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This demonstration video discusses and shows the features of Zeagle´s Rapid Diver System. The Rapid Diver System is a compact and easy to deploy scuba system that is ready to use in less than a minute. This one size fits all design makes buying multiple sets of equipment for the family a thing of the past. The unit comes complete with a 20 cubic ft aluminum cylinder, a horse Collar Style BC with power inflator, a Zeagle RaZor 1st stage, a Zeagle Envoy 2nd stage, and a compact pressure gauge.


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key x_item TA1153
Fortune Donut - Tenyo
Item Number: TA1153
Show your audience a circular-shaped card that contains the pictures of many playing cards. Allow your spectator to make a completely free choice of one card. Using a pair of scissors, cut out the chosen card. When you turn everything over, the freely chosen card is the only one with a red back. However, all of the other non-chosen cards have blue backs. You are supplied with enough Fortune Donut cards for 20 performances.
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1970 Plymouth Cuda Coupe - High Impact RestoWritten by on December 1, 2009 Contributors: Jerry Heasley 14-Month Job Turned "Pile Of Parts" Into Prize Winner
Nowadays, it's getting tougher to find project-ready E-Body Mopars. There's our own Project Tetanus Shot, (i.e. Big Challenge), which had almost as much rust as intact steel on it when we found it. But it was Chris Santomero's luck to find less than that-and end up with a 'Cuda that looks like this.
When he went to Carlisle back in 2005, he'd been looking for a Mopar project for a while. "I had my heart set on it, and I was watching the prices for them go up," he recalls from his Bedford, New York, home. "That's when I knew I wanted a car that was in disarray so I could make sure it went together correctly from start to finish, instead of getting someone's project car that they couldn't finish. I wanted to get one from the very beginning and work through the whole car step by step."
He got his wish, and he came home with what looked more like a massive trailer load of parts than a '70 'Cuda. "It was disastrous! It was ready for the junkyard," he recalls. "There was, basically, a box of parts and a promise for the rest of it. It was rolling on the frame, parts were in primer, and there was no interior or anything like that. The engine was out, the tranny was out, and the rear was out." This wasn't an abandoned project ground to a halt by a lack of funds or desire to keep going. "The gentleman who sold it was more of a parts guy," Chris says. "I think he had it and said to himself, 'If I sell it, great. If not, maybe I'll part it out.' I came in and picked up the whole package."
But the big package that he hauled home from Carlisle wasn't whole enough to build a running E-Body-not yet. "Maybe 40 to 50 percent of what I needed was there," Chris says. "The guy had other parts for me, and he came through with another box of parts for me to restore it with."
Chris enlisted Russell Jacobs at RJ Cars in Arkport, New York, to turn the collection of parts into the 440 Magnum-powered, Lemon Twist-hued 'Cuda you see here. "He's good at everything," Chris says. "His specialty is Mopars, his passion is Mopars, and his desire since he was a kid was to have a Mopar restoration shop." Looking into the stash of parts that Chris had accumulated, they found that they had a lot of OEM stuff from Ma Mopar that they needed. "We bought only original parts," Chris says. "It was to the point that anything that could be date-coded correct was done."
Just over a year later, the pile of parts was now this Lemon Twist 'Cuda, restored to showroom-new condition. What's it like to drive? "It's phenomenal!" Chris says. "The car is unbelievable." It's also a trophy-winner, including one from a recent event that Chris turned into a family adventure. "I hooked up my son's booster seat, and we went to a car show in Fishkill, New York," says Chris. "They gave out maybe 25 trophies to the top cars in the show, and we were one of them. The judges came over, looked at it for not even two minutes, and said, 'Great car,' and away they went. We drove 70 miles to the show in it, cleaned it up, put it in-the car's great." Needless to say, the 70-mile trip home went quickly!
Chris is looking for another distinctive Mopar to add to his collection-but not just any Mopar. "We're looking seriously for a '70 Superbird, B5 Blue-very specific," he says. "A lot have come up, but not specifically what we're looking for." (Yet.)
If you're looking for a Mopar project of your own, Chris has this advice: "Don't settle for something just because it comes along. Keep plugging away, keep looking, and stick to what you're looking for. It's out there-when it shows up, jump on it."
Fast Facts
'70 Plymouth 'Cuda Coupe
Owned by: Chris Santomero, Bedford, New York
Restored by: RJ Cars, Arkport, New York
Mopar Power
Engine: Rebuilt '70-vintage U-code 440, with Carter four-barrel carburetor.
Transmission: Console-mounted 727 TorqueFlite, with the new-for-'70 "Slap Stick" shifter
Rearend: 8 3/4-inch rear end with Sure-Grip differential and 3.23 rear gears.
Suspension: Restored original. Front: HD longitudinal torsion bars with tubular shocks and stabilizer bar. Rear: HD leaf springs with tubular shocks
Brakes: Front disc/rear drum, power-assisted
Wheels/Tires: Correct '70 Rallye wheels wear repro F70-14 Goodyear Polyglas GT tires
High Impact
Body: Original '70 Barracuda coupe unibody restored by RJ Cars, Arkport, New York. Shaker hoodscoop and dual outside rearview mirrors added during restoration
Paint: Diamont R-M 5300 clearcoat over Diamont Lemon Twist Yellow (original color), applied by RJ Cars. RJ Cars also painted the Shaker the correct Argent Silver color.
Interior: Restored original 'Cuda interior includes console with Slap Stick shifter, AM radio, rally gauge cluster, and woodgrain steering wheel.


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New York Guard Trains at Oriskany
New York State Preparedness Training Center -- Oriskany, NY -- New York Army National Guard Pfc. Alexander Ladighin of the 222 Chemical Company and New York Guard Pvt. Jose Castro, of the 88th Brigade, work together to build a decontamination tent during Homeland Response Force training here, May 16. Both decontamination teams train side-by-side to ensure the quickest and most accurate support to civil authorities in the State of New York. In the event of a chemical attack, both teams would be called to active duty by an executive order of the New York State Governor.


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Big downgrade from the 10D, first plastic body, second NO custom menus. This camera is aimed squarely at the PS crowd. The good news out of this is they are releasing a 100~400 F4 L with IS, assuming it's better optically than the current 100~400 this lens should sell like hot cakes!!!
It looks like Nikon/Minolta/Sony are in BIG trouble with this new camera.


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This fire breathing monster wall graphic will bring out your scary side! This funny creature will add style and visual interest to any room. It comes in two different sizes: 22 inches tall by 23 inches wide or 11 inches tall by 11.5 inches wide. This monster wall decal is perfect for a little kids room or even an apartment or dorm.
This product is out of stock


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Between 12 June and 13 July 2014, 100 000 football fans from across the globe descended on Brazil to experience the 2014 FIFA World Cup™, which lived up to all expectation as being the tournament of a lifetime.
Providing a world class Hospitality experience at the world's largest sporting event, MATCH Hospitality hosted just over 308 500 hospitality guests at this prestigious event.
We thank all our Hospitality guests for making this tournament such a memorable event.
MATCH Hospitality offered six Products designed to provide a variety of Hospitality experiences to meet personal preferences, business needs and budget.
Hospitality Series gave football fans the opportunity to purchase pre-bundled matches for the most coveted matches of the tournament. Series options included the possibility to follow a favourite team through to the Final, attend matches in a particular venue, or experience the highly sought-after final rounds of the tournament.


