text:
Looking for videos to stream in the classroom?
Course name or number:
A list of the DVDs reserved for course use.
Availability of Closed Captioning (CC) or Subtitles (Language/Subtitle) is indicated in the title for each video within the subject pages.
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Please contact your librarian with any questions.
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A librarian is available by phone at (585) 475-2563 or on Skype at llll
Or, call (585) 475-2563 to speak to a reference librarian during normal business hours.

subset: commoncrawl


text:
Fiber optic connectors are a substantial fragment of the global telecommunication industry. Optical fibers are joined using fiber optic connectors, which allow the light conduction between two consecutive optical fibers. An additional im…
Production, means the output of Smart Baby Monitor
Revenue, means the sales value of Smart Baby Monitor
This report studies Smart Baby Monitor in Global market, especially in North America, Europe, China, Japan, Korea and Taiwan, focuses on top manufacturers in global market, with production, price, revenue and market share for each manufacturer, covering
- Motorola
- Samsung
- Infant Optics
- WiFi Baby
- Summer Infant
- IBaby
- Levana
- Angelcare
- Lorex
- Withings
- Philips
- Mobi
- BabyPing
- Frigga
- Snuza
- Vtech
- MCDevices
- Foscam
- Si Bao Jian
Market Segment by Regions, this report splits Global into several key Regions, with production, consumption, revenue, market share and growth rate of Smart Baby Monitor in these regions, from 2011 to 2021 (forecast), like
- North America
- Europe
- China
- Japan
- Korea
- Taiwan
Split by product type, with production, revenue, price, market share and growth rate of each type, can be divided into
- Wired type
- Wireless type
- Type III
Split by application, this report focuses on consumption, market share and growth rate of Smart Baby Monitor in each application, can be divided into
- Application 1
- Application 2
- Application 3


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Hey Bevie...
No doubt in my mind that JoAnnie is involved in this ! She is keeping an eye on you. So glad your DH was able to get that appointment.I will be waiting with you sweetie..
Love you my friend,
Many Holiday Blessings to All
Life may not be the party
we hoped for,
but while we are here we might as


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WWE decided to suspend the cornerstone of the company, Roman Reigns, all of a sudden after the Money in the Bank PPV. Apparently, that was the reason behind Roman getting pinned cleanly to the returning Seth Rollins at the event. That also preponed Dean Ambrose's Money in the Bank briefcase cash in and the becoming the WWE world Heavyweight Champion.
Roman Reigns returned at the Battleground pay-per-view in the month of July and again got pinned cleanly by Dean Ambrose following it with Finn Balor, the next night on Raw. This supposedly raised up the question that if his punishment is still going on. Added to that, he was added to the United States Championship picture with Rusev which basically means that he is forced into the mid-card level.
As reported earlier, Roman was fined $1,00,000 for the wellness policy violation and also had to apologize to the entire locker room before he was sent home, the night his suspension started.
His former buddy, Seth Rollins recently appeared on Atlanta's Bailey and Southside radio show and spoke about the matter. He said nowadays there's no existence of Wrestler's court. In previous days, there may be a group of wrestlers talking trash about a particular one, on his back. He added that it was no such Wrestler's court affair but a light—hearted affair as Roman addressed his colleagues as a locker room leader. The situation was strictly professional between him and the company. Here're his words:
"No no no, that's misunderstood. Roman addressed the locker room, just as a locker room leader, he was a guy who wanted to talk about the situation. That was not a Wrestler's Court situation at all. The Wrestler's Court is more of a lighthearted affair, this was strictly a professional thing between him and the company."


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In working class Mt. Airy, a gussied up gastropub would stand out like a (very) sore thumb so, perhaps, that's why Goat Hollow takes the humbler approach and bills itself as a "neighborhood brasserie." If that sounds too froufrou for the area, don't fret—friendly, down-to-earth servers and a relaxed vibe keep any and all pretentiousness at bay. An impressive little bar stocked with a varied selection of beers has attracted a gaggle of regulars while chef Adam Glickman's well-executed menu of mussels reminds patrons of his near decade-long stint at Monk's Café.
"They're really good. Seriously." It was this ringing endorsement from our waiter that prompted our decision to order what very well may be the restaurant's standout dish.
A heaping bowl of bivalves studded with house-cured tasso ham and caramelized onions bathed in a flavorful pool of beer broth arrived with a worthy companion of Belgian frites and was quickly devoured and universally praised by all at the table.
Unfortunately, the magic of Goat Hollow came to a temporary halt when daring to navigate the minefield of an often overly ambitious menu. Pickled pork belly dumplings sounded tempting but arrived slicked in grease and with a gloopy rather unremarkable ginger-tinged dipping sauce. Hoping for some sort of porcine redemption, the restaurant's namesake burger—a hefty two-hander topped with pickled pork belly and provolone—was promising but would have greatly benefited from a crisper swath of said pork. Paying homage to Philadelphia's love affair with sandwiches, tender but regrettably under-seasoned slices of brisket were enveloped in a toasted, appropriately chewy roll and topped with braised greens. Redeemed with a shake of salt and it could easily give the city's other sandwich a run for its money.
Despite the missteps and occasional let-downs (easily absolved with the help of a warming, pleasant bowl of homey chicken and rice soup), this is exactly what the area needs—a place full of potential—which is not at all unlike the neighborhood itself.
Goat Hollow | 300 West Mt. Pleasant Ave., Philadelphia, PA 19119 | (267) 428-5672 | www.goathollow.com


text:
|For best results, use only singular terms (i.e. "weld" or "teach") when using the search function(s).
Listed are the occupations that have related education
and training programs in the region.
Select "Show All Occupations" to view a complete list of O*NET/SOC classified occupations, including those for which no local programs have been identified.
|Network and Computer Systems Administrators
|Computer Security Specialists
|New Accounts Clerks


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Directed by Jeon Yoon-soo (전윤수)
Screenplay by Han Soo-ryeon (한수련)108min | Release date in South Korea : 2008/11/13
Alternative title : "Beauty Island"
Born to a family of established court painters, seven-year-old Yun-jeong is a young girl gifted at painting. However, the pressure is on her brother to carry on the proud family tradition, as women arent allowed to become professional painters. While her brother trains to take his place in the court, Yun-jeong helps him out by secretly painting for him. The little girls life is turned upside down when her brother kills himself. In order to preserve the family honor, she is forced to take her brothers name and lives as a man. Yun-boks genius and talent captures the heart of another great master of the time, Kim Hong-do. But her daring depictions of women are condemned by the royal institute as obscene. Yun-bok meets Kang-mu and falls deeply in love. For the first time, she feels the strong desire to abandon everything she has built and simply be a woman in front of the man she loves. Kang-mu sacrifices all for his love as well. Kim Hong-do, who loved the genius of his best student, ends up loving everything about her, and Seol-hwa, a Gisaeng at the courtesan house, possesses a love for Hong-do that turns into fatal jealousy. The secret behind Shin Yun-boks masterpiece, Portrait of a Beauty, is finally revealed after 250 years of silence.
Watch NowOn DramaFever if available
You're reading the news with potential spoilers, make them spoiler free, dismiss
View all 50 pictures for "Portrait of a Beauty"
Teaser Making Of
Poster Making Of
Poster Making Of
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|108 min •35mm •Panoramic (1.85)
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text:
Built on the easternmost point of Long Island, this stunning house was designed to complement the natural, expansive beauty of its surroundings. Removed from the pristine, manicured glamour of the Hamptons and surrounding neighbourhoods, the space reflects the tranquillity of the ocean and the open horizon.
Subscribe today to House & Garden or download the issue here
Read our November editor's letter here


