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Original Link: http://www.anandtech.com/show/6367/nzxt-phantom-820-everything-everything
NZXT Phantom 820 Case Review: Everything, Everythingby Dustin Sklavos on October 15, 2012 1:35 AM EST
- Posted in
- Cases/Cooling/PSUs
Introducing the NZXT Phantom 820
NZXT is an interesting manufacturer. Each company that designs and manufactures cases has their strengths and weaknesses, things they're good at and things that need work, but NZXT is unique in that they're very closely related to iBuyPower (one of the biggest system building boutiques and one that's starting to threaten established brands) and tend to vend some of the most cost effective enclosures to boutiques in general, for better or worse.
Our experiences with NZXT have been mixed. The H2 when it was released suffered from a serious design flaw that drove up internal thermals (an unmarked revision was silently released later that largely resolved those problems), and the Switch 810 was a good but not great enclosure that couldn't quite live up to its promise. But today NZXT is launching the Phantom 820, a case aimed squarely at the top end of the case market where stalwarts like the Thermaltake Level 10 GT, Corsair Obsidian 800D, and SilverStone FT02 reside. It has a lot to live up to, but most impressively of all...it might actually do it.
I'll get this out of the way: the Phantom 820 is not coming cheap. NZXT is listing an MSRP of $249, placing it squarely into competition with the highest end enthusiast cases, and it's a pretty bold move from a company that's usually been more about raw value than premium gear. I'm of two minds when it comes to this decision; I think it's a good choice for the company since price is often the best way to give a premium product that extra kick (just ask Apple), but it's ultimately bad for the end consumer who wants and should get great products at reasonable prices.
|NZXT Phantom 820 Specifications
|Motherboard Form Factor
|Mini-ITX, Micro ATX, ATX, E-ATX
|Drive Bays
|4x 5.25"
|6x 2.5"/3.5"
|1x 200mm intake fan; 1x 120mm/140mm internal fan mount
|1x 140mm exhaust fan
|1x 200mm exhaust fan, 1x 180mm fan mount or 3x 120mm fan mounts or 2x 140mm fan mounts
|1x 200mm intake fan
|2x 120mm/140mm fan mounts
|Expansion Slots
|I/O Port
|2x USB 3.0, 4x USB 2.0, 1x Headphone, 1x Mic
|Power Supply Size
|Standard ATX
|13" / 330mm
|Special Features
USB 3.0 connectivity via internal headers
Toolless 5.25" drive bays and 3.5" drive sleds
Support for 360mm/280mm radiator in top of enclosure, 240mm/280mm in bottom of enclosure, thickness up to 60mm
Integrated four channel (three leads per channel), five step 15W fan controller
Color configurable, toggleable LED lighting system
Toggleable rear I/O and expansion LED illumination
Integrated SD card reader
When I spoke to my rep at NZXT he was very bullish about the Phantom 820 and it's not hard to see why. While Taiwanese case designers have a tendency to try to throw in everything but the kitchen sink (see NZXT's own Switch 810) and call it a product, the Phantom 820 is a different beast. This is a feature rich case, but a lot of the features that have been incorporated are done intelligently. The integrated fan controller in particular is an incredibly slick design that's easily the equal of many entry-level fan controllers; the lack of analog adjustment is offset somewhat by having five different steps, ranging from off to full bore.
I'm also keen to point out that NZXT included an SD card reader; SD cards are pretty much the standard these days, yet for some reason they're seldom integrated in modern case designs. The convenience is appreciated tremendously.
Finally, the Alienware-style LED lighting system is a nice touch and can be disabled entirely if you so choose; otherwise you can turn a dial inside the front door to change the color to whatever you like, and you can toggle between enabling and disabling different lighting zones on the case.
In and Around the NZXT Phantom 820
Many of the NZXT cases I've tested have had aesthetics that floated in the neighborhood of chintzy or slightly gaudy—these are geared chiefly towards gamers after all—but the part of my reptile brain that appreciates the styling of Alienware's machines is attracted to the design employed in the Phantom 820. Gunmetal gray is an underappreciated color (see Antec's P182) that makes for an appealing change from the straight blacks and silvers we typically see in cases. The interesting thing about the Phantom 820 is that the more ostentatious aspects of the original Phantom 810's design seem to have been toned down, and the look as a whole seems to gel better. Maybe it's that gunmetal finish, but I don't immediately think of an Imperial Stormtrooper when I look at the 820.
The front of the Phantom 820 maintains the triangular motif that's become a hallmark of many of NZXT's higher end cases (again, like the original Phantom 810 and the Switch 810), using black ventilation grills as an accent. The magnetically sealed door hides four 5.25" bays along with the SD card reader and LED controls and swings out to the right; it's framed by an LED accent line on the left. At the bottom is a removable fan filter that also includes a small tray if you opt to use the fan mounts in the floor of the case.
Moving to the top, there are an impressive six USB ports: two USB 3.0 and four USB 2.0. On the opposite side is the quad-channel fan controller along with the power and reset buttons and the audio jacks. Most of the top of the case is vented in some fashion, and you can see the substantial 200mm exhaust fan at the rear.
The 820's side panels are where I get a little bit antsier. I appreciate the way the panel on the right side, behind the motherboard tray, has an extrusion to increase space for routing cabling (and it worked beautifully), but I actually have reservations about the window and ventilation on the left side panel. I've generally been a proponent of side intake fans, but some of our readers have correctly pointed out that a side intake and the accompanying grill also gives sound another vector to escape. NZXT pretty much has to bank on the cooling performance of the 820 to keep noise in check. I also think the window and grill design is on the gaudier side and probably the least appealing aspect of the 820's look.
The exterior of the 820 is mostly bog standard. It's evident there's a healthy amount of space behind the motherboard tray, and I like that NZXT again included the adjustable exhaust fan mount to allow users to line up the exhaust with the CPU's tower cooler. There are also the traditional four rubber routing holes, along with a removable fan filter for the PSU bay.
When you pop the side panels off (secured by three thumbscrews each), things are mostly the usual but NZXT has added a few wrinkles here and there. You'll notice a substantial number of cable routing holes in the motherboard tray, some much appreciated headroom above the motherboard mounts, a large bundle of cables, and oddly enough, two drive cages (the bottom one is removable) that actually require you to insert the drives behind the tray instead of on the open side. This is contrary to conventional wisdom, but a minor nuisance.
By and large I'm fond of how the NZXT Phantom 820 is built. This is a heavy case and the materials used all feel very sturdy. I think the aesthetic is just this side of being too ostentatious, but for an enthusiast-geared case I think it's light years ahead of the Thermaltake Level 10 GT in terms of looks.
Assembling the NZXT Phantom 820
Apart from just how heavy the NZXT Phantom 820 is, assembly actually goes fairly smoothly. In keeping with that premium feel they're going for, building inside it is mostly geared towards ease of use, and the out of the box experience is a pleasant one. Of particular note is the box of screws that NZXT includes, which already has them all neatly organized. Lian Li includes a screw keeper with many of their high end cases, but it's not organized and the one for the PC-A76X wasn't actually big enough to hold all the screws that came with the case.
It's not worth boring you with the details; suffice to say installing the motherboard and optical drive went off basically without a hitch, same with the expansion card (expansion slot shields are ventilated and held in place with thumbscrews) and the power supply. Having all of the screws conveniently in one place and organized made things go that much more swimmingly.
Where NZXT went off the rails a bit is, ironically, with the 2.5"/3.5" drive sleds. NZXT's promotional material talks about how these have been radically redesigned, but the funny thing is that they're just too flimsy. I found it was particularly difficult to keep the sled with the 2.5" drive screwed to the bottom in place, as it was easy to push too far into the drive cage. I also think it's unusual that they have to be installed on the side behind the motherboard tray instead of in front of it, and there doesn't seem to be any real reason as to why the case was designed this way.
Routing power and data cables goes smoothly, and NZXT even includes an extension cable for the AUX 12V line, but what's amusing is how much of a mess all the cabling for the integrated peripherals of the Phantom 820 actually is. I don't think it can really be helped, but it's awfully hard to sort some of it out. NZXT does the best they can with a bad situation by at least labeling which channel each of the fan leads connects to and pre-connects the existing fans (outside of the side intake), but honestly it's just cable spaghetti and I'm not really sure how much more they could've done to mitigate it. Added features breed added complexity. It's worth noting that NZXT does give a healthy amount of lead for the side intake fan's power cable.
Ignoring the fact that I'm a tiny man and the Phantom 820 is a heavy case, assembling our testbed inside it was easy enough, a process made much easier by the sorted screw keeper. I do think the drive cages and trays need to be redesigned and brought a bit more in line with contemporary designs similar to what Antec and Corsair are doing; it seems like NZXT may have erred on the side of aesthetics when they should've gone for practicality. The aforementioned mess of cables can also be difficult to cope with but again, I don't really know if they could've done much more to mitigate it, and it's worth the added complexity for the robust fan controller.
Testing Methodology
For testing Micro-ATX and full ATX cases, we use the following standardized testbed in stock and overclocked configurations to get a feel for how well the case handles heat and noise.
|ATX Test Configuration
Intel Core i7-2700K
(95W TDP, tested at stock speed and overclocked to 4.3GHz @ 1.38V)
|Gigabyte GA-Z68MX-UD2H-B3
|Graphics Card
ASUS GeForce GTX 560 Ti DCII TOP
(tested at stock speed and overclocked to 1GHz/overvolted to 1.13V)
|2x2GB Crucial Ballistix Smart Tracer DDR3-1600
Kingston SSDNow V+ 100 64GB SSD
Samsung 5.25" BD-ROM/DVDRW Drive
|Corsair Link
|CPU Cooler
|Cooler Master Hyper 212 Evo with Cooler Master ThermalFusion 400
|Power Supply
|SilverStone Strider Plus 750W 80 Plus Silver
Each case is tested in a stock configuration and an overclocked configuration that generates substantially more heat (and thus may produce more noise). The system is powered on and left idle for fifteen minutes, the thermal and acoustic results recorded, and then stressed by running seven threads in Prime95 (in-place large FFTs) on the CPU and OC Scanner (maximum load) on the GPU. At the end of fiteen minutes, thermal and acoustic results are recorded. This is done for the stock settings and for the overclock, and if the enclosure has a fan controller, these tests are repeated for each setting. Ambient temperature is also measured after the fifteen idle minutes but before the stress test and used to calculate the final reported results.
Thank You!
Before moving on, we'd like to thank the following vendors for providing us with the hardware used in our testbed.
- Thank you to Puget Systems for providing us with the Intel Core i7-2700K.
- Thank you to Gigabyte for providing us with the GA-Z68MX-UD2H-B3 motherboard.
- Thank you to Crucial for providing us with the Ballistix Smart Tracer memory.
- Thank you to Corsair for providing us with the Corsair Link kit.
- Thank you to Cooler Master for providing us with the Hyper 212 Evo heatsink and fan unit.
- Thank you to Kingston for providing us with the SSDNow V+ 100 SSD.
- Thank you to CyberPower for providing us with the Samsung BD-ROM/DVD+/-RW drive.
- And thank you to SilverStone for providing us with the power supply.
Noise and Thermal Testing, Stock
While I was greatly enamored with the sheer number of features the NZXT Phantom 820 had and even somewhat impressed with the looks, I was substantially more ambivalent about cooling performance. The 820's thermal design is at least superficially very traditional, although the use of three 200mm fans calls to mind Rosewill's spectacular budget offering, the Thor v2.
It would've been onerous to test the Phantom 820 at all of its fan settings (the first fan setting is just "off"), especially keeping in mind that the individual channels (top, front, back, and side) are all individually configurable, so I tested it with the fans all at their highest setting and at their lowest setting above "off" with the intent of going back to retest at a median setting if it seemed appropriate. As you'll see, it did not.
All testing was done with an ambient temperature between 24C and 25C.
As you can see, out of the enthusiast cases we've tested so far, the NZXT Phantom 820 offers some of the best thermals in our stock configuration. Better, you can see that while the highest fan setting can improve thermal performance somewhat, it doesn't really need to.
Running the Phantom 820's fans at full speed gives you a little more headroom on the CPU cooler, but it looks like the side intake doesn't really need to run any faster than the lowest speed to do the job on our GeForce GTX 560 Ti.
Noise levels are also generally exemplary, where even the highest fan setting is still pretty tolerable. The PC-A76X may run slightly quieter, but it's also slightly warmer. There's an even trade-off here.
I'll admit when I first started actually testing the Phantom 820 I was impressed with just how quiet the case was, and again when I checked the thermals. NZXT has been pretty hit and miss when it came to performance, but the 820 is definitely in a league of its own. I was eager to see how it would handle the substantially increased thermal load of our overclocked testbed.
Noise and Thermal Testing, Overclocked
Going into testing with the overclocked testbed, I was suddenly a lot more optimistic. NZXT's Phantom 820 at stock wasn't just the best performing enthusiast-class case I've tested with the new bed, it was actually better than our current reigning champion, the Antec Eleven Hundred. Naturally I was curious to see how well it would hold up under more stress, and as it turns out, NZXT's design worked out even better here.
Even at the lowest fan setting, the Phantom 820 is basically bulletproof. The graphics card thermals are basically just competitive with very little to really recommend running the side intake at a higher speed, but the CPU thermals are downright stellar and a notable jump over the competition.
Fan speeds are again basically competitive, with the 820 doing particularly well at keeping the graphics card's fan speed down.
Can't argue with results. Under full load at even the highest fan setting, the Phantom 820 is at worst competitive with other cases. At the lowest setting it easily tops the charts. NZXT has scored with stellar thermal performance and excellent acoustics to match.
Conclusion: NZXT Wants to Give You Everything
I think before the NZXT Phantom 820 was sent to me, that if you had told me NZXT was going to send me a first class enthusiast case that easily ranked among the best in performance, I would've been skeptical. They've had some hits (the Phantom 410 was actually a surprisingly adept little box), but performance has consistently been more middle-of-the-road.
That's changed completely with the Phantom 820.
NZXT has finally been able to marry features with performance in a very compelling way. Their latest offering is expensive, so if you're just looking for something to hold your hardware and perform reasonably well, this isn't going to be it. This is for the people who buy the big bling cases, the ones that are meant to guarantee superior thermal and acoustic performance, and it needs to be measured on those terms.
While I quibble with the mess of cables and the drive trays, I'm not convinced the side intake was necessary, I also have a hard time denying that the case does provide the end user with almost everything they could possibly ask for. The fan controller, configurable LED lighting, and integrated SD card reader are all great features that many users might have been forced to add on their own in another case. The fact that the fan controller has four independently configurable channels each capable of supporting up to three fans makes it a very robust solution that should produce satisfactory results for all but the most particular users.
Meanwhile, custom watercooling users should have a fairly happy time with enough space for either a 360mm or 280mm radiator in the top of the case along with a second 240mm or 280mm radiator in the bottom, and enterprising users can even add additional 140mm radiators to the back exhaust and the internal fan slot. That's a cumulative 920mm of radiator capacity, and that's ignoring the fact that there's actually z-height space for the radiators in the enclosure.
At $249 the NZXT Phantom 820 might still be a bit too expensive for a case that does use plastic in parts of the shell, but it goes a long way towards justifying itself with the mountain of features. I personally feel a price tag that high is starting to get too onerous for a case, but the performance and bonuses really are there. It's a great case with room to grow and if the price comes down it's going to be very hard to compete with. If you're looking for a big, powerful case, the Phantom 820 is tough to beat. It's only the price and few iffy design decisions that keep it from earning a better award, but I think a Bronze Editor's Choice is definitely appropriate for what NZXT has accomplished here. Well done.


