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Hello, this is fastidious post I actually loved reading this.
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Hello, this is fastidious post I actually loved reading this.
If they were providing a service rather than a complete ripoff they should charge a flat service fee plus the actual retail price of the fuel.
Got dinged on this on my last trip. I was charged $160 for about $10 worth of gas. It was a rip off, but I knew what would happen, just forgot. My mistake. The company will get over it.
I prepay, its convenient when I am in a city I am not familiar with. It seems to work out a dollar or two in the rental car company's favor but so worth it when you are on your way to the airport. Hertz has excellent rates on their prepay fuel plus their customer service is top notch. It seems to be more of a revenue generator for the prepaid fuel then an actual profit for them unless you choose the 9.29 option, ouch!
Not to put too fine a point on it, but if the rental companies weren't coming out ahead on prepay (meaning we're coming out behind...) they wouldn't offer it. I'm sure they love selling the same gas to the public two or three times...
My experience: At the very last moment, when you don't have any time left, the agent asks "Oh by the way, if you would like for us to fill it, the fuel costs will only be x per gal , saving you .y per gal. "Great" you say. You initial the form and you are off.
When you return your car, then you discover you have been scammed. They have charged you the special rate for the half tank (or whatever)you left with, and the half tank you bring back to them IS THEIRS, FREE AND CLEAR.
Amazing!! re the state of Oregon (above) : "Of course, self-serve is illegal in OR, as the state protects its citizens from those dangerous flammable liquids..." What about the citizen that is doing the service? Or does the nozzle of the pump get put into a car 'remotely'/ by computer???
Like a few others, and without wanting to sound smug : I plan my car rental returns with enough time to put gas in before I return the vehicle.
Yes, I prepay...but really people, the policy is clearly stated at check-in (or "check-out", I guess it really is), you're told both rates and the prepay rate is close to market IIRC. Let's return to our usual HSR rants (that way you won't need to worry about filling up).
What a capitalistic rip-off!! That's what happens when you blindly support laissez faire.
Impose regulatory controls before things get even more crazy. Viva la Socialism!
With the rip-off rates they are having, I always fill up before returning the car.
Even if they don't have rip-off rates they usually charge for the full tank and you rarely return the full tank empty.
Since it takes about 50k's before the needle even moves, I normally are on the lookout when I pick the car up to see a fuel station or look out for one 50k's before I have to be at the airport. Normally not a problem. Nowadays I also have my own GPS with me which also shows the nearest Fuel station. So no problem finding one :-)
The rental companies are of course famous for this policy. I always try to fill up myself before returning the car, but there is always a surprsingly low number of petrol stations close to airports. Why not having petrol stations close to the spots where you hand in the cars???
"rental companies make a lot of money_off of_fuel"?
Did Johnson check this before you posted it?
I haven't rented many cars from airport locations. I have rented many cars from Enterprise non-airport locations. It bothers me that when you don't bring the car back at the level of gas you rented it at, they charge you for the gallons missing (completely arbitrary judgment by the staff how many gallons it takes to go from 1/4 to 1/2). But since they don't use that money to fill up the tank to the pre-rental level, it's just free money for the rental company.
I think that a few gas stations that are close to airports are also in the game of overcharging. They know that customers will be looking for the closest station to the airport and charge up to 50% more than the going rate in the area. Has anyone else experienced this?
Since my company selects the fuel prepay option, I make a point to return the car with the low-fuel light on, and it is an incredibly entertaining game. I got into a interesting discussion when the car I was returning stopped dry on the very return ramp, yards away from the drop-off location, but the Hertz employees admitted it was fair game.
In South Africa, petrol is priced by the government, so rental companies can only charge the set price for the gas they sell you.
I'm afraid I got dinged by that charge in Florida last March. Luckily it was vacation and not business travel, so no 'splainin' to do to the boss. But wow, what a shock.
Red, I can't speak for the US. I worked for many years in car rental in the UK. That said, I worked for a company that had a pretty customer friendly approach - we were sensible about fuel charges, we took a customer's word on minor issues, we didn't make a fuss about minor bumps and scrapes, and we did our best to help when you had a family emergency and needed to hire a car half an hour after closing time. So I'm no expert on how most car hire companies operate :p
@u38cg you can't use a short rental as an excuse not to fill the tank anymore, at least not in the US. Drive less than 75 miles and be automatically charged for 5 gallons (at the pre-pay rate) upon returning the vehicle UNLESS you present a receipt to show you topped off the tank.
I use the prepay option, but I avoid Hertz. (Budget has more reasonable terms for prepay.) First of all, I don't want to be searching for a gas station in an unfamiliar city while in a hurry to depart. Second, I don't want the odor of gas on me while I'm flying.
Hertz's $9.29 price is simply a ripoff -- no other word for it. It serves to punish those in a hurry or who haven't done a thorough survey of gas stations in an unfamiliar city.
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InspectAPedia ® Home STRUCTURAL INSPECTIONS & DEFECTS ARCHITECTURE & BUILDING COMPONENT ID BASEMENT WATERPROOFING CARPENTER ANTS CARPENTER BEES CHIMNEY INSPECTION DIAGNOSIS REPAIR COLUMNS & POSTS, DEFECTS CONNECTORS, FASTENERS, TIES CRAWL SPACES DECK & PORCH CONSTRUCTION DEFINITIONS of MOBILE HOME, DOUBLEWIDE, MODULAR, PANELIZED CONSTRUCTION DEFINITIONS of ENGINEERED WOOD OSB LVL etc DISASTER BUILDING INSPECTION & REPAIR EARTHQUAKE DAMAGED FOUNDATIONS FIRE DAMAGE vs MOLD DAMAGE FLOOD DAMAGE ASSESSMENT, SAFETY & CLEANUP FOOTING & FOUNDATION DRAINS FOUNDATION CRACKS & DAMAGE GUIDE FRAMING DAMAGE, INSPECTION, REPAIR GRADING, DRAINAGE & SITE WORK HOUSE PARTS, DEFINITIONS INSECT INFESTATION / DAMAGE KIT HOMES, Aladdin, Sears, Wards, Others LOG HOME GUIDE MOBILE HOMES, DOUBLEWIDES, TRAILERS MODULAR HOME CONSTRUCTION MOISTURE CONTROL in BUILDINGS PANELIZED CONSTRUCTION PORCH CONSTRUCTION & SCREENING PRE-CUT & KIT HOMES RAILINGS, STAIRWAY RETAINING WALL DESIGNS, TYPES, DAMAGE ROT, FUNGUS, INSECT DAMAGE SHEATHING SINKHOLES, WARNING SIGNS SINKING BUILDINGS STAIRS, RAILINGS, LANDINGS, RAMPS STRAW BALE CONSTRUCTION STRESS SKIN INSULATED PANELS STRUCTURAL WOOD ASSESSMENT TERMITES TIMBER FRAMING, ROT TIMBER ASSESSMENT TRUSSES, FLOOR & ROOF WATER ENTRY in BUILDINGS WOOD FOUNDATIONS WOOD STRUCTURE ASSESSMENT More Information |
This article defines and illustrates Laminated Veneer Lumber LVL used for beams and headers used in floor, wall, and roof construction. We also illustrate LVL trim boards used on building exteriors. This article series describes wood products used in construction including engineered lumber, OSB, and Plywood products. Green links show where you are. © Copyright 2015 InspectApedia.com, All Rights Reserved. Definition & Characteristics of "LVL" - Laminated Veneer Lumber, Beams, HeadersLaminated veneer lumber is an "engineered wood product", developed in the 1960's, is produced by gluing together layers of wood veneers with the wood grains in parallel. Illustraged in our photographs of LVL beams in use at a Poughkeepsie NY Project, our example LVL beams are made of fifteen laminated wood plies. Multiple laminated veneer lumber beams can be assembled to provide greater strength to carry greater loads. In our LVL beam photo (below left) you will see that a higher-capacity LVL beam may be constructed as a built-up beam using multiple individual members nailed or nailed and glued together. Our LVL composition closeup photo (below right) shows how the ends of individual plies within a single LVL beam may overlap within the product. [Click any image to see an enlarged, detailed version] Because individual wood ingredient defects in a laminated wood product will not extend beyond a single layer or "veneer" of wood, the overall laminated product is stronger than a piece of lumber of the same dimensions sawn from an individual tree. This approach also permits construction of large structural beams from smaller-diameter and lower-lumber-grades of trees. As we illustrate in our LVL beam photographs (above) and as we also discuss at TRIM, EXTERIOR CHOICES, INSTALLATION: sidely used in beams and headers, LVL has also been put to good use as a trim material (photo at left) with some minor modifications such as water-resistant edge sealing and adding a couple of cross-laminated layers to minimize cupping. Like LVL beams, LVL trim is dimensionally stable and is easy to cut, nail, and install, similar to a piece of plywood. Its weight falls in between solid wood and hardboard. It can be used for fascia, casings, corner boards, and most other exterior trim, and is available in lengths from 8 to 24 feet. According to Laminated Veneer Lumber, Overview [Quoting:] The example photograph of LVL boards used to form board-and-batten trim on a building exterior is from the above document. Typically an individual LVL ply or layer of veneer is 45mm to 65mm in thickness, and may be up to 1.2 meters wide and as much as 25 meters in length, depending on the size of the original tree. LVL lumber, including trim and structural beams (see our photo at left) is provided by several wood products companies including Georgia Pacific (GP-LAM). LVL beams are typically used where long spans or extra strength are desired of beams, such as over garage doors, ridge and hip beams for suspended roof designs (cathedral ceilings below), and for window and door headers. Laminated beams such as GluLam™ (photo at above left) or microlam structural wood beams (see LVL or laminated veneer lumber earlier in this article and illustrated further below). Layers of wood are glued (laminated) together with heat, resin binder, and pressure to form a very strong structural member that can be produced in regular sizes and lengths. Unlike plywood or OSB, LVL lumber uses wood fragments that are all oriented in the same direction to produce very stiff beams that generally have greater span capacity than sawn lumber. GluLam produces laminated wood beams, timbers, I-joists, and other engineered wood products. LVL structural wood products are produced in thicknesses from 3 1/2" to 24", and up to 60 feet in length. Our LVL beam photo at left illustrates that LVL beams are produced in lumber dimensions that allow them to mix naturally with wood framed structures using conventional 2x4 and 2x6 framing. LVL wood products, depending on their manufacturer and trade names and some product details, may be referred to as Microllam Laminated Veneer Lumber, Parallam Lumber, and also Glulam lumber. See TRIM, EXTERIOR CHOICES, INSTALLATION for a discussion of use of LVL for exterior trim. See Laminated Veneer Lumber, Overview of the Product for a nice collection of examples of use of LVL products and a brief history of this material. More ReadingGreen link shows where you are in this article series.
Frequently Asked Questions (FAQs) about LVL beams... Ask a Question or Search InspectApediaUse the "Click to Show or Hide FAQs" link just above to see recently-posted questions, comments, replies, try the search box just below, or if you prefer, post a question or comment in the Comments box below and we will respond promptly. Search the InspectApedia website HTML Comment Box is loading comments...
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Front View larger Canon TS-E 90mm f/2.8 Tilt Shift Lens Specialty lens for Canon EOS digital SLR cameras Item #: 280TS90MM Be the first to write a review This item is no longer available. Original Price: $1,399.99 Shop all Camera Lenses Need help? 1.888.955.6000 Email Chat Ask an expert advisor No pressure, no commission — just lots of good advice from our highly trained staff.
by Woody Sherman Generate eye-popping perspective and depth-of-field effects while getting a classic telephoto field of view. This specialty lens was designed specifically for portrait photography, where you may need to isolate focus on primary subjects within an overall art-directed design, or restore a deeper focal plane to shots composed with a wide-aperture setting. But the impressive ability to shift, tilt, and rotate lens elements will provide opportunities to manipulate space within the image. Even your nature photography will shine with the ability to create areas of selective focus. The unique character of the images you'll capture will set your work apart from the crowd. Product Highlights:EF 90mm f/2.8 tilt and shift lenscompatible with Canon EOS digital SLR camerasCanon quality optics for superior image sharpness and durabilitymanual focus onlyspecial lens coatings minimize reflections and flareideal for portrait and specialized nature photographyminimum aperture: f/22minimum focal distance: 19"constructed of 6 elements in 5 groupslens is 2-15/16" in diameter, 3-1/2" longweight: 18.2 oz.soft carrying pouch, lens capswarranty: 1 yearOur 60-day money-back guarantee
Get everything you'll need to enjoy your new Canon TS-E 90mm f/2.8 Tilt Shift Lens Choose Category Lens Caps, Filters & Hoods Miscellaneous Accessories Lens Caps, Filters & Hoods Miscellaneous Accessories Protect your lens from minor bumps and scratches. Lens filters can reduce reflections or glare, or increase contrast on your shots. Get your lenses clean and fingerprint-free with a cleaning kit. Lens Caps, Filters & Hoods Miscellaneous Accessories Hoya EVO Circular Polarizer Polarizing filter for compatible camera lenses (58mm) Item #: 762EVO58CP (5) $49.99 After $60.00 Price Break Add to Cart Hoya Alpha UV Filter Protective filter for compatible digital camera lenses (58mm) Item #: 762ALP58UV (8) $16.90 Add to Cart Hoya Lens Hood For compatible camera lenses (58mm) Item #: 762H58RH (3) $22.99 Add to Cart BlackRapid Lens Bling Identifier cap for EF-mount lenses (Canon Skull) Item #: 844AA4C1A1 (10) Add to Cart Nikon Micro Fiber Cleaning Cloth Cleaning cloth for delicate surfaces Item #: 0548072 (3) $5.00 After $1.95 Price Break Add to Cart SideKick by LensPen® Touchscreen cleaning kit Item #: 780SDKICK (3) $14.99 After $5.00 Price Break Add to Cart Nikon Fog Eliminator 3-Pack Reusable cleaning cloth for fog resistance on lens surfaces Item #: 0548073 (1) $4.95 After $2.00 Price Break Add to Cart


