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A process is described for improving the photochemical stability of dyeings on polyester fibre materials by means of UV absorbers of the formula ##STR1## in which R is lower alkyl, lower alkoxy, halogen or hydroxyl, R1 and R2 independently of one another alkyl which is substituted by hydroxyl, lower alkoxy, lower alkylthio, amino, monoalkylamino or dialkylamino, phenyl, phenyl which is substituted by chlorine, lower alkyl or lower alkoxy, or o-hydroxyphenyl, and n is 0, 1 or 2.
1. A process for improving the photochemical stability of dyeings on polyester fibre materials by means of UV absorbers, which comprises treating the fibre material with a compound of the formula ##STR5## in which R is lower alkyl, lower alkoxy, halogen or hydroxyl, R1 and R2 independently of one another are alkyl, alkyl which is substituted by hydroxyl, lower alkoxy, lower alkylthio, amino, monoalkylamino or dialkylamino, phenyl, phenyl which is substituted by chlorine, lower alkyl or lower alkoxy, or o-hydroxyphenyl, and n is 0, 1 or 2.
2. A process according to claim 1, wherein a compound of the formula ##STR6## in which R is as defined in claim 1 and R3 and R4 independently of one another are alkyl having 1 to 4 C atoms, phenyl or phenyl which is substituted by lower alkyl or lower alkoxy, is used.
3. A process according to claim 1, wherein a compound of the formula ##STR7## in which R5 is lower alkyl or lower alkoxy and R6 and R7 independently of one another are alkyl having 1 to 4 C atoms or phenyl, is used.
4. A process according to claim 1, wherein the compound to be employed of the formula (1) is used in an amount of 0.5 to 7.5% by weight of the fibre material.
5. A process according to claim 1, wherein the compound of the formula (1) is added directly to the dyebath.
6. The polyester fibre material treated by the process according to claim 1.
The present invention relates to a process for improving the photo-chemical stability of dyeings on polyester fibre materials.
Dyed polyester fibre material is damaged when exposed to light, particularly when subjected to heat at the same time. Such dyed materials have, therefore, been protected against the effects of light and heat by means of UV absorbers of the benzophenone or benzotriazole type, but without achieving satisfactory results, because, owing to their inadequate fastness to sublimation, these compounds have resulted in loss of product and hence inadequate protection, when the dyeings are thermofixed and when they are exposed to light at elevated temperatures.
The photochemical stabilization of organic materials, for example, completely synthetic polymers and natural polymers, in particular pure addition polymers and pure condensation polymers or condensation polymers crosslinked by addition polymerization, for example polyester resins, is known from US-A 3,896,125. This relates, however, to the protection of these organic materials by incorporating the protecting agents into the organic polymeric material, o-hydroxyphenyl-s-triazines being employed.
The object on which the present invention is based was to find a process for improving the photochemical stability of dyeings on polyester fibre materials which does not exhibit loss of product and which satisfies the present requirements.
This object is achieved by applying the protecting substances to the fibre materials instead of incorporating them into these materials.
The present invention therefore relates to a process for improving the photochemical stability of dyeings on polyester fibre materials by means of UV absorbers, which comprises treating the fibre material with a compound of the formula ##STR2## in which R is lower alkyl, lower alkoxy, halogen or hydroxyl, R1 and R2 independently of one another are alkyl, alkyl which is substituted by hydroxyl, lower alkoxy, lower alkylthiol, amio, monoalkylamino or dialkylamino, phenyl, phenyl which is substituted by chlorine, lower alkyl or lower alkoxy, or o-hydroxyphenyl, and n is 0, 1 or 2.
Suitable lower alkyl, alkoxy or alkylthio radicals are radicals having 1 to 4 C atoms, such as methyl, ethyl, propyl, isopropyl, butyl, isobutyl, sec-butyl, tert-butyl, methoxy, ethoxy, propoxy, isopropoxy, butoxy, isobutoxy, sec-butoxy, tert-butoxy, methylthio, ethylthio, propylthio, isopropylthio, butylthio, isobutylthio, sec-butylthio and tert-butylthio.
Alkyl R1 and/or R2 can be an alkyl radical having 1 to 18 C atoms, such as methyl, ethyl, propyl, isopropyl, n-butyl, tert-butyl, pentyl, hexyl, octyl, decyl, dodecyl, tetradecyl, hexadecyl and octadecyl. Alkyl radicals having 1 to 4 C atoms are preferred. If one of these alkyl radicals is substituted by a monoalkylamino or dialkylamino radical, these are amino radicals which are monosubstituted or disubstituted by lower alkyl, such as methylamino, ethylamino, propylamino, butylamino, dimethylamino, diethylamino, dipropylamino or dibutylamino radicals.
Compounds which are of particular interest for the process according to the invention are those of the formula ##STR3## in which R is as defined above and R3 and R4 independently of one another are alkyl having 1 to 4 C atoms, phenyl or phenyl which is substituted by lower alkyl or lower alkoxy.
In the process according to the invention it is preferable to use compounds of the formula ##STR4## in which R5 is lower alkyl or lower alkoxy and R6 and R7 independently of one another are alkyl having 1 to 4 C atoms or phenyl.
The compounds of the formulae (1) to (3), which are also known as UV absorbers, are known or can be prepared in a manner known per se, for example by heating an amidine and an o-hydroxybenzenecarboxylic acid ester, preferably in an approximately molar ratio of 2:1, in boiling organic solvents [cf. US 3,896,125 and Helv. Chim. Acta. 55, 1566-1595 (1972)].
The following are examples of suitable compounds of the formulae (1), (2) and (3): 2-(2'-hydroxy-5'-methylphenyl)-4,6-dimethyl-s-triazine: melting point 131� C.; 2-(2'-hydroxy-3',5'-dimethylphenyl)-4,6-dimethyl-s-triazine: melting point 177� C.; 2-(2'-hydroxy-4',5'-dimethylphenyl)-4,6-dimethyl-s-triazine: λ349 μm: T 48%; 2-(2'-hydroxy-4',5'-dimethylphenyl)-4,6-diethyl-s-triazine: melting point 98� C.; 2-(2'-hydroxy-5'-chlorophenyl)-4,6-dimethyl-s-triazine: melting point 160� C.; 2-(2'-hydroxyphenyl)-4,6-dimethyl-s-triazine: melting point 133� C.; 2-(2'-hydroxy-5'-tert-butylphenyl)-4,6-dimethyl-s-triazine: λ352 μm: T 60%; 2-(2'-hydroxyphenyl)-4,6-didecyl-s-triazine: melting point 53� C.; 2-(2'-hydroxyphenyl)-4,6-dinonyl-s-triazine: melting point 45� C.; 2-(2'-hydroxyphenyl)-4,6-diheptadecyl-s-triazine: λ338 μm: T 80%; 2-(2'-hydroxyphenyl)-4,6-dipropyl-s-triazine: melting point 18� to 20� C.; 2-(2'-hydroxyphenyl)-4,6-bis-β-methylmercaptoethyl-s-triazine: λ341 μm: T 60%; 2-(2'-hydroxyphenyl)-4,6-bis-β-dimethyl-aminoethyl-s-triazine: λ340 μm: T 63%; 2-(2'-hydroxyphenyl)-4,6-bis-(β-butylaminoethyl)-s-triazine: λ341 μm: T 66%; 2-(2'-hydroxyphenyl)-4,6-di-tert-butyl-s-triazine: λ338 μm: T 68%; 2-(2'-hydroxyphenyl)-4,6-dioctyl-s-triazine: melting point 40� C.; 2-(2'-hydroxy-4'-methoxyphenyl)-4,6-diphenyl-s-triazine: melting point 204�-205� C.; 2-(2'-hydroxy-4'-ethoxyphenyl)-4,6-diphenyl-s-triazine: melting point 201�-202� C. and 2-(2'-hydroxy-4'-isopropyl)-4,6-diphenyl-s-triazine: melting point 181�-182� C.
The compounds of the formulae (1), (2) and (3) which are to be used as UV absorbers are employed in an amount of 0.05 to 7.5, preferably 0.20 to 3 and especially 0.5 to 2% of the weight of the fibre material.
Examples of polyester fibre material which can be dyed in the presence of the UV absorbers mentioned are cellulose ester fibres, such as cellulose 21/2 acetate fibres and triacetate fibres and especially linear polyester fibres. Linear polyester fibres are to be understood in this regard as meaning synthetic fibres which are obtained, for example, by subjecting terephthalic acid to a condensation with ethylene glycol, or isophthalic acid or terephthalic acid to a condensation with 1,4-bis-(hydroxymethyl)-cyclohexane, and also copolymers formed from terephthalic and isophthalic acid and ethylene glycol. The linear polyester hitherto employed almost exclusively in the textile industry consists of terephthalic acid and ethylene glycol.
The fibre materials can also be used as fabrics mixed with one another or with other fibres, for example mixtures of polyacrylonitrile/polyester, polyamide/polyester, polyester/cotton, polyester/viscose and polyester/wool.
The textile material to be dyed can be various types of material. Piece-goods, such as knitted or woven fabrics, are preferentially suitable.
The disperse dyes to be used, which are only very slightly soluble in water and are present in the dye liquor for the most part in the form of a fine dispersion, can belong to a very wide variety of classes of dyes, for example the acridone, azo, anthraquinone, coumarin, methine, perinone, naphthoquinone imine, quinophthalone, styryl or nitro dyes. It is also possible to employ mixtures of disperse dyes in accordance with the invention.
Polyester/wool mixed fibre materials are preferably dyed in accordance with the invention using commercially available mixtures of anionic dyes and disperse dyes. Examples of the anionic dyes are salts of monoazo, disazo or polyazo dyes, including the formazan dyes, containing heavy metals or, preferably, free from metals, and also of the anthraquinone, xanthene, nitro, triphenylmethane, naphthoquinone imine and phthalocyanine dyes. The anionic character of these dyes can be caused merely by metal complex formation and/or, preferably, by acid, salt-forming substituents, such as carboxylic acid groups, sulfuric acid and phosphonic acid ester groups, phosphonic acid groups or sulfonic acid groups. The molecule of these dyes can also contain so-called reactive groupings which form a covalent bond with the wool.
The 1:1 or 1:2 metal complex dyes are of particular interest. The 1:1 metal complex dyes preferably contain one or two sulfonic acid groups. They contain, as the metal, a heavy metal atom, for example copper, nickel or especially chromium.
The 1:2 metal complex dyes contain, as the central atom, a heavy metal atom, for example a cobalt atom or especially a chromium atom. Attached to the central atom are two complex-forming components, at least one of which is a dye molecule, but preferably both are dye molecules. The two dye molecules participating in the formation of the complex can be identical with, or different from, one another. The 1:2 metal complex dyes can contain, for example, two azomethine molecules, a disazo dye and a monoazo dye or, preferably, two monoazo dye molecules. The azo dye molecules can contain groups imparting solubility in water, for example acid amide or alkylsulfonyl groups or the abovementioned acid groups. The 1:2 cobalt or 1:2 chromium complexes of monoazo dyes containing acid amide or alkylsulfonyl groups or, in all, a single sulfonic acid group are preferred.
It is also possible to employ mixtures of the anionic dyes.
Fibre mixtures composed of polyester and cotton are dyed as a rule with a combination of disperse dyes and vat dyes, sulfur dyes, leuco vat ester dyes, direct dyes or reactive dyes, the polyester component being dyed with disperse dyes previously, at the same time or subsequently.
The vat dyes are fairly highly fused and heterocyclic benzoquinones or naphthoquinones, sulfur dyes and, in particular, anthraquinoid or indigoid dyes. Examples of vat dyes which can be used in accordance with the invention are listed in the Colour Index, 3rd edition (1971), vol. 3, on pages 3649 to 3837 under the heading "Sulphur Dyes" and "Vat Dyes".
Examples of suitable direct dyes are the "Direct Dyes" listed in the Colour Index, 3rd edition (1971), vol. 2, on pages 2005 to 2478. The leuco vat ester dyes can be obtained, for example, from vat dyes of the indigo, anthraquinone or indanthrene series by reduction, for example by means of iron powder, and subsequent esterification, for example by means of chlorosulfonic acid, and are designated "Solubilised Vat Dyes" in the Colour Index, 3rd edition (1971), vol. 3.
Reactive dyes are to be understood as meaning the customary dyes which form a chemical bond with the cellulose, for example the "Reactive Dyes" listed in the Colour Index, 3rd edition (1971), vol. 3, on pages 3391 to 3560.
The amount of the dyes to be added to the liquor depends on the depth of colourdesired; in general, amounts of 0.01 to 10, preferably 0.02 to 5, percent by weight, relative to the textile material employed, have proved suitable.
The compounds to be used in accordance with the invention can also be employed as a mixture with known carriers based on, for example, dichlorobenzene, trichlorobenzene, methylbenzene, ethylbenzene, o-phenylphenol, benzylphenol, diphenyl ether, chlorobiphenyl, methylbiphenyl, cyclohexanone, acetophenone, an alkylphenoxyethanol, mono-, di or tri-chlorophenoxyethanol, mono-, di- or trichlorophenoxypropanol, pentachlorophenoxyethanol or alkylphenyl benzoates, or, in particular, based on biphenyl, methyldiphenyl ether, dibenzyl ether, methyl benzoate, butyl benzoate and phenyl benzoate.
The carriers are preferably employed in an amount of 0.5 to 2 g/l of liquor or 5 to 10 percent by weight, relative to the compounds to be used.
Depending on the textile material to be treated, the dyebaths can contain, in addition to the dyes and the compounds to be employed in accordance with the invention, wool protection agents, oligomer inhibitors, oxidizing agents, anti-foam agents, emulsifiers, levelling agents, retarders and, preferably, dispersants.
The dispersants are used, in particular, to achieve a good dispersion of the disperse dyes. Dispersants which are generally customary are suitable when dyeing with disperse dyes.
Suitable dispersants are preferably sulfated or phosphated adducts of 15 to 100 moles of ethylene oxide or, preferably, propylene oxide onto polyhydric aliphatic alcohols containing 2 to 6 carbon atoms, for example ethylene glycol, glycerol or pentaerythritol, or onto amines which have 2 to 9 carbon atoms and contain at least two amino groups or one amino group and one hydroxyl group and also alkylsulfonates having 10 to 20 carbon atoms in the alkyl chain, alkylbenzenesulfonates with a linear or branched alkyl chain having 8 to 20 carbon atoms in the alkyl chain, for example nonylbenzenesulfonate, dodecylbenzenesulfonate, 1,3,5,7-tetramethyloctylbenzenesulfonate or octadecylbenzenesulfonate, and also alkylnaphthalenesulfonates or sulfosuccinic acid esters, such as sodium dioctylsulfosuccinate.
Anionic dispersants which have proved particularly advantageous are ligninsulfonates, polyphosphates and, preferably, formaldehyde condensation products formed from aromatic sulfonic acids, formaldehyde and monofunctional or bifunctional phenols, for example from cresol, β-naphtholsulfonic acid and formaldehyde, from benzenesulfonic acid, formaldehyde and naphthalenic acid, from naphthalenesulfonic acid and formaldehyde or from naphthalenesulfonic acid, dihydroxydiphenylsulfone and formaldehyde. The disodium salt of di-(6-sulfonaphth-2-yl)-methane is preferred.
It is also possible to employ mixtures of anionic dispersants. The anionic dispersants are normally in the form of their alkali metal salts, ammonium salts or amine salts. These dispersants are preferably used in an amount of 0.1 to 5 g/l of liquor.
Depending on the dye and substrate to be used, the dyebaths can also contain, in addition to the assistants already mentioned, customary additives, advantageously electrolytes, such as salts, for example sodium sulfate, ammonium sulfate, sodium phosphates or polyphosphates, ammonium phosphates or polyphosphates, metal chlorides or nitrates, such as sodium chloride, calcium chloride, magnesium chloride or calcium nitrates, ammonium acetate or sodium acetate, and/or acids, for example mineral acids, such as sulfuric acid or phosphoric acid, or organic acids, advantageously lower aliphatic carboxylic acids, such as formic, acetic or oxalic acid, and also alkalis or alkali donors or complex-formers.
The acids are used, in particular, to adjust the pH of the liquors used in accordance with the invention, which is, as a rule, 4 to 6.5, preferably 4.5 to 6.
Dyeing is advantageously carried out from an aqueous liquor by the exhaustion process. Accordingly, the dye liquor can be selected within a wide range, for example 1:4 to 1:100, preferably 1:6 to 1:50. The temperature at which dyeing is carried out is at least 50� C. and, as a rule, is not higher than 140� C. It is preferably within the range from 80� to 135� C.
Linear polyester fibres and cellulose triacetate fibres are preferably dyed by the so-called high-temperature process in closed machines, advantageously also pressure-resistant machines, at temperatures above 100� C., preferably between 110� and 135� C., and, if appropriate, under pressure. Examples of suitable closed vessels are circulation machines, such as cheese or beam dyeing machines, winches, spin-dyeing or drum dyeing machines, muff dyeing machines, paddles or jigs.
Cellulose 21/2-acetate fibres are preferably dyed at temperatures of 80�-85� C.
The dyeing process according to the invention can be carried out either by first treating the material to be dyed briefly with the compounds and then dyeing it or, preferably, by treating it simultaneously with the compounds and the dye.
The material to be dyed is preferably worked for 5 minutes at 50� to 80� C. in the bath which contains the dye, the compound and, if appropriate, further additives and which is adjusted to a pH value of 4.5 to 5.5, the temperature is raised to 100� to 110� C. in the course of 10 to 20 minutes and to 125� to 130� C. in the course of a further 10 to 20 minutes, and the dye liquor is kept at this temperature for 15 to 90 minutes, preferably 30 minutes.
The dyeings are finished by cooling the dye liquor to 50� to 80� C., rinsing the dyeings with water and, if necessary, cleansing in a customary manner in alkaline medium under reductive conditions. The dyeings are then rinsed again and dried. In the event that carriers are used, the dyeings are advantageously subjected to a heat treatment, for example to thermosol treatment, in order to improve their fastness to light, this treatment being preferably carried out at 160� to 180� C. and for 30 to 90 seconds. If vat dyes are used for the cellulose component, the goods are first treated in a customary manner with hydrosulfite at a pH of 6 to 12.5 and are then treated with an oxidizing agent and are finally washed.
Polyester fibre materials are stabilized photochemically by the process according to the invention, i.e. they are protected against exposure, in particular exposure under hot conditions, to visible and UV light.
One particularly outstanding advantage of the process according to the invention is that, compared with hitherto known processes for the photo-chemical stabilization of polyester fibre materials, no pre-treatment or after-treatment of the fibre material is required.
In the following instructions for preparation and examples, the percentages are by weight, unless otherwise specified. The amounts relate, in the case of the dyes and the UV absorbers, to the pure substance. Any five-figure Colour Index numbers (C.I.) relate to the 3rd edition of the Colour Index.
5 g of the condensation product formed from naphthalenesulfonic acid and formaldehyde, as a dispersant, dissolved in 7.5 ml of water, and 20 g of quartz microspheres (diameter approx. 1 mm) are added to 5 g of a UV absorber, and the mixture is ground with a stirrer at approx. 1600 revolutions per minute until the particle size is less than 2 μm. The dispersion is separated from the quartz microspheres by means of a fine mesh sieve and is adjusted to a 20% content of active substance with water. 0.3% of carboxymethylcellulose are then stirred in, in order to stabilize the dispersion.
6 different UV absorbers (UVA) are tested in a comparative manner. This is effected by preparing 39 10 g sample pieces of Diolen� tricot, 3 samples always being dyed together per treatment. 2 different concentrations are made up per UVA, and 3 samples are dyed without UVA. The dyeings are prepared in a customary manner in bombs in an HT machine. The liquors have the following fundamental composition:
2 g/l of ammonium sulfate, 0.5 g/l of a dispersant, 0.2% of C.I. Disperse Orange 53.
[The pH of the liquors is in each case adjusted to 5 with formic acid; the dye is calculated on the weight of the goods.]
For 3 pieces of tricot this liquor contains no further additives; 1.65 and 5.0% of UVA I-VI (in each case ground to 20% content) are also added to all the other liquors.
UVA I: 2-(2'-Hydroxy-3'-tert-butyl-5'-methylphenyl)-5-chlorobenzotriazole.
UVA II: 2,2'-Dihydroxy-4,4'-dimethoxybenzophenone.
UVA III: 2-(2'-Hydroxy-4'-methoxyphenyl)-4,6-diphenyl-s-triazine.
UVA IV: 2-(2'-Hydroxy-4'-ethoxyphenyl)-4,6-diphenyl-s-triazine.
UVA V: 2-(2'-Hydroxy-4'-isopropoxyphenyl)-4,6-diphenyl-s-triazine.
UVA VI: 2-(2'-Hydroxy-4'-n-propoxyphenyl)-4,6-diphenyl-s-triazine.
Dyeing is carried out in bombs at a liquor ratio of 1:10, by first treating the pieces of tricot at 50� C. for 5 minutes and then raising the temperature, first to 100� C. in 10 minutes and then to 130� C. in a further 10 minutes. Dyeing is carried out at this temperature for 30 minutes and the goods are then cooled to 50� C., rinsed in warm water, centrifuged and dried at 80� C. in a circulating air oven. Finally, the 13 series of groups of 3 pieces of 10 g each are divided into 3 series. Whereas series 1 remains untreated, series 2 and 3 are treated in a hot air thermofixing device (for example the device made by W. Mathis, Niederhasli, Switzerland), series 2 for 60 seconds at 180� C., and series 3 for 60 seconds at 200� C.
The fastness to light under hot conditions as specified in Ford EU BO 50-2 of all the 39 samples is then tested (Test instructions FLT EU BO 50-2; test instrument Xenotest 1200, synchronized; duration of test 48 hours; black panel temperature 75� C.; humidity 80%). The following results are obtained.
TABLE I______________________________________ FORD light-fastness values Amount 180� C./60 200� C./60UV-Absorber % -- seconds seconds______________________________________none -- 1-2 1-2 1-2I 1.65 3-4 3-4 2-3 5.0 -4 3-4 3II 1.65 3-4 3-4 3 5.0 4 3-4 3+III 1.65 3-4+ 3-4+ 3-4+ 5.0 4 4 4IV 1.65 -3-4 -3-4 -3-4 5.0 +3-4 -4 -4V 1.65 3-4 3-4 3-4 5.0 4 4 4VI 1.65 3-4 +3-4 -4 5.0 -4 +4 +4______________________________________
The assessment of light-fastness shows clearly that a marked decrease in the values takes place in the case of the two known UV absorbers I and II when thermofixing is carried out at 200� C. In the case of the UV absorbers which can be used in accordance with the invention the light-fastness value under hot conditions remains substantially constant.
The procedure is as described in Example 2, with the exception that no dye is employed. Thermofixing is carried out under the same conditions. The amounts of UV absorber present on the fibre are determined by diffuse reflection measurements on the pieces of tricot; the K/S values are quoted as a characteristic concentration value.
TABLE II______________________________________ KS - VALUES (in %)UV- Amount 180� C./60 200� C./60Absorber % -- seconds seconds______________________________________I* 1.65 25.1 (100%) 19.0 (75%) 11.3 (45%) 5.0 57.1 (100%) 43.2 (75.7%) 28.7 (50.3%)II** 1.65 26.1 (100%) 21.5 (82.4%) 18.0 (68.9%) 5.0 46.6 (100%) 31.9 (68.5%) 25.0 (53.6%)III 1.65 25.3 (100%) 23.0 (90.9%) 23.4 (92.5%) 5.0 48.5 (100%) 39.6 (81.7%) 29.9 (61.6%)IV 1.65 27.3 (100%) 27.6 (100%) 24.9 (91%) 5.0 43.2 (100%) 41.0 (95%) 40.9 (95%)V 1.65 22.6 (100%) 21.8 (96%) 20.7 (92%) 5.0 74.6 (100%) 74.1 (99%) 52.0 (70%)VI 1.65 23.6 (100%) 24.7 (100%) 26.0 (100%) 5.0 71.8 (100%) 71.0 (99%) 72.0 (100%)______________________________________ *slight yellowing caused by the product **moderate yellowing caused by the product
The K/S values show clearly that the loss of UV absorber by sublimation during thermofixing is definitely higher in the case of products I and II than in the case of products III--VI.
Beige dyeings are prepared on 5 series of �Diolen tricot pieces, in each case 3 pieces of 10 g each, using the following combination of dyes (calculated in % by weight on the material to be dyed)
______________________________________ 0.12% of C.I. Disperse Yellow 23 0.11% of C.I. Disperse Red 302 0.05% of C.I. Disperse Violet 57 0.02% of C.I. Disperse Blue 60______________________________________
with the addition of 0.00, 1.65 and 5.0% of UV absorbers I and III. The preparation of the dyebaths and the procedure are as indicated in Example 1. The finished dyeings are also thermofixed and tested for fastness to light under hot conditions as indicated in Example 2. The following results are obtained.
TABLE III______________________________________A- FORD light-fastness valuesUV-Ab- mount 180� C./60 200� C./60sorber* % -- seconds seconds______________________________________none -- -2-3 RH 2-3 RH+ 2-3 RH+I 1.65 3 RH+ 3 RH+ 3 RH+ 5.0 3-4 RH 3-4 RH 3-4 RHIII 1.65 4 4 4 5.0 4 4 4______________________________________ *in each case 20% of active substance
The values obtained in assessing fastness to light clearly show better assessments for UV absorber III.
Claret dyeings are prepared as described in Example 4 on 5 series of �Diolen tricot pieces, in each case 3 pieces of 10 g each, and are thermofixed and tested. The dye preparation consists of:
______________________________________0.05% of C.I. Disperse Violet 570.05% of C.I. Disperse Blue 601.00% of C.I. Disperse Violet 950.40% of C.I. Disperse Orange 149______________________________________
Assessment of fastness to light gave the following figures.
TABLE IV______________________________________ FORD light-fastness valuesUV- Amount 180� C./60 200� C./60Absorber % -- seconds seconds______________________________________none -- 3-4 3-4 GH 3-4 GHI 1.65 3-4 GH+ 3-4 GH -4 5.0 -4 -4 4III 1.65 4 4+ 4 5.0 4-5 4-5 4-5______________________________________ *in each case 20% of active substance
For these dyeings too, UV absorber III exhibits better results.
Grey dyeings are produced, with and without UV absorbers, on 7 10 g hanks of a Terylene� staple yarn. Dyeing is carried out as described in Example 2, using the following dye preparation:
______________________________________ 1.0% of C.I. Disperse Yellow 42 0.3% of C.I. Disperse Blue 60 0.15% of C.I. Disperse Violet 5 0.40% of C.I. Disperse Red 302______________________________________
The products I, III and VI are used as UV absorbers (cf. Table V). Light-fastness values were determined as specified in Ford EU BO 50-2 (48 hours and 96 hours) and DIN 75.202, draft (Fakra; 96 hours and 192 hours).
The following results are achieved.
TABLE V______________________________________ Light-fastness values under hot conditionsUV- Amount FAKRA FAKRA FORD FORDAbsorber % 96 hours 192 hours 48 hours 96 hours______________________________________none -- 3-4 3 3-4 3I* 1.5 3-4 3-4 3-4 3 4.5 4-5 4 +4 3-4III* 1.5 4-5 +4 4 3-4 4.5 4-5 +4 +4 4VI* 1.5 -4-5 -4 4 3-4 4.5 +4 +4 4 -4______________________________________ *as 20% dispersions
It can be seen from the results of assessing light-fastness, that UV absorbers III and VI give better figures than UV absorber I in longterm tests.
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Level 1 Forex Intro - Reading A Quote
Most new investors in the forex market are usually confused with the way currency prices are quoted. In this section, we'll take a look at currency quotations and see how they work in currency pair trades.
Reading a Quote
When you look at a currency quote, you'll notice that all currencies are quoted in a pair – for example, USD/CAD or USD/JPY. The reason that currencies are quoted as a pair is because when you buy a currency you are selling a different one as well. A sample forex quote for the U.S. dollar (USD) and Japanese yen (JPY) would look like this:
This is the standard format for a currency pair. In this example, the currency to the left of the slash (USD) is referred to as the base currency, and the currency on the right (JPY) is called the quote or counter currency. This is important to remember. The base currency (in this case, the
This sample quote shows that if you wanted to buy US$1, you would have to pay 119.50 yen. Or if you wanted to sell US$1, you would receive 119.50 yen. If instead of USD/JPY, this quote read USD/CAD = 1.20, you would read it the exact same way. If you want to buy US$1, it will cost you C$1.20, and if you wanted to sell US$1, you would get C$1.20. These exchange rates simply tell you how much you will pay/receive if you buy/sell the "base" currency.
Bid and Ask
Like buying a stock in the stock market, when trading currency pairs, the forex quote will have a bid price and an ask price. The bid and ask prices are always quoted in relation to the base currency.
When selling the base currency, the bid price is the price the dealer is willing to pay to buy the base currency from you. Simply put, it's the price you'll receive if you sell.
When buying the base currency, the ask price is the price at which the dealer is willing to sell you the base currency in exchange for the quote currency. Simply, when you want to buy a base currency, the ask price is the price you're going to pay.
A typical currency quote can be seen below. The number before the slash (1.2000) is the bid price, and the two digits after the slash (05) represent the ask price (1.2005) - only the last two digits of the full price are usually quoted. The bid price will always be lower than ask price. This is how the dealers make their money; they buy low and sell for a little bit higher. (For more, read Common Questions About Currency Trading.)
Bid = 1.2000
Ask= 1.2005
If you wanted to buy the USD/CAD currency pair, you would be buying the base currency (U.S. dollars) in exchange for the quote currency (Canadian dollars). You need to look at the ask price to see how much (in Canadian dollars) the market is currently charging for U.S. dollars. According to this quote, you will have to pay C$1.2005 to buy US$1.
To sell this USD/CAD currency pair, or sell the USD in other words, you need to look at the bid price to see how much you are going to get. Looking at the bid price in this quote, it tells us you will receive C$1.2000 if you sell US$1.