text:
FREE SHIPPING on orders of $85 or more
An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2017
Boernician of the Scottish/English Borderlands in the medieval era. It is derived from Simon, and meant son of Simon.
Simm Early Origins
East Lothian, where they held a family seat from very ancient times.
Simm Spelling Variations
Simm Spelling Variations
Before the printing press and the first dictionaries appeared, names and other words were often spelled differently every time they were written. Simm has appeared under the variations Simms, Symes, Sime, Simes, Sim, Sym, Syms, Syme and others.
Simm Early History
Simm Early History
This web page shows only a small excerpt of our Simm research. Another 188 words (13 lines of text) covering the years 1162, 1503, 1530, and 1596 are included under the topic Early Simm History in all our PDF Extended History products and printed products wherever possible.
Simm Early Notables (pre 1700)
Simm Early Notables (pre 1700)
More information is included under the topic Early Simm Notables in all our PDF Extended History products and printed products wherever possible.
Simm In Ireland
Simm In Ireland
Some of the Simm family moved to Ireland, but this topic is not covered in this excerpt. Another 233 words (17 lines of text) about their life in Ireland is included in all our PDF Extended History products and printed products wherever possible.
The Great Migration
The Great Migration
The Scots who crossed the Atlantic were often on the run from poverty as well as persecution. They brought little with them, and often had nothing of their home country to hand down to their children. In the 20th century, Clan societies and other patriotic Scottish organizations have helped the ancestors of Boernician Scots to recover their lost national legacy. Many of those families went on to make significant contributions to the rapidly developing colonies in which they settled. Early North American records indicate many people bearing the name Simm were among those contributors:
Simm Settlers in United States in the 17th Century
Simm Settlers in United States in the 18th Century
Simm Settlers in United States in the 19th Century
Contemporary Notables of the name Simm (post 1700)
Contemporary Notables of the name Simm (post 1700)
The motto was originally a war cry or slogan. Mottoes first began to be shown with arms in the 14th and 15th centuries, but were not in general use until the 17th century. Thus the oldest coats of arms generally do not include a motto. Mottoes seldom form part of the grant of arms: Under most heraldic authorities, a motto is an optional component of the coat of arms, and can be added to or changed at will; many families have chosen not to display a motto.
Motto: Fortuna et labore
Motto Translation: By fortune and labor.
Simm Family Crest Products
Simm Family Crest Products
See Also
See Also
Other References
The Simm Family Crest was acquired from the Houseofnames.com archives. The Simm Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname.
This page was last modified on 27 November 2017 at 10:40.
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It was the birthday present that started an obsession.
March 31st, 2011 I received the birthday present that would quite literally change my life. My cousin had played on a U-14 team associated with the Timbers and had secured tickets for a match at Jeld-Wen on May 6th, 2011 against the Philadelphia Union. It was a simple question, "Hey, do you want to go to a Timbers game." It got a simple answer, "Hell yeah."
I was 14 years old then and although I loved playing soccer with a passion I had yet to actually devote time to watching the sport. My knowledge of the Portland Timbers was limited to the tales of the rowdy Timbers Army and I could name one team in the MLS besides them: the LA Galaxy. But even then I knew when life hands you Timbers tickets, you take them.
I got the full game day experience. A drive up I-5 four hours before game time from my hometown about 10 miles off of Salem was followed by a Trimet ride straight to the stadium once in the Rose City. Upon exiting the Max with my cousins and my uncle as a chaperon I was treated to my first look on the great Timbers Army. It was a sea of greens, whites, and the occasional red. I saw two-sticks being displayed above the heads of the crowd.
Just as I was starting to grow enamored with my new surroundings I was finally informed that our seats wouldn't be in the Timbers Army section. We would be in the west end right next to the traveling Philadelphia supporters. I barely had time to care.
Before I could conjure any emotions against the away support, the teams started their walk to the field. That's when I participated in my first chant, "P-T" clap-clap "F-C" clap-clap "P-T" clap-clap "F-C". Never before had I seen such a large amount of people come together to form one, unanimous voice. It was simply awe inspiring. After a Timbers-fueled rendition of the Star-Spangled Banner, it was time.
The match was a crazy blur. I followed the Timbers Army cues as best I could. I roared when they roared. I chanted what they chanted (save when the supporters around me thought it would be more fitting to sabotage the Union's supporters chants). What I remember of the game being played on the field is little. Nagbe's speed and energy impressed me. Chara's physicalness surprised me. But above all, Captain Jack Jewsbury's presence made him my favorite player to watch.
Caught up in the emotion of the match, I do remember my emotions getting the better of me. When a stray boot of Jorge Perlaza collided with the face of a Union player, I joined in with the chorus of derogatives being thrown down at the referee with a "F*** you!" of my own. Right afterwards, I remembered I was with my younger cousins, aunt, and uncle. I looked at them. Shock and awe was on the faces of my cousins. Anger, and maybe a hint of being impressed, in the eyes of my aunt and uncle. And I didn't care. It was in that moment I knew I was hooked.
I cried out in disbelief when Futty Danso missed a golden chance to score on a header. My heart stopped on a goal line clearance late in the first half. When another header from the Timbers came close to scoring, I wondered if the goal would ever happen.
But of course it would come.
The Timbers, perhaps not wanting to let me leave disappointed on my first match, found their goal. Futty made up for his miss earlier and found his mark. I hugged a complete stranger in the row in front of me.
Once that goal was in the tension had been lifted and it felt like a Timbers win was now inevitable. It was.
I left Jeld-Wen field that night chanting with the Army and knowing that I was know Rose City 'Til I Die.
– Erik Morgan, The Portland Boys


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Skip to comments.Presidential Candidate Mitt Romney Target of a Newly Released Android App - Flip-Flop Mitt
Posted on 12/29/2011 5:36:03 PM PST by Fred
The new Android application, Flip-Flop Mitt is an interactive quiz game that features an animated character dressed in the standard blue suit, red tie and the a-typical bright yellow boxer shorts. He holds a spatula with a pancake on it, which he tosses in response to players answering questions. A video of the game is available on YouTube at this link: Video
The purpose of the game is to test the players knowledge about Presidential Candidate Mitt Romneys position on several important issues. The goal for the player is to answer every question correctly. The player has an option to guess true or false on eight statements about Romneys stance on Gun Control, National Health Care, Taxes, Immigration, Agriculture, Social Security, and even Flip Flopping. For example, the question on Gun Control is: Flip-Flop Mitt supports the 2nd Amendment and the right of individuals to own and bear firearms. The statement on Taxations is: Flip-Flop Mitt is opposed to any tax increases on hard-working Americans. The player can choose true or false in response to each statement. The application can be downloaded at the Android Market.
(Excerpt) Read more at digitaljournal.com ...
Holding my breath for the Obama 3000% savings app!
Disclaimer: Opinions posted on Free Republic are those of the individual posters and do not necessarily represent the opinion of Free Republic or its management. All materials posted herein are protected by copyright law and the exemption for fair use of copyrighted works.


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Papiya Sengupta
March 10, 2017 Actress
Papiya Sengupta Biography
Real Name: Papia Sengupta
Profession: Actress
Famous Role: Sonali Sabharwal (Ye Kaha Aa Gye Hum)
Date of Birth: 1978
Age (as in 2017): 39 Years
Birth Place: Mumbai, Maharashtra, India
Nationality: Indian
Hometown: Mumbai, Maharashtra, India
TV Debut: Alif Laila (1997)
Papiya Sengupta Wiki
Height (Approx.): 5' 4" (163 cm, 1.63 m)
Weight (Approx.): 60 kg (in Pounds- 132 lbs)
Figure Measurements: 34-30-36
Bra Size: 34B
Eye Color: Black
Hair Color: Black
Papiya Sengupta Career
- Kitani Mohabbat Hai as Savita Punj
- Pyaar Kii Ye Ek Kahaani as Madhu
- Savdhaan India
- Fear Files: Darr Ki Sacchi Tasvirein
- Anamika
- Main Naa Bhoolungi as Sunaina Jaggnath
- Bharat Ka Veer Putra -Maharana Pratap as Madhlsa Bai
- Yeh Kahan Aa Gaye Hum as Sonali Sabharwal
- Chandra Nandni as Moora
Papiya Sengupta Videos
Papiya Sengupta Kissing Scenes
Madhurima's (Nigaar Khan) step mother
Papiya Sengupta Wallpapers
Papiya Sengupta hd wallpapers
Papiya Sengupta cute smile photos
Papiya Sengupta hot pictures stills
Papiya Sengupta height
Mrs Papiya Sengupta with Family
Papiya Sengupta from Chandra Nandini


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I can't stop making things!Here are some achievement icons, based on Oliver's suggestions on this thread.
Imgur album link:
These look very nice! I would like to point out that only a few of the suggestions on the achievements thread are...viable. Most of them are either so specific that the game won't simulate to that level (e.g. resisting the urge to make a genital monster), are obscure and overly self-indulgent references (e.g. Wayward's ASOIF themed lists), are so easy to get they shouldn't be achievements (e.g. my achiever, metachiever, etc. set) or just generally don't have much of a point.
My first post was a conscious effort to make achievements that circumvent those issues, so good job starting there I guess. For the rest of them, be discerning about which ideas deserve consideration.
Yeah, I wasn't planning on making every single achievement on there anyway, only the ones that seemed viable.
EDIT: I added some new icons - What Now, Shish-Kebab, Apex, and the three Disco ones - and also tweaked some old icons to make them a bit nicer.Check the album in the original post.


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GitHub user snaveenp opened a pull request: https://github.com/apache/zeppelin/pull/1510
[ZEPPELIN-675] "No data available" in invalid graph types for sql queries ### What is this PR for? Overriding graph message 'No data available' to 'Invalid Data, check graph settings' ### What type of PR is it? Improvement ### Todos * For Table and Map in graphs 'No data available' message is not shown, Maybe we want to implement this. ### What is the Jira issue? [ZEPPELIN-675] "No data available" in invalid graph types for sql queries ### How should this be tested? Step 1: Run a sql query which will return 1 column or no records. Step 2: Choose pie chart / bar chart Verification: Earlier the message is "No data available", It should have been changed to 'Invalid Data, check graph settings' ### Screenshots (if appropriate) ### Questions: * Does the licenses files need update? NO * Is there breaking changes for older versions? NO * Does this needs documentation? NO You can merge this pull request into a Git repository by running: $ git pull https://github.com/snaveenp/zeppelin ZEPPELIN-675-NoDataAvailable-in-graph Alternatively you can review and apply these changes as the patch at: https://github.com/apache/zeppelin/pull/1510.patch To close this pull request, make a commit to your master/trunk branch with (at least) the following in the commit message: This closes #1510 ---- commit 63ac8aebe5ba2da26191376d438abccb25615889 Author: Naveen Subramanian <nsubramanian-consult...@quixey.com> Date: 2016-10-13T07:12:27Z Added custom message for no data in graph ---- --- If your project is set up for it, you can reply to this email and have your reply appear on GitHub as well. If your project does not have this feature enabled and wishes so, or if the feature is enabled but not working, please contact infrastructure at infrastruct...@apache.org or file a JIRA ticket with INFRA. ---