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The Uncovering of the Mosaics of Hagia Sophia in Constantinople
I sent you a post card the other day from CP, Constantinople. dearest Mildred; I hope you get it. Now, I can wait no longer to tell you what I found there.
First of all, St. Sophia Hagia Sophia, the former Early Byzantine basilica, later a mosque, and now a museum in Istanbul, Turkey. Built in 537, until 1453 it served as the seat of the Patriarch of Constantinople and then as a mosque from 1453 until 1931. It was secularized and opened as a museum in 1935. is no longer a mosque, The order to convert the mosque into a museum was issued on August 24, 1934. thank God: Those horrible great round green shields with Koranic inscriptions on them that defaced the pendentives of the main cupola have been taken down. The carpets which, laid in the sense of the Mihrab (and not in the axis of the building), distracted the eye and gave the place a circus-tent look, have been removed, revealing the original pavement of cipollino and verde antico. This is also an immense improvement. And little by little it may be hoped that all the Moslem junk, Mihrab, this, that and the other, will go, including the pastiche pavement laid askew across the entrance to the E. end (so as to be in proper relation to the Mihrab). But of course they have to go slow, as there are many ill-wishers. Another danger, at times serious, is that the church shd. be turned into a museum to the extent of being filled with show-cases and God knows what, reconstruction of dynosaurs and stuffed crocodiles, for choice. The initial plan for the museum was to have display vitrines with Byzantine and Ottoman objects. However, when it opened, there were no exhibits. See Wendy Shaw, "Museums and Narratives of Display, from the Late Ottoman Empire to the Turkish Republic," in Muquarnas, An Annual on the Visual Culture of the Islamic World: History and Ideology: Architectural Heritage of the "Lands of Rum," 24, ed. Julia Bailey, Sibel Bozdoğan, and Gülru Necipoğan (Leiden: Koninklijke Brill, 2007): 270. The Turk is apt to shake his head and say that the building, now that it's not a mosque, is dead, and that it must be used for some living purpose. Halil bey, Halil Edhem Bey (Halil Edhem Eldem) (1861–1938), a Turkish archaeologist, who in 1892 became the second director and later, in 1910, Director General of the Archaeological Museum of Istanbul until his retirement in 1931. formerly head of the Museum and now the sort of local Koechlin, Raymond Koechlin (1860–1931), a personal friend of the Blisses and the Tylers, the Alsatian-born Raymond Koechlin collected Chinese, Japanese, Islamic, and medieval art and acquired works by the Impressionists and Post-Impressionists. He displayed his collection crowded together in a small apartment at 24, boulevard Saint-Germain. This grand amateur wrote a number of books about the arts that he collected, but he is best known for his studies of French Gothic sculpture (especially ivories), Islamic ceramics, and Japanese art. At the end of his life, Koechlin wrote a privately printed memoir about French collectors of Asian art, titled Souvenirs d'un vieil amateur d'art de l'Extrême-Orient (1930), which he sent to the Blisses. He served as a curator at the Musée du Louvre and made significant donations to the museum after his death in 1931. takes this line. Fortunately, Aziz bey, Aziz Ogan (Aziz Ogan Bey) (1888–1956), director of the Istanbul Archaeological Museum between 1931 and 1954. the present head of the Museum, doesn't. So there's hope.
And now for the mosaics! On June 7, 1931, Thomas Whittemore (1871–1950), director of the Byzantine Institute, received permission from Mustafa Kemal Atatürk (ca. 1881–1938) to uncover the Byzantine mosaics of Hagia Sophia. Whittemore and his team uncovered fragments of sixteen figural mosaics in the vault southwest of the gallery. When in 1934 Hagia Sophia was secularized, Whittemore was able to uncover additional mosaics, work which continued over the next eighteen years. See Wendy Shaw, "Museums and Narratives of Display, from the Late Ottoman Empire to the Turkish Republic," in Muquarnas, An Annual on the Visual Culture of the Islamic World: History and Ideology: Architectural Heritage of the "Lands of Rum," 24, ed. Julia Bailey, Sibel Bozdoğan, and Gülru Necipoğan (Leiden: Koninklijke Brill, 2007): 270 and n. 47. From what has been discovered by now, it is certain that the original plan, under Justinian, didn't provide for any figure mosaics at all. There were only crosses and formal (most of them textile) patterns. As you'll have realised from the photos, of the interior, the space available for mosaics isn't large in relation to the building, for all the interior, up to the spring of the semi-domes, is wainscoted in marbles. Thus, apart from the vaults, the gallery vaults and walls and those of the narthex, the mosaic surfaces are limited to the cupola and its pendentives, the semi-domes, the soffits of the huge main arches, and the spaces, between the windows (3 tiers of them), under the N and S main arches supporting the cupola (see plans in Whittemore's Thomas Whittemore (1871–1950), an American art historian, was born in Cambridge, Massachusetts. He graduated from Tufts College in Massachusetts with a BA degree in English in 1894 and took graduate courses at Harvard University through 1898. Beginning in 1902, at Tufts College, he gave lectures on ancient and medieval art and, by 1906, on art history. Whittemore met the art connoisseur Matthew Prichard (1865–1936) when Prichard was at the Museum of Fine Art, Boston. Prichard introduced Whittemore to the artist Henri Matisse (1869–1954), who became his life-long friend, and to Byzantine art, which became his passion. In 1911, Whittemore became the American representative for the British Egyptian Exploration Fund and participated in the excavations at Abydos and Balabish. He taught art history at New York University between 1927 and 1929 with the rank of assistant professor. In 1930, he established the Byzantine Institute of America in Boston with a research center in Paris and a field office in Istanbul. In 1931, he began the work in Istanbul of uncovering the Byzantine mosaics of the church of Hagia Sophia which had been covered over in 1849. Whittemore became keeper of Harvard's Byzantine coin collection in 1933 and was named a research fellow in Byzantine art in 1938. He retired from Harvard in 1942. He died in 1950 in Washington, D.C. A character modeled on Thomas Whittemore, Professor Darchivio, appears in Edith Wharton's novel Glimpses of the Moon (1922). reports). Here, there is plenty of figure mosaic, all of it post-iconoclastic-struggle, of course. Much of this mosaic was sketched by Salzenberg Wilhelm Salzenberg (1803–1887), a German architect who surveyed Hagia Sophia in 1851–1852. a century ago, when the Fossati Gaspare (1809–1883) and Giuseppe (1822–1891) Fossati, brothers and Swiss architects who undertook renovations in Hagia Sophia in 1847–1849. carried out their restoration and uncovered as much as they could (only to cover it up again), but not all. Whittemore has already found a lot unknown to Salzenberg.
Wllittemore's two published reports, which you've seen, deal with the vestibule and the narthex. In the vestibule, there is recul "Distance." enough to see the composition of the Virgin and the two Emperors, over the door leading into the narthex, and the light is good. The prostrate Emperor (Leo VI, late IXe cent.) before Christ in the lunette over the central one of the 9 doors leading from the narthex into the interior, is not so fortunate.
The lunette is too high, too narrow the narthex, relatively, for this picture. Only by retreating through the door leading into the outer narthex (exonarthex), can one see it, pretty well. I felt that the artist had been cramped by the position and size of the lunette to be filled by the composition desired by Leo the Sage (who like many sages, was a very foolish person). The artist made up for all this by pulling off a most astonishing symphony, or better synchromy, in pale buffs and golds and dark silvery greens – but there it is: the original Justinian cross, when all is said and done, was better adapted to the space.
The narthex, facing W. whence much rain comes, has suffered, in the vaults especially, and the mosaic there is pretty patchy (also in the ground of the Leo VI composition), a lot of the Fossati paint remaining to fill up holes.
Inside the church, aside from some very beautiful textile-pattern mosaics which have been freed, W. has concentrated on the S. gallery and the E. semi-dome. Here he has made magnificent discoveries. You've perhaps seen photos, of some of them, but I'll go ahead just the same: Imperial portraits. Deesis group and Virgin and Child.
The Imp. portraits are on the E. wall of the S. gallery. Two groups of them: 1) Constantine X Monomachos and his Empress Zoë, with Christ between them, all life size or a trifle over; 2) John II (καλοριάννυς = Handsome Jack) with his spouse Irene (a Hungarian princess, and a regular butter-blond, with a fat Gretchen-like Gretchen, a fictional character from Faust by Johann Wolfgang von Goethe (1749–1832). mug, and two long braids of yellow hair like Melba Dame Nellie Melba (1861–1931), an Australian operatic soprano. doing Gretchen A frequently-sung role for Nellie Melba's was that of that house was Marguerite (Gretchen) in Charles Gounod's opera Faust, which she had studied under the supervision of the composer. ) the Virgin between them and, L. of Irene, their son Alexios.
Group 1) has been marred by having all three faces redone: I can't imagine why. It must have been, done not very long after the original work. Group 2) is very well preserved – down to the waist, about; for below the waist all the cubes of these groups (including the Deesis) had evidently been poked out by Turkish guardians to give as souvenirs to visitors.
The Deesis, also in the S. Gallery, has rather less left than the others, but it is a marvel of beauty – all 3 heads: the Christ, the Virgin and St. John Baptist.
This is by far the most beautiful mosaic I've ever seen, and it shows where Daphni comes from, and the Sicilian mosaics. Its perfection and accomplishment, in drawing, colour and cube-setting, are amazing. Looking at it, I felt that if Rubens could have seen it, he'd have sat up and sneezed – It has all his lightness of touch and of colour, richness of impasto. Until one has seen that, one doesn't know what XI cent. mosaic is. Even the Pródromos Greek for "the forerunner." (St. John B.) at Daphni pales a bit before this Pródromos – tho' it's honourably near, and very grand. (I don't know if I told you in my card, but I went to CP via Saloniki, The fourteenth-century Byzantine Church of the Holy Apostles in the Greek city of Thessaloniki. Hosios Loukas The mid tenth-century Byzantine Church of the Theotokos (Panagia) in the monastery of Hosios Loukas in Boeotia Greece. and Daphni, The eleventh-century Byzantine monastery of Daphni in Athens, Greece. and end July I saw Palermo The twelfth-century Norman-Byzantine Church of Santa Maria dell'Ammiraglio (the Martorana). and Cefalú, The twelfth-century Norman-Byzantine Cathedral of Cefalù. so I had these things in my eye).
The Virgin in the E. semi-dome is on a colossal scale – I suppose some 6 metres tall – but I'm not good at sight measurements. She is a grand vision, seated on her throne, with the Child in her lap. When one is on the face of the mosaic – it was still being worked on when I was there one sees that the cubes forming her robes are all of varying shades of green (a surprising colour for her to wear) descending to almost black. But when one retreats as far as the scaffolding allows one, (one can't see her at all from the floor at present) her robe becomes blue: A full marine blue. The Child's is gold, with brown shadings. A (to me) unaccountable detail: the cushion the Virgin is seated on is green, with yellow lights. When one is on the mosaic, the green in the cushion seems to be of the same green as much of that in the robe. Well, when one goes back, and the robe becomes blue, the cushion stays green! Is it kept green by the yellow lights? Is the robe turned blue by the apparently black (blue-black perhaps) shadings?