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Accomodate all guests—and designated drivers—by offering more than one non-alcoholic beverage.
It can be as easy as sparkling water flavored with seasonal fruits, or refreshing still water and cucumbers.
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Pomona College Magazine
Volume 41. No. 2.
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Pomona College Magazine is published three times a year by Pomona College
550 N. College Ave, Claremont, CA 91711
Online Editor: Mark Kendall
For editorial matters:
Editor: Mark Wood
Phone: (909) 621-8158
Fax: (909) 621-8203
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Contact Alumni Records for changes of address, class notes, or notice of births or deaths.
Phone: (909) 621-8635
Fax: (909) 621-8535
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Wilson-Oyelaran Heads Kalamazoo
Eileen Wilson-Oyelaran '69 has been named the next president of Kalamazoo College in Michigan. Currently dean and vice president at Salem College in Winston-Salem, NC, she will begin her duties at Kalamazoo in July 2005.
"Eileen is a woman of extraordinary intellect, unwavering courage of her convictions, passionate dedication to her students and her colleagues and undaunted optimism," said Salem College President Julianne Still Thrift. "She has allowed all of us to dream bigger and to trust our capacity to achieve our greatest goals. She is a shining star!"
During Wilson-Oyelaran's 10-year tenure, Salem strengthened its academic component by renovating the science laboratories, creating a women in science program, establishing the Salem College Center for Women Writers and spurring new degrees in music and teacher education.
Wilson-Oyelaran earned her B.A. in sociology from Pomona, an M.A. and Ph.D. in education from the Claremont Graduate University. She served as chair of the department of education at Winston-Salem State University. She also taught at the University of Ife (now known as Obafemi Awolowo University) in Nigeria.
Her honors and awards include the Kent Fellowship and the Ford Foundation National Fellowship for graduate study.
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by Pomona College
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Grit Award
This has been a week filled with people in the news who are deserving of the Grit Award. Duke's Perry Simmons was one of 16 football players honored nationally as a scholar-athlete. "It just shows when you put in the hard work and try to do the right things, things pay off for you," Simmons said.
Then we had the students at Seawell Elementary who collected their pennies to help typhoon victims in the Philippines. They saw a need and wanted to help. Their efforts raised $489.15, and the children expressed a great deal of empathy and concern for the victims.
Finally, there are the Durham firefighters and Los Primos grocery store owner Miguel Collado who teamed up to give more than 100 shoppers free groceries at the store on East Main Street. Each shopper was allowed a maximum of $100 in groceries, but several shoppers took less so that more people could participate. It was a generous thing to do in a neighborhood where many need assistance.
Taking a cue from the Los Primos giveaway, we, too, want to be generous. That's why instead of one Grit Award this week, we're gleefully giving three. Happy holidays to all.


