Partners at Cornucopia Place.
Participants must be age 55 and up! This is a free event.
Monday, January 28, 2019
Cornucopia Place - 7201 Kinsman Road, Suite 103b - Cleveland, Ohio 44104


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City of Pflugerville, TexasHome Menu
Calendar Meeting List
Play Time
For children up to age 5 with an adult.
- Date: 11/21/2019 10:30 AM - 11:30 AM
- Location: Pflugerville Public Library
1008 W. Pfluger Street
Pflugerville, Texas 78660
- Featured ItemNo
Return to full list >>
Children up to 5 years of age with an adult are welcome to attend.
Free play. This is a come and go event. Just drop-in and enjoy.
All the toys are provided by the library.
For more information email email@example.com.


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Welcome to The School of Education at Edgewood College
The faculty and staff of the School of Education at Edgewood College welcome you to our website.
Thank you for your interest in either beginning or continuing a career in the education profession. It truly is an incredible responsibility to be involved in the process of teaching and learning. There is no other work that has such a profound possibility to literally impact society.
The School of Education is guided by Edgewood's founding Dominican values of truth, compassion, justice, community and partnership. Our courses are offered within the context of a liberal arts education framework. All of our programs seek to enhance the education profession and help individuals imagine a profession fully engaged in constructing a just future.
Please take your time to familiarize yourself with our website and always feel free to contact the faculty, the staff, or me with any questions concerning your future in the School of Education at Edgewood College.
Timothy D. Slekar, Ph.D
Dean, School of Education
BS Edinboro University of Pennsylvania
MS Millersville University
PhD University of Maryland-College Park


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Fire damages high-rise under construction in Dubai
DUBAI, United Arab Emirates (AP) — Dubai police say a major fire broke out in a high-rise building under construction near the world's tallest skyscraper, but there were no immediate reports of injuries.
The blaze Saturday sent a column of gray smoke over the cluster of towers surrounding the landmark Burj Khalifa spire.
A statement by Dubai police says a short circuit apparently touched off what it called a "huge fire." The police say more than 20 workers were evacuated and the flames were brought under control.
In November, a fire forced the evacuation of a 34-story residential tower in Dubai.


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Oh god. The trailer made it to YouTube, and people are taunting me with it. Let's get this over with. I have, at best, a face for radio. Unfortunately, I don't have a voice for radio. This is horrifying and I don't want to look.
The trailer for CAPTURED GHOSTS, a forthcoming documentary about my work.


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This is the condition of the Old North Parish Burying Ground in No. Andover, MA. I've often been asked to try and locate a tombstone. This shows why I often don't find it.
Here Lyes The
Body of Mr.
Andrew Peters
Who Deceased
December Ye 14
1713 in Ye 79th
Year of His Age.
(Full monument is below.)
Andrew Peters was my 9th great-grandfather.
Peters lineage was highlighted in my Blog Post.
In Memory of
Samuel Peters
born 1675 died 1736
And of His Wife
Phebe Frie Peters
born 1680 died 1757
Samuel Peters was my 8th great-grand uncle.
Phebe Ye Daughter
of Samuel and
Phebe Peeters
Aged 3 Years
Died August
ye 10th 1709.


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Holy hell, is Jamie Price's massive tyrannosaurus rex skeleton costume the ultimate in dinosaur cosplay. As you can see in the video above, the skeleton is a giant puppet that the user operates.
Should you desire to dress as a ghost thunder lizard for weddings and graduations, Price has written instructions on how to build your own 25-pound dead dinosaur. Be forewarned that several buckets of elbow grease are required:
It is over 10 feet tall and 14 feet long! There are over 140 individual parts that were created. It is built from a flexible foam with a welded steel/aluminum support substructure. Most of the parts were cut using a CNC router with a few cut by hand using a dremel and regular router. Total build time was around 130 hours at a materials/machine time cost of $550.
I want to build a dozen of these, drench them in glow-in-the-dark paint, and fly out to Ibiza and give a bunch of tripping ravers heart attacks. "This island, it is a dinosaur burial ground!"
[Via Fashionably Geek]