The semi-dome that carried this Virgin collapsed towards the middle of the XIVe Cent., was promptly rebuilt and the present mosaic was executed about 1350, The apse mosaic is now traditionally dated ca. 867, having been inaugurated on March 29, 867 by the Patriarch Photius (ca. 810–893). with the aid, as Whittemore says he has contemporary literary evidence to show, of subscriptions collected in Russia. It is clear that the present mosaic reproduced as closely as possible that which was lost when the semi-dome fell – the earlier one is known to have been very celebrated, and many copies of it on a small scale no doubt existed. The artists seem to have tried to work in a style several centuries earlier than that of the XIVe, which is well-known from the CP mosaics of that date in the Chora (Kahrié Djami) The eleventh-century Church of the Holy Saviour in Chora (Kariye Djami), Istanbul. and the Pammacháristos (Fetieh Djami) The eleventh-twelfth-century Byzantine Pammakaristos Church (Church of the Thotokos Pammakaristos) (Fethiye Djami), Istanbul. and the Apostles at Saloniki. And with much success, though on close inspection the system of drapery gives the thing away. Iconographically, they were faultless. Morey, Charles Rufus Morey (1877–1955), an American art historian and professor and chairman of the Department of Art and Archaeology at Princeton University between 1924 and 1945. He was best known for his expertise in medieval art and his Index of Christian Art. of Princeton, was at CP just before me. W. took him up and showed him the E. semi-dome Virgin – without recalling the collapse of that semi-dome in the XIVe – Morey, on seeing it, said "Yes, certainly Xe cent.; perhaps even IXe." Which is a neat illustration of the limitations of the iconographic approach to Byzantine art.
By the way, this story – and everything else in this letter – is highly confidential. W. begged me to regard all I saw as confidential. I can't believe he meant it literally, but you know him and can judge. I pass the seal of secrecy on to you.
Well, the foregoing is what has been uncovered so far, in figure mosaics.
W. Thomas Whittemore. is now working on a huge archangel, on the S. face of the arch in front of the E. semi-dome. On the same scale as the Virgin, he was one of her two guards.Whether his colleague, on the N. face, is preserved or not W. doesn't yet know.The partially-preserved Archangel Michael mosaic, north side of the bema of the apse. But the one on the S. face is very well preserved indeed: enough tests have been made to establish that. And he may be of the early Macedonian period: X or even IX – after 842, The Second Iconoclasm period, between 814 and 842. when images were finally restored. You may imagine with what thirst I await the revelation.
Then, there's a Pentecost This mosaic probably was destroyed in the Istanbul earthquake of June 1894. – the 12 Apostles with the Holy Ghost descending on them, in the S. gallery vault, near the Deesis – and God knows what all. The whole thing is going to be an incredible revelation of Byz. art of the capital itself, at the highest power, during the Macedonian period, with Comnenian and Paleologue stuff as well. Its importance for the history of Byz. art is, I should almost venture to say, greater for the post-iconoclastic periods than that of all the mosaics known hitherto. Indeed, I don't think this statement is an exaggeration. Of course, there are schools which, as far as one can tell at present, don't seem to be represented at S. Sophia, where only art of the most accomplished, metropolitan, courtly, polished, was admitted. There's probably nothing there in the vein of S. Sophia at Saloniki The eighth-century Byzantine church of Hagia Sophia, Thessaloniki. – and I adore those rather wild, fauve, Matisse-like apostles and angels, so remote from the courtly, but so enchanting. Nor like Hosios Loukas in Phocis. But S. Sophia CP represents the central Byz. stream, there's no doubt about that, and all the rest is more or less excentric. The discovery of the CP mosaics is by far the most important event in the whole annals of Byz. studies.
Whittemore is doing his work well. Happily, the fabric of S. Sophia – barring earthquakes and explosions – gives rise to no anxiety. If W. had run into the necessity of rebuilding piers and arches and vaults, as Marangoni Luigi Marangoni (1872–1950), an Italian architect and the proto or custodian of the Basilica of San Marco in Venice. See Otto Demus, The Church of San Marco in Venice: History, Architecture, Sculpture (Washington, D.C.: Dumbarton Oaks Research Library and Collection, 1960), 198. has had to do in Venice, he wouldn't have been able to apply his technique, and as he isn't an architect he presumably would have had to pass. But given the state of the S. Sophia structure, his technique is excellent – couldn't be better, and he is applying it with increasing skill and resourcefulness as he gains experience.
He has had most trouble with the mosaics on which the Fossati worked most – i.e. those in the narthex, and they were the first he tried his hand on. W. at any rate started on the principle that the Fossati campaign was part of the history of S. Sophia, and should be preserved where it does not obscure original Byz. work. Thus, in the Leo VI lunette, where the Fossati filled up a hole with plaster and then painted on it in imitation of mosaic, or reset cubes (the whole thing was afterwards covered up with plaster and paint, of course) W. has left the Fossati daubs, and there are not a few of them in the field of the Leo VI group, producing a disconcertingly patchy impression. I think he'd have done better to remove all the Fossati stuff, and to have reduced the plaster to a neutral tone by the excellent expedient, which he applies elsewhere, of rubbing with cob-web: as he says, the colour of Time.
I conveyed this criticism gently to W., and he said that if he'd known, when he started, all he knows now, he'd very likely have done this. There's no harm done, and he can still do it – it wouldn't be a big job – in the Leo VI lunette, The formal designs in the Narthex vault, which have been treated in the same way, present a bigger problem (in time), and one that is much less urgent than the prosecution of the work on the figure mosaics inside the Church. Here, on those he has uncovered so far, there's no Fossati daubing at all. The Fossati's never found these mosaics. And there may be none on any of the inside figure compositions. W. proceeds, first to consolidate, and then to clean. In order to consolidate, however, he has to find out what there is left, and thus has to remove the oil paint with which the Fossati covered all the surfaces that are not marble-sheathed, first of all. He does this, and all the subsequent cleaning, by mechanical means, without acid or liquid, even water, thus avoiding any running of the Fossati paint, in solution, into the interstices between the cubes. He just works away with a variety of tools, scraping like a dentist cleaning teeth.
Of course the oil paint can be chipped off without the infinite care that has to be lavished when the light plaster couche under it is removed. But even the removal of the oil paint is a very long business. When he has got it off, he sees the cubes (tho' not their colour) and can feel, with his hand, what state the intonaco that bears them is in. Very often it has blistered off the brick wall, is just hanging like blistered wallpaper, and has to be consolidated before anything further is done.
He proceeds, first of all, to anchor the mosaic island, and so to prevent it from shifting on the wall, it or any part of it. He does this by surrounding the mosaic with a zone of new plaster, full of copper clamps which he runs into the brick (or stone) of the wall, the heads being embedded in the plaster. When this has been done, he consolidates the mosaic itself by means of smaller copper clamps, of hairpin shape with the two ends bent at right angles. All over the mosaic, in places where a cube or two are missing, he inserts these clamps, running them through the intonaco (which carries the mosaic) and a couple of inches into the wall behind. All that appears on the surface are the bent-over ends – usually imbedded in new plaster filling old holes, or if the chink is very small, the heads are left visible, and as they are about the size of a small cube they can only be distinguished when one is right on the face of the mosaic.
The mosaic has thus been pinned securely onto its wall, and at the original level (which is necessarily disturbed when new cement is squirted in to bind the blistering intonaco to the wall, as at Ravenna). And this level, with its intentional irregularities, is a component part of the mosaic.
Then starts the endless business of cleaning off the coating of plaster, done as with the paint by exclusively mechanical means, and dry: no acids, no liquid. Some 25 different tools, of metal, wood, glass, wire-brushes and air-syringes to blow the dust out of crannies, so that the intonaco's own colour may show, also. Where cubes are wobbly, they have to be fixed with new intonaco, which is then reduced to neutral tone (like the holes that have to be plugged) with cob-web. W.'s men, English and Americans, the best of them lent from the Brit. Mus. and the Office of Works, proceed with the greatest care, and W.'s eye is on them all the time. The results, especially where there is no Fossati problem, appear to me to be admirable. He never replaces a cube.
Happily, the Turks regarded these mosaics as heretical and to be covered up, certainly, but with no little awe. When covering them, they took care not to injure them. The Moslem of course regards Christ as a prophet, and the Virgin, Bibi Miriam, as a very great celestial personage – also the angels. When it comes to Christian Saints, he might be less respectful, but even here he'd tread warily, lest he might incur the wrath of some malevolent and puissant being. So there was, in all probability, no Turkish destruction of these mosaics. The weather, esp. in the W. and N. galleries, caused enormous losses – huge surfaces of mosaics just having fallen out – and of course the Turk did nothing to hinder the process until the Fossatis were called in a century ago. But he didn't destroy wilfully except what the cube-hunting visitors, and guardians supplying them, did in the galleries, and even there they seem to have spared the faces, and equally important, he didn't try to restore, as the Italians have done.
It seems too good to be true that there is such a mass of the noblest mosaics ever created, waiting there to be revealed. What irony that this should be at the moment when El Greco's masterpieces at Toledo are reported missing! All this to be had, if W. finds the money to proceed. And I needn't say that in the whole field of art, there's nothing that seems to me to touch this work, for importance, and for the unutterable joy these things give when they are uncovered.
W. was very kind to me, allowed me to spend all the time I wanted, during the 4 days I spent at CP., on the scaffoldings, to see his men work, talk with them, examine everything. He gave me no photos – and I, knowing my W., asked him for none, except of things he has already published. I think, and certainly hope, we've found a modus vivendi. Of course I'll do all I can to support and help him – the work is of such compelling splendour that there can be no question of sparing any trouble to that end – and I only wish I could be sure of doing something effective. All I ask of him is to give me photos, of everything he publishes as soon as he has published it. He has promised he'll do this.
The object of this letter, besides relieving my feelings at not having had you there, is to put it to you that when you next come to Europe . . . I'll say no more.
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HYATTSVILLE, Md. (WUSA) -- On a day when many restaurants are closed for the holiday, one Hyattsville hot spot couldn't be busier, serving up hot turkey meals for the homeless.
Carolina Kitchen's owner has been doing this for 10 years. He closes his restaurant to patrons but opens his heart to the homeless.
They came by the busload.
Greeted with the signature hello:"Welcome, welcome, welcome!"
And their famous cornbread muffins
Three-year-old Kennedy and her mother Kendra Smith enjoyed a hot meal at Carolina Kitchen turned soup kitchen on Thanksgiving.
"An opportunity to have a good meal and feel welcome, I'm thankful for a lot," Kendra said.
They've hit a rough patch just like Ebony Henderson and her 10-year-old son, James. "Times are tough but we're making it through."
She's been living at a homeless shelter for the past five months, but still has much to be thankful for.
"We are so blessed to be here today," she said.
Volunteers haven't stopped cooking since Wednesday and they plan to serve more than 500 meals Thursday, and that's on top of the hundreds that have been pre-ordered and are being delivered to area shelters.
Lance London is Carolina Kitchen's owner.
"Makes me feel good inside, makes my staff feel great inside, folks give to us all year round and it's only right for us to give in this incredible time of year. When I see those faces, it makes it oh so special," he said.
He remembers starting this tradition 10 years ago, when only 15 people came to his restaurant, and now marvels at how much the need has grown.
"I truly believe if you're helping others, you get what you want. My father taught me that years ago," he said.