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Oracle Information InDepth
July 2015
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Oracle Extends World's Most Comprehensive Enterprise Cloud Portfolio with New Oracle Cloud Platform Services
Oracle has extended the world's most comprehensive enterprise cloud portfolio with more than 24 new services—including Oracle Database Cloud Exadata Service and Oracle Big Data Cloud Service—to drive innovation and accelerate digital transformation. "Oracle is the only company on the planet that can deliver a complete, integrated, standards-based suite of services at every layer of the cloud," says Oracle Executive Chairman and CTO Larry Ellison.
Oracle Exadata Performance, Cloud Simplicity: Introducing Oracle Database Cloud Exadata Service
Oracle Database Cloud Exadata Service brings the full power of the Oracle Exadata database platform to the cloud. With this service, customers can run Oracle databases in the cloud with the same functionality, performance, and availability of on-premises Oracle Exadata-based production databases, already in operation at thousands of mission-critical sites worldwide. Oracle databases deployed in the cloud as part of this service are 100 percent compatible with those that are deployed on premises, enabling a smooth migration to the cloud, as well as a seamless transition to a hybrid cloud strategy.
Big Data Management in Minutes: Oracle Big Data Cloud Service and Oracle Big Data SQL Cloud Service
These new services provide a high-performance, secure platform for running diverse workloads on Hadoop and NoSQL databases to help enterprises acquire and organize big data. Combined with Oracle Big Data SQL Cloud Service, Oracle Big Data Cloud Service extends Oracle's industry-leading implementation of SQL to Hadoop and NoSQL, providing users with a comprehensive big data management system in an enterprise cloud.
theCUBE Special Coverage of the Oracle Cloud Platform Launch Event (9:36)
theCUBE hosts John Furrier and Dave Vellante discuss Oracle Database Cloud Exadata Service with Oracle Vice President of Database Product Management Penny Avril.
Oracle Database Developer Choice Awards
Nominations are being accepted now through August 15, 2015 for the Oracle Database Developer Choice Awards. The awards celebrate and recognize technical expertise and contributions in the Oracle Database community. In 2015, awards will be given out in the following technology areas: SQL, PL/SQL, Oracle REST Data Services, Oracle Application Express, and database design. A panel of judges, composed of Oracle ACEs and Oracle employees, will select the finalists for the awards, but the community will choose the winners. Voting will take place from September 15, 2015 through October 15, 2015. The winners of the Oracle Database Developer Choice Awards will be announced at the YesSQL! celebration during Oracle OpenWorld 2015. Learn more about the awards and submit a nomination today.
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Tags morning, brunch, acoustic, relaxed, indie
Artists Jamie Cullum, Maroon 5, Jack Johnson
February 26, 2012
A collection of tunes to enjoy while making and eating brunch.
Just what I needed, thank you.
Great mix
Tracks in the Snow by adamschoales
A collection of old and new holiday themed tunes to help get you into the spirit.
holidays, winter, christmas, contemporary christmas, indie christmas
This Christmas by adamschoales
A mix of contemporary Christmas songs, and modern takes on the classics.
christmas, indie christmas, holiday, holidays, contemporary christmas
So This Is Christmas... by adamschoales
christmas, holiday, indie rock, contemporary, contemporary christmas
Christmas Eve by adamschoales
A mix of contemporary and classic Christmas tunes to get you in the holiday spirit.
holiday, holidays, christmas, alternative rock