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Things to see and do - Olite
Leaving for Spain
Nearby hotels
Hotel El Juglar from72 €Book
Hotel Restaurante Casa Zanito from45 €Book
Parador de Olite from95 €Book
Parador de Olite :
Nearby tourist sites
Nearby Restaurants
Parador de Olite
Cotation :
Type de cuisine : Traditional cuisine
Casa Zanito
Cotation :
Type de cuisine : Traditional cuisine
Parador de Olite
Parador de Olite
Address : Plaza de Teobaldos, 2 E - 31390 Olite
from : 95 EURBook
Located in the centre of this Navarran village, Parador de Olite boasts a fabulous location in a 15th-century castle. Declared a national monument, it has classically decorated bedrooms and a Medieval atmosphere. Behind the robust, stone walls of the Parador de Olite lies a magical hotel with stained-glass windows, arched walkways and decoration which have been carefully selected to create an ambiance of majesty and luxury. Sit in the communal lounges with antique furnishings, attractive tapestries and atmospheric lighting. Here you can also browse the wireless internet for free. Sample regional specialities in the Olites restaurant - you will feel like king or queen of your very own castle within the Parador de Olites' impressive dining room.
Useful Information
- Address : Plaza de Teobaldos, 2 E - 31390 Olite31390Olite
Main services
- Restaurant
- Air conditioning
- Disabled access
- Non-smoking rooms
- Satellite TV