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The TriMet online radio scanner (not an officially provided TriMet service, but hey, it's open air radio…) has been growing in popularity, possibly in part due to the fact that there are sometimes delays between incidents and service alerts explaining the situation from TriMet, and some riders have discovered that they can scan the radio to try to find out what might be going on. Or maybe it's just that some people like that sort of "behind-the scenes" look at what makes everything go.
However, a lot of what you'll hear over the radio might be confusing if you haven't had any inside exposure to how the system works. So this post is intended to give an overview of what you'll typically hear on a day-to-day basis if you scan rail radio. If you have your own scanner and want to program it to listen to TriMet, the frequencies and talkgroup IDs you'll need are all listed here.
Communications between rail operators and controllers
On the mainline, operators are identified by their train number. So let's say, for example, you're the operator of train 3. If you need to contact Control for something, you will initiate your call to them by stating "Train 3." The controller of the air you're in will acknowledge your call by repeating your number back to you. (Alternatively, if the controller is the one initiating the call, they will contact you by stating "Train 3".) At this point, you respond with your TDL – your Train number, Direction, and Location.
TDL confirms to Control where you are, and also basically gives a heads up to the trains around you if they need to pay close attention to what you're going to say. For example, if I'm westbound at Lloyd Center and I hear you call in "Train 3, westbound, OCC", I'm going to pay close attention to what you say because if the reason for your call is a mechanical/police/medical issue, that could potentially delay me since you're only two platforms in front of me. But if I'm westbound at Lloyd and I hear you say "Train 3, eastbound, 60th", I don't have to be too concerned about it because you're behind me and going in the other direction, so even if you are delayed it most likely won't affect me.
In certain instances, you can add a word to your initial call to provide additional information to Control. The most common of these you'll hear is "Relief," which is used when another operator's shift is ending and you're taking over their train on the mainline (as opposed to taking one out of the yard yourself). In this case when Control calls back, you provide your badge number and location. So for example, if I'm relieving train 66 at Gateway westbound, I'd call in "Train 66 Relief", they'd answer "Train 66", and I'd reply "Train 66, operator 1234*, signal 72" and let them know if I was signed in and had my train orders. Then they'd let me know if there was anything going on that I should know about that could affect me (track work being done, Blazer game, etc).
*not anyone's actual badge number as far as I know.
You might also hear someone call in with a "Defect" – for example, if you notice that when you go into the tunnel, it's darker than normal and realize it's because your cyclops doesn't seem to be working, you'd call in "Train 40 Defect". After Control answers you, you reply with which car/cab you're in and what the defect is so they can write that up.
You hope you don't hear someone call in a "Priority" which informs Control that a train has made contact with a person or a vehicle. These are thankfully rare, but adding priority to your initial call lets everyone else know to keep non-emergency calls off that air because this could potentially be a life-or-death situation and you will need to be able to communicate to Control without being interrupted.
On occasion you'll hear "Train 3, Train not moving" which is exactly what it sounds like. Alternatively, an operator might just call in with just their train number and after Control responds, inform them that they aren't moving and what kinds of problem indications they're having. This will usually lead into troubleshooting, which I'll save for separate posts because the types of things that can go wrong and what's done to fix them are too lengthy for this kind of basic overview.
Call Signs
You'll hear other numbers that aren't trains being used as identifiers on the air. If you're just scanning rail, you'll hear 4-digit numbers beginning with "Nine five". These are the call signs for rail supervisors. If you're scanning everything, the 4-digit call signs beginning with "Nine one" are road supervisors, "Nine four" are fare inspectors, and "Nine nine" are lead supervisors. Communication between supervisors and controllers is somewhat similar to how it is for operators – if a supervisor needs to contact Control, they state their number (e.g."9501″). If a controller needs to contact a supervisor, they'll state the supervisor's number, and the supervisor responds by giving their number and location.
Probably the other most common call signs you'll hear are 3-digit numbers beginning with 6. These are mainly going to be the folks working in the right of way, doing switch and signal maintenance, inspecting the overhead wires, cleaning litter or other debris, etc. Work that they do will generally have an associated train order, which you will hear.
Train Orders
Controller's name removed, no personal information is given out here
If you scan rail radio for a while, you will almost certainly hear train orders mentioned. Remember that a train order is a temporary (24 hours or less) modification to normal operating rules. Control will inform operators over the air when train orders go into effect and when they're cancelled.
I've mentioned call boards before for workers in the ROW, and now you can piece together how that plays out:
- The call boards go up and the train order goes into effect.
- Control verbally informs operators that the train order is in effect and what they will need to do (e.g. calls westbound from Sunset and eastbound from BTC).
- Your train arrives westbound at Sunset. You call and give your location.
- Control contacts the workers in the ROW ("Unit 666*, there's a westbound at Sunset"), and 666 responds when it is clear for the you to call your signal.
- Control gives you permission to proceed on a proper signal
- This is a HUGE safety issue! I'd posted a short video about this in an earlier post
*there actually isn't anyone who's got the mark of the beast as their call sign.
And now, frequently heard quotes on the air:
"Clear on a proper"
Trains can be instructed to hold in place for a number of reasons – as mentioned, waiting for permission to proceed after calling at a call board, holding for emergency/medical/police activity (on your own train or one in front of you), holding because a train in front of you is having a mechanical problem, etc. When things are finally able to get rolling again, Control can't just tell you to "go"…
What's going to happen if I try to go forward now? I mean, aside from the fact that I'm not even in the operating seat, or keyed in.
…so instead, they'll give you permission to proceed when you have a permissive signal, aka that you're "clear on a proper."
"Permission to SOP an intersection.."
This one got its own post a while ago. There will be instances where a pre-empt signal times out before an operator is able to get through the intersection. When this happens, the operator will call in for permission to SOP the intersection, that is, follow the Standard Operating Procedure for how to safely go through the intersection when you don't have a permissive signal to do so (short version – wait for fresh parallel green light, sound horn warning, proceed when safe).
"Substation is Offline, Notch in the area"
The substations that power the overhead wires will be periodically taken offline for maintenance (the techs that do this work also have call signs in the 600s). When a substation is offline, operators are instructed to "notch in the area." As a passenger on the train, you'll be able to tell if a substation is offline if you feel the train leaving very slowly from the platform.
Going back to this picture of the propulsion modes, what your operator is doing when they're notching up is taking a very small point of power at first, and then spending a few seconds at each propulsion level before notching up into the next one. This prevents arcing or other electrical damage until the substation is back online.
End with time
Control will end transmissions by giving the time (24 hour clock, so it's not 2:30pm, it's 14:30).


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Following the launch of UniGrip at the end of 2017, we have experienced significant success with the new product range. Working with large existing and new contractors on significant projects globally, the feedback has been universally positive with regards to saving labour, time & money, improving installation and allowing for greater versatility during installation.
With this in mind, it is important to reiterate that the Gripple Trapeze and Gripple Trapeze Plus are to be made obsolete on 1st May 2018, and therefore final orders will be taken in April 2018.
Hopefully by now, you will have been visited by one of our regional sales managers to present the UniGrip range and to provide samples. If we have unfortunately not managed to do this, please do get in touch and arrange a free product demonstration.
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UniGrip provides the best adjustment and highest load ratings for any wire rope suspension product on the market today, and the most comprehensive range of 'foot' attachments including the Hook, Y-Fit and Calibra as well as the more versatile standard and central exit variants.
UniGrip has been designed to facilitate faster project completion, easier specification and greater consistency across the installation. Additional key benefits include;
For further information on UniGrip, please visit www.gripple.com/gb/en/unigrip or call us to speak to one of our sales advisors.
Posted 22/01/2018.


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by Tom Utescher
The Springside School Lions literally limped to the finish in the 2010-2001 basketball season, ending their campaign last week in the quarterfinals of the Pa. Independent Schools Championship.
The banged-up bunch beat visiting Abington Friends, 37-24, in an opening round game on Valentine's Day, then the sixth-seeded Lions lost on Wednesday, 52-33, at third-seeded Academy of Notre Dame.
Both the Lions and the Irish played challenging non-league schedules this winter, and Springside ended its season on Wednesday with an overall mark of 14-13, while Notre Dame improved to 18-9.
Just about every team has players get hurt, but this season Springside could've opened its own injury ward. The Lions' troubles began on December 11, just 26 seconds into the seventh game on their schedule. Senior point guard Shea Crotty, a new Springside student from New Zealand, went down while trying to stop a fast break, and suffered a season-ending ACL tear.
In early January, the Lions eked out a 34-33 win over Notre Dame, their first in decades. In a non-medical development, a 6'3" freshman left the team soon after that game. Now the injuries came thick and fast.
There were high-ankle sprains for both junior starter Sydni Epps and sophomore reserve Michelle Cybularz. Junior starter Elana Roadcloud, considered the team's best defensive player by Springside coach Brian Morris, suffered a shoulder contusion, and concussions were diagnosed for junior power forward Michelle Boggs and sophomore guard Gianna Pownall, who had both been starters.
Sophomore guard Maddi Hinchey, who missed the first portion of the season due to injury, returned and then was sidelined briefly with an ankle sprain. A problem in the same joint took junior Brenna Coll off the active duty roster for a spell.
Coll, Epps, and Hinchey came back for the final stretch of the season, but the Lions were still a far different squad than they'd been a few months earlier.
"We started out the year with a lot of promise, a lot of talent," mused Morris, who praised the determination his players displayed as they tried to work through all the troubles that beset the team.
At the start of last week, the Lions still had enough firepower to turn a 22-20 lead at the three-quarter mark into a 13-point win over AFS in the state tournament opener. Next up was Notre Dame, who had won the regular-season rematch with the Lions, 55-42, and then had become one of three teams to earn a bye in the first round of the state tourney.
Two seniors for the Irish, starter Colleen Olinger and reserve Katie Gerzabek, were both under the weather and saw limited playing time, but this paled in comparison to Springside's physical woes. Nevertheless, the Lions were just one point behind at the quarter, 8-7, starting out with a three-pointer by Epps (seven points total) and then getting shorter jumpers from Hinchey and junior point guard Alexis Giovinazzo.
Notre Dame began the second period with treys by Olinger and sophomore Kathleen Fitzpatrick, and by the final minute of the first half the Irish has built up a 22-9 lead. Springside's Coll chalked up her first point of the day from the free throw line, and Epps scored off the rebound of Coll's errant second shot, making it 22-12 at the intermission.
Coll scored 17 of her game-high 18 points following the break, including three three-point field goals. The Lions weren't able to reduce their deficit to single digits, though, as the Irish led 33-20 at the three-quarter mark, and then won a high-scoring fourth round, 19-13.
Fitzpatrick notched 11 of her 13 points over the first two quarters of the game, but after that fellow tenth-grader Megan McGurk delivered 13 of her team-high 17 points, and junior Molly Borghese scored eight of her 12 points in the second half.
Borghese, optimistically listed at 5'11", is Notre Dame's tallest player, but as coach Mary Beth McNichol says, "We're used to playing against teams with that big girl in the middle; I thought we did a good job against Boggs [6'1"] the last time we played Springside. We know we've got to double down on them and we're getting pretty good at it."
McNichol, who recently rang up her 400 victory at Notre Dame, has been impressed with the depth of the Girls Inter-Ac League.
"The league is really good this year," she observed, "This is probably the best talent in the league that I've seen in my 20 years."
After the season swansong, Springside's Morris said, "We came out thinking that there would be an opportunity for us to win a game. We made mistakes down the stretch at the start of the second half, with their pressure on the ball. Some younger players had to step in and they're not used to certain situations against a very athletic and talented team.
Saying good bye to someone like Brenna – even only having her the one year – it was kind of tough in the locker room just now."