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This housing complex integrates affordable units into a larger development of market-rate, multi-family housing. Irvington Terrace units address the street or embrace landscaped courtyards to instill and encourage neighborhood and community interaction.
It received the National Association of Homebuilders (NAHB) Multifamily Community of the Year 2009, and also a winner in the Best Affordable Apartment Community 2009. The project has also been recognized as a Best Affordable Project by the Pacific Coast Builders Conference Gold Nugget Awards 2008.
Photographs by Eric Figge
Principal and Founder of 3XN architects, Kim Herforth Nielsen, receives Denmark's highest Architectural Honour, the C.F. Hansen Medal. The Award will be presented by the Royal Danish Academy of Fine Arts as they 'acknowledge a person who has made outstanding achievements in the field of Architecture' Kim Herforth Nielsen receives the Medal for his ability to 'give rise to a new type of architecture'. Through the years Kim Herforth Nielsen has worked with a clear architectural vision and prioritized the creation of architecture that makes a difference. He is very appreciative of the professional recognition that comes with the Medal. "It is a great honour for me to receive the C.F. Hansen Medal. My goal has always been to create architecture which creates behavior and ultimately contributes positively to the world – both architecturally and environmentally. In that regard, the Medal is a large recognition of the importance of these qualities in architecture."
The HSBC North American Headquarters in Mettawa, Illinois has been named Green Development of the Year by The National Association of Industrial and Office Properties (NAIOP), as part of the organization's 21st Annual Awards for Excellence Program. The award recognized the project team – Hamilton Partners, developer and owner; Environmental Systems Design, Inc. (ESD), the building systems design engineer and sustainability consultant; and Wright Heerema Architects.
The new 550,000 square foot office complex, which achieved a LEED® Gold certification, is a campus facility consisting of six floors of office space, a fitness center, full service kitchen and dining facility, banking services, mission critical data center, and career development center with training facilities.
Architect Enrique Norten and TEN Arquitectos announce five new commercial and residential buildings in New York City. Projects such as the upcoming 580 Carroll Street, Cassa Hotel, Clinton Park, Habita Hotel Chelsea and the recently completed ONE York demonstrate the firm's position as a leader in efficient and progressive urban architecture.
Even though the city's frenzied pace of construction has slowed, TEN Arquitectos continues to make major contributions to the New York skyline. This success demonstrates the importance of intensive site analysis, economy, and sustainability in the context of development.
The Art Fund Pavilion open competition presented by Tent London and the Lightbox, has publicly selected Tina Manis Associates' submission as one of its five shortlisted projects.
The annual competition, sponsored by the Lightbox Museum's £100,000 Art Fund Prize, brought in over 600 hundred submissions from 52 countries for a semi-permanent pavilion. TMA's entry was the only selected finalist representing the United States.
The winner's Pavilion will be engineered and constructed by Facit and shown as part of Tent London during the London Design Festival 2009, before taking up residence at The Lightbox as additional gallery space.
Featured this month on Archinnovations for their landmark project "The Royal Library", schmidt hammer lassen architects (SHL Architects) are also in the news for winning an international competition to design "Urban Mediaspace", the largest public library in Scandinavia. The € 228 million (US$ 325 million) scheme, located in Aarhus, Denmark, will become a new visual and cultural focal point for the city whilst pioneering the next generation of library design.
SHL Architects was announced the winner on Tuesday (4th March) after an extensive consultation process with the Municipality of Aarhus; the other practices involved in the competition were a partnership between the Dutch firm Mecanoo and GPP Architects from Denmark and A-Team - a collaboration between two Danish companies, AART and Arkitema.
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Together with D-Structure, we assembled a legion of Society6 artists to create original "Superheroes" inspired works for a group show at the D-Structure gallery San Francisco, May 6th thru June 3rd.
To view the full collection visit: society6.com/prints/superheroes
The show features the original work of:
Alexis Marcou
Alexis Ziritt
Andres Guzman
Arthur d'Araujo
Bennett Slater
Blaine Fontana
Carl Floyd Medley III
Cayetano Valenzuela
Christopher Berry
Crayon Dreamer
David Penela
Édgar MT
Eric Bonhomme aka Elgatonegro
Ewen Stenhouse
Farizwan Fajari aka Speakcryptic
Grant Hunter
Heiko Windisch
Jack Teagle
James Burlinson
Jared Stumpenhorst
Jesse Draxler
Jesse Robinson Williams
Joe Carr
Jorsh Peña
Juan Weiss
Justin Cooper
Killer Napkins
Kristal Raelene Melson
Ludovic Jacqz
Matt Taylor
Matthew Billington
Mike Force
Miss Lotion
Nazario Graziano
Pat Perry
Rena Littleson
Ruben Ireland
Rui Ribeiro
Ryan MacDonald
Teddy Kelly
Tom Kitchen
Wasted Rita
About the Superheroes Collection:
Superheroes transcend age, gender, and location. Every young boy and girl dreams of the awesome and magnificent. From our childhood comic book collections to our fascination with superheroes in popular culture. This is a chance for you to interpret the wonderment of Superheroes how you see fit (or completely misfit)!
More about D-Structure
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While President Barack Obama was lecturing China's President Hu Jintao about human rights Wednesday, prosecutors in Philadelphia announced they had charged an abortion doctor with eight counts of murder in the deaths of one woman and seven babies. The infants were born alive and then killed with scissors, prosecutors said.
It's always entertaining when politicians pontificate on the free market: they make even bigger fools of themselves than usual.
If anyone has been trying to pin the blame on rightwing Republicans for creating a "climate of hate" that supposedly led to the January 8 shooting in Tucson, it hasn't been the New York Times. That's what the Times says, anyway, in a "news analysis" it published Tuesday.
Some Americans have strong, sometimes unyielding preferences for Mac computers, while most others have similarly strong preferences for PCs and wouldn't be caught dead using a Mac. Some Americans love classical music and hate rock and roll. Others have opposite preferences, loving rock and roll and consider classical music as hoity-toity junk. Then there are those among us who love football and Western movies, and find golf and cooking shows to be less than manly. Despite these, and many other strong preferences, there's little or no conflict. When's the last time you heard of rock and roll lovers in conflict with classical music lovers, or Mac lovers in conflict with PC lovers, or football lovers in conflict with golf lovers? It seldom if ever happens. When there's market allocation of resources and peaceable, voluntary exchange, people have their preferences satisfied and are able to live in peace with one another.