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Tribal Colleges and Universities Begin Strengthening Data Capacity for Student Success
Achieving the Dream Lends Expertise in Creating a Culture of Evidence
Silver Spring, MD (January 18, 2017) – The American Indian Higher Education Consortium (AIHEC) and Achieving the Dream (ATD) launched a two-year initiative at eight small, rural tribal colleges and universities (TCUs) designed to increase student success and completion by strengthening the colleges' use of data and technology.
The Leona M. and Harry B. Helmsley Charitable Trust awarded AIHEC $200,000 to fund the initiative, called Building TCU Capacity for Equity, Evidence and Excellence. Achieving the Dream, a national non-profit leader in community college reform, is providing technical assistance to the participating two- and four-year institutions.
Under resourced colleges often lack the fundamental institutional capacities that enable them to undertake the kinds of whole-college transformation efforts such as structured pathways and developmental education reform that lead to significant improvement in student outcomes. Building data and technology capacity is particularly important at TCUs, which have student populations that are at least 85 percent American Indians and Alaska Natives and first generation college students from high-poverty rural communities.
"Achieving the Dream is very pleased to be working with AIHEC and the tribal colleges in this initiative focused on building a culture of evidence and inquiry," said Dr. Karen A. Stout, President and CEO of Achieving the Dream. "More than a decade of reform work with more than 200 community colleges has shown us that helping colleges learn to ask for their data, understand it, believe it and use it to lay the groundwork for big advances in student success."
The colleges selected to participate in the initiative include:
- Blackfeet Community College (MT)
- Cankdeska Cikana Community College (ND)
- College of Menominee Nation (WI)
- Institute of American Indian Arts (NM)
- Lac Courte Oreilles Ojibwa Community College (WI)
- Saginaw Chippewa Tribal College (MI)
- Turtle Mountain Community College (ND)
- United Tribes Technical College (ND)
On December 15-16, 2016, the initiative formally began with teams from participating colleges, AIHEC and ATD staff plus the ATD data coaches who will provide hands-on technical assistance convening in South Dakota. The meeting helped teams prepare to build data capacity to support three key student success metrics: persistence, progression and completion.
Prioritizing these metrics will help colleges strengthen their capacity to assess student needs, monitor student progress, evaluate policies and practices, and inform decision-making and resource allocation.
Over the course of the initiative, ATD coaches also will assist the participating colleges in learning to prepare disaggregated, longitudinal student cohort data, conduct survey and qualitative analyses, and analyze data to diagnose academic challenges, leakage points and performance gaps among student groups.
AIHEC will periodically convene participating colleges and other TCUs in a community of practice to share strategies, successes and challenges.
# # #
Achieving the Dream, Inc. is a national nonprofit that is dedicated to helping more community college students, particularly low-income students and students of color, stay in school and earn a college certificate or degree. Evidence-based, student-centered, and built on the values of equity and excellence, Achieving the Dream is closing achievement gaps and accelerating student success nationwide by: 1) guiding evidence-based institutional improvement, 2) leading policy change, 3) generating knowledge, and 4) engaging the public. Conceived as an initiative in 2004 by Lumina Foundation and seven founding partner organizations, today, Achieving the Dream is leading the most comprehensive non-governmental reform network for student success in higher education history. With over 200 institutions, more than 100 coaches and advisors, and 15 state policy teams - working throughout 35 states and the District of Columbia – the Achieving the Dream National Reform Network helps more than 4 million community college students have a better chance of realizing greater economic opportunity and achieving their dreams.


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I adore all things Thomas Keller.
Last year, I indulged in the most heavenly four hour meal at French Laundry, wine pairings and all. It was an experience that probably won't be replicated for awhile. Unless I get a second job.
On that same trip to Napa, I also had the pleasure of eating at Thomas Keller's other Yountville joint, Ad Hoc. What a cool, fun concept. While I loved French Laundry, it didn't feel like home. It felt like an out of body eating experience. Ad Hoc felt like home (possibly due to the fact that they have the same Ikea full length mirrors I do, but you get the point).
Anyway, one of my favorite Thomas Keller recipes that I've made over and over is his Simple Roasted Chicken. And the name says it all. I honestly don't even have to put together a lengthy recipe for you because it's so ridiculously simple.
Buy a chicken (3-4lb).
Clean and dry the chicken.
Truss the chicken.
Throw salt all over the chicken.
Seriously, that's it. Sometimes I add thyme in addition to the salt, but it's just as good with only the salt. Throw the chicken into the roasting pan and roast at 400 degrees for around 50 minutes.
Here's the catch. The oven gets smoky. Really smoky. My smoke alarm went off three times when I roasted this chicken the other night. But it's worth enduring the ear piercing smoke alarm to reap the benefits of this juicy chicken with it's delicious, brown, salty skin.


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Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.
Exceptional Golf Gift Ideas Which You Can Buy For Yourself
If you love playing golf then you might still crave for some golf equipment that you still don't have. You
might have even dreamed and ogled on what is the best and in-demand equipment in the golf industry.
You might have even looked for the finest golf gadgets in the nearby market but those well-coveted gifts
are too expensive. Well, it would not hurt to add these coveted golf gifts in your bucket, providing your
closest friends and relatives an inkling of what wonderful gadgets you have on those special occasions.
Here are some of the most distinctive gifts that you can buy under $ 100
Sure, sturdy duffel bags and golf ball set speaks volumes but there are some uncommon gifts that you
could only wish you could have. Here are few of them.
1. The golf-finger collector's (A set that consists of golf balls)
These are certainly not your regular golf gifts. If you are an ardent follower of James Bond particularly
the scene where the agent 007 and Auric Gold-finger were playing golf, then you might have seen the
scene in which Bond uses the Pen fold Heart golf balls. This scene became a sensation, especially in the
golf industry. So, this could become a perfect golf lover gift idea.
2. Another perfect golf lover gift idea is the DVD of the movie Hogan Versus Snead Play
Yes, embrace yourself with this movie. Not many know that this DVD is one of the most preferred golf
lover gift ideas. The movie is one of those classic golf games that can only be done once in history. The
story beautifully showcases the play between two great golf legends ben Hogan and Sam Snead. Both
players were at the peak of their golf career in the movie, in it, the story also demonstrates the classic
golf display and golf enthusiast. The movie costs around $ 20.
3. Stimpmeter
Any golf lover would appreciate the importance of stamp meter. It is a device that is used to gauge and
calculate the pace of a putting green by allowing a ball to roll down the ramp. This way the distance
traveled can be measured. But remember, you cannot just buy one in a store. Plus, not many know that
only a USGA officer can buy many at one from the store. For regular golfers, you cannot own one as it is
not sold to the public. But here is the good news; you can have a similar replica of it too. Yes, one of the
cheapest and most loved golf lover gift ideas is also available in the market. Such a golf gift costs $65.
Last but not the least you have to understand that not all gifts come under $100. If you will increase
your money bar you might be able to serve yourself with better gifts. In short, buy the gift you have
longed for.
John Becker is an expert who has written many article and blogs on superior quality of sporting goods
which helps the consumers and the readers to choose from the best and gives the satisfaction. He
recommends Zipfsports.com as the name to trust if you are looking for sports items.


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The Borneo Post SEEDS – Giving the youth a voice
"The youth don't read," has become a glaring issue for us in the newsprint industry. How do we compete with 24-hour information that anybody can access with a single swipe of their finger? How do we make reading the news relevant to secondary students and young working adults?
We give them a voice. We give them a face. We let them – YOU – tell us what matters through our new youth-oriented website The Borneo Post SEEDS.
The idea for The Borneo Post SEEDS began in 2012, first as an idea as a weekly print-publication, and then it crystallised in 2013 as a website.
We have five main landing pages which include: Focus (features and human interest stories), Camp'US'life (news, events, updates from educational institutions), Lifestyles (Food and beverage, travel, reviews), YourSay (reader's letters, OpEds) and Pixels (where we publish colour and photo stories).
We resurrected this name from a section in The Borneo Post's discontinued weekly publication PostMag, since the title seems to incorporate everything from most-talked about trending topics, personalities or celebrities to current issues like bullying in schools, fuel-price hikes, drug abuse, people and events.
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text: nyp1 Published 04/January/2017 at 528 × 960 in A New Year in the Philippines Loraine the tour guide sets up my phone with a local sim card. It gave me a usable phone number, but I was more interested in the data network for internet. It even worked some of the time!