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The controversy over the child abuse scandal, involving Catholic priests, continued to dog Pope Benedict XVI's visit even as he offered what Vatican observers described as the "most explicit'' apology yet saying it had brought "shame and humiliation'' to the Church.
Condemning the abuses as "unspeakable crimes'' and "sins'', the Pope expressed his sorrow at the "immense suffering'' of the vulnerable children exploited by priests who were supposed to care for them.
"Above all, I express my deep sorrow to the innocent victims of these unspeakable crimes, along with my hope that the power of Christ's grace, his sacrifice of reconciliation, will bring deep healing and peace to their lives,'' he said during a mass at Westminster Cathedral attended among others by the former Prime Minister, Tony Blair, a recent convert to Catholicism, and his wife Cherie.
While commentators were still discussing the significance of the Pontiff's remarks which, they said, came closest to acknowledging the Church's responsibility, several thousand people including victims of child abuse and their families joined a protest march in central London accusing the Vatican of "inaction''.
"We don't need a Pope who is sad about crimes. We need a Pope who will prevent crimes. And his words prevent nothing," said a spokesman of the Survivors Network of those Abused by Priests while Peter Saunders of the National Association for People Abused in Childhood, who was himself abused as a child, said he was not convinced by the Pope's apology.
Human rights activist Peter Tatchell told the BBC that if he had the chance to speak to the Pope, he would ask him to hand over any secret Vatican sex abuse files and cooperate with the police.
"The Pope keeps apologising but he only apologises for the failings of others,'' he said as protesters waved placards and raised slogans against the Pope's visit and the Vatican's policies on gay rights, abortion and ordination of women priests.
On the penultimate day of his four-day visit, the Pope met Prime Minister David Cameron and attended a prayer vigil at Hyde Park. He was also expected to meet a group of victims of child abuse and their families.
Meanwhile, one more person was arrested in connection with an alleged terrorist threat to him. On Friday, five street cleaners of north African descent were arrested under terror laws and were still being questioned.
Keywords: Sex abuse scandals, Roman Catholic Church, Pope Benedict XVI