subset: commoncrawl


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How long to get through customs at LHR?
We are flying in Sept-on a Saturday-and will arrive at London Heathrow around ten a.m, our flight to Dublin, Ireland leaves just 2 hrs 10 minutes after we arrive. Do we have sufficient time to make the connection after getting through customs? We arrive at Terminal 5, and depart from Terminal 1. These are British Airways-Aer Lingus flights, purchased as separate tickets from British Air.
The cost to change my Ireland flights (2 passengers)to a later flight, of which there are plenty, is GBP120, I can buy 2 new tix for EURO126 (62 each). Do I stay with what I have, or just buy replacement tix now for a later IRE flight? I know that the EURO62 later flight will be a whole bunch more expensive if I need it due to missing my connection. A rookie mistake-I never considered this, but hey, them's the breaks, right?


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Artifacts worth $3.2 million stolen from UK museum
Sunday, April 8, 2012
LONDON (AP) — Two Chinese artifacts with an estimated combined value of 2 million pounds ($3.2 million) have been stolen from a British museum, authorities said Saturday.
Two men and a woman from the West Midlands area have been arrested in connection with the Thursday night theft at Durham University's Oriental Museum, but the items had not yet been recovered, police said.
The northern England-based university confirmed that two "priceless" artifacts were stolen when thieves broke into a ground-floor gallery at the museum: a large jade bowl with a Chinese poem written inside that dates back to 1769, and a Dehua porcelain sculpture.
"We are extremely upset to have fallen victim to such a serious crime," museum curator Craig Barclay said in a statement. "The two pieces are highly significant in that they are fine examples of artifacts from the Qing Dynasty."
Police said they were still trying to locate "several outstanding suspects." The museum will be closed until further notice, the university said.
The university said police and security guards were alerted immediately by alarms, but declined to comment further on its security systems.
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Sunday, Sep 22, 2013 8:00 PM EDT Doors
Starlight, Waterloo, ON
Don't miss The Dodos with special guests COUSINS performing live at Starlight (47A King Street North, Waterloo, ON, N2J 2W9), Sunday September 22, 2013! Doors at 8:00 PM, show starts at 9:00 PM.
Tickets $15 + Applicable Service Charges. Strictly 19+
For more information on this, and other Starlight/Jane Bond events, please visit Starlight Social Club or our Facebook page


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I read this little piece in the Metro news whilst on the tram yesterday:
Rupert Everett helps unveil Oscar Wilde gravesite renovation
Actor Rupert Everett and Oscar Wildes grandson have unveiled a makeover of the Irish writers gravesite on the 111th anniversary of his death.
Everett, who is writing about the poets life, spoke at a podium bearing a poster of the pre-renovation tomb covered in notes and lipstick at the Père Lachaise cemetery in Paris.
The tomb is such a well-loved pilgrimage site and has been so well-kissed that it needed renovation. A glass screen now separates visitors from the stone.
Everett said: The Irish government have taken it upon themselves to renovate the [Jacob] Epstein gravestone, which is being eaten away by lipstick, with endless women kissing it.
Everett said: I find him very inspiring and touching, not just for his genius, also for his stupidity in a way. He was a human being and made mistakes like everyone.
Wilde died in Paris in 1900, aged 46, from cerebral meningitis.
Like many other Smiths fans I've been to Pere Lachaise and visited Wilde's tomb... and read all the scrawls of "Keats and Yeats are on your side, Wilde is on mine". Now we wont be able to... read the scrawl, not add to it


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Copyright © tutorialspoint.com
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Nelly fans will have to wait a little longer for the two albums he's releasing simultaneously this year, but for now the rapper can at least offer up names for the discs, and soon he'll drop a first single from each.
Sweat will be the title of the grittier of the two discs, which is said to have songs for the clubs, the bedroom and the streets a la "Hot in Herre" and "Air Force Ones." And since the last time Nelly really busted out big-time was with P. Diddy and Murphy Lee on "Shake Ya Tailfeather," it's only right that he has a new set of instructions for his flock. Sweat's first single is called "Flap Your Wings" and features the production handiwork of the Neptunes.
Nelly's second LP in the double-dose offering has been christened Suit, and it's described as the more melodic of the discs, somewhere in the vein of songs like "Pimp Juice." Nelly has his pimp juices flowing on the lead cut from the album, a track called "My Place." The song is a hip-hop take on Teddy Pendergrass' 1979 baby-making ditty "Come Go With Me." Fittingly, Jaheim, who's drawn comparisons to Pendergrass, will be singing, "Come on and go with me, come on over to my place."
Nelly will shoot videos for both singles in the next couple of weeks. Sweat and Suit, now due September 14, had originally been slated for August 17 (see "Nelly To Pull A Guns N' Roses This Summer, With Mase In Tow" ).