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This is a high-quality, high-output, fully enclosed solar panel with an aluminum/plastic frame. The termination is via a 3.5 × 1.1 mm barrel plug, but an adapter to a common 5.5 × 2.1 mm barrel plug is included which will allow you to connect it to many development boards, or you can use the screw terminal adapter available as an add-on option below. The connection cable is eight inches long (22cm). You can plug it into the Sunny Buddy to keep a LiPo Battery charged while still powering your device.
The panel is capable of 9 watts in the open sun with a peak power output around 6V at 1500mA. It features monocrystalline high-efficiency cells at 19% and a waterproof urethane coating with hard-board backing. This robust sealing makes the panel reliable and durable for outdoor applications.
The panel measures 220 × 255 mm (8.7 × 10.1 inches) and is 5 mm thick.


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Romantic comedies are all about the perfect on-screen pairing. Off-screen, Jason Segel's found his ideal match in Nicholas Stoller.
The writer-director – who first worked with Segel on the short-lived, Judd Apatow-produced sitcom "Undeclared" – has carved out a professional marriage with his pal, helming Segel's breakout comedy, 2008's "Forgetting Sarah Marshall." And Stoller and Segel last year co-wrote "The Muppets," which the former directed and the latter starred in. Now the duo has reunited, taking on the same roles, for the romantic comedy "The Five-Year Engagement", the story of an increasingly mismatched couple (Segel and Emily Blunt) who keep postponing their wedding as they grapple with a never-ending barrage of life-changing experiences.
Stoller sat down for an exclusive chat with PopcornBiz to analyze his career coupling with Segel, deconstruct the romantic comedy genre and hint at Muppet capers ahead.
What was your inspiration for taking this project on, and how did you want to veer away from or perhaps stay close to your first romantic comedy, 'Forgetting Sarah Marshall'?
Romantic comedy is my favorite genre, just as a fan. There's nothing I like to watch more than that. After we did 'Sarah Marshall,' both Jason and I wanted to do another romantic comedy together and we were trying to figure out what we should do. With 'Sarah Marshall,' I love that movie, but the only thing that was frustrating to me is that we were sifting through the wreckage of a relationship and not like living with one in real time. I've been obsessed with long relationships that don't go anywhere for a long time, and I was sitting in my office and the words 'five-year engagement' popped into my head. I wrote it down and looked at it and called up Jason and told him the title and he was like, 'Oh, my God – that's great. Let's do it!' So to me, what was great about it was to do a movie that has zero artifice. There's nothing in it that happens that wouldn't just happen. There's certainly plot and story and there's all of that, but we tried really hard so that there was no plot move that felt artificial or created a situation. It was all character-driven, and that was really fun.
Are you able to quantify the contributions that you and Jason share as co-storytellers, both in the writing and in the filming? Is there a division of labor at all?
Not really. I very quickly forget who thought of what. It's so collaborative between Jason and I and Rodney Rothman and Judd [Apatow], and we'd bring in Emily [Blunt] and we'd bring in Chris Pratt and we'd bring in Alison Brie. It becomes this big kind of collaboration. I kind of call it open-source filmmaking. Sean Mannion, our prop master, has pitched blinds that have ended up in the movie. The perfect example is in 'Get Him To The Greek,' our awesome Dutch, very serious production designer Jan Roelfs, was like, 'I'm going to make this Vegas suite that's going to be ridiculous. There's going to be furry walls in the suite.' So he built the suite with furry walls and then that became a huge set piece. So I start to lose who's thought of what, but in terms of Jason and I, we just share the same instincts. We share a comedy brain, as we say it. We think the same things are funny. We want to tell an emotional story. It was really important to us that this story be romantic. The highest compliment that someone can give me is that they teared up at the end. You can get laughs, but the most important thing is to make people feel something. That's really hard.
Finding the right romantic partner to match Jason with is key. Talk about casting Emily Blunt and what you saw in their chemistry and dynamic that made you guys want her to be the one?
We wanted her to do it from the beginning – as we were outlining the movie, we were thinking of her. She's so funny. She outclasses all of us because she's a Golden Globe winner and she exudes intelligence. She's just an amazing actress, and also in a great way, I think, she threatens Jason a little bit because she's better than he is. I think he would say that. She's just a fantastic actress. All romantic comedies are like, 'Will watching these two people fight be funny?' So they really went head to head in a great way, and I think that the other thing is that you have to cast the person that when Jason yells at them they yell right back and they don't cower, even in their eyes. You see with Emily that she's going to challenge him. When he yells at Emily, she yells right back and is just as funny, if not funnier. They really go head to head, and they're also old friends and so they have really good chemistry and that's some sort of magical thing that we managed to capture.
What are some tropes of the genre that you tried to avoid or tried to freshen up?
The big thing that I don't like in any movie – and romantic comedies do it a lot – is the misunderstanding or the miscommunication. I find that very frustrating in any movie: like, the girl sees the guy hugging his ex-girlfriend and so she storms off, goes to the airport to fly to Seattle to become an architect and he has to chase after her. In a normal, human relationship, if that happened, the guy would say to the girl, 'I was just hugging my ex-girlfriend because blank happened,' and then it would be over and it would diffuse it. So that was a big thing, to avoid any plot moves that felt artificial…Then the really hard thing with any movie, but especially in romantic comedies, is how you think of the ending that's surprising but inevitable. When we thought of the ending, I remember we were like, 'We're not going to have to re-shoot the ending!' It was just the biggest relief. I had to re-shoot both endings of 'Sarah Marshall' and 'Greek' and it was like, 'We're not going to have to re-shoot the ending!'
You're at work on the new 'Muppets' script right now. Are there elements of romantic comedy that are going to play out in that?
A little bit, but not really. It's a caper... James Bobin and I have outlined the entire thing and we actually just started writing the script this week. I'm pretty excited about it.
Was the choice of a caper intentional, in terms of looking back at 'The Great Muppet Caper' and wanting to do a modern twist on that?
Yeah. 'The Great Muppet Caper' is the one I grew up with. You have your family's VHS tapes, the random ones. We had the most random ones. We had 'Top Secret,' 'The Time Machine,' 'Scavenger Hunt.' Do you remember the movie 'Scavenger Hunt,' starring Scatman Crothers? There were a few others that were so random. I think 'Young Sherlock Holmes.' I love that movie. It was awesome. That's something that they should remake, but those were the random ones. 'History of the World, Part 1.'
What are you excited about with this film since you've now re-established the Muppet universe? What are you looking forward to doing in this film that you didn't get to do in the first film?
What's fun about it is that there were certain Muppets that we all felt were kind of under-served, and it's fun to get to have them be a little bit more in the story. The first one, I love the movie. It came out so well. James Bobin just nailed it, in terms of directing. It really came together great, but it was very nostalgic, very emotional. We did that and now we're going to do, like, a big, crazy, comedy caper. Everyone is now reintroduced to the characters, or has had their nostalgia fill and it's fun to start to think of the craziest comedy stuff that we can.
Is there a genre that you want to work in that you haven't gotten to do yet?
Like the 'Saw' genre – torture porn? There really isn't. I entered this thing thinking, 'I hope one day to direct. In my wildest imagination, I hope to direct.' I thought that if I ever got the chance I'd have to direct, like, 'Fart College 3' a bunch of times before I managed to get here. And the genre I love is R-rated – not even R-rated but adult romantic comedies. I kind of got to do that right away with 'Sarah Marshall' and it's really the genre that I like. I always am going to come at stuff from a comedic place. I can imagine one day maybe doing something on a smaller scale, maybe.
Like Jason tries to in the film, did you stage your own real life proposal?
Yes. We went to Hawaii and we'd been dating for two years and she knew that I was going to propose to her, so every night she dressed up and had a flower in her hair – but I had this whole idea and I called the hotel ahead of time. We were going to take a hike and I was going to propose to her on cliffs overlooking the ocean. So after four days she told me that she called her sister and said, 'I guess he's not going to propose to me.' So we go on this hike and it's incredibly hot and we're both sweating profusely. We're both wearing athletic clothes, and we're on these lava cliffs, so they're really sharp rocks. So then I kneel down on these really sharp rocks and in the pictures of it we both look disgusting. So, it was really over-planned and I should've just done it at the restaurant or whatever.
'Five-Year Engagement' Director Nicholas Stoller On His Career Coupling With Jason Segel
Romantic comedies are all about the perfect on-screen pairing. Off-screen, Jason Segel's found his ideal match in Nicholas Stoller.