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WELCOME TO THE ISRAEL RESOURCE PAGE FOR PSI. We are glad you found us. This page lists the PSI Support Coordinators and other area resources such as groups, telephone support, and reliable services that are available for no charge. We also list local events, trainings, and volunteer opportunities.
PLEASE CONTACT YOUR PSI COORDINATOR: PSI Coordinators are volunteers who offer caring and informed support and resources to moms and their families. They also provide information and resources for area providers who are caring for pregnant and postpartum families. Please don't hesitate to contact us; we want to hear from you.
26a Shlomzion Hamalca St Haifa 34406 Tel: 04-8376820 Mobile: 0545-240412
CHAIM SHEBA MEDICAL CENTER TEL HASHOMER 52621 ISRAEL Telephone: 972-3-530-3505 (ext. 104)
Director, Mental Health Dept., Ezer Mizion 5 Rabinov St. Bnei Brak, Israel 03-6144590
In an emergency: PSI is a volunteer organization devoted to providing social support and resources to women and their families. We will return your call or email as quickly as we can, but we can not provide an immediate response in an emergency. If you do need immediate assistance, please use one of the following resources now: PLEASE CONTACT YOUR PSI COORDINATOR NITZA: 972-2-533-2811 ERAN
The following groups offer support at no charge for women who are at risk of or are experiencing distress such as isolation, depression, anxiety, fearful thoughts, insomnia, trauma, and other difficulties during pregnancy or postpartum. Support groups provide a safe and caring place for connection and recovery. Please call or email for more information.
Please contact the PSI Office if you would like to list a support group here.
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text: Dan McGhee wrote: > (Received complaints about /run/var/bootlog all through the process. > They were right, it doesn't exist yet.) Do you have /run/var? /run is mounted form fstab tmpfs /run tmpfs defaults 0 0 in the very first boot boot script (mountvirtfs): # Make sure /run/var is available before logging any messages if ! mountpoint /run >/dev/null; then mount /run || failed=1 fi mkdir -p /run/var /run/lock /run/shm ... The scripts all use >> so the only reason that you would get this error is iv /run is not mounted. Actually, even then the writing would be to a standard directory so the issue would be permissions. These scripts need to be run as root. -- Bruce


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New in Entertainment - January 3, 2012
NEW YORK, NY (FOX44) – New DVDs to kick off the New Year feature something for everyone. Starting with a thriller full of A-listers like Gwyneth Paltrow, Matt Damon, and Kate Winslet as a killer virus threatens to wipe out the human race in "Contagion".
A romantic comedy, courtesy of Sarah Jessica Parker, with "I Don't Know How She Does It" about a married working woman juggling family life and life at the office. Buddy-cop flick with a twist "The Guard" stars Golden Globe nominee Brendan Gleeson and Don Cheadle as an Irish cop and FBI agent on an international drug case. With a nature documentary, Oscar-winner Jeremy Irons narrates the journey of "The Last Lions" following a mother and her cubs as they escape to a new African land for survival.
Horror flicks up for grabs include "Shark Night" as a lake house vacation quickly turns into a nightmare thanks to what's lurking in the water. Also in horror, what's lurking under the old haunted house is at the center of "Don't Be Afraid of the Dark" starring Katie Holmes, Guy Pearce, and Bailee Madison.
And based on a true story, Chris Evans plays a young lawyer and drug addict who takes on the case of a lifetime by taking on the health care industry in "Puncture".
Meanwhile, hit TV take-homes includes the Golden Globe recognized HBO miniseries "Mildred Pierce" starring Kate Winslet. And the second season of FX's "Justified" complete with features from the set and outtakes.
Then a movie you can sing along to as Cameron Crowe celebrates a rockin' milestone for Eddie Vedder and band with "Pearl Jam 20".


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Seems as though I forgot to budget for one of these in my initial conical build. Anyone have one they are willing to part with?
Hello there, are looking for the whole fermenter or just for the racking Rotate arm?
Hi! Just the rotating racking arm to use on my current conical with tri-clamp fittings.
Bump.... Anyone?