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Put all the entertainment essentials within arm's reach with this handy couch tray table and organizer. It clips securely onto the arm of your sofa, creating instant surface space for drinks and snacks. Side pockets store often-used items like remote controls, eyeglasses, magazines, and even manuals. From Lori Greiner.See H165116. This product may be a customer return, vendor sample, or on-air display and is not in its originally manufactured condition. It may not be new. In some instances, these items are repackaged by QVC.
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H197298 — "As Is" Couch Tray Table And Organizer by Lori Greiner
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See the beauty hidden within ordinary, everyday life as revealed by scientific photographer, jurgen Dabeedin. Using his specialist knowledge from a career in forensic science, he now creates vibrant photographic art for homes and businesses. Take a peek into a hidden world and see life, quite literally, in a different light!
'You might not have considered mixing science with art, or even creating art from science, but these images might make you think again!' Photographer, Jurgen Dabeedin creates stunning art by seeing life, quite literally, in a different light! Using scientific imaging techniques, he delves into the everyday objects that surround us, revealing and creating unique works of art in the process.
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A Fleeting Glimpse Published July 29, 2009


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Monday, July 30, 2007
Jets' camp, day 3, part 2
A couple of minor transactions first: the Jets re-signed free-agent rookie OG Dominic Moran, who had been signed in May and released last week, and also released rookie free-agent K Justin Ayat.
The Jets moved their evening practice to their FieldTurf field in the back of the complex, away from the public. Disgruntled LG Pete Kendall was seen working on the stationary bike because of possible back stiffness. Pedaling next to him was rookie OL Andrew Wicker.
Chad Pennington looked sharper than he did in the morning practice, with a beautiful 40-yard "TD" to Justin McCareins and a 50-yard throw to Laveranues Coles, who beat CB Andre Dyson but dropped the ball.