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News International, publisher of The Times, announced today that Harding will leave at the end of December 2012. No reason for his exit has been given by News International. The hunt is now on for a successor.
In a speech to The Times journalists, Harding reportedly said it had been made clear to him that News Corporation wanted to appoint a new editor.
He added: "For any journalist, it is an extraordinary privilege and a point of pride to see your work appear beneath the masthead of The Times, the greatest name in newspapers in the world.
"I feel hugely honoured to have been given the opportunity to edit the paper and deeply grateful for the experience of working among the finest journalists in the world. This paper has an unrivalled history and I am extremely confident, a long and impressive future ahead of it."
Harding is a well regarded journalist who had been the first senior News International executive to speak out following allegations the News of the World had hacked into Milly Dowler's voicemail, as revealed by Media Week,
Rupert Murdoch, chairman and chief executive of News Corporation, said: "James has been a distinguished editor for The Times, attracting talented staff to the paper and leading it through difficult times. I have great respect for him as a colleague and friend, and truly hope we can work together again."
James Harding's farewell to staff from The Times


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BENEFITING: National Philanthropic Trust
ORGANIZER: Bret Michaels
Bret Michaels wrote -
**National Philanthropic Trust is the fiscal sponsor for the Bret Michaels Life Rocks Foundation. Funds raised here for the National Philanthropic Trust will be allocated to the Bret Michaels Life Rocks Foundation**
Your donation to the Life Rocks Foundation will benefit a myriad of charitable causes that affect everyone - from childhood cancer to diabetes to military support and pet charities.
Over the last several years, Bret Michaels and the Life Rocks Foundation has sent many diabetic kids to camps to help them learn how to manage their diabetes as well as show them that there are other kids just like them.
A life-long diabetic, Michaels as served as a role model and inspiration for fans young and old who also suffer from diabetes. He has shown time and time again that he will not let diabetes control him - he is in control of his life. He leads, and has always led, an active life from sports to travel and his nearly 30 year career in music.
Michaels comes from a family of military men and women, always pausing during each and every show to honor the troops past, present and future. Supporting causes such as Wounded Warriors and the USO for events over the years is just one of the ways he continues to honor the military and their families.
In the past few years, childhood cancer has touched Michaels through the stories of Ava and other children he has met in his travels. Cancer is hard enough for adults, but for parents of children with cancer, the pain is unbearable. Donating time and money to help children and their families, Michaels continues to raise awareness for all cancer patients and their families.
An animal lover, Michaels has recently launched a line of pet products with PetSmart - the Bret Michaels Pets Rock Collection. On his own and in conjunction with PetSmart Charities, he is raising awareness and support for rescues, pet adoptions and other animal charities.
For more information about all the various causes and charitible events the Bret Michaels has participated in and that have benefit from the Life Rocks Foundation fundraising, please visit the official sites below.
From Bret and all of us at Team Bret Michaels, we thank you for your support. We sincerely appreciate all you have done to help us put smiles on people's faces, bring joy and hope to those suffering and for making a difference.
A heartfelft thank you from us all!


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This pledge closed over 1 year ago
The U.N. estimates that as many as 200 million girls are missing in the world today. In India, China, and many other countries, girls are killed, aborted, and abandoned simply because they are girls - it's a gendercide. The "It's a Girl" Campaign tells the stories of women and girls who struggle to survive in India and China against all odds. Help us spread awareness about this issue and take a stand against gendercide.


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So here I am in Milwaukee. Having fun, lounging around my BFFs house instead of lounging around mine. As someone who is busy lounging around peoples houses, I wanted to eat chocolate chip cookies. So I did and then had them for breakfast today. This is just the Toll House recipe, halved because I didn't want to make so many cookies. They're yummy.
Chocolate Chip Cookies
Plain, old, chocolate chip cookies. I am pretty sure you can replace the egg with egg replacer or applesauce and make them vegan.
a heaping 1 3/4 c rice flour, or flour mix
1/2 t xanthan gum
1/2 t baking soda
1/2 t salt
1 stick shortening, Earth Balance, or butter
1/2 c brown sugar
1/4 c white sugar
1 t vanilla
1 egg
1/2 package chocolate chips
nuts, optional
Preheat oven to 375. Mix sugars and shortening or butter until creamy. Beat in egg, then dry ingredients except chocolate chips and nuts, if using. Once smooth, add chips and nuts, and roll into balls, flatten slightly, and bake 8-10 minutes. Let cool on cookie sheets, then remove and eat.
This is who I've been spending my time with while Kelly is at work.