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Introduces particles (used to simulate effects like snow, sparks, fog, or fire) and dynamics (which allow you to define how objects interact with their environment).
Introduces the CINEMA environment and illustrates the importance of the object hierarchy.
"This is so useful in my projects to put a century of photos, 8mm film, and video together to make family movie DVDs for all the relatives." —George K.
more from our members »


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Poconos and Mt Airy Casino
Spend three days in the Poconos at the Chateau Resort.
Day 1: This picturesque stay begins with a welcome reception upon arrival. Get acquainted with the resort, located at the base of Mount Camelback before dinner at the hotel. You'll love the beautiful grounds and walkways. After dinner, have fun as you are treated to live entertainment. (D)
Day 2: This morning, feast on a breakfast buffet. After breakfast, we will take a trip to Callie's Candy Kitchen for a tour and tasting followed by a visit and tour of a Pretzel Factory. Lunch will be included at a local brewery. This afternoon, we will go to Pennsylvania's premier casino, Mt Airy Casino. At the casino, you will receive a $35 slot play package. Enjoy dinner on own at one of the casino's restaurants before going back to the hotel. (B,L)
Day 3: After a leisurely breakfast, we will depart the resort and make a stop at The Crossings- Premium Outlets where you will receive your VIP coupon book. After shopping, we will depart for home. (B)


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Event Details
02/16/2013Location: 301 Johnson Ferry Road, Marietta GA 30068 | Map Time: 9:00 AM to 11:30 AM Fee Information: $3 Daily Park Pass or $25 Annual Park Pass Contact Name: Island Ford Visitor Contact Station Contact Phone Number: 678-538-1200
Cancellation Notice: The 9:00 a.m. and 10:30 a.m. walks have been cancelled. However we are still taking reservations for the 9:45 a.m. walk so call now!
The Great Backyard Bird Count (GBBC) is a four-day event held at various location across the United States and Canada. Bird enthusiasts of all ages and skill levels help to create an up-to-date, accurate picture of where birds are found.
Join us for a Great Backyard Bird Count in Atlanta's backyard sponsored by the Chattahoochee River National Recreation Area and Atlanta Audubon Society. We will discover the many fascinating birds that inhabit the wetlands at Johnson Ferry, one of metro Atlanta's best wildlife viewing areas.
An Atlanta Audubon naturalist will provide tips on how to identify bird species by sight and sound. They will also show how you can conduct your own 15-minute backyard bird count at home. Natuaralist-led walks will begin at the pavilion at 9:00 a.m., 9:45 a.m., and 10:30 a.m. We will submit our counts via the GBBC website to be included in the national tally.
This program is geared toward beginner birders but all skill levels are encouraged to attend. Participation is open to all people 7 years of age and older.
Dress for the weather; wear comfortable hiking shoes and dress in layers so that you can adjust to changes in the temperature and your activity level. Don't forget binoculars, notebook, and camera! Binoculars will be available to borrow.
Note: The $3 Daily Park Pass is not required for vehicles displaying a current Annual Park Pass or an America the Beautiful Pass!
Reservations are required for specific walk times; please call 678-538-1200 to make your reservation, space is limited!


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The United States must maintain existing long-term stations within the National Climatic Data Center (NCDC) cooperative network, particularly the subset of those stations that make up the Historical Climate Network.
The National Center for Environmental Prediction has recently started to archive a merged WSR88-D (Doppler radar)/gauge product (4-km resolution) that covers most of the United States. The suitability of these data for climatological purposes needs to be evaluated, and steps must be taken to ensure the security of the long-term archive of these data and that they are freely available to the scientific community.
Only a very small number of stations now operate in the continental United States that collect a full suite of surface radiation observations (the SURFRAD network). The adequacy of this network for studies of seasonal to interannual variability should be evaluated.
Snow water equivalent point observations are collected primarily at Natural Resources Conservation Service Snow Telemetry sites in mountainous areas of the western United States. The suitability of these sites for long-term climate studies needs to be evaluated (the longest records from these stations date only to the mid-1980s). Snow depth measurements are collected at some NCDC cooperative stations. The feasibility of using some subset of these stations to measure snow water equivalent should be evaluated. The object is to achieve a much more uniform spatial distribution of station-based observations.
NOAA's National Operational Hydrologic Remote Sensing Center and its National Environmental Satellite, Data, and Information Service (among other entities) produce satellite-based snow areal extent measurements of the conti-


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- 6
- people in the U.S. have this name View Betty Kincheloe on Whitepages
Meaning & Origins
Pet form of Elizabeth, dating from the 18th century. In the 17th century it is also found occasionally as a pet form of Beatrice. It is now used as a name in its own right.
|65th in the U.S.
Americanized form of Irish Kinsella. In this form, it is a very common surname among African Americans, originating on a plantation in Virginia.
|15,767th in the U.S.
Nicknames & variations
Bettye, Bette, Bettie, Betti, Betta, Bett, Bettey, Beth, Bettty, Bettu
Kincaid, Kunkel, Kincade, Kinchen, Kunkle, Kinch, Kincer, Kincannon, Konkel, Konkle


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Gossip Girl
Gossip Girl Season 6 Spoilers: New Details on Kristen Bell's Finale Appearance
Ever since we heard that Gossip Girl narrator Kristen Bell might be showing her purty face on the show's series finale, we've been dying for deets. Is she Gossip Girl? Will she swoop in and take Ivy (Kaylee DeFer) out (like out out) so we don't have to see her makeout with more dads?
According to E!, "You will only get a brief glimpse of her, but she's part of a sequence that is both poignant and cool!" Hmm, since the big reveal of the smack-talkin' sally will likely be a big event, that takes her out of the running for the titular character.
What sequence do you think she's involved in? Is she a guest at a secret wedding? A funeral? A doctor who delivers Blair (Leighton Meester) and Chuck Bass (Ed Westwick)'s rumored child? Tell us your thoughts. We're dying to know.
Source: E!
Want more Gossip Girl goodness? Like us on Facebook or follow us on Twitter! You know you love us. XOXO


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The M 19 was the first moving coil microphone build by Eugen Beyer back in 1939. It was used by the "Reichs-Rundfunk-Gesellschaft" (RRG - former German Broadcasting Association) as standard microphone for outside broadcasting, after - as the legend has it - it survived falling out of a second floor window of the "Haus des Rundfunks" ("House of Broadcasting") in the Masurenallee in Berlin without any malfunction. Even after introducing sophisticated technical tests beyerdynamic microphones are still used continuously in various broadcast and television productions.
MCE 10.18 (Opus)
Condenser lavaliere microphone for presentations, moderations, theatre and musicals
Article Number: 471895
Available at authorized resellers