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Outreach Throughout the Community
The mission of the Heart of America Shakespeare Festival is to make Shakespeare's works accessible to a diverse audience through professional theater and educational programs. Through outreach and learning activities presented in the park during the Festival's free summer production, our signature Camp Shakespeare program, a city-wide sonnet and poster contest for young people, The Shakespeare Studio, and workshops, performances and residencies presented in schools throughout the city, education programs are part of the vision and year-round work of the Festival. Raising the bar for young people by asking them to understand and delight in Shakespeare is not an unreal expectation. It is our mission.
HASF Education Programs on Facebook
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Meet the Teaching Artists
The Festival's education staff includes the finest teaching artists in the city. All of them are dedicated theatre professionals, many who have worked with the Festival for numerous seasons as actors, stage managers and assistant directors.


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Pear, Kieffer Dwf 1-3'
Item #6498 Pyrus communis
|Plant Height:
|Ground Condition:
|Well drained
|Hardiness Zone:
Ordering Information
|Pear, Kieffer Dwf 1-3', (Reg. $13.49) (Qty 1)
|Pear, Kieffer Dwf 1-3', (Reg. $26.79) (Qty 2)
Hardy and blight resistant, this Dwarf Kieffer pear is a late season pear that grows well in most parts of the country. Excellent flavored fruit with golden skin and crisp white flesh. Ripens in October and stores well. They bear fruit abundantly, generally starting the second year. The Kieffer Dwarf Pear tree grows only 8-10' tall and several make a beautiful ornamental lawn grouping. Shipped 1-3' trees.
Needs another variety for a pollinator. Other dwarf pear varieties include the Bartlett.
This Dwarf Kieffer tree is also available in the Postage Stamp Orchard Collection.
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This is the most popular apple grown in England and is becoming a favorite in the U.S. We now have a good supply of the popular variety which produce ...
Grow full-size fruit on this dwarf tree! Moorpark Dwarf Apricots have the best flavor of all apricots. Extra large, sweet and very productive. Frees ...
Elberta Dwarf Peach trees are beautiful little trees that grow only 6-8 feet tall but produce the same size fruit as standard trees. With their beaut ...


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1975 Dodge Dart Factory Stripe Install - Easy AccentsWritten by on December 14, 2010 Installing Factory Stripes On Our Dodge Dart Sport
One of the many things that Mopar vehicles are known for is the use of accents. Be it hoodpins or emblems, to the sometimes over-the-top use of decals and even stripes, accents were, and still are, a big part of Mopar's eye-catching appeal.
Quite some time ago, when we finished our Dart Sport project, we told you we would show you how easy it was to install the stripes. Well, this led to that, and we regrettably forgot to print the tech article about it. Luckily, we're hands-on when it comes to working on our cars, so even though it's been a while since we did the install, we actually remember how easy it was, so we can write the article.
Installing this or any stripe is only as easy as you make it. If you take your time, think the process through before you begin, and use the right tools, you should have no problem. When we ordered our stripe kit from Phoenix Graphix, we were informed about a new application lubricant that would help our install. Their Slide-On application gel can't guarantee the perfect application of a stripe, but it will provide you with enough time to help you get it as correct as possible. The contents of the gel resists drying until you are ready to squeegee it out from underneath the vinyl surface, allowing you to position and reposition the stripe for the proper fit. Only after squeegee'd out from under the stripe does the graphic "set up."
The stripe on our Dart Sport can possibly be considered one of the harder "one piece" (actually, it comes in several sections, but when installed on the car it is one continuous stripe) stripes to install, but we were confident we could handle it. Our stripe runs the length of the car, up over the roof, and then back to the front of the car. Avoiding any wrinkles or fold-ups is not that hard to do if you take your time.
The install took a good half day to complete, but the results were exactly what we wanted-the stripe fit the body lines of the car, and the application gel really came in handy. Now our Sport has the look that Mopar designed, and it's a fresh new stripe which looks great.
More Photos From This Article View Slideshow
Although the stripe is one continuous stripe around the car, the kit from Phoenix Graphix is divided into sections (just like the originals) to ease installment.We began our install by placing the door stripes in place first. The door stripes have more obstacles like latches and sometimes locks that need to be avoided, so starting here ensures that your stripe doesn't interfere with them later.Before removing any of the stripe's backer paper, installing the stripe and holding it in place with masking tape helps keep things aligned later.Once you have the stripe completely positioned on the car, carefully cut the masking tape at the edge of the stripe's protective covering and remove the stripe from the car. The reason for the masking tape now becomes apparent. When you actually reinstall the stripe permanently, you can use the masking tape as a guide.Applying the new Slide-On Application Gel from Phoenix Graphix definitely made the job easier. Using your hand, apply a liberal amount of the gel to the area where the stripe will be attached. This gel allows you to move and position the stripe to the exact spot you want it.With the gel applied, position the stripe where you want it, and slowly and carefully start remove the air and excess gel from under the stripe with a squeegee. Remember, once the gel is removed from under the stripe, it ain't moving, so be careful.Continuing back from the door, what is probably the most difficult stripe to align is the quarter-panel to roof stripe. This stripe needs to follow the body line and transition onto the roof with getting any wrinkles in it. Again, the gel makes it easy, as it allows movement of the stripe until it is finally positioned.With the driver side installed, we smear the gel on the passenger side to start that stripe. Notice that the roof stripe is still only temporarily installed, as it's used as a guide for the passenger side. Once the passenger side is installed, the roof stripe can be positioned joining the two quarter to roof stripes and affixed.
Once you have the protective covering removed, you may find some small bubbles under the stripe. These can be removed by poking them with a small pin to allow the air to escape.


text: I agree with CrimsonArrow. It's a great opportunity to go to Co and buy an OTC tag and give it a try, way better than sitting at home and reading everybody else's stories about hunting them. I've had plenty of expensive "hiking trips" to Co with bow and OTC tag in hand, but I keep going because sometimes it works out.


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Generals marching without Arnold
Huntington coach Brandon Cassell said his full complement of starters wasn't on the field in either of the Highlanders' two losses to Winfield during the regular season. But when the teams get together in a Class AAA Region 4 semifinal at 6:30 tonight, it will be the host Generals' lineup that will be incomplete. Starting centerfielder Barrett Arnold was ejected from Winfield's game at Point Pleasant on Friday and by rule must sit out 10 percent of the season, which means three games. The Generals have relied on Arnold's offensive production all season as the senior has hit .365 with a pair of home runs and 24 stolen bases. His situation just adds to a game that's swirling with unique storylines but Winfield coach Will Isaacs said he and his players are moving forward. "We're trying to put it behind us and move on," Isaacs said of Arnold's ineligibility. "It happened, and we're going to have to deal with it. Obviously it changes our team a little bit, but we're not going to cry around - we're going to practice well, try to play well, and compete." Isaacs said Arnold's replacement would be a game-time decision but didn't hesitate in listing Mason Dillon as the Generals' starting pitcher. Dillon will have to contend with a tested Highlanders lineup that had to get through tough games against Spring Valley and Cabell Midland in its section. "[Spring Valley and Cabell Midland] are in our conference and we played each team four times, so we knew everything except for their shoe sizes, I believe," Cassell said. "Our guys have been playing against these kids since they were 12 and they had beat them at Huntington High and we finally put an end to it this year and it's a good feeling. We're battle-tested." Tested and, by all accounts, peaking. The Highlanders feature seven hitters with a minimum of 50 at-bats with batting averages over .300. Joey Mundy leads the Huntington hit parade with a .380 batting average and a team-high 39 RBIs. Mundy has struck out an incredibly low six times in 108 at-bats. "Really, two and a half or three weeks ago, we just started hitting the ball on the screws," Cassell said. One thing is for sure, the Highlanders (18-16) haven't been able to get their offense on track against Winfield so far this year. The Generals edged the Highlanders 3-2 in the first game and rolled 15-3 in the second. But Isaacs will be the first to say that the second game was an aberration and not the norm. "The second game's score is not indicative of the type of team they have," Isaacs said. "Both times we beat them, they put the ball in play, so we've got to make plays and we can't give them any free bases." Cassell believes whichever team makes the fewest mistakes will have a drastic advantage. "We want to get on base and play fast," Cassell said. "We can't play fast enough. We want to put the ball on the ground because high school kids will make mistakes. They're a great team and they hit the ball well. If we aren't fundamentally sound, it will be tough to beat them." Both of the squads' previous two matchups involved more drama than just a couple of Class AAA wins for the Generals. It was in the first matchup with Huntington that Winfield's Dusty Kincaid was struck in the face by a line drive while pitching. Kincaid was hospitalized and forced to miss the rest of season. In fact the only action Kincaid saw after the incident came in the second matchup between the teams when he threw out the first pitch as part of a benefit held at Huntington High School. If nothing else, Winfield (17-14) has already shown the ability to overcome adversity and will have to do so again without Arnold. But Isaacs is convinced his team can and will rise to the occasion. "We've said all year long that each day we come to the field, whether it's practice or a game, we try not to let the result of the previous day dictate how we approach that day," Isaacs said. "Our kids have done a really good job with that. They always have a good attitude, they work hard and they enjoy playing. They don't mope around - every day they come to work hard and that's one thing I love about this team." Dillon is 8-1 with a 1.67 ERA with 51 strikeouts in 67 innings pitched, while Zach Gunter leads Winfield's offense with a .402 average with five home runs and 30 RBIs. Ben Haer is hitting .388 for Huntington with a team-best four home runs and 29 RBIs. Cassell said lefty Stephen Holland will likely start on the mound for Huntington. Holland sports a 2.29 ERA with 63 strikeouts in 58 innings. Reach Ryan Pritt at 304-348-7948, firstname.lastname@example.com, or follow him at twitter.com/RPritt