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House prices saw a national uplift for the first time in nine months in February but fell by 0.1% in the North West, property analyst Hometrack said.
Three-quarters of the rises recorded were in London and the South East.
Prices increased by 0.1% month-on-month across England and Wales, marking the first upturn since May last year, with 15% of postcodes recording rises and 8% seeing prices fall.
However, 74% of the local areas showing increases were in London and the South East, Hometrack said. Prices in London increased by 0.3%, while those in the South East followed closely with a 0.2% rise.
Wales was the only other area to record a monthly increase, at 0.1%. Monthly prices were flat in East Anglia, the Midlands and the South West, fell by 0.1% in the North West and Yorkshire and Humberside, and dropped by 0.2% in the North East.
The market saw a seasonal bounce back in activity in February across the country, with a 14% increase in new buyers registering with estate agents and an 8.7% rise in the number of new homes listed for sale.
Hometrack said that activity is set to grow in the housing market moving into spring and that prices in London and the South are likely to be held up by a lack of sellers putting their homes on the market.
It said that some potential sellers in the South are being put off coming to market by a stamp duty rate of 7% which was placed on houses worth more than £2 million last March.
Richard Donnell, director of research at Hometrack, said: "The impetus for improved market conditions and higher prices has been driven by London and the Home Counties of Southern England where there is the greatest mismatch between supply and demand...
"Prices remain under downward pressure in northern regions where the trend is tipped towards price falls."


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Interview with Johnson, a 22-year-old sponsored youth from the Nairobi project in Kenya, with an introduction by Peter Ndungo, Nairobi project coordinator.
In the present day, youth can fall prey to negative social and cultural factors. Fear, misinformation, indecisiveness and peer pressure continue to be hurdles that the youth face. Besides academics, the youth need an opportunity to engage in extra curriculum activities, youth exchange programs and forums, this helps them grow socially.
There was a call to initiate a program that would address their social and emotional needs, aside from the academic needs that the project meets with the assistance of sponsors. The youth program was the ideal way to reach out to the youth, to give them support and encouragement in their lives.
Q. How long have you been sponsored?
A. I have been in the program since 2003, almost 10 years now.
Q. Please describe your family situation.
A. My father lost his job a few years back, forcing him, my mother and two siblings to go back to our rural home. Since we do not have a farm, my parents usually cultivate the land for people on their farms at a fee. My mother sometimes does household chores for people at their homes, like washing clothes, cleaning and cooking.
Q. What are you studying?
A. I am studying at the PCEA community center in Eastleigh, taking a course in automotive engineering.
Q. When will you complete your studies?
A. I am pursuing a diploma, it will take me three years to complete the course. I am now in my second year.
Q. Please describe a challenge you have in your life.
A. The fact that I do not stay with my parents is really hard on me. Sometimes I do not have enough fare or none at all to get to school. There are times I have to walk to college. During lunch hour, I often go hungry. It makes me feel so inferior in the eyes of my college mates.
Q. What do you like about the youth program, and how has it helped you?
A. The youth program allows us to speak out our challenges. It promotes interaction amongst the youth. As an individual, the youth program has been a source of inspiration and motivation. It has helped me cultivate confidence. At the youth forums, I have gathered advice that helps me keep going, regardless of my circumstances.
Q. What is your dream?
A. My dream is to be prosperous in life, to help change my familyís way of life.
Interview was conducted by Regina Mburu of CFCA's Kenya communication center. You can read more about the youth program on our website.


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You are Here:
National Employee Development Center
Cultural Resources Training
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National Employee Development Center
It is the policy of the Natural Resources Conservation Service that cultural resources training will be provided to all employees who carry out some or all of NRCS' cultural resources compliance responsibilities at the field and State Office levels. The purpose of this training is to increase student awareness and knowledge of NRCS' cultural resources stewardship responsibilities. Completion of this training may also be a requirement for certification under the NRCS Conservation Planning Certification training program.
This training consists of eight modules, six Web-based modules and two additional modules tailored to State and Regional cultural resources requirements which have been developed by each NRCS State Office. Successful completion of the first six modules is required to move on to the two final modules, Module 7 (regional resources discussed in a classroom setting) and Module 8 (site/field visit) are presented by a cultural resources specialist.
The document linked below provides a more comprehensive overview of the Cultural Resources Training Series and guidance for state specialists and coordinators who conduct modules 7 and 8 of this training.
This document requires Adobe Acrobat.
Overview of Cultural Resources Training Series
Upon completion of this training, participants will be able to:
There are no prerequisites for accessing Modules 1-6. Successful completion of modules 1 through 6 is a prerequisite for Module 7. Successful completion (as certified by the NRCS State cultural resources specialist and Training Officer) of Module 7 is a prerequisite for Module 8.
Note: Completion of this training may also be a requirement for certification under the NRCS Conservation Planning Certification training program. By procedures established in the National Planning Procedures Handbook (NPPH), cultural resources inventories are to be done during the planning process. This inventory work must be carried-out by NRCS professional cultural resources personnel (Cultural Resources Specialists) who meet the Secretary of Interior's Qualification Standards for Historic Preservation or by NRCS personnel who have satisfactorily completed all eight modules of this cultural resources training. Because TSP's who provide planning assistance that includes cultural resources inventory are to have skills equivalent to NRCS' Certified Planners, they are expected to meet these same training requirements. Completion of this cultural resources training should provide TSPs with the requisite knowledge and skills. (NPPH 600.23-600.24).
Delivery Method
Part 1, Modules 1 - 6 are Web-based.
Modules 7 and 8 are designed and presented by the NRCS State Office.
Part 2, Module 7 is classroom based and is designed to give the students a sound background in recognizing the full range of regional/state cultural resources issues.
Part 3, Module 8 is a hands-on field workshop focused on resource identification and problem solving field exercises.
Part 1, Modules 1-6: Approximately 4 hours of self-study are required. Successful completion of these modules will be documented by scoring at least 80% on the final test.
Part 2, Module 7: Approximately 8 hours of classroom training.
Part 3, Module 8: Approximately 8 to 16 hours, as determined appropriate by the State cultural resources specialist and coordinator and State training officer.
Target Audience
NRCS employees, conservation partnership employees, selected service center employees (contingent upon supervisory approval), and Technical Service Providers who provide cultural resources compliance assistance (data gathering assistance) to clients.
NEDC Contact
Sudhakhar Sriparameswaran
Enrollment Cultural Resources, Part 1
Enrollment instructions are provided below. Be sure to select the appropriate link to ensure successful enrollment.
USDA Employees
District Employees with AgLearn Account
Technical Service Providers
Other USDA Customers
Enrollment for the Classroom Portion of Cultural Resources
Modules 7 and 8 are conducted by individual states. Contact you supervisor about availability.
NRCS Home | USDA.gov | Site Map | Civil Rights | FOIA | Plain Writing | Accessibility Statement
Policy and Links| Non-Discrimination Statement | Information Quality | USA.gov | WhiteHouse.gov


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Personal passport holder in genuine saffiano leather with your own monogram, get your initials engraved on the passport holder.
Color: Navy Cards: 4 Passports: 2 Boarding Card: 1 Leather: Saffiano Leather
Get protection with HD Transparent Coating. If the stain occurs, look for immediate professional help. Do not rub the leather. It could cause tear of the convex peak. Cleaning Saffiano leather is really easy. Just wipe it with dry and soft cloth. You will thus remove dust and dirt. Wipe it all gently. From time to time, do a more thorough cleaning. It means you should use moist cotton cloth. The moist cloth should not be too wet (actually it's a good cleaner also when dry). To keep the softness, use leather conditioner.