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Nikolai Gogol (1809–1852), the son of a gentleman farmer who was the author of Ukrainian folk comedies, was born in the Ukraine and grew up on his mother's family estate. He attended a variety of boarding schools, where he proved an indifferent student and made few friends but was admired for his gifts as a comic actor. In 1828 he moved to St. Petersburg and began to publish stories, and by the mid-1830s he had established himself in the literary world and been warmly praised by Pushkin. In 1836, his play The Inspector-General was attacked as immoral, and Gogol went abroad, where he remained for most of the next twelve years. During this time he wrote two of his best-known stories, "The Nose" and "The Overcoat," and in 1842 he published the first part of his masterpiece Dead Souls. Gogol became ever more religious as the years passed, and in 1847 he fell under the sway of an Orthodox priest on whose advice he burned much of the second part of Dead Souls and soon gave up writing altogether. After undertaking a fast to purify his soul, he died at the age of forty-two.
Donald Rayfield is emeritus professor of Russian and Georgian at Queen Mary, University of London.
"Gogol's Dead Souls, has achieved a magnificent re-birth. . . . Rayfield's translation is one that Vladimir Nabokov would unreservedly admire. . . . A big, beautiful book and a mould-breaking classic reinvigorated."
-William Boyd, The Guardian
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Today's Top Stories 1. An Egyptian court designated Hamas a terror organization. If I understand YNet correctly, yesterday's ruling was a wider designation making no distinction between the terror group's military and political "wings." The decision was reached for Hamas role in terror attacks on Egyptian soil. While the January decision against> Hamas targeted only…
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With A-listers such as Rihanna, Justin Timberlake, Lady Gaga, Madonna, and Alicia Keys refusing to be bullied into canceling their shows in Israel, the BDS has apparently shifted strategies. Instead of launching campaigns against artists after they schedule performances in Israel, which has proven ineffective, BDSers now go after artists who are rumored to come,…
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Seattle Opera's The Magic Flute
The Magic Flute
Playing at McCaw Hall through May 21st
Most of us have heard the conspiracy theory: Mozart, a lifelong Freemason, disclosed secret Masonic ceremonies in The Magic Flute and was subsequently whacked for his indiscretion at the tender age of 34. This is, of course, a load of hooey. Everybody knows that Salieri killed him. Still, it's too bad that poor Mozart croaked so young. He was just starting to make some interesting music. I mean, his last two symphonies (40 and 41) were the best of his entire output, some 626 officially classified pieces. The Magic Flute should also be included among these later, better works. It is unconventional – in places, downright strange – and is largely free of the cloying devices that mar his earlier output. Those who have read my reviews over the years know that I tend to give Mozart the short shrift; with numerous exceptions, I generally find his music banal and precious – not as earthy as Haydn, not as elegant as Gluck and not as wildly inventive as CPE Bach. But what he has on display in The Magic Flute is quite different than what he had been doing before. In short, Mozart was evolving. And then he died. Quite a shame, that.
The main challenge to any staging of this opera is to keep the magic chugging along, while giving a sense of place to each scene. This is quite difficult, as the action jumps around a lot. In this production, they come close, but don't quite pull it off. Much of the time, we're watching characters on an empty stage. True, there are nice touches, such as a large serpent (actually a Chinese dragon) in the beginning and various strange animals (Dr. Seuss-esque monkeys, a disco rhinoceros and a crocodile, among others) to offer a glimpse into that magical world, but by and large, the empty stage dominates throughout the piece. I wanted to suspend my sense of disbelief (I always do) and be transported to Sarastro's castle, but that didn't happen. When there's nothing onstage, there isn't anything to compel me away from McCaw Hall. Of course, the all-hands numbers in Sarastro's realm, featuring pyramids and other Egyptian trappings were more impressive. The ridiculous, supposedly authentic Masonic rituals get treated with the solemnity of an estate auction. This is also the point where the music is best. And by the way, the chorus sounded superb. But that elusive magical element is nowhere to be found in those scenes. Perhaps, the most glaring example of this is in the final trial of Tamino and Pamina. Armed with the magic flute, the lovers endure ordeals of fire and water. All that happens is that they walk behind a pyramid, their outlines are projected while the lights swirl red and blue. It was all quite unimpressive. A little more imagination in stage design would have gone a long way.
On the other hand, the acting, in particular giving Papageno (played by Leigh Melrose) a free hand to behave as weirdly as he pleased was a great idea. After all, Tamino and Pamina are too bland, Sarastro and his minions, too serious, and the Queen of the Night, too scheming. Instead, Papageno ranges around the stage behaving strangely, which serves as a nice counterpoint to all the Masonic gravity and princely questing going on everywhere else. And because there's a substantial amount of spoken dialogue, that gave Melrose an even larger chance for broad comedy. HIs acting was every bit as good as his singing. As for the rest of the cast, their singing was very good. Mari Moriya's Queen of the Night sang with only a few slight hitches in her first aria. The second, more famous number went off flawlessly. The other main vocal roles: Jonathan Boyd as Tamino, Hanan Alattar as Pamino, Keith MIller as Sarastro and Ani Maldjian as Papagena, these were all very well sung. The performers' voices fit the material very well and although their characters aren't dealt the greatest range of emotions to pursue, they played their hands well. There was one vocal performance that bothered me and I don't feel too good about mentioning it. But we're talking about a professional opera company here, so I have to say something about it. OK, so the Three Spirits are played by a trio of youngsters. They're meant to help Tamino in his quest to free Pamina from Sarastro's clutches. They pop up occasionally to offer Tamino advice. I don't know whether it was nerves or what, but they had some major pitch and projection issues. Like I said, I feel just awful about pointing that out. Keep singing, kids! But for Pete's sake, tune it up a little. And speaking of that, intonation was also a fairly prominent issue for the orchestra, which was led by Gary Thor Wedow. Though it was primarily limited to the string section during the first act, these issues came up so often that it is worth noting. During the second act, however, everything settled down and the group sounded mostly excellent.
All in all, though, this production of The Magic Flute was quite enjoyable. Yes, there was a lot of what Frank Zappa called "the human element" present, but perfection isn't necessary for a good performance – only a semblance of it. And though the stage design left something to be desired, it proved to be a very good show. As for the Freemasons' secrets, all I can tell you from this production is that they spend a lot of time staring at pyramids, wearing cool robes and praying to Isis and Osiris. If Mozart did indeed give away secret Masonic rituals, he made them look kind of silly. And that's why they gave him syphilis and made him become an alcoholic. No wait, Salieri did that. And take it from Rossini: VD and booze really do make you write better music. Until they kill you, that is.
[Read More]Mike Daisey Performs "The Agony and the Ecstasy of Steve Jobs" at Seattle Repertory Theatre, May 7
If you haven't seen Mike Daisey perform yet, you need to do so at your earliest convenience; if not this time around then certainly the next. Theater-wise, he's a direct descendant of the rambling but razor-sharp monologist Spalding Grey, and perhaps Eric Bogosian as well. These practitioners were able to artfully juggle a mixture of the scripted and extemporaneous, the personal and the universal, in a way that gave audience members a glimpse into the inner workings of the performer's psyches and then expanded the experience out into the larger world. It's not The World According to Me so much as a public demonstration of how our own passions and neuroses are in good company, if we only take the time to pause and look outside ourselves.
On a comedic level, though, Daisey is much more of the lineage of Jackie Gleason's Ralph Kramden, the pioneer of pathos on a simple set. Daisey is a large man, a very large man, as he is found of mentioning at key points in the piece. (He's hard to miss in front of the factory in Shenzhen because he's very large, very white, and wears a Hawaiian shirt.) He uses his hands a lot, pretty much constantly, in true Gleason tradition, and likes to suddenly raise his voice for dramatic emphasis. Daisey's version of "To the Moon, Alice!" is much more articulate and politically minded, but on a visceral level accomplishes the same end — shaking the audience by the shoulders to heighten a reaction to a line that is both funny and poignant. It's the verbal equivalent of slipping on a banana peel, in the best possible way.
Daisey also sweats profusely, despite his loose black clothing and seated position, and this becomes an unscripted tic of sorts for the piece. Along with a glass of water and his notes, the only other prop on the set is a folded piece of fabric, which he uses to dab at his face throughout the performance. With so few things to look at–the desk and a stark but very effective backdrop of lit neon rectangles that change lighting for each new section–we can't help but pay a lot of attention to the handkerchief as well. In a weird way, it adds an element of the physical to what is otherwise a mostly verbal piece, and also reinforces the notion that Daisey is one of the hardest working people in show business. The reigning Godfather of Monologue, as it were.
It may seem unfair to focus first on the physical details, but I think Mike Daisey would appreciate this approach; it's how he dissects his own obsessions with all things Apple, from the early Macs to today's iPods and iPads, and then discovers, interview by painful interview, the truly horrific working and living conditions in Shenzhen, a city in southern China where our expensive digital toys are manufactured. Daisey has an amazing gift for narrative, and a sharp eye for detail, and the two are fused together into a performance that never lags over the course of the evening. His fascination with early Macs was based on their beautiful design as well as their innovative functionality, especially compared with the Windows system. (Daisey does confess early on to a flirtation with Linux, but it was temporary, and he regrets this infidelity.) His riff on the ludicrousness of PowerPoint as a communication tool in any room where conversation is an option is by itself worth the price of admission.
Then there is the tale of the two Steves. Steve Jobs is the visionary, the cut-throat business mogul who brilliantly touts each new product as both indispensable and revolutionary, until the next generation is rolled out a short time later. Like a kid in a candy store, Daisey and his fellow Mac devotees cannot live without the next big thing. In rare cases where users have second thoughts about the latest device, the previous generation is no longer available.
The yin to Job's yang is Steve Wozniak, the programmer who co-founded Apple. Wozniak is portrayed as a hulking automaton of a programmer who chugs three-gallon bottles of Mountain Dew before going on multi-day programming binges. Jobs is definitely the controlling force, and at some point decides that he can run the company without his partner. Now that Paul Allen's biography is out, the parallels to the co-founders of Microsoft are uncanny.
The language is consciously religious, and as with "21 Dog Years," the arc is a tale of hagiography gone sour. In the earlier production it was Amazon's Jeff Bezos who eventually let Daisey down by his corruption of what he promised the internet would become. In this piece it's not Jobs who disappoints — he is portrayed as eternally ruthless and belligerent — but the circumstances under which these digital relics are made. With the aid of his Chinese translator, Daisey is able to fool his handlers, and surreptitiously uncover the misery of the factory workers' lives, a modern version of indentured servitude. Poor people migrate from the countryside for the promise of jobs, only to become literal prisoners in the factory/dormitory complexes. One of the most haunting details of the evening is the nets that are eventually installed outside the dormitories in response to the many suicides from people jumping off the roof.
The performance begins with Daisey's paean to the early Macs, and then at some point, the two strands are layered. Clearly the Shenzhen strand has the moral weight, and should elicit more pathos, compared to a lifelong fascination both with Macs and the man who brought them to market. And yet on an emotional level, it felt like the insights and flirtations with technology were Daisey's overriding passion, and the expose on factory life in Shenzhen were added to flesh out the piece. I don't mean to say that the China strand was any less important to Daisey, or to his audience once they have seen this striking show, but it did seem like the agony and ecstasy of the title had more to do with a desire to acquire, possess, and customize the best machines that money could buy, and so created better theater. There are many profound insights into how our communication devices are becoming fetishes that need to be renewed on a regular basis. To worship at this church, you have to exchange your prayer books every few months, or be left out on the street.
Perhaps a minor quibble, but Daisey drops the F-bomb indiscriminately throughout this piece. I have no qualms about the use of the word per se — it's one of the most powerful in our language — but it is leaned on so often that it started to seem like gulps for air in this extemporaneous performance, rendering the word into a mild and harmless expletive after a dozen or so mentions.
Daisey ends the show with a call to action: Enlightenment about factory conditions in China is the necessary next step for Western consumers, since we're the ones driving this migration. It's not just Apple products that are singled out, though. As Daisey mentions, if you want to know which of your digital doodads are made in Shenzhen, take out each device that you own and cut it in half, then look at one of the piles. The piece acknowledges its own consciousness raising, and urges people to continue thinking about the implications of our insatiable thirst for technology after the show is over. On an intellectual level this ending makes perfect sense, but on a dramatic plane it felt tacked on; the performance could well have ended with the previous section and made its point even better, or at least more organically. After the curtain call Daisey makes some announcements about future events, and this directive could easily have been delivered here instead.
And where do we go from here? It's true that awareness is the first step to change, though Daisey isn't advocating a purge of those shiny new toys. There has been a lot of mention in the press and the program itself about the other Steve attending a Palo Alto performance, after which Wozniak told Daisey that the experience changed his world view. I don't think anyone who has seen this show will look at any item of technology the same way again, whether it's an iPod or an MP3 knockoff , and that's saying quite a lot. But it's also worth sharing another quote from the program: "If you want to enjoy a good steak, don't visit the slaughterhouse." Now that Daisey has been to the slaughterhouse and back, and shared his vision with us, we can't go home again, can we?
[Read More]Into The Void/Catherine Cabeen and Company
Into The Void/Catherine Cabeen and Company/On The Boards, April 28-30, 2011
Dancer/choreographer Catherine Cabeen's first full-length performance, Into The Void, is like one of the lush desserts you might see on display in the window of a French patisserie. Like a sumptuous éclair, the dance performance is rich and ornate, stunning in its finely crafted components. Ultimately, though, like a rich pastry that leaves you slightly disappointed, Into The Void wasn't as emotionally satisfying as the dance equivalent of a baguette with butter.
On The Boards commissioned and presented Into The Void, and the premier of this multi-media piece was highly anticipated, based on Catherine Cabeen's impressive resume and considerable talents. A former member of both the Bill T. Jones/Arnie Zane and Martha Graham Dance Companies, Cabeen's is a compelling stage presence. Since her arrival in Seattle just a few years ago, her appearances with local companies ranging from the University of Washington Chamber Dance Company to Donald Byrd's Spectrum Dance Theater have been noteworthy.
For her inaugural evening-length work, Cabeen assembled an impressive array of collaborating artists, including talented costume designer Michael Cepress, digital artist/videographer Tivon Rice, composer Kane Mathis and sculptor Susan Robb. Cabeen's five dancers are also strong performers, particularly Germaul Barnes, who performed with Cabeen in the Bill T. Jones/Arnie Zane Company. Despite this surfeit of talent, from beginning to end, Catherine Cabeen herself is the centerpiece of her performance.
As the audience enters the theater, they encounter Cabeen lying supine onstage. Dressed in a three-piece gray suit and pixie-cut black wig, she is illuminated by a square of light. She is mysterious and androgynous, lying almost still. Behind her, Cabeen's live image is projected on a tryptich of screens. The house lights fade, the video projection dissolves, and Cabeen rises slowly from the floor to Kane Mathis' blurry electronic score. She undulates from the very center of her body. Each controlled wave ripples out from her torso to fluttering fingertips or extended toes. Cabeen balances on one leg, lifts the other straight into the air. Holding this precarious pose, she leans back, almost tipping over into the void. Remarkably, Cabeen pulls herself back into equilibrium and repeats her movements on the other leg.
Catherine Cabeen's company members join her onstage, two women in full, pleated skirts, one man in blue pants, the other in a stunning wide blue skirt. The six dancers pair off for duets, then change partners, testing the romantic waters. Androgyne Cabeen flirts first with the women, then the men, before a violent encounter sidelines her.
Into The Void is Catherine Cabeen's homage to mid-20th century artist Yves Klein. And no doubt the performance resonated best with audience members well-versed in his artwork. For those of us with only a rudimentary acquaintance with Klein, there are simple references: the blue of the costumes echoes Klein's trademark International Klein Blue. Nude dancers daubed in blue paint press up against one another, transferring their body prints the way Klein's nude women rolled blue paint onto his canvasses. But Cabeen's intent seems to transcend her salute to Klein. In her androgynous suit and wig, she is a feminine man, or a masculine woman, or a human who defies gender categorization.
And what does it mean to move through life outside the prescribed roles? When Cabeen is attacked by one of the men (perhaps for dancing with his woman), you wonder if the violence is induced by her defiance of a clear gender identity. Lying hurt by her attackers, Cabeen lifts puzzled eyes to the audience, as if dismayed to find herself a victim. Cabeen is rescued by an angelic female, wreathed in a golden halo of light. The angel frees her from the bonds of her wig and suit, returns to her rightful place, feminity. Oddly, Cabeen is waifish, almost fragile in her gray suit. Bared, her body seems to expand, her muscles are revealed. It's a remarkable transformation.
Into The Void has many such moments. Unfortunately, they are sometimes obscured by unnecessary frills. The dancers wrestle and box with sculptor Robb's puzzling inflatable black phallic tubes. Do they reference some of Klein's work? And Tivon Rice's video art doesn't add much to the live performance. It's like trying to have a serious conversation while a television set is on in the background. I'm willing to accept the fact that this cognitive dissonance is generational on my part. Still the video distracts from the dance rather than enhancing the experience.
Throughout the 70 minute performance, I was interested in what I saw, but never emotionally engaged with the material. Despite Cabeen's mesmerizing choreography, despite the dancers'strong performances, despite the plethora of artistic and philosophical questions the performance poses, Into The Void doesn't fully succeed in establishing a personal connection with the audience. The work felt far more like an intellectual exploration rather than an emotionally resonant artwork. I left the theater feeling the need to study up on Yves Klein, rather than feeling the visceral thrill of shared human experience. At the end of the dance, Cabeen, now in loose white trousers and shirt, struts toward the audience and bestows a knowing, Mona Lisa-like half smile on us. Like a wink and a nudge, we're left wondering whether she's challenging us to take seriously anything we've just seen. Like an alluring petit four in a patisserie window, Into The Void seduces with its beauty, with the mastery of its performers. Perhaps, you need to surrender to the limitations of this lovely sweet treat, and not expect that soul-satisfying moment of recognition that the greatest art can provide us. Surely, this was a question Yves Klein himself must have pondered. I'd better do some more homework.
[Read More]Light Fixtures: Go Into the Dark at Western Bridge
Light in Darkness at Western Bridge through April 30, 2011
by Adriana Grant
Painting and photography often claim to be about light. The current exhibit at Western Bridge takes this idea to its literal end, in an exhibit featuring light bulbs, n…
Philippe Quesne/Vivarium Studio, "L'Effet de Serge" at On the Boards – April 14-17
Art Critic admits to Liking Norman Rockwell, does not need to Go Underground
Up until quite recently, one did not admit to liking Norman Rockwell in polite company, at least so far as the art world was concerned. Rockwell's work-for-hire magazine covers, posters, and illustrations so unashamedly embraced everythin…
[Read More]ARTDISH MAGAZINE – APRIL 2010
Embracing Opaqueness ~ thoughts on 5 works of glass art
but infusing an object with light heightens its fetishistic attractionpackages it with the pseudo-spir… [Read More]