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Your skin is incredibly resilient and capable of recovering from even deep wounds; however, when damage mars the surface of the lowest levels of skin, the dermis, cells multiple quickly to repair the tissue and often result in scarring. Scars in highly visible areas like the face, arms and neck can have a negative impact on your self-esteem and decrease your self-confidence. Knowing how much safe, effective treatment for scars can improve people's quality of life, a team of medical scientists developed the ScarFade brand and first released it for sale in 1998.
ScarFade products are enriched with silicone, which is used in hospitals to help treat wounds and minimize scarring. With regular use, the brand's products can help even out your skin tone and eliminate discoloration to make a variety of scar types less prominent. The formulas found in ScarFade products are designed to be incredibly lightweight, so that they are undetectable underneath makeup and extremely comfortable to wear. Stop worrying about the appearance of scars anywhere on your body by discovering the effective products available from this brand.
On one level, of course, a scar is a good sign: evidence of your body's natural healing capacity. That said, however, a particularly visible or long-lasting example can whittle away your self-confidence. For anyone fed up with a persistent patch of scar tissue, the ScarFade approach offers hope: the brand's gel products, formed from a mixture of medical silicones, can diminish the visibility of scars and boost their healing.
Raised scars may result from excess or flawed layering of collagen over an injury (that collagen coat is a natural healing salve produced by cells called fibroblasts). ScarFade, which has been in existence since the late 1990s, utilizes medical silicones—long used in clinical scar treatment—to diminish the extent and severity of scarring.
In addition to its flagship ScarFade Scar Gel, the brand produces the Laserfade Gel—stocked with antioxidants on top of the silicone complex—to mitigate the scar damage stemming from laser skin treatments and to protect recently treated skin from harmful ultraviolet A and ultraviolet B exposure.
The ScarFade gels are hypoallergenic and gentle enough for use on the face and on sensitive skin.


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For my own enjoyment, I've been writing a piece of software to procedurally generate worlds.
The features so far:
Very loosely simulates tectonic faults
Generates fractal terrain (diamond square algorithm) that combines with the faults
Generates random island/continents (fractal radius)
Loosely Simulates river erosion (still needs improvement)
Simulates climate (based on latitude, earth-type prevailing winds, altitude, humidity, and proximity to ocean)
The project is written entirely from scratch in VB6 (no plugins, libraries, etc). It hasn't been optimized at all yet, so it takes a couple of minutes to run through the whole generation process. I have been very inspired by the Shamus Young's Terrain and Project Frontier blog entries (http://www.shamusyoung.com/twentysidedtale/?cat=66)
My wishlist
3D viewing (I have no experience with 3D programming or textures)
Zooming (generating a deterministic closeup of a particular region of a world map on the fly)
Near instantaneous world generation (probably impossible)
I'd like to hear your input on how the results looks so far, on what would be the most beneficial things to add to the simulation, etc.
Visually they're fairly nice, if standard.
The maps won't work on a sphere, which is a problem for world maps. Since you're coding from scratch, if you can figure out how to generate your terrain on a sphere that would be an advantage. An alternative approach may to generate a continent at a time then place it on the world map reprojecting as appropriate.
I can see some arc-like artefacts in the topography.
A known issue of most random terrain generators is mountains being too central. If you can reproduce situations like the Andes where appropriate that would be great.
Regarding zooming in - I reckon if you basically use the world-scale elevation data to "seed" the fractal algorithm for generating more detailed stuff, that lets you add the detail deterministically without having to generate everything straight away.
I am a geology nerd.
I don't know how to make it wrap onto a sphere without transitioning the whole project to 3D. Which is something I'd like to do, but will require a steep learning curve first.
The arc-like artifacts are intentional (which doesn't mean they're correct). I designed the fault lines to follow a sine curve with amplitude that varies from straight to about a half of an "S" shape. If this is wrong, what would be a more plausible shape to use?
I can definitely do offset mountains as I am calculating the slope on each side of the fault separately. Any idea on how often this feature should appear?
I'm working on improving the fractal seeding with a scaling factor and depth.
Thank you for your great comments!
I could imagine using this! Maybe you should make it be able to export a wilbur MDR file? Just thought.
The first thing for making the map make sense on a sphere is to remember that for a rectangular map, the top and bottom lines are actually points (the North and South poles). Therefore, the entire top and bottom edges of the map need to be either all continent or all ocean.
Faults are usually great circles on a globe. They do indeed become sine waves on the map. I think it's rather that they're not normally so "crisp" on continents.
Major transform boundaries - where one side moves sideways with respect to the other - are not too common on continents. The San Andreas is the best known; others include some around Turkey and one through New Zealand.
I am a geology nerd.
eVile_eAgLe, I might consider it if there was really good documentation on the MDR file format. For now the project can save BMPs (and import them too, if you wanted to use it for the climate calcs and erosion simulation).
Taking a break from features in order to refactor the code and data to make it object oriented. I read a bunch about map projection equations, so hopefully I'll be able to address the wrapping issue soon.
I eagerly await the return of this!
The MDR file format is a simple format that consists of a 1024-byte header followed by a raster block of 32-bit floating-point samples. Byte order of all fields and data is Intel order (LSB first). The VC++ structure definition for the file header is shown below:
There is a problem with 32-bit MDR vs. 64-bit MDR files embodied in the pointers in the structure. There will likely be an offset from 32-bit vs 64-bit files.Code:// make sure we're aligned on 2-byte boundaries for this declaration #pragma pack(push) #pragma pack(2) // map structure definitions struct MDRHeader { union { struct { char Chunk[4]; // name of chunk - should be "WLBR" int Next; // offset in file to next data (unused) char Name[256]; // name associated with the data (unused) double Left; // min longitude double Right; // max longitude double Top; // max latitude double Bottom; // min latitude double Min; // lowest point on surface double Max; // highest point on surface double XRes; // distance between X points (right - left) / XSize double YRes; // distance between Y points (top - bottom) / YSize int Version; // version number (unused, should be 0) int TypeInfo; // type information (should always be 0) char SurfName[8]; // name of data block (unused) void** SurfData; // pointer to surface data (unused) char PicName[8]; // name of picture block (unused) void** PicData; // pointer to image data (unused) int XSize; // width of blocks int YSize; // height of blocks }; // struct struct { char Padding[1024]; // make the structure 1024 bytes long }; }; // union }; // MDRHeader #pragma pack(pop)


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Worked With:
Bebe Neuwirth
Birth Name: Bebe Neuwirth
Born: 12/31/1958
Birth Place: Newark, New Jersey, USA
Born: 12/31/1958
Birth Place: Newark, New Jersey, USA
By this time, her sharp, dark beauty had brought her to the attention of Hollywood. Neuwirth began doing cameos as Frasier Crane's repressed siren wife on "Cheers" (NBC). She continued as a semi-regular character through 1992, and has reprised the role from time to time on the spin-off "Frasier" (NBC, 1993-2004). Her other TV work has been spotty. Neuwirth had supporting roles in the 1990 dramas "Without Her Consent" (NBC), as famed attorney Gloria Allred, and "Unspeakable Acts" (ABC). She also appeared on the short-lived dark fantasy series "Wild Palms" (ABC, 1993). "Dear Diary", a failed ABC sitcom pilot in which Neuwirth portrayed an editor and diarist, was released in 1996 as a short fil... Continue Bio >>
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The previously isolated Kievit district has developed into an international entrance area for the city due to the new TGV station. After earlier realization of the first phase with mainly high-rise offices, the city of Antwerp made an urban plan for the second phase containing a mix of homes, offices and public facilities, and with more space to create a green public domain. For the design of the public space of the Kievit phase 2 area, five design teams were selected to provide a vision and sketch design.
Continue reading Kievit in Green | Antwerp Belgium | BUUR and Hosper with ARA


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Share the victories, challenges, successes and special concerns of bicyclists 50 and older. Especially useful for those entering or reentering bicycling.
Use this control to limit the display of threads to those newer than the specified time frame.
Allows you to choose the data by which the thread list will be sorted.
Order threads in...
Note: when sorting by date, 'descending order' will show the newest results first.
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GRE Prep Schedule
Click on a term for schedule information.
The term for a particular class is based on when the class ends, not when it begins. For example, a course beginning in April and ending in July is a summer class, and you will find it in the summer schedule. Please check the current term plus the next term to determine all of your schedule options.
Note: no classes held on the following holiday weekends: Martin Luther King Day, Presidents Day, Easter, Memorial Day, July 4th, Labor Day, Thanksgiving Day, Christmas Day, and New Year's Day.


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By Stephen Sater & Duncan Sheik
Based on the play by Frank Wedekind
Performances: November 7, 8, 13, 14, & 15 at 7:30pm
November 9 & 16 at 2pm
Auditions: September 2, 3, & 4
This fall, 36 students joined the Math Sciences professors for a day hike in the Mt. Hood wilderness. The day concluded with BBQ and games at a professor's cabin.
Every day, Americans go to school as students, teachers, staff, or administrators, in dilapidated buildings with unsafe toxins, dwindling budgets, and outdated technology. To overcome these limitations, the Center for Green Schools has launched a national action plan for educating for sustainability. The plan, which addresses both the curriculum and facilities management of schools, provides a series of actions to ensure that by 2040 every student graduating from a K-12 school will be equipped to shape a more sustainable future.