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Dallas County, IAHome Menu
Dallas County provides resource information as a service to all members of the community. We periodically verify the information for accuracy; however, if you find that any of the information is incorrect, please notify us at firstname.lastname@example.com. We do not endorse, recommend or evaluate resources, programs, providers or services; therefore, we do not guarantee the quality of the services provided by these organizations.
Have a business to submit? Follow the "Submit Your Business Online" link below. Businesses will be reviewed and posted at the discretion of Dallas County Public Health. Business photos will not be published.
Contact Dallas County Public Health - Health Navigation at 515-993-3750 for further assistance.
4R Kids - Early Childhood Iowa
- Category:Parenting/Crianza de los hijos
- Address:Serves Dallas County Website:http://4rkids-eci.org/resources-parents-and-providers/dallas-county-resources/
Dallas County Resources for Early Childhood including pre-school scholarships and family support programs.Return to full list >>


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Welcome to MSSQL Forum!
MSSQL Forum - Discussions about Microsoft SQL Server
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Management Studio tabs not updating visually
Discussion in 'General' started by Peter Schmitz, Jun 16, 2020.


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Tag Archives: junior chess in ireland
Leinster junior chess report 2017
It has been a very busy and enjoyable season for Leinster Junior Chess Players. Pat Fitzsimons, ran the Mick Germaine Junior Team event, and had a record turnout for this annual event held in Elm Mount Club. Malahide Militants … Continue reading


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Frosted courgette & lemon cake
Nutrition and extra info
- Freeze drizzled bases only
Nutrition: per serving
- kcal375
- fat23g
- saturates14g
- carbs38g
- sugars26g
- fibre1g
- protein7g
- salt0.68g
- 250g pack unsalted butter, very soft, plus extra for the tin
- 3 unwaxed lemons
Oval in shape with a pronouced bulge on one end, lemons are one of the most versatile…
- 200g golden caster sugar
- 3 eggs
The ultimate convenience food, eggs are powerhouses of nutrition packed with protein and a…
- 2 medium courgettes, coarsely grated (you'll need 300g/10oz flesh)
The courgette is a variety of cucurbit, which means it's from the same family as cucumber,…
- 1 tsp poppy seed, plus extra to decorate
- 1 tsp vanilla extract
- 100g self-raising flour
- 100g plain wholemeal flour
- 1 tsp baking powder
Baking powderbay-king pow-dah
Baking powder is a raising agent that is commonly used in cake-making. It is made from an alkali…
- 85g icing sugar
- 200g pack full-fat soft cheese
- 4 tbsp lemon curd (optional)
Heat oven to 180C/160C fan/gas 4. Butter 2 x 20cm sandwich tins and line the bases with baking parchment. Zest 2 lemons, then squeeze their juice into a separate bowl. Put 200g butter, the caster sugar, eggs, courgettes, poppy seeds, vanilla and lemon zest into a mixing bowl. Beat to a creamy batter. Stir in 1 tbsp lemon juice, the flours, baking powder and ¼ tsp salt. Spoon the mix into the tins, then bake for 25 mins or until risen, golden and springy in the middle.
Make a drizzle by mixing another tbsp lemon juice with 25g icing sugar. Put the remaining icing sugar and butter into a bowl, add the soft cheese, remaining lemon juice (about 2 tbsp) and grate in the final lemon's zest. Beat to make a creamy, smooth frosting.
When the cakes are ready, cool for 15 mins in their tins, then turn onto a cooling rack. Prick several times with a cocktail stick, spoon over the drizzle and cool completely. Can be frozen at this stage for up to 1 month. Put one cake onto a serving plate and spread with just under half the frosting. Spread over the lemon curd, if using. Top with the second cake, spread the remaining frosting over the top and sprinkle with poppy seeds.
Recipe Tip
Baking with courgettesCourgettes can hold quite a lot of water, which can affect the finished texture of your cake. If your grated courgettes seem watery, place them into a clean cloth and wring out some of the liquid into a bowl. Then add the courgettes to the cake mixture as normal. The timing for cakes containing courgette can depend on the water content of your courgettes, so return the cake to the oven for another 10 mins if it needs it. Simply test with a skewer and make sure it comes out clean.