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text:
|Publication number
|Publication type
|Application number
|Publication date
|Mar 30, 2004
|Filing date
|Aug 8, 2001
|Priority date
|Aug 8, 2001
|Fee status
|Also published as
|Publication number
|Travis R. Taylor, Cangshan Xu, Kevin T. Crofton, Eugene Yuexing Zhao
|Original Assignee
|Lam Research Corporation
|Export Citation
|BiBTeX, EndNote, RefMan
|Patent Citations (11), Non-Patent Citations (2), Referenced by (18), Classifications (11), Legal Events (8)
|External Links: USPTO, USPTO Assignment, Espacenet
This application relates to chemical mechanical planarization of semiconductor wafers. More particularly, this application relates to a modified platen assembly for providing improved wafer removal profile performance in a linear or rotary polishing system.
Semiconductor wafers are typically fabricated with multiple copies of a desired integrated circuit design that will later be separated and made into individual chips. A common technique for forming the circuitry on a semiconductor wafer is photolithography. Part of the photolithography process requires that a special camera focus on the wafer to project an image of the circuit on the wafer. The ability of the camera to focus on the surface of the wafer is often adversely affected by inconsistencies or unevenness in the wafer surface. This sensitivity is accentuated with the current drive for smaller, more highly integrated circuit designs which cannot tolerate certain nonuniformities within a particular die or between a plurality of dies on a wafer. Because semiconductor circuits on wafers are commonly constructed in layers, where a portion of a circuit is created on a first layer and conductive vias connect it to a portion of the circuit on the next layer, each layer can add or create nonuniformity on the wafer that must be smoothed out before generating the next layer.
Chemical mechanical planarization (CMP) techniques are used to planarize the raw wafer and each layer of material added thereafter. Available CMP systems, commonly called wafer polishers, often use a rotating wafer holder that brings the wafer into contact with a polishing pad moving in the plane of the wafer surface to be planarized. The polishing pad is typically disk or a belt. In some systems, a polishing fluid, such as a chemical polishing agent or slurry containing microabrasives, is applied to the polishing pad to polish the wafer. The wafer holder then presses the wafer against the rotating polishing pad and is rotated to polish and planarize the wafer. In other CMP systems, a fixed-abrasive polishing pad is used to polish the wafer. In fixed-abrasive applications, the wafer holder presses the wafer against the rotating fixed-abrasive polishing pad, deionized water (or some other non-abrasive substance) is applied, and the pad is moved to polish and planarize the wafer.
In linear wafer polishers, a support assembly is often positioned under the linear belt to provide additional support and polishing control to the polishing process taking place on the opposite side of the linear belt. Examples of linear belt supports are shown in U.S. Pat. No. 5,593,344 where one or more fluid bearings are used to support the belt. One objective of the fluid bearings is to help control the wafer removal profile of the linear polisher by adjusting the fluid pressure applied to various zones underneath the belt. Despite the wafer removal profile control that can be achieved with the fluid bearings, some wafer removal variations may remain that require additional compensation. Accordingly, there is a need for an improved mechanism for supporting a linear belt or a rotary pad.
In order to address the need for improved wafer removal profile, a platen for use in a platen assembly for supporting a polishing member, such as a linear belt on a linear polishing apparatus, or a rotary pad on a rotary polishing apparatus, is described below. According to one aspect of the invention, a platen assembly for supporting a polishing member on a polishing apparatus is disclosed that has a platen comprising a substantially planar surface with a leading edge and a trailing edge, where the trailing edge is positioned at an opposite end of the substantially planar surface from the leading edge. A plurality of fluid channels is disposed between the leading and trailing edges of the platen, each of the fluid channels defines a respective opening in the substantially planar surface. At least one region of altered topography is positioned on the platen, where each of the at least one region of altered topography includes one of a region of raised of raised topography and a region of lowered topography relative to the substantially planar surface.
According to another aspect of the invention, the platen assembly includes the platen having a segmented platen ring positioned around a portion of the planar surface. Each segment may be positioned to be a raised or lowered region of topography.
According to another aspect of the invention, a linear belt support assembly for supporting a linear belt, wherein a wafer having a diameter is pressed against one side of the linear belt, includes a platen. The platen includes a substantially planar surface positioned underneath the linear belt opposite the wafer. The substantially planar surface is positioned in the linear belt support assembly and has a diameter that is greater than the diameter of the wafer. The platen further includes a leading edge and a trailing edge, where the trailing edge is positioned at an opposite end of the substantially planar surface from the leading edge. Also a plurality of fluid channels are disposed between the leading and trailing edges of the platen, where each of the fluid channels is a respective opening defined by the substantially planar surface. At least one region of raised topography is positioned on the platen closer to the trailing edge than to the leading edge.
FIG. 1 is a perspective view a linear wafer polisher suitable for use with a platen assembly according to a preferred embodiment.
FIG. 2 illustrates a platen assembly according to one preferred embodiment.
FIG. 3 is an exploded view of the platen assembly of FIG. 2.
FIG. 4 is a plan view of a platen assembly according to a first alternative embodiment.
FIG. 5 is a plan view of a platen assembly according to a second alternative embodiment.
FIG. 6 is a plan view of a platen assembly according to a third alternative embodiment.
FIG. 7A is a cross-sectional view of a region of raised topography suitable for use on the platen assemblies of FIGS. 2-6.
FIG. 7B is a first alternative embodiment of the cross-sectional view of FIG. 7A.
FIG. 7C is a second alternative embodiment of the cross-sectional view of FIG. 7A.
FIG. 7D is a third alternative embodiment of the cross-sectional view of FIG. 7A.
FIG. 8 illustrates a side view of a region of raised topography suitable for use on the platen assemblies of FIGS. 2-6.
FIG. 9 is a plan view of a platen assembly according to a fourth alternative embodiment.
FIG. 10 is a plan view of a platen assembly according to a fifth alternative embodiment.
FIG. 11 is a perspective view a rotary wafer polisher suitable for use with a platen assembly according to a preferred embodiment.
In order to address the drawbacks of the prior art described above, an apparatus for supporting a linear polishing belt or a rotary polishing pad is described herein that is intended to improve the removal rate profile in a CMP process. Referring to FIG. 1, a linear polisher 10 is shown that is suitable for use with a preferred embodiment of a linear belt support. The linear polisher 10 includes a belt assembly 14 having a polishing pad. The belt assembly 14 may consist of an integrally molded belt and pad combination or a belt having polishing pad and belt components attached in any one of a number of ways known in the art. Examples of suitable belts include the stainless steel belt and polishing pad assemblies sold by Lam Research Corporation and Kevlar belts available from Madison CMP of Salem, N.H. The pad material may be a non-abrasive material configured to transport a chemical and/or abrasive slurry, or a fixed-abrasive pad having abrasive particles fixed in a matrix material. The linear polisher 10 moves the belt assembly 14 linearly around rollers 16, 18 by actively driving one or both of the rollers 16, 18 with a driving mechanism such as a motor. In this manner, the polishing pad on the belt 14 moves past the surface of the wafer 20 in a linear fashion. A direction of movement of the belt assembly 14 is indicated by arrow 22.
A wafer carrier 24, driven by a spindle 26, holds the wafer 20 against the polishing pad on the belt 14. A spindle drive mechanism (not shown) applies rotational and axial force to the spindle 26 so that the wafer 20 is rotated and pressed against the polishing pad on the belt assembly 14. A platen assembly 28 positioned underneath the belt assembly 14 and opposite the wafer carrier 24 supports the belt assembly with a fluid bearing to provide a very low friction surface that can be adjusted to compensate for polishing variations. Suitable linear polishers include the linear polishers in the TERES CMP System available from Lam Research Corporation of Fremont, Calif. One example of a linear polisher that may be used with the present invention is disclosed in U.S. application Ser. No. 08/968,333 filed Nov. 12, 1997 and entitled "Method and Apparatus for Polishing Semiconductor Wafers", the entire disclosure of which is incorporated herein by reference.
Referring to FIGS. 2-3, the platen assembly 28 controls the gap between the back of the belt and the platen 30. The platen assembly 28 is preferably removably attachable to a frame of the polisher 10 between the rollers 16,18. The platen assembly 28 comprises a replaceable disk platen 30 mounted on a disk platen holder 32. The platen 30 preferably has a substantially planar surface larger than the surface of a wafer to be polished, and may be constructed of a metal, such as brass, or other rigid material. A plurality of fluid channels 34 is disposed on the platen 30, where each of the fluid channels 34 may be an opening in the substantially planar surface of the platen. When the platen 30 is mounted in the platen holder 32, the platen 30 has a leading edge 33 that is arranged to receive the belt as the belt initially passes over the platen assembly 28, and a trailing edge 35 that is the last portion of the platen to support the belt as it passes over the platen assembly.
A manifold assembly 36 underneath the disk platen holder 32 is designed to distribute fluid to the disk platen in precise amounts. In one embodiment, the disk platen holder 32 may include a row of nozzles 38 arranged along at least one of the edges perpendicular to the direction of motion of the belt 178. Fluid is directed to nozzles 38 from a manifold 40 on the manifold assembly 36. The nozzles 38 may be used to reduce the friction of the belt against the edges of the disk platen holder by providing a small amount of buffer between the disk platen holder and the belt as the belt initially passes over the platen assembly 28. Preferably, the fluid utilized is air and the manifold assembly 36 has a plurality of pneumatic quick disconnect ports 42 that permit easy engagement and disengagement of air supplies to the platen assembly 28. A platen disk gasket 44 provides a seal between the platen 30 and platen holder 32. Similarly, a platen holder gasket 46 supplies a seal between the manifold assembly 36 and the platen holder 32. A plurality of fasteners 48 hold the platen assembly 28 together and four connector holes 50 cooperate with fasteners (not shown) for installing or removing the assemble platen assembly 28 from the polisher 38.
In a preferred embodiment, the platen 30 may have one or more regions of raised and/or lowered topography. Referring to FIGS. 2-3, although any change in the overall topography of the platen surface is contemplated, whether located on the trailing, leading, front and rear quadrants, a region of raised topography 52 is preferably positioned closer to the trailing edge 35 of the platen assembly than to the leading edge 33. As shown in FIGS. 2-3, the region of raised topography is in the form of an arc positioned outside to the last row of fluid passages 34 on the trailing edge 35. The region of raised topography may be a separate material adhered to the platen surface, integrally formed with the surface of the platen 30, or movably positioned on the platen. The arc length of the region of raised topography is preferably less than 180�, and more preferably 30�, and the height may be in the range 0.000 to 0.250 inches with respect to the platen surface. In an alternative embodiment, regions of lowered topography may be substituted for, or combined with, the region of raised topography on a platen. The regions of lowered topography are preferably integrally molded into, or carved from the original platen surface. The lowered regions may have a depth in the range of −0.250 to 0.000 inches with respect to the platen surface. Also, the regions of lowered topography can be mechanically created and eliminated using movable posts that are mechanically controllable to raise or lower from the planar surface of the platen. The movable posts may be operated using any of a manner of known actuating mechanisms (e.g. electrical, hydraulic, pneumatic, etc.).
In FIG. 4, a particular platen arrangement incorporating a region of raised topography 152 is illustrated. The platen 130 includes eight zones 131 arranged as concentric rings about the center of the platen between the leading and trailing edges 133, 135. The different zone 131 widths illustrated in FIG. 4 represent different densities of fluid channels, where the wider line widths represent a higher density of fluid channels than the narrower zone widths. A dashed line representation of a wafer 154 is shown in FIG. 4 to illustrate the position of the wafer relative to the zones 131 of fluid channels on the platen 130 when the wafer is pressed against the belt opposite the platen. Preferably, the platen is sized, and the wafer aligned, such that one or more concentric rings of fluid channels lay outside of the outermost edge of the wafer.
Additionally, as shown in FIG. 4, the region of raised topography 152 is preferably positioned outside the wafer's edge in one embodiment. In this embodiment, a 300 millimeter wafer size is assumed and the region of raised topography 152 may be formed of a material such as a strip of Rodel IC1000 pad material, or Rodel carrier film, having a height in the range of approximately 0.030 inches to 0.040 inches and a width of approximately 3 millimeters. These Rodel materials are available from Rodel Corporation in Phoenix, Ariz. The strip of material is preferably centered so that it is symmetric about the diameter of the platen extending from the leading edge to the trailing edge and may be of varied length, having an arc length of less than 180�, depending on the application.
Other embodiments illustrating regions of raised topography are shown in FIGS. 5 and 6. Although various arrangements of zones for controlling the pressure against the linear belt may be used to position the fluid channels, zones having concentric ring configurations of fluid channels are used below in order to simplify the following discussion of the various embodiments of regions of raised topography on the platen. Other discrete patterns of fluid channels, including fluid channels aligned in a line, or in small groups that are of one or many different geometric shapes, may be used. Also as described above, regions of raised topography, lowered topography, or a mixture of the two may be positioned in any portion of the platen surface. FIG. 5 shows a platen 230 with first and second regions of raised topography 251, 252. As with the embodiments of FIGS. 1-4, the regions of raised topography are positioned closer to the trailing edge 235 than to the leading edge 233 of the platen 230. In FIG. 5, however, two regions of raised topography 251, 252 are shown adjacent consecutive rows of fluid channels 231. Also, the regions of raised topography are positioned within the outer diameter of the wafer 254 represented by dashed lines. In alternative embodiments, the regions of raised topography 251, 252 may be more spaced apart radially so that more than one row of fluid channels 231 separates the regions of raised topography.
The embodiment of FIG. 6 shows a region of raised topography 353 composed of segments 353 symmetrically spaced about the diameter of the platen 330 that extends from the leading edge 333 to the trailing edge 335. Although shown positioned outside the diameter of the wafer 354, the region of raised topography may be located under the belt at a point that is also under the wafer and there may be regions of raised topography at more than one radial position, as shown in FIG. 5. Each of the segments 353 making up the region of raised topography 352 may be juxtaposed with the next adjacent segment or they all may be spaced apart from one another. Furthermore, the segments may be constructed of one or a combination of materials.
Each region of raised topography, whether attached to, or part of, the platen, may have one of several cross-sectional shapes to aid in the overall performance of adjusting the wafer removal rate profile. As shown in FIGS. 7A-7D, a square cross-sectional profile 52 a, dome-like cross-sectional profile 52 b, ramp cross-sectional profile 52 c, slope cross-sectional profile 52 d, or combination of these or other cross-sectional profiles may be used for each region of raised topography. While the overall height of the region of raised topography is preferably even along its length, in other preferred embodiments the region of raised topography 52 may include a raised center portion 60 and tapered end portions 62 as illustrated in the side view of FIG. 8.
FIG. 9 illustrates another embodiment of a platen 610 that is a further variance of the embodiment shown in FIG. 6. This embodiment shows a platen ring 615 composed of segments 620 placed around the platen 610 and positioned outside the diameter of a wafer 625 (represented by dashed lines). The platen ring 615 may be constructed of one or a combination of materials, and is sectioned into at least four segments 620. For embodiments that have four segments, there is a leading edge segment 630, a trailing edge segment 635, a rear segment 640, and a front segment 645.