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NOTICE: As of November 7, 2008, the certification of trainer Eric Patterson is suspended. Classes taught by Mr. Patterson after November 7, 2008, will not be recognized by the TABC. On December 17, 2008, his certification as a trainer was revoked by the Commission.
ATTENTION: The TABC has not approved any on-line server training programs, including but not limited to Learn2Serve and the Professional Server Certification Corporation. Completing on-line courses does not satisfy Tennessee server permit requirements.
NOTICE: Please be advised that in order to process server permit applications, the TABC must first receive the class roster and $10 per student fee from the trainer, as well as the application and $5 fee from the server. Before attempting to pick up your card, please either verify with your trainer that the roster and trainer fees have been submitted or call the TABC at 615-741-1602.
The TABC offers to provide a server permit to a qualified individual. The following guide will help you through the process to become a licensed alcoholic beverage server in Tennessee.
Step-by-step guide to obtain the server permit
The TABC has provided the above list for server training classes in Tennessee. The list will be updated weekly. Classes are subject to change, cancellation and rescheduling. The TABC encourages you to contact the trainer directly for class confirmation, directions and class details.
Servers are solely responsible for attending a certified training class and obtaining a valid server permit in a timely manner. The vendors listed provide the same certified classes; select a trainer most convenient for you. To contact a trainer.
NOTE: These classes are NOT for individuals selling beer for off-premise consumption.


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Listen up, soldiers: the kitten whispers and tickle fights stop now. With one of the smallest production runs outside of its 25th Anniversary collection, Disney Store is now offering a 17″ collector's doll version of Sergeant Tamora Jean Calhoun. Already equipped with the most tragic backstory ever, this faithful replica of the new character voiced by Jane Lynch as seen in the 'Hero's Duty' game in Wreck-It Ralph is limited to an edition size of just 1000 pieces.


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Oakland Theater: Creating lightbulbs
Video: Oakland Theater: Creating lightbulbsThis week we're going to see a final little phase of the Oakland Theater here. We're going to create the little light bulbs. which we see way down here. We're going to create these little light bulbs. But before we go there, I just want to show you one more thing. And that is right here. We did the neons last week, but look at these neons. You see, these neons are white. You don't see through those. Those are opaque. You see all the little reflections going through those? Well that wasn't that hard. Let's create a new file real quick, quickly here. I'm going to invert the background.
6m 52s
34m 44s
- Creating a panic button
11m 21s
- Creating a cartoon book
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- Creating a wintery scene
7m 36s
- Making a New Year's 2015 card
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- Creating a chalkboard
12m 48s
- Creating a manila envelope
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- Creating a custom brush
7m 28s
- Creating a dog tag
7m 52s
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- Creating a 3D coin
7m 13s
Viewers: in countries Watching now:
Take a 10-minute recess every week and join Bert Monroy in Adobe Photoshop or Illustrator, the playgrounds of digital artists. Every Friday Bert walks through a fun, self-contained project that tests your skills and challenges the imagination. These programs aren't just image editors; they are sandboxes for creativity and experimentation. Take a spin through a carousel of tools and get reinspired, each and every week.
- Subjects:
- Design Photography
- Software:
- Illustrator Photoshop
- Author:
- Bert Monroy
Oakland Theater: Creating lightbulbs
This week we're going to see a final little phase of the Oakland Theater here. We're going to create the little light bulbs. which we see way down here. We're going to create these little light bulbs. But before we go there, I just want to show you one more thing. And that is right here. We did the neons last week, but look at these neons. You see, these neons are white. You don't see through those. Those are opaque. You see all the little reflections going through those? Well that wasn't that hard. Let's create a new file real quick, quickly here. I'm going to invert the background.
And I'm just going to throw a little shape here that's going to become our little neon. Now it's going to be a white neon. Okay? And let's say that it's going to go off the sea like that. Alright so in a layer I'm going to go in there and create a layer. And I'm going to fill this up with a nice white. And we'll get our brush in fact not completely white just a little bit of an off white. And we'll get a hard edge brush, like that one hard edge, and 30's a nice big size we'll make it even better, so we get a nice big thing like this.
And in that layer, we'll just take that path and stroke it. So there's our white neon. Now I've got the little ripples, because I didn't bother making it a solid, but it doesn't matter. It's okay. What's going to happen here is that I'm going to go in there and we give it the little we go in there and give it that little Bevel and Emboss. Just to give it that little bit of a, a edge to it. Oh, we can soften it up that's good enough, but what's going to happen is we need all those reflections in there, and that's a simple thing like satin, which I used in the other ones. I'm going to go in there, give it a complex shape like that, and go in there and increase the distance maybe the size a bit.
Let's go like that. Okay, and we can bring down the opacity a bit. So we just have all these nice little reflections going through there. Click OK, and we have these nice little reflections inside that glass. It's that simple, but now come the light bulbs. Let's get rid of that, and just look at those light bulbs, here they are way up here. They are a little more complex. There's a lot of things going on there with those light bulbs. So let's create one of those. Now I'm going to create a bunch of different shapes. Let's start off with some shapes. So I've got my Ellipse tool here, set the paths, and I'm going to create a little circle right there like that.
Which I'm going to take that and duplicate it, straight up. I'm holding down my Shift key, and my Option key to make a copy straight up. Now, right inside of that, I'm going to take my polygonal tool here. And right from the center, I'm going to draw a little polygon right inside there like that. 'Kay? And we're going to move that one up a little bit. We want to get it centered right in, inside that top one. So let's go in there and let's get 'em and, Move him up, right there. That looks about right. And over just a little bit.
There he is centered inside there. We're going to duplicate him, straight up. Alright, there is the beginnings of our little base and now another ellipse. Right inside there. We're going to cert, cert, put that guy right inside there. Okay? And that's going to be the hole. Well we got all our little guys here. What we could do now is go in there and just make a little horizontal center. There they are now. They're all centered on top of each other, right there like that. So now what we're going to do is start to give these some depth. Let's bring them down.
Here, and we're going to put our bulb. The bulb will come in last. Alright let's take our paths and save it. I'll call this the base, and we're going to start giving it all the colors that we need. So, here first layer, ok we'll call it disk edge. And select this one right here. And we'll fill it with a nice deep gray like that. Go ahead dig that path and fill it. Take this one, and we'll call it in a new layer, we'll call it disk face.
We'll switch so that the grey is in back, cause when we want that grey again. And I will pick a much lighter version of grey. Something like that, maybe even lighter. Let's go really light like that. And we're going to fill that disk, with that grey. I'm going to take, this guy right here, nothing yet. What we're going to do is select this one. And, we're going to create a Layer, we're going to call this we'll call it the Wedge Face. And we'll fill that with that gray. So, fill that path, with that same gray.
And we want to make sure that we have that one. Now sometimes it does select in the opposite, so let's just go like this, and say, inverse. Quick fix, and fill it. There it is. So now, where was that other one we were looking at? So what I'm going to do is, I'm going to get my paths, and I'm going to go in here and start to select that whole series of additional paths that I'm going to make. Now you notice what I, just did there. I created this little selection, that's going to go in there and go right up to that corner. Just, put it into that corner where, there it is.
An it overlaps here. Same thing on this side. I'm going to start here, go down to that corner And down here, let em overlap right there. Then I'm going to do this corner to corner. Right there like that, and a little overlap like that. The purpose for that overlap is so that you're not going to get any white spaces in between there. These are the edges of that little wedge. So we're going to start with the right here in front of this vase, we'll put wedge left. That's this one right here.
'Kay. And, what we'll do, is we'll fill it with a, this dark gray. Now go in there, and just take that path and fill it with that dark gray. This one here, this is. Actually, this one right there. That's the right side, alright. So, put it in that same Just make it the wedge,and we'll fill that path right there in that same layer. There. And then, this is the face, this one here. We'll get a much darker gray for that one. There we go, even darker.
And, in a layer, in fact it could be in the same layer, it's just going to overlap it. We'll go in there an fill that path, with that dark tone. An now we see that we have the, sides of our little wedge, which we can throw a little shadow on them, in a little while. So, I'll go in there, and now we've got the hole. So on top of this, we put a little hole. And that's that top circle. This one. Which we'll just go ahead and we're going to fill with we'll fill it with that dark grey we just created. So we'll go in here, in hole, and we fill that with that.
And again, happens many times when you have multiple paths on top of each other. It'll do the outside of the path. But what we'll do is we'll make it a selection, inverse the selection, and fill it with that. There we go. Now it's working the way we want it to. So now, let's start adding a little tones and stuff to this. So what we're going to do, we can deselect this. If we're going to go down here to the base, disk edge, and what we're going to do is we're going to get a soft edge brush, nice soft edged brush, a nice size, that's a good size right there.
Maybe a little bigger. And I've got the exposure on pretty high, so I'm just going to go in there and start darkening down here in that edge right there, just like that. Okay? So now, we got this disk herre, the disk itself. What I'm going to do is just going to give it a little shadow. Just down through here, just a little bit of a shadow so it looks like these guys are casting just a little shadow. You notice that I'm not making it even, because I don't want it to be even. The sides have to be a little. And, and if it's not quite right, that's okay.
We can easily go in there and clean it up. You pick up that color again, and we can just paint it back in. Lock the transparency and paint it back in if we, if we need to. Let's soften that brush. Soften that in, there we go. Now we're just going to give it a little bit of a shadow down there we don't want a lot, just a little bit right in there like that. There we go, that's better one more. Okay, that's good. So now I'm going to go in here and select this top wedge, right up here to top the face. And we'll just give it a little bit of a shadow going right across like that.
Right there. Which we're going to do to this face is well. Right, really like that. Now we'll give it some highlights. Wedge face, and we'll give it one right through here, and we'll go for the mid tones. Let's bring this up to about 50, 54. And let's just throw a couple of little highlights right through there like that, and maybe one more right there. There. Now the hole itself, we can go in there and let's darken it. We can, give it an inner shadow. That'll make it easy. So let's just give it an inner shadow, which we want it to be right from the top there like that. Increase the distance, an soften it up.
So now it's this deep hole in there, where our light bulb is going to be. So now we've got our base. Here's the base. So now what we'll do is we'll create the bulb. I come up here, and create this nice kind of a round bulb like this, and we can do all the changes later. Right there. This is going to be our bulb. That's pretty good. What we might want to do is just kind of rotate it a little bit. And move it into position right there, and click OK. That's going to be our bulb. Get our path, we'll call it bulb.
And right here, what we're going to do is this bulb could be transparent, and we want it to be transparent, so we're going to do more stuff to it. We're going to go in here and select a little ellipse, right here in the middle. right there. And we're going to build from that. We're going to build this weird shape that looks like something like this. Doesn't have to be even. It doesn't matter. And we're going to kind of finish it off down here, so it kind of matches what we had there before. And now we can kind of twist these around until we have it just the way we want them. Alright, and we can take all of these guys and bring em down.
Right there, and then here, we'll just draw a little guy like this. A little guy like that. And right between em, we'll draw this little ziggy zaggy guy. That's our filament. Alright? So now, you might want to throw a little disk inside here, but it's not necessary. We could deal with that later. And now we're going to create the bulb. So, to keep organized, what we could do now is to create this as a folder, call it Base. Put all the guys that go in the base into there. Now create a new folder And we'll call this one, Bulb. And we create our first, which will be the bulb itself.
First layer, we select this, and we get that gray. So let's go ahead and fill it with let's go with that darker gray. And we'll fill the path with that color, right there. Now, what we're going to do with that, with that layer, is we're going to give it a little highlights and shadows. Bulb is turned off. So we're going to give it a little bevel and emboss, just like we did with the other guy. Depth, big, don't like that. Really soften it up. Okay, click OK, actually this brings us down, and that size down.
And we can soften those guys up later. We can do that. Now we're going to go into our blending options an the fill opacity is going to be brought down. See? The fill opacity's being lowered, so we can see through the bulb, just like that. Click OK. So now, inside that bulb, or behind it, or somewhere in there, let's, in fact let's put it behind it. We'll put the little rod, the rod base, and remember we have those little pieces so we're going to take this guy right here and we're going to fill it with that light gray.
There. And let's just make sure that we can see and, what's happening is that it's behind the bulb. So let's just move that layer in front of the bulb, so we're not seeing it through the shadow of the bulb. So here we go, and we'll just go in there and now fill that path right there, very light. We're going to take this one. And, in a new layer, we'll call it the rod. We're going to go ahead and fill that path again. There. And these two guys, what we'll do is we'll just take black, and we get out our paint brush, and we make it a really small one.
Bring the hardness up, and make it a really small one. Well, he was smaller than that. Like that, that's good, and what we'll do is we will call this one the little wires. I'm sure there is technical name, but we don't need it, and we just throw those guys in there like that, and then the little filament. The little filament will make it a a gray. So maybe we'll even make it a color, there you go. And we'll make it a little smaller, just a tiny bit smaller. And, create another layer and we'll call it filament.
And stroke it. Alright, so now that we have all those little shapes, turn off the path. And now we'll manipulate those a bit. So we'll go into the rod base, and we'll bring down it's opacity. And the rod, we have to bring down it's opacity so we can see everybody through it. Right there like that. And there we can see that we have our little light bulb. We can add some shadows here and there if we want, and, and we have a basic bulb. If we wanted to turn it on, then what we would do, is we would take the bulb, change its, take this off.
Take that off, and we give it a in fact, let's go to background. Let's take the background and invert it. Alright, so now we can really see what's going to happen. I'm going to take out both, and I'm going to fill it with that yellow. These en-lights a yellow color, right? I'm going to go in to the Layer Styles, I'm going to turn off Bevel and Emboss. We don't want that one, and we do want an inner glow. Which we got this yellow, we just click, we are going to increase it's size a bit, and we're going to give it an outer glow as well. So, give it an outer glow, and we've got that same yellow that will work.
Nice, strong tone like that. Click OK. Then I'm going to take the little filament, and a filament we're going to go in there and we're going to give it a really, we're going to make it really bright, and we'll give it an outer glow. So we give it a nice outer glow. A little bit bigger like that. Okay, so now the filament is on. And then, right inside there, we're going to create one more layer. I'm going to take a really bright tone, like this bright yellow here, and I'm going to get my Gradient tool, and I'm going to set it foreground to transparent.
And we'll just throw a little radial gradient right inside there, which will be the light being lit. And there you can see that now we have a lit light bulb. It's real easy, it's just a question of understanding what the different things are going to do and then you can go in there and create whatever mind can come up with.
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Madison Bumgarner pitched the San Francisco Giants to their third championship in five years with a 3-2 win over the Kansas City Royals Wednesday night.
Red Sox take World Series title
Red Sox eye historic win at home
Red Sox take 3-2 series lead
Red Sox strike first in World Series
World Series matchups
Own a piece of Tigers pride
Giants sweep Tigers to capture World Series
Backs to the wall, they stood, side by side, just as they follow each other in the Detroit Tigers' batting order. Miguel Cabrera and Prince Fielder, fielding questions about their failures. One the wearer of the Triple Crown, the other […]
Tigers' Leyland displeased that Cabrera blew off media
Tigers down to last breath in World Series
Click here for a New York Times story about Windsor Tiger fans. How bad is the World Series going for the Detroit Tigers? So bad that their best chance to extend the World Series past Sunday might be Frankenstorm. A […]