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Director Tarsem Singh's been known for providing feasts for the eyes. Now he's about turning a familiar fairy tale on its ear.
Now increasingly referred to by his distinctive first name, Tarsem harnesses his unique visual style to put a "Princess Bride-ian" spin on the classic tale of Snow White, complete with a sword-fighting heroine, a prince who's charmingly ineffectual and an evil queen whose one-liners are as wicked as her nefarious plots – and did we mention the fighting dwarves on stilts? The cinematic stylist gives PopcornBiz a peek inside his method of re-imagination.
What was the key thing that got you excited about the project to begin with?
The idea that it wasn't conventional magic, that there wasn't a queen walking up to a mirror and saying 'Mirror, mirror on the wall, who's the fairest of them all,' just about vanity and not wanting the other person to be cuter than you. I just thought that her walking up, looking in the mirror and seeing an idealized version of just herself. Because always people are trying to outsource the evil: they either use sentences like, 'I heard voices, the devil made me do it,' but actually you're just doing what you want to do without having to address, like, 'I'm a bad person.' So literally the idea of the queen was just that she was talking to herself like a shrink and just doing whatever the hell that she wanted to do, that's something that I really liked. And mainly the idea that it was going to be a family movie – I've done three R-rated movies. Everyone thinks that I want to do a gritty action film. I don't. I wanted to do a charming family movie.
Stylistically this is different from your last film, '"Immortals." Were you itching to find something that was a move left of center of what's become expected of you?
Yes – number one, everyone thinks that I only want to do visual films that have a lot of blood and gore in them, and I'd like to first change that by doing just a family-friendly film that has all the colors that I love. Later on, hopefully, if I get a chance I'll do a completely non-visual film, which is what I'm hopefully going to do next. This turned out to be a visual film, but I didn't want it to be – what do they call it ?– 'edgy' and all those words. But, no, this is just a family-friendly, charming movie.
When you work with someone like Julia Roberts, who's been so written about and in the public eye for so long, everyone has their idea who she is. What was the reality of working with her that you discovered?
Well, all I was dealing with was a mom. Literally, nothing else mattered. She had made it very clear to everybody that she was doing the movie because she wanted to work with me, and when we started doing the movie all my problems just went away because everyone was so intimidated by her – like, 'Oh, if that's what Julia Roberts wants then that's what Julia Roberts gets.' And by default that ended up being anything that Tarsem wanted to get, because she wanted to get it filmed. So everything was plainly easy, and the only thing that I had to watch to make sure that she finished on time, that she was home for the kids to tuck them in and all of that stuff. Nothing else! Everything else she was so clear on and prepared for when we started shooting. The conversations had just happened two weeks before, which were, 'This needs to be tweaked a little bit – Let's tweak this,' and we just read it through. Once that was tweaked, nothing else.
Working with a movie star of that level did you play into or against any of her Julia Roberts-ness in the film, using the fact that she's a known quantity?
I'd like to work with a movie star – that was working with a mom! No, I thought what was more interesting was everyone's perception of Julia Roberts. That was very important to me. If you say 'Evil Queen' nobody in their right mind wanted to say 'How about Julia Roberts?' And yet that was the only person that I had in my mind, because she's not the person that you put out and say 'Evil Queen.' We still see her as 'Pretty Woman': a really charming woman that has an amazingly wonderful laugh and all of that. I just thought the idea of her playing the Queen was what was interesting to me, so we just kept her in that, and the only thing that I do remember is that she had to laugh at a particular line and she did it exactly how I thought that Julia Roberts would – but everywhere else, no.
Can you talk about the qualities that you saw in Lily Collins that made her right to play the film's Snow White, and as an actress to be watched in the years to come?
I'd met her about a year ago for 'Immortals,' only about five months earlier than the movie. I really remembered her and liked her a lot, so when we were casting for this, the problem is that I knew the Queen and Snow White had to be cast last. My first choice was to get the Queen which was only one person: Julia. Then I wanted a prince, which was only one person: Armie Hammer, because if you draw a prince I think you'd end up drawing Armie Hammer. And so I got those two and then what I had to do was make sure, because the prince is in the middle, that he doesn't look awkward on either side. We can buy Julia trying to seduce him, and him getting seduced by Snow White, so it had to come in between. She was the last person in the whole cast as opposed to what the name says. She was the last person. So she finally came in and did a read. I was driving there and I couldn't make it in time. I turned around and went for a meeting. Someone called me and said that she came in and to please look at the tape right now because she might not be available tomorrow. So, I looked at that tape and her read was fantastic – and of course the eyebrows didn't hurt one bit. I desperately loved that. I said, 'Don't touch a thing there. I love what you look like and love how you read.' I went and had one cup of tea with her, had a conversation with her, and then Julia had the contractual rights to see who Snow White was going to be and I just called Julia and said, 'We're going to lose this girl by the evening.' She said, 'I don't need to see, I don't need to hear anything. If you like her then go for it.' And suddenly everything just happened.
Armie Hammer's got that great princely, leading man look, but he gets to be very silly in this movie. How game was he to get as goofy as you needed him to be to pull off the part?
That's a fantastic question, because that's very, very difficult, and with him, it was the only conversation that I had. I said, 'Armie, there's only person I know that when he does things like this, no matter how off they are, he's always been committed and that's Johnny Depp.' I said, 'I think you have that quality. Don't come off embarrassed. If you commit, commit.' And Armie said, 'I don't know how to do it any other way. If I'm in, 'don't worry, I'll be committed.' Then when he saw the thing he said, 'Oh, my God, I have to be a puppy?' But when he showed up there, there was never a blink. He just delivered.
Do you know what you're going to do next? You said it might NOT be a visual spectacular…
I've just seen something that I really like, because there's a visual film that I'll probably do by the end of the year which requires a lot of prep, but the one that I want to do right now is called "Eye In The Sky." It's a very simple, very emotional about a [wartime] drone missle attack, just how one simply went. It's completely three different things, the people who are sitting and prepping the parts in a little canister in Nevada somewhere, the young guys. Then there is the politics involved and basically, 'Go ahead and strike here or strike there,' and all the tension that comes with all the politicians involved and then the ground people, the people who it's going to come down on, where they're at. So, it's just the same tale from three different perspectives. It's one of the best things that I've ever read. I just thought that I wanted to go after that right now and see if I could make it happen.
"Mirror Mirror" Director Tarsem Wanted to Shatter Fairy Tale Conventions
Loved working with Julia Roberts, calling her a "mom" before a star
Director Tarsem Singh's been known for providing feasts for the eyes. Now he's about turning a familiar fairy tale on its ear.


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While we are committed to opening the code for our developer tools, not all Google products are open source. Our goal is to keep the Internet open, which promotes choice and competition and keeps users and developers from getting locked in. In many cases, most notably our search and ads products, opening up the code would not contribute to these goals and would actually hurt users. The search and advertising markets are already highly competitive with very low switching costs, so users and advertisers already have plenty of choice and are not locked in.So, search and related ad markets are highly competitive. Really? To echo Rosenberg's point about the definition of open, competitive is "a Rashomon-like term: highly subjective and vitally important." Many antitrust economists would balk at describing a market with just two players as highly competitive. That aside, Rosenberg's analysis brings to mind the browser business in 2000, when Internet Explorer and Netscape had 80% and 20% market shares, respectively. That market was also "highly competitive with very low switching costs." By Rosenberg's logic, there was no need for an open source browser.
Has Rosenberg given us reliable rules for when it makes sense to open a platform? Chris Dixon doesn't think so. He sees Google's "closed core" strategy as a classic case of a platform owner seeking to commoditize complement providers and thereby extract more rent from its ecosystem.
I have two additional observations about the post:
- Rosenberg's claim that MBAs don't learn about the merits of open systems is wrong.
- His call for a clear and precise definition of open is on target.
I hope so. I make my living teaching MBAs about platforms, and in the spirit of openness, I welcome new ideas from Google. However, I take exception to Rosenberg's assertion that MBAs don't learn about the merits of open systems. This topic wasn't covered when Rosenberg got his MBA in 1985, but most business schools now have courses that examine open platforms and open innovation (for example, at Harvard Business School: Managing Networked Businesses, Strategy & Technology, Competing with Social Networks, and Managing Innovation). Scholars have learned a lot about the merits and drawbacks of open platforms. My working paper with Geoff Parker and Marshall Van Alstyne, "Opening Platforms: How, When and Why?" summarizes some of this thinking.
Defining "Open." Rosenberg says "in our industry there is no clear definition of what open really means." I agree and would add that in classifying a platform as open or closed, it's vital to specify which platform layer is being referenced. Conversations about open systems often get confusing because open source and open APIs refer to fundamentally different platform layers. The following excerpt from my working paper with Parker and Van Alstyne expands upon these points.
A platform is "open" to the extent that: 1) no restrictions are placed on participation in its development, commercialization or use; or 2) any restrictions—for example, requirements to conform with technical standards or pay licensing fees—are reasonable and non-discriminatory, that is, they are applied uniformly to all potential platform participants.
Platform-mediated networks encompass several distinct roles, including: 1) demand-side platform users, commonly called "end users"; 2) supply-side platform users, who offer complements employed by demand-side users in tandem with the core platform; 3) platform providers, who serve as users' primary point of contact with the platform; and 4) platform sponsors, who exercise property rights and are responsible for determining who may participate in a platform-mediated network and for developing its technology. For a given platform, each of these roles may be open or closed.
The Linux platform, for example, is open with respect to all four roles. Any organization or individual can use Linux (demand-side user role). Likewise, any party can offer a Linux-compatible software application (supply-side user role). Any party can bundle the Linux operating system (OS) with server or personal computer hardware (platform provider role). Finally, any party can contribute improvements to the Linux OS, subject to the rules of the open source community that maintains the OS kernel (platform sponsor role).
By contrast, Apple's iPhone is closed with respect to all four roles. In the U.S., only AT&T Wireless subscribers can use an iPhone. To buy one, other mobile carriers' customers must switch to AT&T, incurring inconveniences and contract termination fees (demand-side user role). Software applications for the iPhone are only available through Apple's iTunes Store. Apple reserves the right to reject third-party applications due to quality or strategic concerns, and often does so (supply-side user role). Finally, only Apple manufactures and distributes the iPhone (platform provider role) and Apple is solely responsible for the iPhone's technology (platform sponsor role)
Between these extremes, we find platforms that mix open and closed roles in different patterns (see figure above). For instance, Microsoft's Windows platform is closed at the sponsor level but open with respect to other roles. Apple's Macintosh platform is closed at the sponsor and provider levels but open with respect to both user roles. Since all of the platforms in the figure are successful, it should be clear that without careful definitions, we cannot make general statements about the attractiveness of open versus closed platform strategies—notwithstanding enthusiasm about the profusion of open source software and content created in collaborative communities like Wikipedia's.