Each segment 620 is independently adjustable from the other segments, and may be either raised or lowered relative to the platen surface so that each segment 620 may comprise either a region of raised or lowered topography, depending on processing requirements. In a preferred embodiment, the segments may be positioned at an elevated height of 0.000 to 0.0250 inches or at a lowered height of 0.000 to −0.059 inches relative to the platen surface, although other ranges are also possible, again depending on processing requirements. The positioning of the trailing edge segment 635 and the leading edge segment 630 are dependent on application requirements, but in general will be similar to those described above, i.e., positions of raised topography are positioned closer to the trailing edge 635 than the leading edge 630. Moreover, the segments are smooth, and may have any suitable shape, such as, by way of example, a square or rounded shape, or any of the profiles described above.
The segments may be raised or lowered through a number of techniques. For example, shims may be used to place the segments into raised or lowered positions, or the mechanical posts noted above may be used to position the segments. Additionally, the segments may be individually adjusted through the use of a software-controlled recipe parameter and controller so that the segments are set to predetermined positions at the start of a polishing cycle. The actual movement of the segments into raised or lowered positions may be accomplished through a height adjustment apparatus such as an electrical motor, pneumatic system, or hydraulic system that receives a signal from the controller.
The positioning of the segments may also be accomplished through a feedback signal to the controller so that the positioning of the segments may be automatically adjusted for each wafer that is to be polished. In this embodiment, after a wafer is polished a metrology tool within the linear polisher 10 optically measures the surface layer thickness of the wafer at a plurality of positions on the film surface layer. Measuring the surface layer thickness of the wafer determines the amount of unevenness that has been removed from the wafer surface during the polishing cycle. The measurement taken from the metrology tool is then sent to the controller, which then compares the actual measured surface layer thickness to a target thickness range. Preferably, the target thickness range is �1-3% of a target thickness. For example, suppose an unpolished wafer has a surface layer thickness of 1 micron, or 10,000 Angstroms, and the target thickness of the surface layer is 4,000 Angstroms. If the acceptable target thickness range is �1% (depending on application requirements), a properly polished wafer must have a surface layer thickness that varies between 3,960 Angstroms and 4,040 Angstroms along the wafer surface.
Alternatively, the surface layer thickness measurement may be obtained from a factory-level advanced process control system.
After comparing the surface layer thickness to the target thickness range, the controller may send a signal to the motor to reposition the individual segments. The amount of adjustment depends on the actual surface layer thickness measured, and is calculated according to the recipe that has been programmed into the software. Depending on the measurements taken, the controller will then direct a driving mechanism, such as a motor, hydraulic system, or pneumatic system, to raise and/or lower the individual segments as needed and according to the recipe parameters that have been programmed.
FIG. 10 illustrates an embodiment of a platen having regions of altered topography at the leading and trailing edges 433, 435 of the platen 430. The altered topography at the leading edge 433 is preferably a region of lowered topography 456 oriented symmetrically about the leading edge 433 of the platen. The region of lowered topography may include one continuous recessed region or separate recessed segments. The region or regions of lowered topography 456 may be integrally formed in the platen 430 as recessed areas in relation to the substantially planar platen surface. The recesses may be rectilinear-type trenches, rounded trenches or any other shape of recess (e.g. the inverse of the profiles shown in FIGS. 7A and 7D). The altered topography at the trailing edge 435 is preferably a region of raised topography 452 such as discussed with respect to FIGS. 2-8. The regions of altered topography may be positioned outside the outer diameter 454 of the wafer footprint, inside the outer diameter 454 or on both sides. Preferably, the altered topography is positioned between the rows of fluid channels 431. In FIG. 11, as in FIGS. 4-6, the fluid channels are represented by concentric circles of differing thickness. Each concentric circle represents a series of discrete fluid outlets and the thicker circles represent a greater number and/or density of fluid outlets than the thinner circles. In other embodiments, the fluid outlets may be arranged radially and the regions of altered topography (raised or lowered) may be oriented radially on the platen. Improved planarization performance is also contemplated through placing regions of altered topography toward the center or side edges of the platen.
Referring again to FIGS. 1-3, in operation, the platen assembly 28 receives a controlled supply of air, or other fluid, from platen fluid mass flow controllers (not shown) in the CMP system that the polisher 10 is connected with. Other fluid flow control devices may also be used with the presently preferred platen assembly. The controlled fluid flow from the mass flow controllers are received at the manifold assembly 36 and distributed to the plurality of fluid passages 34 in the disk platen 30. The air, or other fluid, emerging from the fluid passages 34 creates a fluid bearing that puts pressure on the underside of the belt in a precise, controlled manner while minimizing friction against the belt as it continuously travels over the air bearing. In another preferred embodiment, the manifold assembly may be omitted and individual hoses or tubes may distribute fluid to the appropriate nozzles or vents in the platen assembly. It has been observed that, in some CMP applications using fluid bearings, the outer region of a wafer may evidence a slower removal profile than the rest of the wafer. The region of raised topography 52, in combination with the air bearing, preferably assists in improving the wafer removal profile at the outer edge of the wafer.
In the embodiment mentioned previously where the region of raised topography is movably positionable on the platen surface, it is contemplated that one or more regions of raised topography having one or more segments may be used. Each region of raised topography may be constructed of the same material as the remainder of the platen or a different material. Each region, or region segment, is preferably slidably positioned within a cooperatively shaped recess in the platen surface. Lifting mechanisms, such as pneumatic or hydraulic devices commonly known in the art, may be connected to the region of raised topography and controllable via a manually adjustable control circuit or automated microprocessor circuit. The lifting mechanism or mechanisms may be controlled by the microprocessor to adjust the height of the region of raised topography above the planar surface of the platen according to predetermined criteria or use feed back on wafer removal rate to provide real-time height adjustment. Utilizing the lifting mechanism, the region of raised topography may be moved to any height from a first position, where the upper surface of the region of raised topography is even with the surface of the plate, to a second position where the upper surface of the region of raised topography is above the substantially planar surface of the platen. Conversely, the lifting mechanism may be fabricated to permit downward movement, or to permit both upward and downward movement, so that regions of lowered topography may be created as well.
An advantage of the altered platen topography described herein is the ability to compensate for polishing head tilt that may occur with gimbaled polishing heads. In linear polishers, such as the linear polisher 10 of FIG. 1, a gimbaled polishing head is often used to hold a semiconductor wafer against the polishing pad. Although gimbaled polishing heads can adjust to achieve a parallel alignment between the polishing head and the belt, the high linear velocity of the belt may cause the polishing head to tilt such that the polishing head digs into the belt at the leading edge and lifts up from the belt at the trailing edge. The leading edge will then experience a high removal rate and the trailing edge will experience a lower removal rate. By raising the topography of the platen in the region of the trailing edge, the belt is effectively lifted up to better contact the trailing edge of the polishing head. Also, the removal rate at the leading edge may be reduced by lowering the topography of the platen in the region of the leading edge. These alterations of the substantially flat platen topography may be used separately or together to adjust removal rate profiles as desired.
In FIG. 11, a rotary polishing module 510 is illustrated that incorporates a fluid platen 530 positioned in a fluid platen assembly 528 positioned beneath the polishing pad opposite the wafer holding head 524. A polishing pad is preferably mounted on, or integral with, a disc-shaped or annular support layer 514 that is flexible enough to benefit from the support of the fluid platen but stiff enough to maintain its shape. One type of support layer suitable for use in a rotary application is stainless steel. Any of a number of known rotary polisher drive mechanisms and control circuitry may be used. As with the linear polisher 10 discussed above, the rotary polishing module 510 can also benefit from the altered topography platen surface to alleviate the polishing head tilt that occurs with gimbaled wafer holding heads. All of the same variations for altered topography discussed in FIGS. 2-10 are applicable to the rotary polishing module configuration of FIG. 11. In the rotary application, the leading edge and trailing edge of the platen may also be defined as set forth above, however the curvature of the rotary pad may dictate that the center of the leading edge be defined at a point on the circumference of the platen that is less than 180� from the center of the trailing edge on the opposite side of the platen.
A topographically altered platen surface has been described having one or more regions of altered topography positioned on the platen, preferably toward the leading or trailing edge of the platen. The altered platen topography disclosed herein may be utilized on platens for linear polishers having any of a variety of linear belt assembly types, including stainless steel belts, Kevlar belts and other belt materials. The altered platen topography may also be applied to rotary polisher applications having flexible polishing member supports. The platens with regions of altered topography may be used for any proportionally sized wafer and any of a number of wafer types including, but not limited to dielectric (e.g., oxide, nitride, low k) and metal (e.g., copper, tungsten, aluminum).
It is intended that the foregoing detailed description be regarded as illustrative, rather than limiting, and that it be understood that the following claims, including all equivalents, are intended to define the scope of this invention.
|Cited Patent
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|Publication date
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|Sep 24, 1996
|Ontrak Systems, Inc.
|Wafer polishing machine with fluid bearings
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|Jan 14, 1997
|Ontrak Systems, Inc.
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|Lam Research Corporation
|Technique for improving within-wafer non-uniformity of material removal for performing CMP
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|Sep 1, 1998
|Ontrak Systems Inc.
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|Jun 29, 1999
|Lam Research Corporation
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|Lam Research Corporation
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|U.S. patent application Ser. No. 09/747,828, "Platen Design for Improving Edge Performance in CMP Applications," Publication No. US 2002/0081947; Inventors: Owczarz et al.; Published: Jun. 27, 2002; Filed: Dec. 21, 2000.
|Citing Patent
|Filing date
|Publication date
|Jun 28, 2002
|May 3, 2005
|Lam Research Corporation
|300 mm platen and belt configuration
|Mar 9, 2004
|Oct 4, 2005
|3M Innovative Properties Company
|Undulated pad conditioner and method of using same
|Mar 31, 2004
|Oct 18, 2005
|Lam Research Corporation
|Method of and platen for controlling removal rate characteristics in chemical mechanical planarization
|Dec 21, 2001
|Jan 31, 2006
|Lam Research Corporation
|Apparatus for edge polishing uniformity control
|Jun 27, 2003
|Mar 28, 2006
|Lam Research Corporation
|Platen with diaphragm and method for optimizing wafer polishing
|Aug 15, 2003
|Apr 11, 2006
|Lam Research Corporation
|Assembly and method for generating a hydrodynamic air bearing
|Aug 7, 2003
|Jan 9, 2007
|3M Innovative Properties Company
|In situ activation of a three-dimensional fixed abrasive article
|Dec 10, 2009
|Dec 13, 2011
|Lam Research Corporation
|Immersive oxidation and etching process for cleaning silicon electrodes
|Dec 10, 2009
|Oct 8, 2013
|Lam Research Corporation
|Platen and adapter assemblies for facilitating silicon electrode polishing
|Sep 9, 2013
|Sep 1, 2015
|Lam Research Corporation
|Platen and adapter assemblies for facilitating silicon electrode polishing
|Dec 21, 2001
|Oct 17, 2002
|Lam Research Corp.
|Apparatus for edge polishing uniformity control
|Aug 7, 2003
|Feb 10, 2005
|3M Innovative Properties Company
|In situ activation of a three-dimensional fixed abrasive article
|Aug 15, 2003
|Feb 17, 2005
|Lam Research Corporation.
|Assembly and method for generating a hydrodynamic air bearing
|Jan 21, 2004
|Jul 21, 2005
|Basol Bulent M.
|Chemical mechanical polishing method and apparatus for controlling material removal profile
|Mar 9, 2004
|Sep 15, 2005
|3M Innovative Properties Company
|Undulated pad conditioner and method of using same
|Jun 9, 2005
|Dec 14, 2006
|Cabot Microelectronics Corporation
|Nanochannel device and method of manufacturing same
|Dec 10, 2009
|Jun 10, 2010
|Lam Research Corporation
|Immersive oxidation and etching process for cleaning silicon electrodes
|Dec 10, 2009
|Jun 10, 2010
|Lam Research Corporation
|Platen and adapter assemblies for facilitating silicon electrode polishing
|U.S. Classification
|451/303, 451/307, 451/288, 451/285
|International Classification
|Cooperative Classification
|European Classification
|Aug 8, 2001
Owner name: LAM RESEARCH CORPORATION, CALIFORNIA
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the encaustic center
580 W. Arapaho Rd. #271, Richardson, Texas, 75080
Learn to paint with wax
The Encaustic Center is a unique facility where instructors Bonny Leibowitz and Deanna Wood teach the art of painting with wax.
We offer a variety of ways to learn:
*Start out with a 1-day Introductory Beginner Workshop ($120, all materials included). In these Beginner Workshops you will be learning a variety of techniques including how to build layers, fuse, texture, work with grids, stencils, embed objects, incise, transfer, collage and much more along with a working knowledge on how to melt and mix wax, a bit about the history of wax painting, a working knowledge of supplies and how to create your own workspace! All supplies included. Saturdays 10:00 to 4:00. Please see the schedule page and email for availability firstname.lastname@example.com.
For pics of the many techniques you'll be learning, click here.
*Once you've taken an introductory / beginner workshop, come for Assisted Workdays for help on your work, delving further into processes and learning techniques such as pours, texture, collage, transfers, painterly effects, monotype, 3-D, and hot tool use with step-by-step instruction. Choose a skill you'd like to work on, then email Bonny to schedule a time; $20 per hour.
*Once you've taken an introductory / beginner workshop, come back for Independent Workdays to create without any formal instruction using all of our equipment and supplies ($15.00 per hour - the charge for a workday starts at the time you schedule in for).
Monday: noon to 3:00 or 7:00 to 10:00 pm
Wednesday: 10:00 to 1:00 or 7:00 to 10:00 pm
Friday: 10:00 to 4:00 or choose your hours
Saturday: 10:00 to 4:00 or choose a 3 hour increment
Sunday: noon to 3:00
Please email for availability email@example.com.
* The Encaustic Center also offers 3-day guest artist workshops, specialty workshops, and mini workshops. Please join the mailing list for monthly announcements: email@example.com.
Workshop Supplies
All supplies are included but you might like to bring special papers, leaves, Xerox and inkjet prints, drawings, unglazed ceramic pieces, stencils, stamps, threads, etc. We supply plywood boards and have cradled boards for sale. Check our schedule to find a class that works for you. We also sell encaustic supplies and painting panels.
Jerry McLaughlin's 4 Day Cold Wax Workshop
Cold Wax Medium: Techniques & Concepts
Note: the workshop is full but they can contact Bonny to be added to the waiting list.
Friday May 18th, Saturday May 19th, Sunday May 20th and Monday May 21st, 2018
9:00 am to 4:00 pm each day!
The cost is $875.00 which includes MANY supplies (supply info below)