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NOAA Economics and Social Sciences
NOAA provides the science, services, and stewardship that allow commerce and government to be effective and competitive in an ever-changing natural environment. Our unique focus is on monitoring, predicting, and managing the Earth's dynamic natural environment including weather, space weather, natural hazards, and ocean ecosystems and marine conditions. Not surprisingly, economic thinking, research, and analysis play a part in nearly all we do at NOAA.
PPI provides intellectual leadership, research and analytical expertise needed to develop and implement an innovative, NOAA-wide economic and social science research agenda that advances the Department's goals of climate adaptation and mitigation, resilient coastal communities and economies, a weather-ready nation, and healthy oceans. PPI also provides advanced professional expertise in the theory and practice of economics and socioeconomics that influences the direction of NOAA's policies and resource management decisions.
|Societal Impacts of NOAA
NOAA activities support science, service, and stewardship that protect life, health, and property and create economic value, income, and jobs. Across the agency, we have begun collecting data on the economic importance of the sectors we support read more…
|Data and Tools
Coastal and ocean management requires up to date information about the economic uses and the human and economic values of coastal resources. NOAA provides a variety of social and economic data that policy makers can use to better manage the coasts and oceans read more…


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Lyndhurst, NJ, US
The city of Hel, a Polish seaside resort, announced a
competition for a public restrooms building. The site
located on a beach near the town's historical district
had some preservation restrictions for the project.
The concept was inspired and driven by the beauty
of its surrounding seascape. Respecting the
natural environment as well as the local building
traditions imposed the design solutions.
The form and aesthetics of the building are inspired
by the beach jewels: amber, pebbles and shells.
Bright colors, used in both the outside shell and the
interior finishes, celebrate the summer season all
year long in the facility.
The functional and spatial layout is meant to be
simple and user friendly. Divided into two main
bathrooms (gents and ladies) and two auxiliary parts
(mom and baby room and showers), the building is
easily navigable by the visitors. The three passages
crossing the building connect it both with the street
and the beach, making it accessible from both sides.
The purpose of the project was to create a vessel
for its main function, while making it an intriguing
sculpture like object, that harmoniusly blends in the
environment and serves its purpose all year long.
Status: Competition Entry
Location: Hel, PL
Additional Credits: A. Szeja


text:
OKLAHOMA CITY – Two men hit by a moving car when trying to help a woman involved in a hit and run accident are asking for your help.
They are trying to find the man who nearly killed them Monday near Classen Blvd. and 2nd St. downtown.
"I saw my life flash three times," Scott Ziegler said.
A broken arm and bruises are all Ziegler and Tate Smith have to show after being run over by an SUV.
"When the guy hit the gas and you're going that fast, that's the way you feel," Smith said. "You're thinking, 'Am I about to die?'"
The pair stepped in to help a woman whose van was rear-ended by a man right across the street from where the men work.
"It's the right thing to do," Ziegler said. "It's a female and she's in distress and this kid was about to take off. I just knew it."
Turns out, the driver who caused this damage was in a stolen car.
"He jumped in his car and burned rubber to come at us and we didn't have time to go left or right," Ziegler said.
Ironically, this is the second time Ziegler has been hit by a car on the run and he knew to roll onto the hood and hold on.
After half a block, the two were slung to the ground.
"I don't think he would have minded if he killed us," Smith said.
The driver who was rear-ended happens to be a nurse.
She ended up coming to the rescue of the men who were trying to help her.
"She was the first one to get to me and she said, 'Don't move, you're hurt.' She held my neck straight," Ziegler said.
The men still don't know her name.
They didn't get a chance to meet her after the hit-and-run but want to say thank you.
"She was a savior to me," Ziegler said.
As for the man who ran over them, Smith said, "He's dangerous because he has no care, no concern for life."
The stolen car was eventually found less than a mile from the accident site.
If you have any information, call Oklahoma City Police.