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LinkBack | Thread Tools | Display Modes |
06-11-2007, 08:17 AM | #1 (permalink) |
Posts: n/a
Which bindings would be best.
Hi all,
i just want a bit of advice with purchasing some bindings. I have some Salomon FDB size 9.5 US boots. I am about to start my second full season of boarding. I am 176 cm (5'9"), 61 kg (134 pounds). I don't want top end or anything too cheap just some good value for money bindings. Can anyone pass on some wisdom???? Thanks, smedlex. |
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07-03-2007, 05:24 PM | #3 (permalink) |
Senior Member
Join Date: Jul 2007
Posts: 585
Well depends how many days a year your planning on riding, if your only able to get in a couple of weeks a year then the burton bindings arent bad, but I'd pay the extra 50 bucks and get the cartels over the missions anyday. If you ride longer than that then I'd steer clear of burton, I know people say it ALOT but myself and 3 people I rode with for the whole of last season blew our cartels out within the first month. Other than that I hear people rave about rome bindings, they seem pretty solid, and also ride seem a safe bet, Im gonna try out ride bindings this coming season and see how they go.
07-04-2007, 06:15 PM | #4 (permalink) |
Join Date: Dec 2006
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Posts: 674
ride nindings
i have broke more burtons than any other brand i think they have a molding problem last couple of years
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When I first started learning how to bead and was learning basic jewelry-making, I loved earring making. I didn't realize it at the time, but making earrings a great way to learn new beadweaving stitches and jewelry-making techniques. Handmade earring projects are (usually) small and not terribly overwhelming, so they make perfect beading projects when you don't have a lot of time or just need to use up a few leftover beads.
Earring making is also a great way to get a little beading time in during the busy holiday season. Beaded earrings make great gifts, especially if you need a last-minute gift for a friend or co-worker. Or maybe you just need a little something to jazz up your favorite winter sweater - a new pair of earrings can really breathe new life into a favorite blouse!
Even if you don't have a beading pattern handy, there are lots of ways that you can just pick up your beads and start making earrings. Sometimes working without a pattern can be very intimidating, but try one of these four ideas for earring making and find out just how much fun it can be to design your own beaded earrings!
1. Make a brick stitch diamond. This is pretty basic, but making earrings can't get much easier than this. Stitch up a simple brick stitch diamond using your favorite beads - cylinder beads, cube beads, or throw in a big fire polished bead into the center of the diamond. Make some funky fringe with a few leftover bugle beads or maybe some long loops of seed beads, and you have the classic (but updated!) beaded earring. Or just leave the diamond without any fringe and hang it from your favorite earring finding.
3. Beaded fringe. Beaded fringe isn't just for beaded necklaces and amulet bags! Making earrings from beaded fringe is a fast and easy way to make earrings with a serious "wow" factor. Gather a few leftover beads, shells, pearls or crystals that match your seed beads and use leaf fringe or stick fringe to make some lush (but lightweight) beaded earrings. Or use beaded fringe to make earrings that complement a beaded necklace when you don't want to take too much attention away from the necklace itself!
4. Practice your beaded bezels. You can stitch a tiny bezel around almost anything. If you have a couple of crystal stones hanging around (or Scrabble tiles, old typewriter keys, bottle caps or something else that would make a funky earring) grab some seed beads and stitch a beaded bezel. Use a seed bead loop to hang a dangle from the bottom, or just stitch a jump ring to the top for easy attachment to an earring finding. You can even stitch tiny bezels around gemstone beads and accent them with crystals and pearls for attention-grabbing earrings.
Do you have a favorite earring making technique? Are you the kind of person that makes earrings to go with every single piece of beaded jewelry you make? Leave a comment on the blog and share your thoughts, or take a picture of your favorite beaded earring creation and post it in the Reader Photo Gallery!
Bead Happy,
Love earrings Mi favourite stich is RAW when desiging earrings
My sister trying make these. I think she made like 10 copy and sell em all to friends.
I would like to take the earring a day challenge; however I haven't learnt to stitch beads; I do wraps and stringing, although it's something I'm hoping to learn. Will that count?
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Samson Oil & Gas Operational Advisory
Samson Oil & Gas Limited (ASX: SSN; NYSE MKT: SSN):
NORTH STOCKYARD PROJECT (Samson 50% operated working interest)
Samson Oil & Gas Limited (ASX: SSN; NYSE MKT: SSN) advises that drilling operations commenced on the Billabong 2-13-14HBK yesterday morning which is currently drilling at a depth of 6,500' in the Kibbey Lime. The well will be drilled vertically to a kick off point at 10,824 feet (TVD) and 7 inch casing landed at 11,300 feet (TVD) in preparation to drill the 6,100 foot lateral in the Middle Bakken Formation.
SOUTH PRAIRIE (Samson 25% non-operated working interest)
The Matson #3-1 well has been drilled to a total depth of 4,825 feet. The partners in the well have elected to plug and abandon the well based on the logging and show results. Samson's share of costs incurred in the well is estimated to be approximately $175,000. The data indicates that oil migrated through the Mission Canyon reservoir, evidenced by black asphaltic dead oil stain, but was not trapped in the targeted 420 acre 4-way structural closure. A possible explanation for this is that the dissolution of the underlying Devonian Prairie Salt, which created the structural closure in the overlying Mission Canyon Formation, must have occurred after oil migrated through the area. Since the structural closure or trap was not in place at the time of oil migration, the oil would have moved updip to the next trap, which is the present day Glenburn Oil Field. The Glenburn Oil Field structural closure is controlled by the Prairie Salt edge whereas the Matson structural closure was created by interior localized salt dissolution pods. Based on the Matson result the forward program will show a preference for structural closures that exist along the salt edge rather than those created by dissolution events further interior to the salt edge. Samson expects that the partners will now focus on developing its three structural closure prospects (Pubco, Deering, and one yet to be named) along the Prairie Salt edge in the South Prairie 3-D project.Check Out Our Best Services for Investors
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Location! 50 meters from the sea. No loud music. Staff is very polite.
Expensive restaurant, you should eat next door.Lobby is closed after 8 p.m. and there is no medical help on the island, so you have to think twice before you will going to go there with small children!
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Backup Exec Remote Agent for Windows Servers
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Understanding Logon Accounts and required User Rights Assignment to resolve connection, backup or restore failures
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Coast-to-coast flashes on the great convergence of the media
In the past few weeks, on different coasts, the nation's great and continuing media consolidation debate took a few big steps – in opposite directions.
Last week, here in Washington, the Federal Communications Commission announced it was again ready to review and almost certainly loosen the nation's media ownership rules. How much they will be loosened is the question.
The FCC's announcement came three years after sweeping rule changes that allowed companies to own more outlets – TV and print – in each locale and allowed each network to reach a greater percentage of the TV viewing audience. So sweeping were those 2003 changes that Congress reversed many of them, and the federal courts threw them out and requested that the FCC start over.
The rule review is required by law – an acknowledgment that technology has changed the media landscape. But critics fear that loosening the rules too much can be detrimental to democracy. They are concerned that too few owners will limit the number of voices available to consumers and lead to the thing media haters most despise, a large monolithic force controlled by a few rich people. Most owners, of course, balk at that suggestion.
First, they say, the Internet prevents those big media companies from getting too powerful. There are thousands of voices out there now. Anyone with a computer and a broadband connection can cover the news – an argument sound on a theoretical level, but one that ignores pesky realities such as how many people actually listen to each of those thousand little voices compared to the few big ones.
Second, owners argue, they are all about serving the customer. What's really better for consumers, a fragmented group of small news organizations that are short of resources, or a smaller number of big companies that can spend on the best staff, equipment, and reportage? Isn't the answer obvious?
Again, in theory, maybe. But the better question might be what's actually better for those big companies, which brings us to the news from the other coast last week.
Out in Los Angeles a company that was a poster child for "bigger media is better media," Tribune Company, is having trouble. There, members of the Chandler family, which had owned the Los Angeles Times for more than 100 years, are looking for someone to buy at least some of Tribune's media outlets, if not all of them, citing poor economic performance.