This 4-day workshop, based on his groundbreaking book with Rebecca Crowell, Cold Wax Medium: Techniques, Concepts & Conversations, will consist of demos and hands-on experience with cold wax medium, a beeswax paste used at room temperature to expand the artistic possibilities of traditional oil paint. It eliminates "fat over lean" rules and allows for the creation of lush and complex textures. Its translucent qualities encourage the development of rich history through layering, while its plasticity urges the creation of surface through digging, scraping, and mark-making using a variety of nontraditional tools.
With this versatile medium artists can incorporate textures and create beautiful surfaces using: oil sticks, powdered pigments, pastels, metal leaf, sand, and more into their work. Cold wax paintings dry to a gorgeous and durable matte surface which needs no varnish or other protective coating. During the workshop, we will explore the basic materials, tools, surfaces, and techniques used with cold wax medium. We will paint using cold wax, oils, pigment sticks, powdered pigments, and a variety of tools, and experience the expressive potential in layering, texture, and mark-making. In addition, we will address barriers to creativity, letting go, and working more freely.
Jerry's workshop is suited for beginners and experienced painters interested in trying this exciting medium that is rapidly growing in popularity. Working with cold wax medium is an excellent means for artists to enhance the spontaneity and intuitive side of their artistic voice.
Provided Supplies:
Cold Wax medium – 32 ounces of Gamblin Cold Wax will be provided. If you would like to have more; here are the links:
or preferred: Gamblin's Wax Mediuim
7 Cradled gessoed painting panels provided: Two of each: 12"x12", 11"x14", 12"x16" and one 16"x16"
4" rubber brayer - provided for use in the workshop but you may like to purchase your own: preferred: Inovart 4" soft brayer from Dick Blick
or Speedball
Roll of wax paper – provided for layering and transporting panels home, also for texturing - bring an extra roll if you like
Gloves – provided but bring more if you like:
1 roll paper towels provided but bring more if possible
Sand and dry pigments
Supplies to bring and recommended:
One pad (15-20 sheets) of Arches Oil Paper 9x12 inches (we use these for warm ups and quick paintings)
Alternative option: Multimedia Artboards: If you are traveling, you may like to use Multimedia Artboards instead of panels, although the panels do tend to travel well. All participants may also like to have these as an excellent additional option.
Paintings on Multimedia Artboard can be mounted to a cradled panel.
Palette knives (1 or 2) with offset handle (square, NOT POINTED, tips)
Mesermeister Squeegee (It's really a Mesermeister Silicone Bowl Scraper. This, too, is one of your "go to" tools. It is available at Amazon
Brushes – if you like. "I basically NEVER use a brush, but some people do"...Jerry
1 roll painters tape (the blue or green kind), 1.75-2inches width
1 Pad of disposable palette paper or other durable surface for mixing oil paints and cold wax medium. Another, and more durable, possibility.
Oil Paints:
A dozen or more of your favorite paints-include transparent, opaque, dark, light, warm, cool colors. Beyond a basic palette of colors I would strongly suggest some transparent colors such as Sennelier Chinese Orange, Williamsburg Alizarin Orange, Gamblin Transparent orange or Transparent Ochre, or any brand of quinacradone colors; also a metallic color such as a Rembrandt Deep Gold or Copper or Gamblin rich Gold, Rembrandt Tin. Aim for 10-12 colors excluding titanium white. If you routinely mix your own colors, you may need fewer colors.
A basic list of oil colors might include:
Titanium white
Phthalo blue
Ultramarine blue
A transparent orange
A transparent red
Sap green
Cadmium yellow
Cadmium red
Ivory black
Earth colors (yellow ochre, siennas, umbers, Asphaltum)
If you are new to oils and need a starter set: Soho Urban Oils from Jerry's Artarama are an excellent value—set of 24 colors for around $30
Bring LOTS of titanium white. 4 days is a lot of painting. And one of the things I find a hurdle for most students is getting comfortable mixing up a good amount of paint. We are NOT stingy with paint when using cold wax techniques. If you are flying and traveling with oil paints, check them and label them "Artist Pigments" not paints. I have traveled internationally without issues doing this. "Paints" are a flag word for TSA.
Optional but recommended Supplies:
Oil paint sticks or R&F Pigment Sticks (2 or 3) Not oil pastels! Also called oilbars. Windsor Newton Oil Bar. Some people like R&F pigment sticks, but they are slow to dry. We have the R&F pigment sticks here for sale at 20% off.
Materials/tools you can use to create texture in wet paint surfaces. I will have a variety, but feel free to bring any that you like. These can be very personal.
Notes from Jerry:
Painting Panels:
The following Cradled gessoed painting panels will be provided: Two of each: 12"x12", 11"x14", 12"x16" and one 16"x16" but if you'd like to purchase additional boards; 12"x12" is the smallest size I recommend –in this class you will work at your own pace - if you tend to work rapidly you may want to have a few extra or to bring slightly larger panels to work on, but nothing larger than 16x20. Remember you will need to transport these home and they will not be totally dry at the end of our class. You must gesso your wood panels with acrylic gesso before coming OR use prepared panels such as Gessobord, Encausticbord, or Claybord by Ampersand. They are available through Dick Blick and other vendors. Arches Oil Paper and Multimedia Artboard do NOT need any preparation prior to use. Please do NOT use the gessoed linen/canvas panels available for oil/acrylic paintings. We have had issues with adhesion with these surfaces.
To get some ideas about using oil and wax, please visit/join this website: www.oilandwax.ning.com
Many artists are on this site which showcases our work & provides inspiration & a forum for information exchange.
Jerry McLaughlin, MD, was initially trained as a pediatric critical care physician. He began his artistic career in Denver, Colorado as a fine art photographer specializing in alternative process printing on surfaces such as tar and wax. Realizing he had always wanted to be a painter, he abandoned photography and started painting. He began with encaustic as his medium, but once he discovered cold wax and oils, he quickly transitioned and has never gone back. His work has been collected across the US and internationally and has appeared in several magazines. He is represented by the Jen Tough Gallery, GearBox Gallery, ARTERRA, and the Branner Spangenberg Gallery.
Jerry just published Cold Wax Medium: Techniques, Concepts & Conversations, along with co-author Rebecca Crowell. It is the first ever comprehensive book exploring the myriad techniques and ways artists are using cold wax medium. Jerry is passionate about teaching, and he holds a certificate in adult education from the University of Washington. His strength lies in identifying and addressing the individual needs of his students and helping them analyze and develop solutions to the difficulties they are encountering. He is studying Creativity Coaching with Eric Maisel. Jerry lives in Oakland, CA with his husband Mike and their dog Bert.
Here is an interview Jerry recently did in his studio with Nicholas Wilton.
"You did such a great job of helping me overcome the issues that had plagued me, and now I seem to be on a good path."
"I would highly recommend Jerry's workshop. He is gifted in his ability to demonstrate so many techniques within the time. He's so encouraging and positive in helping you to edit your work. He has a great personality that makes the workshop a very enjoyable experience. He created an atmosphere of trust and support while also pushing us out of our comfort zone. Take his workshop! It will be a life changing experience."
"It was a well thought out curriculum presented by a true teacher willing to share what he's learned and clearly wanting each student to succeed. This was a stellar workshop."
"Jerry tailored the instruction to meet my individual needs. He gave clear directions, and his comments throughout were sensitive and insightful."
"Jerry has a great way of inquiring, reflecting, and challenging that made me push myself."
"Beyond the clear and professional demos, and the patient and enthusiastic guidance, I'm grateful for gaining a much more liberating attitude towards making art! The gentle push towards a more intuitive process sparked so many art ideas."
student quick sketches:
The cost of the workshop is $875.00
Please let me know right away if you would like to join in and I will confirm space availability. Spaces fill up quickly!
A $100.00 non-refundable deposit holds your space.
Balance due: March 30th, 2018: $775.00
Cancellation policy:
In the event of cancellation after the February 10th, balance payment of $775.00; $765.00 will be refunded if someone from the waiting list is able to attend. Non-payment of the $750 balance by March 30th may result in someone form the waiting list taking the space so please be sure to watch for the balance due email announcement and please be in touch if there are any changes. Thank you!
Payment Options (after availability is confirmed:)
* via PayPal by logging into paypal and sending your payment to email@example.com or please request a paypal invoice from me.
* By check to The Encaustic Center, 580 W Arapaho Rd. #271, Richardson, TX, 75080
* By credit card; call Bonny at 214-405-5993
* By cash at The Bonny Studio or The Encaustic Center, please call or email Bonny to schedule a time: email@example.com or 214-405-5993
The Encaustic Center is proudly announces
David A. Clark's 3-day Workshop: Encaustic Printmaking
at The Encaustic Center
Friday March 23rd, Saturday March 24th, Sunday March 25th, 2018
10:00 to 4:00 each day!
The cost is $625.00 which includes ALL supplies (supply and registration info below)
Encaustic Printmaking functions both as a primer to the encaustic monotype and as an exploration of the more advanced techniques involved in producing repeatable images while printing with wax. The purpose of this class is to expose participants to a wide variety of papers, tools, process and ideas connected to producing encaustic prints and to engage participants in varied technical process with an emphasis on adapting that process to expanding their own unique visual language. Students will begin by learning the basics and variables of the encaustic monotype: heat, paint, paper and pressure. They will then progress to exploring techniques such as using additive and subtractive process, trace monotype, stenciling and varied advanced techniques that explore how to control line, placement, color and saturation. These techniques will allow participants to fine tune and nuance their printed images. Students can expect to create a wide variety of prints during this class encompassing a varied range of technical and intuitive process. This class is structured for a wide variety of skill levels. Previous experience working with encaustic is not necessary but it is helpful.
David A. Clark
David A. Clark teaches encaustic printmaking across the United States and recently taught workshops at the Truro Center for the Arts at Castle Hill, Idyllwild Arts and as a visiting artist at R & F Handmade Paints among others. David has also demonstrated encaustic printing numerous times at the International Encaustic Conference. His painting and print work have attracted national attention for their technical innovation and soulful content. David's work has been featured in exhibitions at the Hunterdon Art Museum, the Cape Cod Museum of Art, and the Palm Springs Art Museum and at Aqua Art Miami. David also had a recent solo show of prints at the Process Museum in Tucson, Arizona. That show was devoted to a single encaustic print of David's and the more than 100 process pieces that went into its creation."
ALL materials including a wide variety printmaking papers, paint, tools and
and stencil making materials are provided. Just bring an apron, if you like.
The cost of the workshop is $625.00
Please let me know right away if you would like to join in and I will confirm space availability. Spaces fill up quickly!
A $100.00 non-refundable deposit holds your space.
Balance due:
February 16th, 2018: $525.00
Cancellation policy:
In the event of cancellation after the February 16th, balance payment of $525.00; $515.00 will be refunded if someone from the waiting list is able to attend. Non-payment of the $525 balance by February 16th may result in someone form the waiting list taking the space so please be sure to watch for the balance due email announcement and please be in touch if there are any changes. Thank you!
Payment Options (after availability is confirmed:)
* via PayPal by logging into paypal and sending your payment to firstname.lastname@example.com or please request a paypal invoice from me.
* By check to The Encaustic Center, 580 W Arapaho Rd. #271, Richardson, TX, 75080
* By credit card; call Bonny at 214-405-5993
* By cash at The Bonny Studio or The Encaustic Center, please call or email Bonny to schedule a time: email@example.com or 214-405-5993
The Encaustic Center PROUDLY Announces Guest Artist / Instructor
Dale Roberts
for a 3-day Workshop
Creative Use of References in Encaustic Painting
Friday, September 14th, Saturday, September 15th and Sunday, September 16th, 2018
10:00am to 4:00pm each day
The cost of the workshop is $575
Many supplies included! Details below!
This workshop will address several possibilities and strategies for using references as a source of subject matter in encaustic painting. The tactile, almost visceral beauty and response to the encaustic medium is often an uneasy vehicle for translating various references into paint. The image of a painter happily confronting the subject, palette and brush in hand gives way to a cumbersome arrangement of hotplates, cords and essentially an unwieldy set-up. For some 35 years I have confronted this reality with each painting session, and during that time I have explored a wide range of approaches to the challenge.
This class will focus on the process of opening possibilities in the presence of limitation. Highly personal and diverse methods are encouraged and celebrated as the search for moving expression in painting. The use of a variety of reference material will be the starting point for a lively visual dialogue with the goal of equipping the painter for future interaction with various subjects.
Painting is ultimately concerned with using the "how" to communicate and the "why" of visual pursuits. This search for "how and why" is the foundation for fruitful encounters for the artist and viewer of the finished painting.
The process of moving from the first idea motivated by the reaction to a reference and the practical exploration of planning and executing a painting will be explored. A strong emphasis on working within a step by step process to achieve success is the main goal.
Provided supplies:
Encaustic medium and paints
- participants can purchase Enkaustikos and R&F paints in addition to colors provided
Heat gun
Four 16"x20"x1" encaustic gessoed boards
Provided but please bring more:
paper towels
scraping tools
Please bring:
Reference material; this can include still life objects, drawings, color studies, and photographs
Tape - blue 1"
Palette knives
razor blades
About Dale Roberts:
The work I am currently engaged in is a continued refinement of a visual dialogue with life. Changing relationships of light, air and color, specific to season and time of day are the foundational structures underpinning my work. A yearning to see and interpret more clearly and truthfully defining qualities intrinsic to each subject has become my obsession. The interactive process of painting itself, with its history, both personal and universal is the backdrop and the lens that places each new effort in context.
The cost of the workshop is $575.00
Please let me know right away if you would like to join in and I will confirm space availability. Spaces fill up quickly!
A $100.00 non-refundable deposit holds your space.
Balance due:
August 3rd, 2018: $475
Cancellation policy:
In the event of cancellation after the August 3rd balance payment of $475.00; $465 will be refunded if someone from the waiting list is able to attend. Non-payment of the $475 balance by August 3rd may result in someone form the waiting list taking the space so please be sure to watch for the balance due email announcement and please be in touch if there are any changes. Thank you!
Payment Options (after availability is confirmed:)
* via PayPal by logging into paypal and sending your payment to email@example.com or please request a paypal invoice from me.
* By check to The Encaustic Center, 580 W Arapaho Rd. #271, Richardson, TX, 75080
* By credit card; call Bonny at 214-405-5993
* By cash at The Bonny Studio or The Encaustic Center, please call or email Bonny to schedule a time: firstname.lastname@example.com or 214-405-5993
Upcoming Guest Artist Workshops:
Jane Cornish Smith - January 26, 2018 - Cold Wax Creations - Abstracted Landscape
Jane Cornish Smith - March 9, 2018 - Cold Wax Creations - Abstracted Landscape
David A. Clark - March 23, 24 and 25, 2018 - Encaustic Printmaking
Jane Cornish Smith - April 21, 2018 - Cold Wax Creations - Abstracted Landscape
Elizabeth Schowachert - April 27-29, 2018 - Ink, Brush, Paper, and Encaustic
Jerry McLaughlin - May 18, 19, 20 and 21 - 2018 - Cold Wax
Kayla Barker - Encaustic and Photography - August 18 or 19, 2018 - two 1-day sessions
Dale Roberts - September 14, 15 and 16, 2018 - Encaustic Painting
Lorraine Glessner - October 12, 13, and 14, 2018 - Encaustic Painting
Bonny Leibowitz – November 9, 10 and 11, 2018 - Big Mixed Media workshop
Brenda Zappitell - March 1, 2, and 3 2019 - Building An Abstract Series - Acrylic
Lisa Pressman - March 15, 16, 17 and 18, 2019 - Cold Wax
Miles Conrad - April 26, 27, and 28, 2019 - Off the Wall: Encaustic in 3 Dimensions
Pamela Caughey - September 13, 14, 15, and 16, 2019 - Cold Wax
Jean Pederson - May 8, 9 and 10, 2020 - Acrylic Mixed Media
Contact Bonny to get on the notification list to be contacted early!
Bonny Leibowitz
for registration and questions
bonny at theencausticcenter.com
additional contact for questions:
Deanna Wood
The Encaustic Center
580 W Arapaho Rd. #271
Richardson, TX. 75080