text:
Soaps Boards :: Days of Our Lives Forum :: SAMI SAMI SAMI!!!!!!!!!
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I actually haven't always liked Sami but, for the past while she's been growing on me. I've always known that Sami was deep down a good person but, with some of the stupid things she's done I just wanted to strangle her. But, as I said before she's been growing on me lately. I am probably one of the few that hope that there will be a twin scenario. One Lucas' and one E.J.'s that way we will at least have a Lumi baby that we can all be excited for but, at the same time we will have a WONDERFUL storyline opportunity with one of the baby's being E.J.'s. Just think of the possibilities....
EJ did try "raping" her a while back in her apartment and Lucas stopped it. So it wouldn't be too far fetched that he actually did rape her this time. I wish Sami would have told Lucas about it, but then she would have to admit that she helped EJ escape to Mexico. I like Sami when she is with Lucas. I would like them to stay together.
Quote YanDiMera: of course, the logical thing would be for sami to tell the truth about E.J blackmailing her into sex. But it's common knowledge that when it comes to rape, things are never black or white. E.J doesn't happen to be some yucky perv popping up from some dark alley. She was attracted to him once. We should take the guilt factor into consideration, plus Sami has an history of twisting the truth: she can't be 100% certain Lucas would believe her. And also the fact she must feel tainted and dirty for having sex that way.
I think she should have told her mom though. I want the baby to be EJ's. A Brady-Dimera character is a guarantee of interesting storylines for the next years, even decades. Sami can be the one to bring the Dimera down.Unlike Marlena, she spent her whole lifetime to master blackmail and evil schemes. On the other hand, i wanmt Lucas to stand by Sami and raise the baby as if he were his own.
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Jimmy Choo's revered biker boots are always top of everyone's lust list. This pair are a shorter ankle length silhouette that looks great with skinny jeans. Lined with sumptuous rabbit fur these boots are the ultimate winter footwear.
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text:
Southern School Notebook: March 18
Holy Cross School Honor Roll
Second Quarter 2009-2010
Grade 8: Irene Baldenweck, Ethan Benevides, Senna Bui, Emmaline Longnecker, Emily Mazza, David Philiphose, Grace York.
Grade 7: Patrick Conroy, Greta DiPierro, Sean Foley, Viviane Kostin, Nicholas Noyes, Kathleen O'Brien.
Grade 6: Jacob Boles, Hunter Griffiths, Philip Hawley, Daniel Mazza, Jack Olore, Elizabeth Poulin, Julia St. John, Melissa Stein, Luke Trickey, Shannon Wright.
Grade 5: Schuyler Black, Alayna Briggs, Anthony Buzzell, Abby Donahue, Zoe Johnson, Autumn Kane, Kaylin Malmquist, Cassidy McCusker, Meredith Wheeler.
Saltz earns Scarborough
Principal's Award
SCARBOROUGH — Adam Saltz, a senior at Scarborough High School, was selected to receive the 2010 Principal's Award at SHS in recognition of his academic achievement and citizenship.
Saltz has participated in Student Council, Key Club, band, and the tennis team while maintaining a rigorous course of study.
Along with award winners and their principals from around the state, Saltz will attend an Honors Luncheon in Bangor on Saturday, April 3 where five $1,000 scholarships will be awarded.


text:
August 4, 2015
CAIRO (AP) - An official in Egypt's aviation authority says 5
crew members of a Ukrainian cargo aircraft have been killed as fire
swept through their plane on the tarmac in the southern city of
The official said the fire started early Friday in the engine as
the Russian-made Antonov An-12 cargo plane was still on the runway.
The plane was preparing to take off after filling up with gas at
the Luxor airport and was en route to Ukraine.
The official spoke on condition of anonymity because he was not
authorized to speak to the media.
He said Egyptian fire engines rushed to the aircraft, "but the
fire was faster."
He said the fire did not affect aviation in the airport.
Copyright 2015 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
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+1. Well stated. I cannot wait until these over entitled Tier 1's have their day.......I lost 30% in my 401k and no one bailed me out. Just more entitlement mentality of the socialist teachers.
Outsource ! These thugs are impacting our businesses over two positions and retreat to 1940's style slowdowns. I am forced to be in a union for my job and it provides no value to me at all ! Now, dont say its the wages as they are market driven and dont say job protection, as we just lost 5 more guys. The unions are just ponzi schemes of the past....we dont need them !
A good post and factually accurate, so why do all the whiny libs harp on equity groups and ravage Mitt Romney ? Private equity has enabled Oregon to fund the bloated pensions that the unions and politicians gave themselves. The only challenge that remains is the expected returns to fund the 8% that is required.
Sounds like a President of the US. Another Harvard grad sans experience and yet we give him the reins of the country. His lack of leadership and experience in the ways of business or DC politics have hurt this country. While a smart and decent man, he lacks experience. Jefferson Smith is just another Obama and we cannot continue the slide in Oregon any more. Sammy has already started the slide to the abyss.
Ah, and he brings another thief into the world with his girlfriend. Good Oregon public school teaching continues.
Did anyone else watch this on TV ? I was embarrassed by our Senator Merkley's lack of knowledge of the banking issues ? Or, was he intentionally combative in his questioning. As a very small shareholder of JPM stock, I am disappointed with the trading losses but the Senator inaccurate assertions of JPM "taking TARP funds", when it is well known and documented that JPM didnt want the loans and they were thrust upon them. They were not supported by either FDIC or AIG bailouts. When advised he was misinformed the petulant Senator said " it was their hearing". How can the Oregon Senator stand on the Banking Committee when he politiced the quesitoning ? He looked the fool. TARP was repaid and the Treasury ( taxpayers ) made money on the TARP and loans program. That cannot be said for Obama bailing out the Auto Industry ( currently $23BILLION ) not paid back and he favored the unions versus other creditors. I guess Obama likes to pick winner and losers.........and while I support the auto bailout, dont be so hypocritical.
Some very good comments and thoughts on both sides. Lets get some of the protestors to hire on !
How many teachers would be saved if the Portland Public Teachers Unions agreed to changes in their pensions that matched the marketplace ? We need more teachers and that is the only way to help our children.
You should stop inhaling. Its not the wages, its the benefits that these employees receive. I just read an article that says the unfunded liability of government sector employee is nearly $4 Trillion dollars. We simply cannot afford these benefits anymore. Raising Trimet fares is like raising taxes.....the only way to gain revenues. Stop whining about the 1%-er and the impact on TriMet, as there is no correlation.
Well stated....thanks
Tax tax tax, that all that our politcians know. God forbid they had to be responsible to create something versus spending someone elses money. Just say NO
So, tell me again why unions are good for the economy of Oregon ( or elsewhere for that matter). More costs and now decreased service because of their pettiness. Almost as bad as the teachers saying its all about the kids.......
So, what crimes were committed ?
Lets also not forget that you have a contract that is unsustainable and the public sector unions need to understand that we dont support them. This is not an indictment on you or your colleagues but just the realities that these unions were allowed to push thru contracts that we cannot pay for. The Oregon Legislature ( and really all politicians) would rather agree to contracts to get elected and "kick the can down the road". The end of the road is now here...in CA San Jose and San deigo and other cities throughout the US. You accepted the deal at the time, so we dont demonize you but we do need to pay for the future. Our kids are getting substandard education and the teachers unions demand more, and facilities need to be updated and grown. We simply dont have the means to fund this. I also believe a bit more taxes and elimination of all Bush tax cuts as well. I am not a Rep by the way......
Great to hear...good airline that proudly serves Portland and the NW.
Is this stand your ground, while BBQ-ing ?
I realize in your progressive socialist view of the world all people who actually do more should get paid more, versus "lifetime" employement and bloated benefits.
And dont forget First Companion and our First Lady of Portland.
But, he wumped them 59-40%. I work in a union shop and paid a good wage and I pay my fair share for my insurance and benefits. I also retire with my 401k when I can ( most probably 65), so why should these unions take from the kids of Oregon, the infrastructure upgrades and facilities. The Dem union thugs has ruined the education of our state and strike when they dont get more. "fair" Mr. Obama and Gov K, is when people pay their share of insurance and dont retire like PERS teachers.
Well done, Mr. Walker. Perhaps one day our fellow Oregonians will figure out that its not personal against public sector workers, it is just that we can no longer afford these imbalance benefit packages. We cannot fund works retiring in their 50's, and not pay a fair share of the insurance benefits and a defined guarntee benefit plan that grows at a guarnteed 8%, when the markets are 4%. Its about time we in Oregon figure out how to pay for our futures and collective bargaining contracts that are fair is the right answer. I am in independent, and socially moderate and financially conservative.


text:
Seven Race-Day Gear Blunders To Avoid
- By Aaron Hersh
- Published Aug 15, 2013
- Updated Aug 19, 2013 at 7:29 PM UTC
Ignoring your housing
Derailleurs get all the glory, but they are really a secondary contributor to shift performance. The shifters themselves are the key component, and they can only actuate the derailleurs properly if the connection between the two—the cables and housing—is functioning smoothly.
Road gunk gradually accumulates inside the housing and gums up the cables. Once that happens, no component group in the world no matter how expensive can shift crisply.
It isn't a sexy upgrade, but regularly swapping old cables and housing for a new set is one of the best investments you can make to improve your component function. Swap housing about once a year, and replace the cables twice.
RELATED: Your Bike Race-Ready Checklist
FILED UNDER: Bike / Gear & Tech TAGS: how-to-repairs


text:
Francesco Guidolin has "regrets" at Udinese's 3-2 defeat in an exhilarating encounter in Genoa [12]. "We could've got a different result."
The Friulani had taken the lead at Marassi, but went 3-1 behind and then clawed it back to 3-2.
"There are regrets, because we lost a game that we did not deserve to lose," said the Coach.
"It was a wonderful match and we only had a three-minute black-out at the start of the second half. With a little more concentration, we could've got a different result.
"The fans were certainly entertained by the second half at Marassi. Now we have to roll our sleeves up to achieve more positive results and whittle down the errors we made today.
"I don't want to use the absentees as an excuse, because we have no reason to complain. Will there be more arrivals? I won't talk about the transfer market."
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