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Theyskens' Theory Resort 2013
Theyskens' Theory Resort 2013
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Theyskens' Theory Resort 2013
Olivier Theyskens's considerable talent for matching slouch with sleek was in full effect for Resort 2013. Among this season's standouts? A relaxed, cape-back jumpsuit with draped waist ties and a chiffon-sleeved minidress, the body of which was covered hem to hilt in sequins textured to shimmer like the skin of some exotic fish. While the details — a psychedelic oil-spill print here, a smattering of irridescent feathers there — lent a vaguely subversive spin, the palette of black, gray, and wine kept everything on the easy-wearing citified side. After all, "Resort is really about essentials that speak to modern life," the designer explained.
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Smith, Paul M.D.; Adams, William P. Jr M.D.; Lipschitz, Avron H. M.D.; Chau, Brandon M.D.; Sorokin, Evan M.D.; Rohrich, Rod J. M.D.; Brown, Spencer A. Ph.D.
Background: Autogenous fat transfer with lipoinjection for soft-tissue augmentation is a commonly used technique without a universally accepted approach. The high percentage and variable amount of fat resorption reduce the clinical efficacy of this procedure and often result in the need for further grafting. The purposes of this study were to evaluate the effect of different harvesting and preparation techniques on human fat tissue viability and to determine fat tissue viability rates among the different fat preparations transplanted into a severe combined immune deficiency mouse model at 3 months.
Methods: Using standard liposuction and syringe aspiration, fat was removed from patients (n = 3) undergoing elective body contouring. Tissue was prepared by six different combinations of centrifugation and/or washing the cells with lactated Ringer's solution or normal saline. Metabolic activities of fat cell viability were monitored to assess overall cell viability. To analyze viability over 3 months, freshly harvested tissue specimens (minimum n = 5) were prepared by a combination of various procedures (wash, centrifugation, and different solutions) and subsequently injected under the dorsal flank skin of severe combined immune deficiency mice in two experiments. Mice were monitored for 12 weeks and the fat xenografts were removed for mass and histological evaluations.
Results: Metabolic analyses showed improved cell viability in tissue specimens undergoing minimal manipulation. No significant differences in fat cell viability, as assessed by graft weight maintenance or histologic evaluations, were observed with regard to harvesting or preparation techniques.
Conclusions: Improved viability of freshly harvested but untreated fat specimens may be expected as compared with grafts that have undergone additional manipulations. No unique combination of preparation or harvesting techniques appeared to be more advantageous on transplanted fat grafts at 3 months. This study also demonstrated a reliable animal model for future investigation into examining novel applications for augmenting fat graft survival.
©2006American Society of Plastic Surgeons
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The Clinical Masters of PRS – Breast eBooks 4 Essential eBooks for Plastic Surgeons


text: A highly valuable part of exchange policies is the fact that individual and family maximum out-of-pocket each year is $6,300 and $12,600. Just by itself, those are catastrophic care coverage. This is the coverage many experts say the young and health should have to cover sudden unexpected illness or accident to avoid bankruptcy. In addition, even if you have not met your deductible yet, with even the cheapest plan you pay the higly-discounted prices the insurance company negotiated with your providers. With no policy, you could be paying 10 times as much for the very same procedure because hospitals have their own charge register (insanely-expensive price list) for cash-customers. This can save you a huge amount, like 50% off your bill, before you even reach your deductible.