text:
Germany beat Holland to win under-17 European title
Germany 2 – Holland 1 (AET) (Under-17 European Championships final, May 18, 2009) The Dutch got off to a perfect start when Luc Castaignos scored after just seven minutes. But the Germans levelled before the break, Lennart Thy equalising following a Christopher Buchtman free-kick. Hosts Germany then won the match in extra-time as Florain Trinks curled in a wonderful free-kick from 25-yards.


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Anglų rašinys. Farts.
Farts are combination of gases that we get into our body with our food or when we are breathing. Some of those gases come out as a burp while a rest of it goes deeper into our digestive system and eventually come out as a fart. In reality farts are way more amazing than they are made out to be.
First of all why do farts smell so bad? The food we eat travels through our digestive tracks and millions of microorganisms that live there (our gut flora) digest some part of a food that we can't or didn't. And in a process they produce some healthful things like vitamin K but they also release chemicals that lead to a reason why farts smell.
- Anglų kalba Rašiniai
- 2014 m.
- Kiesa
- 1 puslapis (434 žodžiai)
- Anglų rašiniai
- Microsoft Word 3 KB
Farts. (2014 m. Rugsėjo 02 d.). http://www.mokslobaze.lt/farts.html Peržiūrėta 2017 m. Gruodžio 12 d. 14:23