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At the beginning of this project I removed the first five planks (from the keel rabbet upwards) from each side of the boat. The first three (on each side) definitely need to be replaced while the remaining two might be serviceable after some repairs. It's now time to replace these first three planks and since this is my first attempt at planking a large hull I expected it to be a learning experience.
Although the boat is mostly double planked, the original planking in this area of the boat is single planked tight seam construction. I've decided, however, to replace these planks using traditional Carvel plank construction; i.e., with caulking between planks. I've chosen this route for two reasons: (1) It's easier to get water-tight seams, and (2) I'm hoping there will be less compression stress on the planks (it appears that the original planking suffered from compressive failure).
Here is a pic showing the first 5 planks that were removed. Note that plank #5 is 25' long!
The next three shots show some of the damage.
Although this is my first attempt at Carvel planking, I've read numerous references on the subject. I'm also lucky in that I have the old planks for templates so I don't have to worry about lining off the boat. Also the first plank is relatively short and located in a flat section of the hull so neither steaming (to facilitate plank twist or bow) nor scrubbing (shaping the face of the plank to fit the curvature of the hull) is required. So I got an easy start. The second plank was a bit more complicated as it has some twist at the nib end, so I had to boil the end. It's not until I reached the third plank that things really got complicated. This third plank is over eight feet long and requires considerable twisting, bowing, and scrubbing to fit. I can force the plank into position, but I think it would be best if I steam it first. So I'll need to build a steam box. But I'm getting ahead of myself. Let's examine the planking process, starting with plank #1.
To see what we're dealing with, here is a pic of the new plank #1 on the starboard side.
To make this plank, the first thing to do is to mark the shape of the top edge of the plank on the hull. Since I have the old plank, I could just put it in position on the hull and trace out the top edge of the plank; but, the plank edges are damaged so I just make a few strategic marks on the hull and use a fairing batten to construct a fair curve through the marks. This is particularly easy for the first plank because the top edge is straight. I also mark the location of the plank's nib end. Traditionally, and for no particular reason, the nib is cut at right angles to the top edge of the plank.
The next thing we need is a spiling batten that is just a bit smaller than the plank. Since I have the old plank it's a simple matter of tracing the plank onto my spiling stock and cutting about Ľ" inside the lines. I'm using 3/16" Luan underlayment as spiling stock. It's inexpensive, comes in 4' x 8' sheets, is light colored to clearly show pencil marks, and it has just the right amount of flexibility: supple enough to conform to the shape of the hull but stiff edge-wise to reduce the chance of introducing edge-set in the plank. The pic below shows the spiling batten tacked (a few small finishing nails) in place on the hull.
Next we transfer the outline of the plank to the spiling batten. This can be done using any number of tools and published methods. I've experimented with a compass and custom made spiling blocks, but my favorite is a little tool that I learned about reading the Cherokee Blog. Below is a pic of the tool and the marks that you make with it (ignore the vertical line down the center).
Although not visible in the picture of the tool above, the lower edge of the tool is bent downward forming a lip of about 3/16". Since the spiling stock is 3/16" thick, the bottom edge of the tool is flush with the back of the template, facilitating accurate measurements.
Using the spiling tool, we make marks at regular intervals along the length of the plank, usually at every frame location. The frequency of marks is proportional to the complexity of the shape. Here I am capturing the distance to the keel rabbet at one point along the bottom of plank #1.
Now remove the spiling batten and tack it to a piece of planking stock. I tried to select all quarter-sawn, or at least riff-sawn, H. Mahogany stock but the price was prohibitive so I'm stuck with some plane-sawn stock too. Fortunately, the ratio of tangential to radial shrinkage for H. Mahogany is not too large. This and the fact that I'm keeping the RH of the garage above 70% should reduce the differential shrinkage problem. With spiling batten in place on the planking stock, we transfer the marks from the spiling batten to the planking stock
and connect the marks using a fairing batten.
Although we might be tempted to cut out the plank, we better check the bevels first to be sure that we don't need to make any adjustments to the shape before cutting. To understand why adjustments might be needed, let's talk about bevels.
When a plank is first cut from planking stock, the edges are typically square to the face; however, when the plank is fastened to the hull one or more edges might need to be beveled so that it mates flush with the edge of the adjacent plank or backbone rabbet.
By convention, the top edge of a plank is planed square to the face, so beveling is not needed for that edge. Likewise, the nib end is cut square to the face. Now if you were building a boat from scratch, you would probably cut the keel rabbet and stern post rabbets square to the backbone timbers. In that case, no beveling would be required for plank #1 (ahh, except for the caulking bevels, which I'll mention in a bit). But alas this is a restoration and after 50 years in service things change! So it's important to measure the bevels at regular intervals (say 10" or less, depending on how much they vary). These bevel angles are recorded on a bevel board. (The bevel board in the pic below is actually for plank #3.)
The use of a bevel board is described in a number of references, but inevitably the descriptions are oversimplified. Sure, everything works fine in the simple case but in restoration things are seldom simple! Let me say up front that I'm as guilty as other writers in not providing explanations that are crystal clear to everyone. Having been a teacher for many years, I'm quite certain that it can't be done – one-way communication is just inadequate. But I'll do what I can and you can send me email if you have any questions. So let's take a closer look …
The diagram above depicts a garboard plank being fitted to a frame and keel rabbet. Note that at this stage the plank does not fit very well – it is neither flush with the frame nor is its lower edge flush with the top of the keel. We'll talk about fitting the plank to the frame a bit later. For now, we will see how to bevel the lower edge of the plank so that it is flush with the top of the keel. To determine the proper bevel, we need to capture the angle shown by the red lines (99 degrees in this case).
Unfortunately, the angle itself is not particularly useful for cutting the bevel. What we what to know is how much wood to remove from the plank to achieve the correct bevel. This is where the bevel board comes in. We capture the angle using a bevel gage, and then transfer the angle to our bevel board (the red lines in the middle of the pic below).
We then draw a vertical line (dashed line in the pic above) parallel to the left edge of our bevel board, which represents the thickness of our planking (2" in this example). Next we draw a horizontal line (green in the pic above) from the left edge of our bevel board to the intersection of red and dashed lines. The gap between the red and green lines at the left edge represents the amount of wood the must be removed (0.32" in the example above).
But removed from where? I think you can see from the illustration of the plank above that the wood must be removed from the lower INSIDE edge of the plank. Note that trimming the inside edge of the plank creates a problem – the plank width is effectively reduced. So the top edge of the plank no longer contacts the frame at the desired location. The solution is to INITIALLY cut the plank 0.32" wider at this point. The bevel angle typically changes from frame to frame, so the amount to be added varies accordingly. So, you see, it's very important to measure your bevels before you cut the plank.
Not all bevels require adding additional wood to the plank width. To see this, let's add a second plank to our example above.
Here we measure the bevel angle of our second plank (77 degrees) and transfer it to our bevel board (the lines at the bottom of our bevel board illustration). In this case the amount of wood to remove is 0.47", but now this wood must be removed from the OUTSIDE lower edge of the second plank. Note that since we are not removing wood from the inside edge, the effective plank width is not changed. So we don't have to make the plank wider to compensate.
In summary, if our bevel angle is obtuse (>90 degrees) we need to trim the inside edge, so the plank needs to be made wider to compensate. If the angle is acute (<=90 degrees), only the outside edge is affected and no additional width is required. Planks above the turn of the bilge tend to exhibit obtuse angles, whereas planks lower tend to have acute angles. This generality does not always hold, however. I have encountered situations where the angle changed from acute to obtuse in the same plank!
Back to plank #1 …After making any shape adjustments required by the bevels, we can cut out the plank. I've found that a quality circular saw is the tool of choice for this job. I've considered other recommended alternatives such as a bandsaw or table saw but it's much easier to move a light weight circular saw along a stationary plank than to feed a 10' to 25' plank through a saw – especially single handed with limited space!
I've read that you should cut right to the line, but I've found that prudence is the better part of valor, especially when I'm paying for Mahogany! So I stay away from the line about 1/16" which means that occasionally I cut right to the line but not further. Then a few minutes with hand planes finishes the job.
After sawing out the plank and planing to the lines, we cut the bevels. The bevel board shows how much wood needs to be removed at each location along the plank edge. We use the bevel board to transfer this information to the face of the plank, and then, using a fairing batten, we draw a line connecting all the marks. We then plane the edge down to the line, being sure not to remove any material from the opposite side. It helps to draw a series of pencil lines across the edge so that you can monitor your progress.
We then clamp the plank in place on the hull to check the fit, making adjustments as needed.
After all the fitting is done, it's time to cut the caulking bevels. The general rule of thumb is to cut the caulking bevel so that the opening to the outside of the plank is 1/16" per inch of plank thickness. The proper depth of the bevel seems to be a matter of opinion. Depths from ˝ the plank thickness to the full depth of the plank has been recommended. The advantage of a full-depth bevel is that it produces the shallowest angle, which is good for keeping the caulking in place. The down side is that the inside edge is quite fragile (a feather edge). Providing more contact surface between planks is better in this regard but generates a steeper angle. Also, the larger contact surface may put more stress on the plank edge, especially for hardwood planking such as teak or mahogany. As a compromise, I'm cutting bevels that are about ľ" deep for 1" planking (1/4" of inside edge contact).
These bevels are fairly easy to cut since the dimensions are not critical. Just draw a line on the face of the plank 1/16" up from the lower edge (only the lower edge receives the bevel). Draw another line on the edge to be beveled ľ" from the front face of the plank. Now simply plane a bevel that touches both lines.
After final fitting, I painted the back face of the plank with 2 coats of Primocon (first coated thinned 10-15% with Xylene). More coats would be better, perhaps, but …
Next the plank is clamped and fastened.
Clamping planks often requires some innovation. Note the improvised bar clamp aft.
I used #12 2-1/2" bronze slotted-head wood screws when fastening to a backbone member. I dropped down to 2" when fastening to frames. The screws were first coated with red lead primer to act as a lubricant and sealant. H. Mahogany bungs were then driven in, bedded in red lead. I made my own bungs out of scrap. Note the two bungs close together near the center of the picture. One of these is a blind hole where I inadvertently drilled into a backbone bolt!
I should confess at this point that I neglected to check the bevels before cutting out plank #1 on the starboard side. As it so happens, the bevels near the nib end were greater than 90 degree, which resulted in too much bevel between the plank and the keel rabbet. Consequently, I had to "scab" on a piece (using Aerodux 185 resorcinol) and re-cut the bevels.
As I mentioned before, this is a learning experience.
After making a duplicate plank for the port side, it's on to plank #2. This plank was longer than plank #1 but except for some twist at the nib end, it laid fairly flat. No scrubbing was required. The one complication was fitting the notch in the new plank to the nib end of plank #1. Not a big deal, but it requires creating a close fit both at the notch and the hood ends. Here is a pic of the spiling batten in place.
When I first removed these first five planks, I noticed that some of the frame ends contained wedges between frame and plank. My guess is that this was necessary to achieve the required curvature without overbending the frames. These wedges may have been glued to the frames initially but simply fell out when the planks were removed.
I decided to re-glue the wedges (adding replacements as needed) in place and fair them to the keel rabbet. This was done after I had removed the centerboard trunk and the integral bronze floors. It didn't occur to me at the time that the frames might move when the floors were removed. So now these frame ends are not as fair as they were before reinstalling the trunk. Well another lesson learned. In addition, even some areas not connected to the CB trunk are not fair. An example is shown in the pic below.
Here both the frame and the floor were not fair with the keel rabbet (although I'm quite certain they were when built), so I had to add a shim. Although the bolts holding this floor in place were replaced as part of the deadwood replacement, a shifting of the floor to port seems unlikely, since the port side seems to be fair. Shrinkage also seems unlikely since the grain in the floor runs transverse to the centerline. Note that the grain of the shim runs counter to the grain of the floor, so the bond might not endure; however, it's just a shim that will be held in place by the planking screws. So I'm not concerned about it.
To deal with the required twist at the nib end, I decided to boil the end for one hour (rule of thumb: 1 hr per inch of plank thickness). First the back face of the plank was painted with two coats of Primocon. It's interesting that neither steaming or boiling seems to affect the paint.
More improvised clamping …
Plank #2 in place.
On to plank #3 …
Well the easy stuff is done. We now have to consider what's involved in fitting a plank to a series of curved frames.
In general, wood must be removed from both faces of a plank to have it conform to the shape of the hull. This process is called scrubbing. If the frame curves inward, the inside face of the plank will have to be scrubbed convex to fit the frame and the outside of the plank will have to be scrubbed concave to match. Similarly, if the frame curves outward, the inside face of the plank will be concave and the outside convex. In either case, the planking stock will have to be somewhat thicker than nominal to account for the scrubbing. As illustrated in the pic below, if we want the finished plank thickness to be 1-5/8" (1.625") then the initial plank thickness must be 2".
Of course this depends on the curvature of the frame as well as the width of the plank, both of which vary from frame to frame. So one must estimate the amount to be scrubbed at each frame location and use the maximum to determine initial plank thickness. Unfortunately, this additional starting plank thickness impacts the cutting of the bevels. Recall that plank thickness is recorded on the bevel board to determine how much wood must be removed to achieve the correct bevel. Consequently, if you cut the bevels after scrubbing, you use the final plank thickness when transferring the bevels to the plank. If the bevels are cut before scrubbing, you must use the initial plank thickness for the angles to be correct.
In my limited experience, the most difficult plank to fit is one that is cut to receive the nib end of a previous plank, sometimes called a stealer plank. We've already encountered this with plank #2 as it had to fit the nib end of plank #1 (the stealer); however, because both planks were flat this caused no particular problem. It's a different story for planks that must be scrubbed. To understand why this is problematic, consider a plank that varies smoothly in width but that must be scrubbed to fit the curvature of the frames.
By way of example, assume that the inside face of the plank must be cut convex to fit the frames. For simplicity, assume that the convexities are just segments of circles that vary in height from frame to frame (due to differences in plank width or frame curvature). Now if we clamp our plank in position before it is scrubbed, only the edges of the plank will touch the frames. Thus at each frame, the inside face of the plank will represent the cord of the circular segment defined by that frame. The outside face of the plank will of course be parallel to the inside face. This example is illustrated in the pic below.
The most straight forward method of fitting the plank is to remove material symmetrically from the top and bottom of the plank so that the outside face of the plank remains parallel to the cord. It is important to realize that this decision to keep the outside face of the plank parallel to the cords is somewhat arbitrary. We could remove more material from the top of the plank and less from the bottom (or vise versa), maintaining the same circular segment but with the cord no longer parallel to the outside face of the plank. The result would be a decrease or increase in the amount of twist required by the plank to fit the frames.
Now consider what happens if the width of the plank changes abruptly, like at the notch to receive the nib of the previous plank. What happens if we have frames on either side of the notch. Only the wider part of the plank will contact the frame at two points (defining the cord of the segment), the narrower part of the plank will only touch the frame at one point (the top edge if the notch is cut in the bottom edge). The problem is that although the curvature is the same on both sides of the notch, the cord lengths are substantially different. In effect, it requires that the plank twist a finite amount in zero distance! The problem is created because we assume that the inside face of the plank is always parallel to the cord.
Here as some pics to illustrate this problem. First we have a 3D pic of a typical plank that is notched to receive a nib.
Now take a cross-section of the plank just forward of the notch.
And now a planar view of this cross-section as it lies against the frame.
Note that the top edge of the plank and the bottom edge just forward of the notch are both in contact with the frame. The segment of the circle between the plank and the frame would be filled by scrubbing.
Now consider what happens just aft for the notch. The plank changes width dramatically.
Note that the segment now to be filled by scrubbing is much small and the plank has rotated. Of course this cannot happen, so in reality you just end up with a poor fit.
Although I've only considered what happens right at the notch, the effect can be felt over several frames. The problem is caused by measuring the curvature of each frame in isolation, without considering the rotation of the cords and the associated twist that occurs from frame to frame.
I'm not sure how the pros deal with this. I've not heard or read anything about this problem. The most accurate approach would be to record how much the cords rotate from frame to frame and then make sure this rotation varies smoothly from frame to frame. If a large change in twist is required, this can be reduced using asymmetrical scrubbing as described above.
As yet I have not figured out how to measure these cord rotations. I could probably get them from the plans but the difference between the design and actual boat can be substantial, especially with restorations. So I've devised a method that seems to be satisfactory. At each frame location, I make a template defining the shape of the curve between the top and bottom edges of the plank. I make my templates out of 3/16" Luan underlayment. At a frame, making a template is easy. You just lay a piece of template stock on the top edge of the plank below and trace the shape of the frame onto the template. I then cut out the shape on a bandsaw. On the template, I mark the location of the top edge of the new plank and draw the cord between the top and bottom edges of the plank. I also make a mating template for scrubbing the outer face of the plank. Making a template away from a frame (say at the keel rabbet or around other backbone members) is a bit more trial and error. I cut a piece of template stock to the width of the plank, put it in position on the top edge of the previous plank and measure the maximum gap between template and backbone. I use this gap measurement to draw a smooth arc on the template with the same curvature. Usually, this produces a pretty good fit, but if not a little work with a pocket plane finishes the job. Lastly, I adjust the bevel angle to the template so that when the template lies squarely on the top edge of the plank below, the template fits tightly to the backbone.
I also make a spiling batten that is approximately the size of the finished plank (about Ľ" gap all around). I then tack the batten into place along its top edge but only occasionally along the bottom edge so as not to distort the batten. So for example at the notch for a nib, I'll tack the batten at the top and bottom where the plank is widest but the narrow part will be left unattached at the bottom for several frames. I then measure the gap between the batten and the frame behind it. I use this gap measurement to adjust the bottom edge of the cord on the template.
It's important to note that changing the cord changes the bevel. So I no longer use a bevel gage to pick off the bevels directly from the frames. Instead, I take the bevel measurement from the template.
The last step before hanging the plank is to scrub the outside face of the plank to match the curvature of the frames. Final fairing must be done after the planks are on the boat but a rough approximation to the final shape can be done more easily off the boat. The templates that I made at each frame location helps. The key is to scrub the plank until the templates fit without touching either edge - well except for those places where we had to rotate the cords. In those spots we have to make the same adjustments that we made on the inside face so that the plank is 1" thick at both edges.
An additional word or two about scrubbing …
Initial plank thickness is determined by the section that requires the greatest convexity or concavity. Often other sections are much flatter and so this extra thickness must be planed off. You can chose to remove the bulk of this material from either face, but since it's easier to work with a smooth plane than a convex soled scrubbing plane, it's best to remove the bulk from the convex face.
I wasn't aware of these problems when I started plank #3, so ultimately my first attempt ended in the scrap pile. Here are some pics of a successful plank #3 (I'll bet I worked on this plank for 2 weeks!).
Finished plank prior to painting.
Note the detail work at the end. This was required to clear a section of bronze hull strapping and fasteners.
More improvised clamping …
I was actually able to clamp this plank in place without steaming, but it took more pressure than I liked. So I decided to steam it before fastening it. Here is the steam box.
So after an hour of steaming, I pulled the plank and clamped it into place, but much to my dismay the plank did not fit as well as it had before steaming! Evidently, the process of steaming relieved some internal stresses and now the plank needed about Ľ" of edge set! I left the plank in clamps overnight and then spent the next day adjusting the fit. I believe that steaming helped the plank conform to the required twist and bow, although the effect was not dramatic.
Finally …
With the port side done, it's time to work on plank #3 on the starboard side. I hope that what I've learned will make this task easier. Here we go …
Although books tell you to start by making a copy of the plank just hung, I feel better spiling both sides. Variations from one side to the other inevitably creep in (especially with restorations) and spiling will help to correct for these. I do try to create identical curves for the top edge of the plank. So I use the templates from the port side to establish the width of the starboard plank at a number of landmarks and then create a fair curve using a fairing batten.
I used the port side plank to create the spiling batten for the starboard side. I simply traced the outline on my spiling stock and cut about Ľ" inside the lines. Here are some pics of the spiling batten in place.
Note that in the pic above, I've been very careful to attach the batten so that it forms a fair curve. So on two of the frames you can see that I've added shims between the batten and the frame. A detail is shown below.
In this pic, you can see that I've recorded that gap between the batten and the frame (both top and bottom of the batten). I will use this information to create the appropriate templates.
In this pic, you can see that an appendage has been attached (hot melt glue) to the end of the spiling batten. This appendage represents the exact shape of the nib end of this plank. It is often better to create such an appendage rather than to record a multitude of measurements over a small area.
Here we see the detail of the notch for the nib of plank #2. I could have used an appendage here as well, but I could capture the shape well enough with a few measurements. In particular, notice the gap measurements. We have 0 gap at the bottom edge in front of the nib but about 1/8" (10/32 - thickness of spiling batten) at the top of the nib. Per our previous discussion, this is to be expected.
With all pertinent measurements recorded, I removed the spiling batten and created templates at all the frame locations and at a couple of other key spots. The one at the nib was particularly tricky.
Since this template is not at a frame, it's difficult to capture the location of the top edge of the plank. Here I'm running a string from frame to frame to define that edge. This is an important template because it occurs where we have that step transition in plank width.
After making the templates, we adjust the cords based on the gaps that we measured using or spiling batten. We then take the bevel angles from the templates and transfer them to the bevel board.
The bevel board indicates that the only obtuse angles are those at the hood end of the plank, so I'll have to add a little extra length to my plank to account for this, but none otherwise.
Based on my templates, it looks like I'll need to add 3/8" to my plank thickness to account for scrubbing.
With this I can rough cut the plank and plane it to the lines.
Of course sometimes the available planking stock isn't quite as wide as you need it, so I'm forced to scap on a little extra.
The piece in the picture is much larger than I need, but better safe than sorry. The extra width was needed just for the very tip of the notch for the nib end of plank #2. This is a low stress area and I bonded the scab with Aerodux 185 resorcinol.
… and that's were I am to date.