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The UC San Diego Ophthalmology Residency Program emphasizes excellence, ethics, and humanity while training residents to become exceptional ophthalmologists equipped to succeed in any aspect of Ophthalmology, be it academics, research, or the private sector. The overarching goal is the acquisition of the knowledge, skills, clinical judgment, and attitudes necessary to provide skilled and compassionate care to patients. Over the program's three years, residents are provided with clinical exposure in our several facilities to gain mastery of the knowledge and judgment needed while assuming increasing levels of responsibility for the medical and surgical management of patients with a wide variety of acute and chronic Ophthalmological disease. Because we recognize that Ophthalmological education continues beyond the residency training years, we emphasize the importance of self-directed study habits. Contact the residency office by email at email@example.com
Twelve residents will be on board by 2014—up from the nine we had in 2011-2012. While training at our multiple facilities, each resident is exposed to a high volume of cases in a diverse patient population with a wide variety of ophthalmic needs—all of this while being given increasing responsibilities in a one-on-one teaching environment with our attendings.
To give you an idea of what our dozen residents might experience, here are some data from our department's Annual Report in 2013:
• A combined 120,000 patient visits (all sites)
• 5,459 surgeries
• 33 faculty
• 132 staff
• $8.3-million in grants
• 228 publications
• 31 clinical trials
• The Shiley campus itself is 91,000' square (Shiley Eye Institute, Ratner Children's Center, Jacobs Retina Center, Hamilton Glaucoma Center)
Because we are a multi-facility department with a complex patient profile, the clinical and surgical experience of the UC San Diego Ophthalmology resident is outstanding. Several faculty have been added in the past couple of year which has opened up more surgical opportunities to residents, as evidenced by the following surgical totals reported by our graduates the past couple of years:
• For the combined 2012-2013 and 2013-2014, total procedures averaged 957 per year, with phacoemulsifications alone averaging 345 per year.
• The June 2014 graduates alone averaged 1063 procedures and 411 phacoemulsifications.
The information contained in this online site is intended to provide accurate and helpful health information for the general public. It is made available with the understanding that the author and publisher are not engaged in rendering medical, health, psychological, or any other kind of personal professional services on this site. The information should not be considered complete and does not cover all diseases, ailments, physical conditions or their treatment. It should not be used in place of a call or visit to a medical, health or other competent professional, who should be consulted before adopting any of the suggestions in this site or drawing inferences from it.
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text: TOP 10 Top 10 Sports Top 10: Life Lessons From Soccer With Clarence Seedorf Back to Top ▲ Top 10: Life Lessons From Soccer With Clarence Seedorf 4 Be passionate about what you do Share on Facebook Share on Twitter 0 Shares "If we look at the youth… It's not easy for them to understand what it takes [to be a success]. What does it take? It takes a lot of discipline, but if the passion's not there, then why start playing the game?" Next Page TOP 10 9 8 7 6 5 4 3 2 1 Comments Show Comments More Like This Promoted Around the Web Special Features


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Unbiased Reviews by Real People
Bought the QS330 at Lowes on special order. It was worth all the research that went into choosing this product. Low noise is the quality most appreciated. Another feature,the delay button which when pressed keeps the fan going for ten minute, is great. The levels of light are also great. The only thing wanting was the damper for circular exhaust pipe. It should have been included. At least the instructions should have mentioned this. I was unable to find one. However, I did find a vent cap for roof venting installation that had a damper built in. After about eight months of use, I had problems with the light bulbs seating properly and making good connection. I had a very difficult time removing them as they did not want to screw out. I solved the problem when replacing the bulbs: I put a very thin layer of electrical contact grease on the bulb threads. This seems to work great.I had quite a bit of trouble with the assembly before installation. The Light Panel (Key No. 23) and the Bottom Cover (Key No. 27) did not properly fit into the hood. There was a 1/4 in. gap between the light panel and the hood on the right front corner of the hood, which was very visible from the front. I had to pull the light panel to one side and drill new screw holes in the hood to make everything align and fit properly. This caused the bottom cover to lap over one of the screws which required a cutout in the bottom cover. The bottom line is "the quality of the sheet metal fabrication is NOT ACCEPTABLE".


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CM Punk
Phillip Jack Brooks- Birthdate: 10/26/1978 (age 36)
- Height: 6'2"
- Weight: 218 Ib
He was titled in the WWE as "the longest-reigni...
Airdate: Monday, September 2nd, 2013 (USA Network)
Location: The Wells Fargo Arena in Des Moines, IA
Results by H. Winston
"Yes, sir, we promised you a great main event…"
The show begins with Triple H already in the ring with the Shield standing guard outside of the ring. He wants to introduce the face of the company. So, out comes Randy Orton. As the face of the company, Orton says it is his responsibility to keep the company from being tarnished. The crowd lets loose with "NO!" chants. Orton says that last week, Bryan defaced property of Orton, so he had no choice but to deface Bryan on SmackDown, with the help of your friendly neighborhood Shield. Orton wants to play a Q&A game. Should Daniel Bryan face Orton at Night of Champions for the title? Orton says no, but the crowd disagrees. Does Daniel Bryan have a chance of beating Orton at Night of Champions? No, says Orton. Will Daniel Bryan ever amount to anything in the WWE, or will he always be a B+ player? Should Daniel Bryan give up his opportunity to face Orton at Night of Champions? Orton enthusiastically says yes. Triple H says it is his responsibility to put out the best available product for the WWE fans, who deserve the best. It is also his responsibility to ensure the safety of all superstars. He is beginning to worry about the health of Daniel Bryan. Triple H says that the crowd is not helping by cheering for Bryan. Triple H says that there once was a superstar known as Doink the Clown, who was very popular. He was never the champion, however, because it would have been bad for business. He says Daniel Bryan will never be WWE champion for the same reason. Triple H says he could bring back the cruiserweight title or European title and Bryan could compete for these.
Enter Daniel Bryan. He says he is thrilled to being compared to Doink the Clown. Bryan says that there was never a Doink chant in 1992. The only clowns that Bryan sees are the two standing in the ring. Bryan criticizes Triple H for selling out to become the corporate man, and Orton for being handed the WWE title. Bryan asks if he should end his quest for the WWE title. He says it's the same answer to the question of whether Orton is more masculine than Stephanie McMahon. No! Bryan says he has always been told he would never be successful and that he would never be successful. Bryan loved the challenge of getting to where he is today and Orton will never understand it because he was given everything. Bryan says that Triple H knows Bryan can beat Orton, or else he would let Bryan wrestle Orton 1 on 1 instead of being placed in gauntlet matches.
Triple H cuts Bryan off and calls him a grumpy troll. Triple H says that Bryan should be angry with the Big Show as he continually stands by as Bryan is beaten. Triple H says the main event for tonight will be Daniel Bryan vs Big Show.
Triple H and Orton are walking backstange and pass Rhodes. He says that tonight's main event will be great as long as no one gets involved. He asks why Orton would be afraid of facing of facing Bryan. Rhodes says that Orton vs Bryan is what is best for business. Triple H understands that Rhodes's judgement could be clouded what with his recent wedding plans, to which himself nor Orton received invitations. Triple H says that for his wedding gift, Rhodes can wrestle Orton tonight. However, if Rhodes loses, it's likely that he will no longer have a job.
Miz hits an arm toss on Fandango and looks to go for the figure 4 but Fandango rolls out of the ring. Miz pursues and assaults him along the barricade, high-fiving a fan in the process. Back in the ring, Fandango beats Miz into the corner. He throws Miz to the oposite corner but he counters, bounces off the rope and hits a clothesline. Miz hits a running kick on Fandango as he attempts to get up, knocking him down and getting a 2-count.
Back from commercial, Fandango is in control. Apparently Fandango has suffered a broken nose from the kick mentioned earlier, but the match continues nonetheless. Summer Ray slaps Miz as he hangs on the rope. This appears to have angered Miz as he lands several punches on Fandango. Miz manages to throw Fandango off of the top rope. Miz attempts to hit his running kick in the corner but Fandango sidesteps. Miz manages to lock in the figure...


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- 45Promote
Canvas Print
Fine art print on bright white, fine poly-cotton blend, matte canvas using latest generation Epson archival inks. Individually trimmed and hand stretched museum wrap over 1-1/2" deep wood stretcher bars. Includes wall hanging hardware.
A sequel of sorts to Bostonia. Rue des Barres, Right Bank, Paris, France.
Thank you guys very much! @Angakoka -- I thought the green outline would unify the picture some and give it a cooler feeling. Glad you like it!
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As Lady Zorro battles with her urge to exact vengeance on the General, Hugo is ridden down by the mercenary troops, brought back to the mansion, and tortured. The General uses Hugo's theft of an axe as an excuse to exert martial law on Alta California, wresting command from (and arresting) Capitain Ramón. Can Lady Zorro rescue Hugo, the axe, and the Capitain from a mansion teeming with ruthless mercenary soldiers? The odds are almost impossible... and Lady Zorro will find herself using a rallying cry that she never thought would pass her lips.
Preview: Lady Zorro #2
Mon, August 11th, 2014 at 6:58am PDT
- Story by
- Alex De Campi
- Art by
- Rey Villegas
- Cover by
- Joseph Michael Linsner
- Publisher
- Dynamite Entertainment
- Cover Price:
- $3.99
- Release Date
- Aug 13th, 2014
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- Forum: Classic Menswear Classifieds
- Thread: Filson Travel Kit in Tan NWT
I ended up with an extra of my favorite travel kits from FILSON and thought I'd sell it here. New with tags and is beautiful. I just noticed these are on back order online for $95+ OUCH... grab one here for cheap and let help each other out.
Cost $80 + 4% paypal fees. Shipped to upper 48. If you're interested outside the US, message me and I'll get a price and charge actual shipping.
Thanks for wanting to travel in style.