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Call our certified SCUBA Instructors
Mon - Sat - 8AM - 6PM PST
Heavy duty inner tube makes a rugged stable float. Dont try to use a vinyl pool toy as it will not stand up and they dont have a rugged valve. At first, the tube was lopsided with one section bigger (fatter) than the rest of the tube but it evened out in a couple of weeks. People I know have told me that they have not had to replace this tube after even 12+ years of use.
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299 out of 566 people found this review helpful.
large stable dive float. extra pocket for stowing flat items (wet notes, laminated items, rolled up dive flag, etc). very durable material dont get the cheap plastic/nylon covers as they will not last. i personally know someone that did and it didnt even last the first dive. mesh bottom for good draining. large size has plenty of room for anchor, and line. four sturdy handholds 90° apart. metal grommet for flag pole. only weak feature is the plastic ring on the bottom for the anchor line. i replaced it with a 2-1/2 stainless steel split ring. i do not use a standard fiberglass rod for the dive flag pole. instead, i bought a replacement bungeed tent rod kit and made a collapsing pole that is held together with 1/16" shock cord running down the center of the hollow fiberglass shafts. you can by a kit at many camping supply and sports stores.
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Corporate Office: Scuba.com, 1752 Langley Avenue, Irvine CA 92614
949.221.9300 / Toll Free 1.800.347.2822


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A huge "Thanks!" to the team over at Fila for sending me the following press release involving the addition of budding fashionista James Blake to the brand's stable and his collaboration on a signature collection:
Fila announced today that it has entered into a collaboration arrangement with ATP World Tour star James Blake to develop a collection of men's apparel and footwear. The collection will incorporate the heritage of the Fila brand with a contemporary twist inspired by Blake's signature style. He will collaborate with Fila's design team to create a co-branded collection. The yet to be named collection will target today's active male and will be the basis for the development of a long-term licensing business for Blake.
The collection will include tennis, golf, fitness and lifestyle apparel, performance and lifestyle footwear and accessories for men. Fila and James Blake will also explore other product categories as opportunities arise in the market. The collection will debut with a limited collection of tennis and fitness apparel that will be unveiled just before the 2009 US Open in New York. The collection will officially launch for the Spring Summer 2010 season.
James will wear Fila branded or co-branded tennis apparel and footwear exclusively on court and he will be featured in Fila's worldwide marketing efforts. He is the first top ten American male in over ten years to sign with Fila. James will debut in Fila's Collezione Apparel Collection and the Fila Alfa shoe at the Australian Open in Melbourne.
"We are delighted to have the opportunity to work with an athlete of James Blake's caliber," said Gene Yoon, Chairman of Fila. "Fila has been associated with champions in tennis and other sports for over 35 years. We are certain that through our collaboration with James, we will create a range of products that combines the rich style of our historic brand and James' active and sophisticated lifestyle."
"I have always had an affinity for the Fila brand," said James Blake. "Ever since Borg graced the courts of Wimbledon in Fila, I have always been attracted to the Italian style, grace and sophistication of the Fila brand. My collaboration with Fila is much more than an endorsement arrangement. It will serve as the foundation of a business venture that I that will continue to build for years to come."
Fila has a long and distinguished history in the world of tennis. The company has endorsement agreements with several ATP Tour and Sony Ericsson WTA Tour athletes, is a major sponsor of the Sony Ericsson Open, Tennis Tournament at Indian Wells, and the Campbell's Hall of Fame Tennis Championships and is the footwear licensee with The Championships at Wimbledon.
Congrats James! I wasn't sure about the move to Fila from Nike but if they're offering you an opportunity for a post-tennis business venture, the development of a signature line, and the ability to be creative, I say it's a very smart one.
UPDATED: Okay here's one for the funny file. Thanks to DtL reader (with the sharpest eyes) Allison for tipping me off to some obviously photoshopped images of James Blake on his website. It seems someone in the J-Block was wielding a busted magic eraser and removed the Nike swooshes from some of his clothing in the pics but forgot a few pesky ones here and there. Nice job.
Was it a bitter divorce? You decide.
See below:
(image via tennisweek.com)
Wednesday, January 14, 2009
(UPDATED) More on Blake the budding fashionista, to develop signature performance + lifestyle collection for Fila
Labels: fashion, Fila, James Blake, sports marketing, style, tennis
7 comments:
If you visit James Blake's official Web site you'll notice that someone has photoshopped the Nike swoosh off of his photos. Some photos look better than others. haha.ReplyDelete
OMG! So funny - great eyes Allison. I guess it wasn't an amicable divorce.ReplyDelete
hahah, fking classic.ReplyDelete
- AnonymousJanuary 14, 2009 at 12:08 PM
I'm happpy for him. I like Blake. At least he'll have a career after tennis which could be coming to an end.ReplyDelete
Other changes. The Scud, Mark Philippoussis, is now a user of Wilson's K-Blade Tour, with lots of lead, and Quicksilver clothing. He'll be playing in a legends' doubles match at the OZ Open.ReplyDelete
Video and interview:
Good for James. I will look foreward o seeing his collection when it makes its deput at the US Open.ReplyDelete
I found a pic that stlll has a Nike swoosh on it: http://www.jamesblaketennis.com/new_images/04_15_hopman.jpgReplyDelete


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Strength Seamed Tank Top
Style: T042
This simple, classic tank top has long darts in the front and graceful seaming down the back to enhance the fit as it lies gently on the body. It is a bit longer than the cami with a square-ish, scoop neckline.
92% Organic Cotton 8% Lycra
92% Organic Cotton 8% Lycra
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text: Photo Gallery Space Pictures This Week: A Space Monkey, Printing a Moon Base Iran sends a monkey to space, Curiosity makes tracks, and Andromeda shines in the latest space pictures. PUBLISHED February 6, 2013 0 1 / 7 Printing a Moon Base The European Space Agency (ESA) announced January 31 that it is looking into building a moon base (pictured in an artist's conception) using a technique called 3-D printing.It probably won't be as easy as whipping out a printer, hooking it to a computer, and pressing "print," but using lunar soils as the basis for actual building blocks could be a possibility."Terrestrial 3-D printing technology has produced entire structures," said Laurent Pambaguian, head of the project for ESA, in a statement.On Earth, 3-D printing, also known as additive manufacturing, produces a three-dimensional object from a digital file. The computer takes cross-sectional slices of the structure to be printed and sends it to the 3-D printer. The printer bonds liquid or powder materials in the shape of each slice, gradually building up the structure. (Watch how future astronauts could print tools in space.)The ESA and its industrial partners have already manufactured a 1.7 ton (1.5 tonne) honeycombed building block to demonstrate what future construction materials would look like.—Jane J. Lee Illustration courtesy ESA/Foster + Partners Winter Wonder Like a beacon drawing the eye skyward, this picture of Yosemite's Half Dome taken January 19 showcases the stars that shine over this famed valley. The clear winter night evokes the crisp bite of a Sierra Nevada evening. (Read about a new generation of superclimbers pushing the limits in Yosemite, from National Geographic magazine.) Photograph by Wally Pacholka, TWAN Space Monkey Pictures released January 29 by Iran accompanied an announcement that the country had successfully sent a monkey into space. Reports from The New York Times and the Associated Press stated that the rocket went straight up to a height of about 72 miles (120 kilometers), just to the edge of space, and then came back down with its live payload.People began questioning the veracity of Iran's claim when they noticed that photographs showing the monkey strapped into a protective chair (pictured) and at a postflight event seemed to show two different individuals.Mohammad Ebrahimi, a senior Iranian space official, told the Associated Press on February 2 that the pictures were of two different monkeys, but that Iran had indeed successfully sent one of them to space.Ebrahimi explained the discrepancy by saying that they had trained three to five monkeys to make the trip, but used the one that was best suited to the mission. He said that some of the pictures were archived shots of researchers preparing the monkeys for launch. (Related: "The Unsung Heroes of the Space Program.") Photograph from European Pressphoto Agency Solar Somersault In an image released January 23, NASA's Solar Dynamics Observatory (SDO) caught a solar prominence bursting from the surface of the sun. Sometimes known as solar filaments, extreme ultraviolet sensors on the SDO caught the evolution of the prominence over seven hours. (Learn about the secrets of the sun.) Image courtesy SDO/NASA Martian Tracks The High Resolution Imaging Science Experiment (HiRISE) on board the Mars Reconnaissance Orbiter snapped a color, high-resolution image of Curiosity's landing site in an image released January 30.The two white spots on the right side of the photograph are where the sky crane's rockets blew away surface materials as it delivered the red planet's latest rover.HiRISE also picked up Curiosity's track marks (darker double lines) leading away from the landing site, wandering over the Martian surface like a curious snail leaving a slime trail. (Learn how Curiosity sent home a self-portrait.) Image courtesy U. Arizona/NASA Celestial Eye This new image of the Andromeda galaxy, taken by the European Space Agency's observatory Herschel and released January 28, reveal the temperature variations in the rings of dust swirling around our galactic neighbor.Using a powerful infrared sensor, Herschel reveals that the center of the Andromeda galaxy hosts dust at warmer temperatures (colored blue) than the outer reaches of its rings, where dust hovering a few degrees above absolute zero reside. Image courtesy NHSC/Caltech/ESA/NASA See More of Our Favorite Space Pictures Image courtesy SDO/NASA Related Stories Week's Best Space Pictures: How Huge Black Holes Are Born Last Week's Caption Contest Winners Week's Best Space Pictures: See a Supernova's Glowing Ghost


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Junior Seau, one of the NFL's best and fiercest players for two decades, suffered from a degenerative brain disease often associated with repeated blows to the head when he committed suicide last May, the National Institutes of Health said in a study released Thursday.
The NIH, based in Bethesda, Md., said Seau's brain revealed abnormalities consistent with chronic traumatic encephalopathy or CTE. It said that the study included unidentified brains, one of which was Seau's, and that the findings on Seau were similar to autopsies of people "with exposure to repetitive head injuries."
Seau's family requested the analysis of his brain.
The star linebacker played for 20 NFL seasons with San Diego, Miami and New England before retiring in 2009. He died of a self-inflicted shotgun wound.
He joins a list of several dozen football players who were found to have CTE. Boston University's center for study of the disease reported last month that 34 former pro players and nine who played only college football suffered from CTE.
"I was not surprised after learning a little about CTE that he had it," Seau's 23-year-old son Tyler said. "He did play so many years at that level. I was more just kind of angry I didn't do something more and have the awareness to help him more, and now it is too late.
"I don't think any of us were aware of the side effects that could be going on with head trauma until he passed away. We didn't know his behavior was from head trauma."
That behavior, according to Tyler Seau and Junior's ex-wife Gina, included wild mood swings, irrationality, forgetfulness, insomnia and depression.
"He emotionally detached himself and would kind of 'go away' for a little bit," Tyler Seau said. "And then the depression and things like that. It started to progressively get worse."
The NFL faces lawsuits by thousands of former players who say the league withheld information on the harmful effects concussions. According to an AP review of 175 lawsuits, 3,818 players have sued. At least 26 Hall of Famer members are among the players who have done so.
Seau is not the first former NFL player who killed himself, then was found to have CTE. Dave Duerson and Ray Easterling are the others.
Dr. Russell Lonser, who oversaw the study, said Seau's brain was "independently evaluated by multiple experts, in a blind fashion."
"We had the opportunity to get multiple experts involved in a way they wouldn't be able to directly identify his tissue even if they knew he was one of the individuals studied," he said.
The National Football League, in an email to the AP, said: "We appreciate the Seau family's cooperation with the National Institutes of Health. The finding underscores the recognized need for additional research to accelerate a fuller understanding of CTE.
"The NFL, both directly and in partnership with the NIH, Centers for Disease Control and other leading organizations, is committed to supporting a wide range of independent medical and scientific research that will both address CTE and promote the long-term health and safety of athletes at all levels."
NFL teams have given a $30 million research grant to the NIH.
"You can't deny it exists," Gina Seau said, "and it is hard to deny there is a link between head trauma and CTE. There's such strong evidence correlating head trauma and collisions and CTE."