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The old minolta had a paper jam today and when I pulled out the jam a plastic piece came with it, so it looks like it is time to start over. Anyone have any suggestions for color laser, small business use. The Minolta was okay when we first got it, but it has been less than impressive as it got older. Would like to spend $300 to $400.
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Continental withdraws fuel surcharge
Continental has bucked the fuel surcharge push that United initiated last week. By Monday, all six major carriers had added surcharges comparable to United's new $25 each-way fee.
But as we saw again and again in 2007, fare increases only stick if they can muster industry-wide critical mass, so Continental withdrawing its fee not only puts the airline at a competitive advantage for as long as it can offer surcharge-free fares, but also puts pressure on other airlines to ditch their own new fuel surcharges.
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Sherlock is back! A new 90-minute Sherlock special will premiere on Masterpiece! Mystery on New Year's Day, PBS announced on Saturday. Sherlock: The Abominable Bride will mark the first time the series will debut a new installment in the U.S. and U.K. on the same day. (Please let this trend continue for Season 4!) The...
American Idol champ
Gwen Stefani and
Dega Jam, the first-ever country music festival held at Talladega Superspeedway, announced a monster lineup for the first-time event.
There are plenty of stories to follow in Sunday's CampingWorld.com 500 at Talladega Superspeedway, which can be heard live on the Motor Racing Network starting at 1:30 p.m. (ET).
Actress Maureen O'Hara died Saturday at her Boise, Idaho home, her manager Johnny Nicoletti told
Nebraska City Directory
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Location, ST | website.com