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Brisbane's best bars
On the fringes of the Valley, Alfred & Constance (130 Constance St, Fortitude Valley, 07 3251 6500) has generously poured three different options onto the scene into a gorgeously refitted pair of old houses. Visit A&C's Vanguard Beer Garden for wood-fired goodness (hello, roast pork on rolls) with cool libations, trip upstairs to the White Lightning Tiki Bar, where a spin of the chocolate-wheel instantly solves any drink-related indecision (rye and Gosling, anyone?), or back downstairs to the black-tiled Air Raid Shelter. Or, better yet, take a tour of all three for a bar-crawl all under the one roof.
The other biggest news in town has been the arrival of Lefty's Old Time Music Hall, (15-17 Caxton St, Paddington), which has so far proven to be a worthy next venture for co-owners Jamie Webb of Cabiria Luncheonette & Oyster Bar (6, The Barracks, 61 Petrie Tce, Paddington, 07 3368 2666), and Jason Scott of Sydney's Shady Pines and The Baxter Inn. As befits a venue from a Shady Pines co-founder, Lefty's has whiskey galore, plenty of beer (exotic and otherwise), no shortage of seating, some fairly wild taxidermy and a brilliantly crafted playlist that's got both country and Western. A short, Americana-influenced menu provides much-needed ballast in the form of catfish po' boy sandwiches, onion rings and the like.
The Walrus Club (Regatta Hotel, 543 Coronation Dr, Toowong, 07 3871 9595), another of the newer bars in the city, is a rum-focused stone cellar secreted behind the revamped Regatta. More rum - about 400 different kinds, at that - plus Bundaberg "off-the-wood" for the Bundy true-believers can be found at Substation No 41 (Breakfast Creek Hotel, 2 Kingsford Smith Dr, Breakfast Creek, 07 3262 5988).
Craft beer is on everyone's lips in Brisbane, thanks in part to microbreweries such as Green Beacon Brewing Co (26 Helen St, Teneriffe, 07 3252 8393) and specialists such as The Scratch Bar (8/1 Park Rd, Milton, 07 3107 9910). In the inner city, Newstead Brewing (85 Doggett St, Newstead) is another great option.
The Nant Whisky Bar (Shop 10, Emporium, 1000 Ann St, Fortitude Valley, 07 3160 2633) has a smooth sibling, Nant Whisky Lounge (2 Edward St, Brisbane), in the works. Cobbler (7 Browning St, West End, 0430 217 621), co-owned by Martin Lange, also focuses on whisky, with a seriously impressive range, but brings cocktails to the mix, to boot.
Hip Room 60 (22 Carraway St, Kelvin Grove, 0402 112 994) neatly illustrates the trend for cafés shifting into cool small bars come nightfall. Fourth Wall (743 Ann St, Fortitude Valley) has super Chris Denman dispensing bar lore. Super Whatnot (48 Burnett La, Brisbane, 07 3210 2343) waves a flag for industrial laneway cool with one of the city's sharpest fit-outs.
For cocktails
For rooftop drinking, there's Elixir (646 Ann St, Fortitude Valley, 07 3363 5599), a new and airy space atop the same building housing the nightclubbier X&Y (648 Ann St, Fortitude Valley, 07 3257 1259).
The Bowery (676 Ann St, Fortitude Valley, 07 3252 0202) is a former GT Bar of the Year, and it remains as consistent as ever, setting standards not just for cocktails made well against a backdrop of live music worth dancing to, but also for what has to be the best-designed drinks list in the state. Another cocktail benchmark in Brisbane is The Laneway, the chic upstairs drinking arm of Urbane.


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Actually managed to start working on Delving Deep again today when this came through from Christina Brashear over at Samhain Publishing.
In a nutshell, Samhain Publishing has reached an agreement with BooksOnBoard making the entire Samhain catalog available to users of Stanza software on their Apple iPhone and iTouch. Cool, huh?
Now you can download and read Samhain books on your iphone, Wylie!
Read Private Property on your iPhone!