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The SMART Thesaurus shows synonyms, related words and phrases that make up this topic.
You might be also interested in these topics from the Mathematics & arithmetic topic area:
Ultraviolet light has a wavelength that is after the violet (= light purple) end of the range of colours that can be seen by humans. Light of this type causes the skin to become darker in the sun.


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ibm.com Community
Vision 2012, 1068 Managing IT Risk and Compliance with IBM OpenPages ITG
Erwin Boeren 270002C43V firstname.lastname@example.com | | Tags:  itg and 1068 vision with governance compliance management managing openpages cloud it grc ibm risk 2012 | 0 Comments | 4,190 Visits
Managing IT Risk and Compliance with IBM OpenPages ITG (Track 1068)
At IBM Vision 2012, Tuesday May 15th, 1:15 – 2:15 pm I will be presenting Managing IT Risk and Compliance with IBM OpenPages IT Governance.
In this session I will take you through the results of the IBM CIO Study 2011 that was recently published and guide you through the IT Risk related subjects.
Do you want to understand how Big Data, Cloud, Regulatory Pressure, Business Continuity Management, Disaster Recovery, Identity and Access Management, Segregation of Duties, Automated Controls and Endpoint Controls will influence your GRC strategy?
This all comes together in IBM Smarter IT Governance, Risk and Compliance.
Hope to see you in Orlando next week!
Twitter : #Vision12
Blog post by Erwin Boeren
Senior Governance, Risk & Compliance specialist IBM
Twitter : http
LinkedIn : http


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Authentication to SMTP as some domain user <user>@<domain> keeps failing when the domain is other than the host name (or the domain that was created at installation time). The message on the server is:
Oct 10 17:20:45 host saslauthd[11583]: auth_zimbra: <user> auth failed: authentication failed for <user>
Oct 10 17:20:45 host saslauthd[11583]: do_auth : auth failure: [user=<user>] [service=smtp] [realm=<domain>] [mech=zimbra] [reason=Unknown]
This happens with TLS set on & off in SMTP authentication on the server. Restarting saslathd as suggested in another forum thread didn't help either
Authenticating as any user of the hostname domain works fine.
Sending & receiving from the web interface works fine for all domains.
Is this a DNS issue? Any hints so I can investigate it further?


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Athletics Home
Sports in the News
Softball Outlook Bright Under New Coach Tantlinger
New Pasadena City College women's softball head coach Monica Tantlinger knows the hard work that it takes to move a program in the right direction. Her experience includes her coaching in NCAA Division I programs like Cal State Fullerton (player and coach), UC Riverside, and Purdue University. She hopes to teach her PCC student-athletes the value of "work ethic" as they enter a new season in 2014.
While Tuesday's Robinson Park season opener didn't go the Lancers way, a 9-0 loss to perennially strong Antelope Valley, Tantlinger was excited to see her team in game action and get her head coaching debut out of the way.
"Part of the process is learning from defeat," she said. "One thing that I like about our team make-up is that we have a group that isn't short on confidence, and players who are already buying into how important it is to go hard and fight hard every at bat and every inning. It's going to be exciting to watch them improve and reach their potential."
The Lancers have a strong sophomore base with the return of All-South Coast Conference players in infielders Katelyn Thordarason (.392, 29 RBI), a shortstop last year who is moving to third base, and Audrey Serna (.408, 26 RBI), who will play both first and second base this season. Catcher Allison Lacey (.274, 20 RBI), first baseman-designated player Sara Quintero (.284, 24 RBI), and outfielder Vanessa Contreras (.270, 14 RBI) are also key lettermen.
Newcomer utility player Breanna Rodrigo (Temple City High, .321 batter as a senior) could be the most talented of 10 incoming freshmen. Rodrigo already showed some of her versatility in the opener in being the starting pitcher before also playing centerfield and shortstop in the contest.
"One of our team strengths is defense," Tantlinger said. "We have some strong arms and good gloves in the outfield and infield. Our pitching is going to be a work in progress, but we can turn to two starters in Rodrigo and Casey Ramirez. We also have a group of players that can play a variety of positions, so we have flexibility."
Ramirez, a lefty who returns from two seasons ago, shined in relief against AVC as she hurled 3-1/3 innings of 5-hit ball with no earned runs (three unearned). Ramirez picked up three wins and hurled 67 innings as a PCC freshman in 2012.
The rest of the Lancers 2014 roster includes sophomore outfielders in Elizabeth Luna and Viviana Ordaz as well as shortstop Maddy Gianoli (all three returning from the 2012 team). The freshmen class has potential regulars in Vanessa Cortez (infielder, Bell), Karen Najera (infielder, Maywood Academy), Samantha Duran (infielder, San Gabriel High), Alejandra Villasenor (second baseman, Glendale's Hoover High), and Justine Zavala (second base, Los Altos). Other first-year collegians are Alissa Barcena (pitcher-OF, Hoover High), Estelle Glorioso (infielder, Providence), Lyandra Opbroek (infielder, Covina), and Jennifer Pegg (pitcher-DP, Temple City).
The Lancers next will play in the College of the Desert Best on Grass Tournament on Friday-Saturday, Jan. 31-Feb. 1. PCC will play two games under the lights at Civic Center Park on Friday beginning with a 5:30 p.m. game v. Imperial Valley, then an 8 p.m. contest v. host COD.
[Photo--Third baseman Karen Najera puts the tag on an Antelope Valley runner during the Lancers' season opener Tuesday at Robinson Park, image by Richard Quinton, sports information photographer.]
Release Date: 01/29/14


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Jun 25 2009
Garage Blueprints: One Set of Plans Stamped "Not for Construction"
Sometimes, when building a new garage, it may seem that it is only necessary to purchase one set of blueprints. However, before buying stock garage plans it is important to know that a single set of plans is stamped "not for construction." This complete and stamped set of construction drawings is considered a study set and is intended for review only. With a stamped set of garage plans, you can view the blueprints in more detail and obtain bids and estimates for the materials and labor of your building project.
Once you've reviewed the garage plans and decide to proceed with construction, you can upgrade your blueprint package to a greater set of blueprints. Most garage plan publishers allow upgrades for a limited time. This means you will only be required to pay the difference in cost between a single set of blueprints and a greater plan package. At www.thegarageplanshop.com customers have 90 days to upgrade a single set plan package to a greater blueprint package.
Other important notes:
If you order a one-set plan package, be aware that shipping charges apply again when you upgrade your blueprint package.
Building permits cannot be obtained with a stamped set of garage plans.
It is considered copyright infringement to copy or build from a set of garage plans that is stamped "not for construction" and doing so is punishable by law.
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1960s-era Willys Gassers - The Hack BrothersWritten by Eric Geisert on February 24, 2014 Contributors: Grant Cox The World's Smallest Willys Club
As fun as it is when you're totally absorbed in the act of finding, repairing, building, and driving a hot rod, there is no greater joy than doing the exact same thing with a few like-minded buddies who will go to the same depths as you.
The Hack Brothers isn't really a car club, nor are any of the participants related to each other, unless you closely examine their hot rod DNA, which is where you might find the common thread: a love for the 1960s-era Willys Gassers.
Jump on the computer and look up "Gasser Wars" or "Willys Gasser" and you could spend the rest of your life reading up on the slice of hot rodding history that dominated dragstrips of the mid 1960s.
But long before there were personal computers in everyone's homes (let alone in everyone's pockets), these four fanatics found each other through their common love of Willys and started hanging out while each other built their respective rides.
Whether they show up in force at hot rod functions in the Midwest or just roll into a local parking lot in their hometown of Joplin, Missouri, people take notice. And as much fun as it would be to take any one of these coupes down the highway, there really isn't anything better than cruising down the street in a Willys Gasser, only to look in the rearview mirror to see three more of your friends bringing up the rear in their rides.
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Inside the original steel body is a pair of 1963 Thunderbird bucket seats and a polished connecting rod for a column drop that works with a simple column from Speedway Motors and three-spoke wheel. John Kimbrough made the dash insert, which is filled with Classic Instrument gauges. The coupe does have air conditioning, provided by a Vintage Air rear mount.Halibrands, 15x4 and 10s, are wrapped in 135SR15 rubber up front and Hurst racing slicks (10.50x15) out back. The rear fenders were radiused back in the 1960s to accommodate the bigger meats. Ed Frier painted the coupe PPG Porsche Red with the Sign Shop doing the graphics, including the "Suicide Ride" gold leaf on the doors.Currently a 1969 350 Chevy (with Olds valve covers) bored 0.030 over occupies the engine compartment. Posey's Performance built the small-block with 11:1 compression, and it's topped with a pair of Holley carbs and a BDS 6-71 blower system. Backed to a TH400 trans, the engine lives up to its potential, but Chuck wouldn't mind installing a 394 Olds someday.Terry used wood from shipping pallets to make the insert for his dash, which was then filled with Classic Instrument gauges. Seating came out of a Volkswagen, and the rollbar was in the car when he bought it 44 years ago.Terry used a stock Willys axle, so adapting the American Motors disc brakes was something of a chore. Out back a 1957 Olds rear is still in the car, and ET III wheels (15x4.25 and 8s) are found on each corner. Terry also painted his car pitch black with Dupont acrylic lacquer back in 1985, and fellow Hack Brother Mike Fogerson helped Terry add the flames.You can't estimate how many hot rods have been outfitted over the years with a 327 with three-twos like Terry's 1939. The Cyclone headers dump exhaust out the fenderwells, and a 1973 Chevy four-speed trans helps Terry select the gears.VDO gauges found a home in an owner-fab'd dash insert in the otherwise-stock Willys dash. Volkswagen bucket seats were recovered in the same material used throughout the interior by Jim and the other Hack Brothers, and the foursome also created the coupe's rollbar.Sam Charles did the bodywork on Jim's 1939 before he covered it with DuPont Intense Blue paint. The Sign Shop added the coupe's graphics, including the "Gone Postal" to each door for the owner, a mail carrier. The Hack Brothers also radiused the rear wheelwells before the Mickey Thompson–wrapped 15x10 American Racing wheels were added. Rocket 15x4 wheels, shod in tiny 125R15 rubber, are at both ends of the dropped tube axle.Under the twin Holley 1850 carbs and the BDS blower is a 1972 Chevy 350, bored 0.020. Posey Performance built the powerplant using a Scat crankshaft, Speed Pro pistons, a COMP camshaft, and a compression ratio of 9:1. Modified Speedway fat-fender Ford headers extract spent gases, and a B&M-equipped TH400 was built by Gales Transmission.
A 1962 Chevy 327, bored 0.030 over, is the base for Mike's powerplant, and was assembled by racer Howard Knowels using TRW forged flat-top pistons, a blueprinted Crane camshaft, and a forged steel GM crank. Induction comes from a pair of Holley carbs and a GMC 6-71 blower, set up with a two-belt system. A TH400 trans is augmented by a B&M Shift Improver Kit.Mike painted his 1938 (which has a 1940 front clip) with Dupont black lacquer back in 1985. It still looks good, 28 years later! The big-window Halibrand wheels are correct for the Gasser, especially when they're shod in Firestone and Hurst rubber.