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Grand Theft Auto San Andreas
GTA IV : Two Emirates Skins for Aircraft
Here are two retextures for the 747 jumbo jet within GTA IV, these two skins are based upon the airline Emirates. The two skins included are one with gold while the other is with the original stripe
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of the company colours, both retextures are highly detailed, very well made and look very good in game. These are only for show really since you cannot fly the 747 in GTA IV! [b]Required Files[/b] [file=110271]Spark IV Tool[/file]
- File Name:
- 2_emirates_skins_[...]axiking30.rar
- File Size:
- Date Added:
- 05-13-2010
- Download Last 2 Week:
- 2
- Downloads All Time:
- 83
- Popularity:
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BOSTON — Drew Smyly pitched shutout ball into the seventh inning, and John Jaso's two-run double keyed a three-run eighth to carry Tampa Bay to a 6-2 win over the Red Sox on Wednesday, keeping the Rays out of last place.
Steven Souza Jr. had four hits, Asdrubal Cabrera had three hits and both hit solo homers. The Rays won for the fourth time in 11 games. Tampa Bay lost the opener of the four-game series Monday, falling into the AL East's basement this late in the season for the first time since 2007.
Smyly (4-2) gave up five hits, struck out seven and walked three in 6 1/3 innings.
Mookie Betts had two singles for Boston, which had won 11 of 17. The Sox scored both...


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This job posting is no longer available on Indeed.
Find similar jobs:Assessor jobs
TEMPORARY ASSESSOR IIIAssessment DepartmentClairmont, AB
Salary: $73,566 - $94,193 annuallyHours: 35 hours/week, Mon. – Fri.Term: Immediately – November 2014 (approx.)Position type: Non-managementClose date: August 2, 2013 @ 4:30 p.m. or until suitable candidates are found
The Assessment department is looking for a full time Assessor who will assist in inspecting and assessing residential, commercial and farm properties to determine market value.
Do you possess excellent oral and written communication skills; initiative; sound judgment; attention to detail; the ability to get along with all types of people; the ability to analyze data; and the ability to handle stress? If so, consider joining the County of Grande Prairie No. 1 where as an Assessor you will be given an opportunity make decisions and accept responsibility for them.
For a copy of the job description or additional information, please contact Barry Donovan at (780) 532-9722 (extension 1238) or visit www.countygp.ab.ca.
Please apply to:
Human Resources CoordinatorCounty of Grande Prairie No. 110001 – 84 AvenueClairmont, AB T0H 0W0Fax: (780) 532-9709 (confidential)E-Mail: hr @ countygp.ab.caWebsite: www.countygp.ab.ca
Candidates who do not hold AMAA designation are invited to apply and may be considered at a lower classification and salary level


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Setting release conditions for the final grade
Release conditions allow you to associate the final grade with other objects in Learning Environment. For example, you could require that users submit a class evaluation before they see their final grade.
- On the Manage Grades page, click on the name of the Final Calculated or Final Adjusted grade.
- Click the Restrictions tab.
- In the Release Conditions section, click either Attach Existing or Create and Attach.
- Choose whether access to the final grade is dependent on meeting all or any of your conditions.
Note This option is only available for the final grade you release to users. This might be either the Final Calculated or Final Adjusted grade depending on the setup options you selected for your course.


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a good young gangster drama, too bad NBC took it off the air before it could gain some momentum. MAN! another reason why I hate network television…it's not about telling good stories, but singing idiots or dancing stars.
Media Megaforum
Black Donnellys
subcultured at 8:28PM, May 7, 2007
last edited on July 14, 2011 4:02PM
©2011 WOWIO, Inc. All Rights Reserved Google+


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Hello TV Ragers, and welcome to your semi-regular update on all the pilots, renewals, and cancellations that have taken place since the last issue was published. Let's get right to it with:
ARRIVALS (Pilots Ordered)
No new pilots again. I guess the networks are in cancel/renew mode right now.
RETURNS (Series Renewals)
The Fairly Oddparents, Nickeloden, Season 9 - The adventures of Little Timmy Turner and his wacky fairy godparents Cosmo and Wanda will continue for another year to the sure delight of parents who leave their kids in front of the TV for hours so that they can attempt to get a moment's peace. All kidding aside, I saw the early seasons of the show when my little sister was still young enough to be watching kids cartoons and I thought it was one of the better Nick offerings.
Grimm, NBC, Season 2 - In a fairly unsurprising, but still welcome move, the Peacock network has picked up this fairy tale/crime series for a new season this coming Fall. The show was saddled with the Friday Night Death slot early on, but made the best of it, averaging respectable to downright good numbers on a consistent week to week basis. Early reviews of the pilot weren't the greatest, but by most accounts the show has found it's storytelling style and rhythm as the season unfolded. This show is one example of why it's actually good to be on the 4th place network. A show with Grimm's ratings would have been axed quickly on say FOX or CBS. But NBC is desperate to build their audience and will latch on to just about anything that attracts a dedicated fanbase, even a relatively small one.
ICarly and Victorious are hilarious. I stopped watching them only because we don't let out 8 year old watch it. But when she is ready, I definately will be watching those types of shows. You never are too old for Nickeloden or Disney :)