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Black Music Association
Black Music Month at 30: A Cultural Retrospective
by Pamela D. Reed
President Obama changed Black Music Month to "African American Music Appreciation Month," and neglected to hold a commemorative event at the White House. "This is like the tree that falls in the forest with no one there to hear it." (George Bush held three Black Music Month affairs). "In the trademark Obama 'a rising tide lifts all boats' tradition," a presidential spokesperson "stresses that the Obama administration subscribes to the '365 day' approach to music appreciation--all music."


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Cartie - HBO (Prod. By Drumma Boy)
HBO Cartie Produced by Drumma Boy
Have you heard Cartie's new track HBO [Prod by Drumma Boy] ? It dropped on Thursday, December 30th, 2010.
Stream HBO [Prod by Drumma Boy] , the newest drop from Cartie. The cut was released on Thursday, December 30th, 2010. Cartie continues to impress with each new leak, and HBO [Prod by Drumma Boy] is no exception. It's strengthens Cartie's already impressive body of work, which has seen positive change over the years. We're most definitely anticipating Cartie's next offering.
Have you heard Cartie's Chicken & Waffles (Prod by Bink)? If you're down, make sure to visit Cartie's profile page for the newest info, news, songs, and mixtapes. Follow Cartie on Twitter, if you aren't already.
Let us know what you think, folks.


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I am amazed by your free spirits and ability to just trust that you will be taken care of and that you are in the right place in the right time and that God is with you. I am always eager to see the next update and what is new there. For Cashton....snow....cold...brrr.....keeping you in my prayers. Donna
Mal Pais Road trip
I'd love to say that I just trust and everything is great.....but I've had major tough moments Donna!!!! I DO love the diversity out here though....so many interesting people. The sweet, sweet woman who owns our place is from Boston and she and I just ran to the "green school of the future" up the road a few miles to get a little girl that she is babysitting. Very interesting school....most of it is held outdoors and as we left we picked up a boy who was just walking away from the school. She picked him up and asked him "were you going to walk all the way home" and he says "oh no...i was just going to hitchhike home"....like he usually does. Life is different here.
We miss you SO much and will see you soon!! Stay warm!!!


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Extreme HateOkay, can I just vent for a minute?Extremesits REALLY piss me off!!!I, personally, consider extremists to be people who force their beliefs on others, who are rude towards others whose beliefs are not the same as their own, and those who will go as far as acting violently towards others in order to force their beliefs on others.I just don't understand it. I mean, let's say one person believes that another person who doesn't share the same beliefs as them is going to hell. Okay, I understand you want to be the deliverer or whatever, but really, in the end, is it your problem? No. Are you the one going to hell? No. So then chill the fuck out and stop being so ridiculous! And I'm not saying that this goes for everyone except my own religion, (which, as of right now, is Roman Catholic, although I've been considering Spiritualism) this goes for those of my religion/belief system as well.It makes me SO angry to see how some people can be so rude to others simply because they do not share
Excuse me but....If you think that homosexuality is causing the "downward spiral of marriage and the traditional family in America" I think you need to take a step back and think about what is REALLY causing the problem here and also that you need to realize that traditions CHANGE over time.Yes, in years past, the traditional family consisted of a man, wife, and children. Well, times are changing, and now 2 men or 2 women and children, I believe anyway, count as a traditional family as well. Having one parent in a child's life due to divorce, abuse, etc. is NOT a traditional family, by today's or past days' standards. Don't go blaming the LGTBQ community for the "downward spiral" when it seems to me that hardly any couples give a fuck about a true, loving relationship anymore. I mean, seriously? A 50% divorce rate because people just don't feel like trying to make marriage work anymore? Pathetic. In days past, people made their marriages by working TOGETHER, not against each other. There is some sacri
FagFag. Queer. Sissy. Gayboy. Princess.Every day I'd get up and go to school.Every day they would be waiting for me.From the time I walked in till the time I walked out, and even after that online and on the phone; I couldn't escape the names. I couldn't escape the disgust.I came out as gay in the eighth grade, and it wasn't that big of a deal. Nobody in my family minded and most were actually very supportive. Even the kids at school didn't seem to care that much. It wasn't until another boy came out as gay, Eric Dewitt. I had always had a bit of a crush on him and it wasn't long before me and him became a couple.I guess that's what it took to make it real for all my classmates, because after that it was hell.At first I would get beat up, but Eric and the school administration put a stop to that. After that came the names and the looks.The names were bad, the looks were the worst.When somebody looks at you as if you were less than nothing, as if you were the filthiest scum on the


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South East Asia's First International Pet & Accessories Show
It is therefore timely for UBM to launch South East Asia's first international Pet & Accessories trade show in Singapore on May 30, 2013 at the expo and convention centre at the Marina Bay Sands. The Sands Expo and Convention Center is Singapore's largest exhibition and meeting venue, featuring the island's largest hotel. Over a period of 4 days, exhibitors representing all facets of the pet care industry will be marketing and promoting their pet wares to an expected turnout of 5,000 trade and 15,000 public visitors, among them important pet industry decision-makers, buyers and C-level executives from industry representing suppliers, distributors, buyers, wholesalers and retailers.
Some of the key highlights of the show will include a trade seminar where experts from the pet industry will speak about the latest developments in the industry in the ASEAN region and also the global scene, a pet grooming competition, a rabbit competition run along the American Rabbit Breeders' Association standards and a Dog Agility/Obedience competition.
Pet Asia 2013 will be co-located with Aquarama 2013, the 13 th edition of the International Ornamental Fish and Accessories Exhibition at Halls B and C of The Sands Expo and Convention Center, the Marina Bay Sands. Aquarama is Asia's biggest international ornamental fish, invertebrates, plants and accessories exhibition organised for the ornamental aquatic industry and its related sectors. It is befitting for Singapore to host the show as the Number One ornamental fish exporting country which accounts for 20.3% of the world's total ornamental fish export value in 2008 ( US$339.533million). The two shows will span an area of 8,310 sqm and house some 200 vendors from all over the world.
The show is open to the trade from 10am to 6pm on May 30 and 31, 2013 and from 10am to 1pm on June 1. Members of the public can visit the show from 1pm to 8pm on June 1 and from 10am to 7pm on June 2, 2013. Adults will need to pay only S$8 to visit both shows. It is free for children below 12 years of age.
About UBM Asia ( www.ubmasia.com) Owned by UBM plc listed on the London Stock Exchange, UBM Asia is Asia's leading exhibition organiser and the biggest commercial organiser in mainland China, India and Malaysia. Established with its headquarters in Hong Kong and subsidiary companies across Asia and in the US, UBM Asia has a strong global presence in 25 major cities with 29 offices and over 1,200 staff.With a track record spanning over 30 years, UBM Asia operates in 19 market sectors with 160 dynamic face-to-face exhibitions, 75 high-level professional conferences, 28 targeted trade publications, 18 round-the-clock vertical portals and virtual event services for over 1,000,000 quality exhibitors, visitors, conference delegates, advertisers and subscribers from all over the world. We provide a one-stop diversified global service for high-value business matching, quality market news and online trading networks.UBM Asia has extensive office networks in China, Southeast Asia and India, three of the world's fastest growing B2B events markets. UBM China has 11 offices in the major cities in mainland China, including Beijing, Shanghai, Guangzhou, Hangzhou, Chengdu and Shenzhen, where we organise more than 60 exhibitions and conferences. In ASEAN, UBM Asia operates from its offices in Malaysia, Thailand, Indonesia, Singapore, Vietnam and the Philippines with over 50 events in this region. UBM India teams in Mumbai, New Delhi, Bangalore, Chennai and Hyderabad organise 20 exhibitions and 60 conferences every year across the country. For more details on Pet Asia 2013, visit its website at www.petasia.com.sg or contact the Project Team. Team PET ASIA Ms. Iman Tam, Project Executive, email@example.com, +65-6592-0889 Ms. Doris Woo, Sales Manager, email@example.com, +65-6592-0887 Ms. Jennifer Lee, Project Manager, firstname.lastname@example.com, +65-6592-0891 Media Enquiries Nalini NaiduEmail: email@example.com: +65-9633-3198 Dean JohariEmail: email@example.com: +65-9697-4464 Scarlett YongEmail: email@example.com: +65-8138-8520 SOURCE UBM AsiaCheck Out Our Best Services for Investors
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