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Design by: Maggie Weldon
Skill Level: Easy
Size: Santa: About 6 ½″ across; Snowman: About 6″ across.
Materials: Yarn Needle; Worsted Weight Yarn;
Santa: 20 yd Red (R); 40 yd White (W); 10 yd Pink (P); Two 20 mm Oval Moveable Eyes;
Red Heart Pony Bead; 1″ Brass Bell; 7 mesh Plastic Canvas Strip, 6″ x 1″; 6″ Plastic Canvas Circle;
Hot or Craft Glue; Dish Towel.
Snowman: Small amount White (W), Black (B), Blue (Bl) and Orange (O); 3 Snowflakes Sequins;
6″ Plastic Canvas Circle; 7 mesh Plastic Canvas Strip, 6″ x 1″; Two 8 mm Beads for Eyes;
Eight 6 mm Beads for Mouth; Hot or Craft Glue.
Crochet Hook: Size G-6 (4.00 mm) and H-8 (5.00 mm) or sizes needed to obtain gauge.
Santa and Snowman Towel Toppers Crochet Pattern
Don't forget your kitchen needs some decoration during the holiday season. If you aren't sure what kitchen crochet projects are the best for your space, check out the Santa and Snowman Towel Toppers Pattern. This quick and easy pattern will put a festive feel in your kitchen. This two charming towel toppers are perfect for the holiday season with their happy faces and bright colors. Towel toppers will bring delight to your family and friends that visit your kitchen. These toppers are not only the perfect crochet decoration, but they also serve a practical purpose. You will also have a fresh towel with holiday flare waiting for you to use. Crochet Christmas projects are fun to make, and give you a break if you are making larger items.
Santa and Snowman Towel Toppers Crochet Pattern is an easy Christmas crochet pattern. Any crochet skill level can stitch these cute kitchen accessories up in no time flat. You will be so happy you took the time to add some festive flare to this important space in your home after completing the crochet towel toppers. The finished Santa is about 6.5 inches across, and the finished Snowman is about 6 inches across. Both pattern use a worsted-weight yarn, which you might have in your yarn stash already. Santa and Snowman will bring the jolly ambiance that you need in your kitchen. You provide the towel to hand under the topper and change it as often as you like to refresh your holiday kitchen atmosphere.
Other popular Christmas and holiday crochet patterns include:
Santa Toilet Cover
Christmas Tree TP Topper Crochet Pattern
Vintage Christmas Doilies Crochet Pattern
Christmas Ornaments Set 2 Crochet Pattern
Soft Sculpture Christmas Trees Crochet Pattern
Christmas Through the Home Crochet Pattern
Christmas TP Toppers Crochet Pattern
Have a Merry Christmas with these Crochet Patterns!
Shipping Policy
Orders are generally shipped within 1-3 business days of the order being submitted to us. We ship orders Monday, Wednesday and Thursday each week with the exception of any major US holidays. Our shipping and handling charges include the costs for Customer Service, processing and postage. Shipping and handling is non-refundable. We accept payment through PayPal, Visa, MasterCard, and Discover Card. We do not accept Cash, Checks or Money Orders; please do not send these to us!
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Our policy lasts for 60 days. If 60 days have passed since your purchase was made, unfortunately we can not offer you a refund. To be eligible for a return, your item must be unused and in the same condition that you received it. It must also be in the original packaging. To complete your return, we require a receipt or proof of purchase be sent with your return. Please do not send your purchase back to the product manufacturer. There are certain situations where only partial refunds are granted: Books with obvious signs of use Any item not in its original condition, is damaged or missing parts for reasons not due to our error. There are certain situations where no refund will be granted: CD or DVD that has been opened Clearance/Bargain Items - Only regular priced items may be refunded, unfortunately Clearance/Bargain items cannot be refunded.
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Maggie's Crochet Brand offers download versions of most of our products. Adobe Reader is required when opening the patterns. If you do not have Adobe Reader installed on your computer or device, you can download it here: http://get.adobe.com/reader/. Please note: Using other programs such as Preview or PDF Complete will cause printing errors and more. Due to the nature of downloadable products, we cannot and will not refund the cost of the item. If the item is a Maggie's Crochet Brand pattern, we can generally mail the pattern to you if you are having trouble downloading. Shipping and handling charges will have to be charged using a credit card by phone. Some downloads are not available to ship out - these are noted and all sales are final on those products. If you are not sure, please contact customer service.
Copyright Policy
Any person in violation of our copyright will be prosecuted to the fullest extent of the law. This site is owned and operated by Maggie Weldon Designs. All the content on this site, including but not limited to photographs, pattern designs, logos and text is owned by Maggie Weldon Designs. All materials contained on this site are protected by both United States and International copyright laws and may not be reproduced, distributed, transmitted, displayed, published or broadcast without the prior written permission of Maggie Weldon Designs. You may not alter or remove any trademark, copyright or other notice from copies of the content. A copy of downloaded patterns may be printed by the purchaser, for personal use only and are not to be distributed. Items made from Maggie's Crochet patterns may be sold, however a notice must be attached to each item giving credit to both Maggie's Crochet and the pattern designer.


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Austin, TX (Sports Network) - David Ash completed 25-of-31 passes for 364
yards and two touchdowns, lifting the 19th-ranked Texas Longhorns over the
Iowa State Cyclones, 33-7.
Johnathan Gray carried the ball 14 times for 74 yards and two scores for the
Longhorns (8-2, 5-2 Big 12), who have won four in a row. Joe Bergeron rushed
for 86 yards on 12 carries.
Jaxon Shipley caught eight passes for 137 yards and Mike Davis hauled in seven
passes for 113 yards and a touchdown for Texas, which racked up 609 yards of
total offense.
Steele Jantz connected on 15-of-29 passes for 133 yards with one touchdown and
two interceptions for the Cyclones (5-5, 2-5), who have dropped two straight.
Texas honored former coach Darrell Royal, who passed away on Wednesday, by
lining up in the wishbone formation on its first offensive play of the game.
Royal introduced the wishbone to college football in 1968. Instead of a run,
the Longhorns ran a trick play that resulted in a 47-yard catch by Greg
Daniels. Texas ended up punting the ball away.
The Longhorns, though, did score a touchdown on their second possession of the
game. Ash completed passes to Davis, Shipley and Gray. Daje Johnson followed
with a 16-yard run to move the ball to the five. Gray's 5-yard TD run made it
a 7-0 game.
After Iowa State went three-and-out, Ash threw a 61-yard touchdown pass to
The Longhorns had a chance to add to their lead following Carrington Byndom's
interception of Jantz. However, Anthony Fera's 32-yard field goal was blocked
early in the second quarter.
The Cyclones tried to get on the board with a field goal, but Edwin Arceo's
53-yarder was off the mark.
Texas followed with a 9-play, 65-yard scoring drive. Davis caught a 14-yard
pass on 3rd-and-6 near midfield, while Shipley hauled in a 26-yard pass on
3rd-and-7 from the Iowa State 34. Barrett Matthews capped the march with a 3-
yard TD catch. Fera missed the extra point to keep it 20-0 with 2:53 left.
The Cyclones finally got on the board on the ensuing possession, as Quenton
Bundrage caught a 14-yard touchdown pass.
Nick Jordan made a 37-yard field goal early in the third stanza to make it a
23-7 game.
Gray's 13-yard TD run with 12:32 remaining in the fourth made it 30-7. Jordan
added a 25-yard field goal later in the period to account for the final
Game Notes
Texas leads the all-time series by a 9-1 margin ... Royal, who was 88 years
old, is Texas' all-time winningest coach.
The Sports Network