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Newspaper Wars, West Metro Edition
Last Thursday night, some 15 members of the Minnesota Newspaper Guild who work in the Star Tribune's newsroom canvassed the Metrodome, offering free score cards to Twins fans. If nothing else, it was an entertaining scene.
The only passersby to snatch up the canary yellow cardboard sheets were too young to keep score or already too buzzed on pre-game beer to care. Most everyone else greeted the Strib staffers with a suspicious glance, and then either took the handout haltingly or stared down at the sidewalk. Indoctrinated consumers all, they assumed there was a catch. Of course, they were right.
On the other side of the score card were the big, bold phrase, "Hey Star Tribune, Let's Play Ball!" and an eight-paragraph message from the newspaper's editorial department. "This is the first time we've negotiated a contract with California-based McClatchy Newspapers, which bought the newspaper in 1998," the flier reads. "McClatchy says it wants a labor agreement by July 31, but the foot-dragging by this out-of-town corporation and its hired gun says otherwise."
It's a good guess that only a handful of folks managed to digest the screed. Those who did, however, may have been overcome by a sense of déjà vu. Last January, about 75 members of the Newspaper Guild who work for the Pioneer Press canvassed the Xcel Energy Center, giving away lineup cards to Wild fans. On the back of the canary yellow cardboard sheets, it said that employees at St. Paul's hometown newspaper were being stonewalled during ongoing contract negotiations with San Jose-based Knight Ridder. "We watched what they did over at the Pioneer Press and thought we'd give it a try," explains Steve Brandt, a Strib reporter and Guild member. "It should be said, though, that we're nowhere near the point they're at in St. Paul."
It's all but certain that 449 union members at the Pi-Press, who have been working without a contract for a year, will either have to make a number of unprecedented concessions at the bargaining table or threaten a work stoppage, perhaps as soon as September. This does not come as a surprise to those who have been following the scene in St. Paul. Committed to earning its stockholders unprecedented dividends, Knight Ridder has made a show of streamlining its 31 newspapers, with little regard for the average reader and even less respect for its own work force.
The way McClatchy is playing hardball with the Strib's 381 Guild members, on the other hand, has been a bit of a shock to a number of people in the union. "Had you talked to me five months ago, I would've said there's no chance in hell there could be a strike here," says Strib columnist and Guild member Doug Grow. "Now, it's important to note that I still do not think there will be [a strike]. But there are a couple of things you could see stumbling into a strike, because the issues are so fundamental."
Contract talks are always contentious, of course, and it was clear after looking at McClatchy's last quarterly report that the chain, which consists of 11 daily and 11 non-daily newspapers, would be coming to the table with a tight fist. "Our newspapers have not endured a labor strike since 1980. However, we cannot ensure that a strike will not occur at one or more of our newspapers in the future," the document, published in early May, concludes. "Even if our newspapers do not suffer a labor strike, the Company's operating results could be harmed if the results of labor negotiations restrict our ability to maximize the efficiency of its newspaper operations."
In fact, when McClatchy's negotiator recently offered the Guild a one percent increase in wages, members were neither surprised nor particularly concerned. "I would say the economic side of negotiations has gone reasonably true to form," Brandt says. "What distinguishes this negotiation from past negotiations in the minds of Guild members is the degree to which the company has made proposals in the area of working conditions."
Reportedly, management wants the right to transfer workers from position to position, alter salaries if job descriptions change, allow editors to assign more work to freelance journalists, and take away certain grievance procedures. Additionally, there is a proposal that would allow nonunion managers at the paper to edit stories; this is particularly significant, since the Strib is one of the only newspapers left in the country where only union employees can physically alter copy. "Here's the thing," explains Strib columnist Doug Grow. "That's our work. That's all any of us has. If I negotiate with that work, or give away that work, five years from now there won't be a job for someone."
Grow, like a vast majority of Guild members at the Strib, did not participate in last Thursday's labor action at the Metrodome. There are still four bargaining sessions scheduled between now and August 31, when the current five-year contract expires. For some, especially those sitting at the bargaining table, the feeling is that fueling the fire now would be counterproductive. Others, like Grow, just have a hard time believing the general public is going to care much about the needs of career journalists in a soft economy. "I guess I just don't expect a guy going to the Twins game to give a rip," he says with a laugh. "At this point, I just think it's something to be dealt with internally."
Two weeks ago, 320 Guild members signed a petition and 30 of them walked it to the front door of executive editor Anders Gyllenhaal's office. The purpose of the exercise was to express disappointment in the company's lack of flexibility in bargaining and to point out that a number of the most troubling proposals on the table have been proffered in the editor's name. "What would Anders think if McClatchy wanted to demote him and cut his pay while taking away an existing right to challenge those moves?" asks Guild member and Strib reporter Mike Meyers. "What would Anders think if McClatchy topped all of that off with an offer of a one percent raise?"
Gyllenhaal, a McClatchy prodigy brought in to replace Tim McGuire in June 2002, came directly from the company's News & Observer in Raleigh, North Carolina, with a reputation for an even hand and strong sense of story. In his first year, the paper's staff--which had grown weary of McGuire's scattershot management style and ever-cautious news judgment--has been inspired to produce a better paper.
Over the last couple of months, though, there have been rumblings that Gyllenhaal has become increasingly inaccessible, more apt to delegate authority than directly engage with the rank and file. Now, news that he is asking for more middle managers and more "managerial horsepower" at the bargaining table has, for the first time, caused reporters to wonder out loud whether McClatchy brought Gyllenhaal to Minneapolis to help them tame the Guild. "What we do know is that we have a new editor here who comes from a non-union environment," Steve Brandt says. "And it appears he is interested in adapting his newsroom to his experiences, rather than adapt himself to the environment he chose to lead."
When contacted to comment for this story, Gyllenhaal said he could not talk while labor negotiations were at a sensitive point. It will be interesting to see what, if anything, he has to say after the Guild and management settle on a contract. "He came in here with a bank-load of goodwill, and it would be a tragedy to see him stand against staff on issues that virtually everyone agrees on," concludes Strib reporter and Guild member Jon Tevlin. "He has the opportunity to step up and be the hero."
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Working with 3/4 year olds, how to become a better teacher?
Hello, my name is Samantha. A brief explanation of myself: I recently turned 21, and moved from New York to Florida with the opportunity and promise of a full time job. My sister now owns a school/daycare that has been around for 25+ years, with a great reputation. I work with 3 and 4 year olds. My job requires an exertion amount of love and attentiveness balanced with discipline and firmness. I am new to working with children but I have always loved them, and they have always loved me. I just find myself to be sometimes harsh, because they don't listen. I usually work with my partner in a room of an average 16-21 children, whom are almost all are low income residents. These children have a rough road ahead of them and I understand their parents behavior is what usually causes this. I understand but I tend to lose my temper a lot. How can I communicate without being so hot tempered?
Posted: 02/16/2013 by SamanthaFernandez
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I worked in a lot of Head Start schools and did a few externships in college while I studied early chilhood education. Patience, is def a virtue! It's very hard to keep your cool with that age. I've found that giving the kids something to do when they are bouncing off the walls helps. for example if there's a little boy that's being distruptive, bouncing around everywhere..give him a task. I need you to do a special mission for me, take this toy over to the sink and wash it really good with soap, make sure you get in these cracks, etc... Something like that. It might only give you a few minutes, but a few minutes could mean the world when you have 6 other kids to try and control. Sometimes I would play a listening game. In a room full of loud kids say (in a normal speaking voice) if you can hear me touch your nose...(softer) if you can hear me touch your ear (softer) if you can..and so on. The kids will think its a game and hopefully you'll get their attention. Hope this helps a bit!posted 02/19/2013 by a BabyCenter Member
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