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Greek Business Consultant, Immigrant Donates more than 100 Hellenic books to UNCW
Wednesday, January 09, 2013
Wilmington, N.C. - A lecture on Greece's contributions to human civilization inspired businessman Michael A. Papadeas to donate more than 100 Hellenic books to Randall Library at the University of North Carolina Wilmington.
"I have spent 50 years collecting these books, and I wanted them to go to a place where they can be preserved and shared," he said. Approximately 30 percent of the books are written in English.
"The remaining collection covers the long, often tragic, often inspiring history and literature of the Greek people from 2800 BCE (before common era) to the present," Papadeas said. "The books are written in the Hellenic language and its variants that necessarily evolved over the centuries from Homer's poetry, to the Classical Greek of Plato and Aristotle, to Hellenistic Greek, to Koini, to Katharevousa ("High Greek" currently used by the state) and to today's Demotic Greek, spoken by the people."
His donation to the library's Special Collections supports its mission to obtain rare books, manuscripts and other materials of interest to scholars as well as residents of Southeastern North Carolina, according to Sarah Barbara Watstein, university librarian.
"These books are in such good condition," Watstein said. "This donation shows that Mr. Papadeas recognizes the care and attention that the books will continue to receive from the Special Collections staff at Randall Library."
He donated the books following the 50th anniversary celebration of the Cape Fear Chapter of the American Hellenic Educational Progressive Association (AHEPA), held in November 2011 at Randall Library. The event included a lecture by Nicholas Gage, a Greek American author who wrote "Eleni" and "A Place for Us".
"We're honored that our celebration inspired Mr. Papadeas to support Randall Library," said Jim Stasios, AHEPA chapter secretary-treasurer and a UNCW graduate.
Papadeas, born in Athens, Greece, has lived in both Burlington and Kure Beach, N.C., for the past 40 years. An electrical engineer who graduated from Auburn University, Papadeas worked on the design and development of government systems with several AT&T organizations and retired from Lucent Technologies after 35 years of service. After retirement, he continued working as a business consultant and managed more than 20 government proposals for corporate clients mostly based in the Washington, D.C. area.
He holds a U.S. patent related to the testing of telephone channel filters, and he is the author of several technical papers and a business program management guide. He is also a poet and author and his book, titled "Coming to America: A Memoir, 1938-1958" will be printed for distribution in early 2013. The Burlington Times-News printed Papadeas' poem, "Twin Towers," on Sept. 11, 2011, in honor of the 10th anniversary of 9/11.
Media Contact: Andrea Weaver, Office of University Relations, email@example.com or 910-962-7631.


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A Correct View of Authority
A Correct Translation
"All souls are subject to Supreme Authority. Indeed there is no authority except that of YHWH. Moreover the authority that comes to agree (with YHWH) are appointed under YHWH. Whoever sets himself up in opposition to this authority stands against the arrangement of YHWH. Moreover, the opposer will be held in judgment."
- Romans 13:1-2
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Qodesh – 'Set Apart'
The words holy or sanctify are often used as religious words today. However, the origins of these words resides in ancient sun worship and false religion. The reality is that the words holy and sacred have nothing to do with being set apart to YHWH Elohim, said to be translated from the Hebrew word "Qodesh." Qodesh is understood as righteous or set-apart for a special purpose. The essential concept of the word qodesh is one of apartness and distinction. Disciples of Yahshua [Jesus] the Messiah are to be set apart to Elohim, clearly defined from the world [kosmos] as servants or representatives of YHWH Elohim.
Tag Archives: 2 Peter 5:8
The Way: Getting Stuck in a Rut – And Out Again
by John Greene "Because we walk in the flesh, we do not serve according to the flesh. For the tools of our service in warfare are not fleshly, but powerful through Elohim to the destruction of strongholds. Destroy imaginations and … Continue reading
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Protect all the ports and inputs on your Apple mac book with this 9 piece set of dust plugs. Durable silicone plugs seal off all openings and provide an anti dust effect. Keep your new Macbook in perfect condition with this needed laptop accessory.
- Protect the data port of your laptop against the dust and rusting.
- Against oxidation.
- Be fashionable, unique and great valuable.
- Easy to install and remove
- Dustproof waterproof small parts.
- 1 set contain 9 pcs including all the data port in the laptop
- Color: Transparent
- Material: Silicone
Compatiable with: MacBook Pro/ MacBook Air
Pack Includes:
- Power interface: 1pcs
- Network Interface:1 pcs
- IEEE 1394 interface: 1pcs
- Mini DVI interface: 1pcs
- USB interface: 2pcs
- Standard card reader interface (SD): 1pcs
- AUDIO interface: 2pcs


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Hawaii part of nation's largest study in U.S. history on childrens health
1,000 Hawai'i children to be tracked before birth to age 21University of Hawaiʻi at Mānoa
Communications Director
The National Children's Study announced today that the John A. Burns School of Medicine at the University of Hawai'i will be involved in the largest study of child and human health ever conducted in the United States.
Nationally, the study will involve more than 100,000 families and cost nearly $3 billion. The effort, over 2 decades, will track children from before they're born until they turn 21. One thousand Hawai'i families will take part, as researchers seek information to treat and prevent some of the nation's most pressing health problems, including autism, asthma, birth defects, diabetes, heart disease and obesity.
Americans already spend $642 billion* per year to battle just six of the chronic diseases highlighted in the study. Reducing those costs just by 1% would save $6.4 billion per year.
Even more significant is that the study could improve health for generations of Hawai'i citizens. Along with their biologic data, samples of the air, water and dust around the children will be regularly compiled. And information will be collected about what children eat and even the safety of their neighborhoods.
The Hawai'i effort will involve work with health care professionals, community leaders, local hospitals, the Hawai'i State Department of Health, and efforts door-to-door to recruit women who are pregnant or likely to have a child in the near future.
"We are asking women to volunteer their time to participate in a study that will help children in the future," said Dr. Sauvage. "We are asking them to let us into their homes and lives, to help us understand factors that affect child health and development."
The Hawaii study is led by Dr. Lynnae Sauvage, interim chair of Obstetrics, Gynecology and Women's Health at the John A. Burns School of Medicine.
The Burns School was chosen because of its proven medical and research capabilities, and its capacity to work closely with the local community over the more than 20 years of the study, according to the NICHD.
The National Children's Study began in response to the Children's Health Act of 2000, when Congress mandated research into environmental and genetic factors on child and human health. The study involves the U.S. Department of Health and Human Services (including the National Institute of Child Health and Human Development and the National Institute of Environmental Health Sciences at the National Institutes of Health (NIH), the Centers for Disease Control and Prevention (CDC) and the Environmental Protection Agency (EPA).
(*Current annual U.S. costs: Obesity $117 billion, Injury $393 billion, Asthma $13 billion, Diabetes $98 million, Schizophrenia $9 billion, Autism $12 billion.)
For more information: Contact Lynnae Sauvage, MD
(808) 554-4123