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Photographer: Michael Hanson
About Town
The island-wide speed limit never tops 35 mph, so bicyclists sometimes move at too fast a pace for this town on a tiny, white-sand sliver about 50 miles south of Tampa. Anna Maria, on the north end of the 7- by 2-mile island, holds 1,800 people on its quaint seaside point. (The entire island has only 8,500 residents.)
There are no high-rise condos or greasy golden arches. Gulf Drive cuts down the center, and canals branch off from the interior, creating a plethora of water-accessed homes. Instead of a car, it's more likely you'll use your bike, kayak, or flip-flops. You know the nights are quiet when turtles choose your beach to lay their eggs.
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Home >> Rectange Shaped HSS Milling Mill Engraving Lathe Turning Cutting Tool Bit Boring Cutter 5mm x 35mm x 300mm
|Product Name
|Lathe HSS Tool Bit
|Silver Tone, Gray
|5 x 35 x 300mm/ 0.2" x 0.13" x 12" (T*W*L)
|Package Content
|1 x Lathe HSS Tool Bit
- This handy mini lathe bit is a great way for any metalworker to add to the versatility of their lathe.
- Used for fabrication of cutting tools for milling, turning, parting, engraving, drilling, punching, etc.
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subset: commoncrawl


text:
ARSC T3D Users' Newsletter 7, October 7, 1994
List of Differences Between T3D and Y-MP
I'm assembling a list of differences between the T3D and the Y-MP for user's reference. The current list looks like:
- Data type sizes are not the same (Newsletter #5)
- Uninitialized variables are different (Newsletter #6)
- The effect of the -a static compiler switch (this Newsletter #7)
The Effect of the -a Static Compiler SwitchOn the Y-MP, the compiler switch, -a static, is usually benign but sometimes very useful, but on the T3D it must be handled carefully. By default the allocation method on the T3D and Y-MP is "stack mode". Local variables are allocated on the stack when a function or routine is executed and the stack space is returned on the exit of the function or routine. The default "stack mode" can be overridden by using the -a static flag. In this "static mode", each local variable will be allocated to the data partition of the memory. It will have that address for the life of the program, not just on the stack address for the duration of the call.
The -a static flag is useful for initializing local variables with the value zero on the Y-MP (see Newsletter #6), and for preserving a local variable between calls. Many old Fortran codes actually depend on this "feature". Even several of the LAPACK routines do not perform correctly unless compiled with the -a static flag.
While working with LAPACK public domain sources, I noticed big changes in the compile times and the library size when using the -a static flag.
-a stack(the default) -a static Y-MP compile time(seconds) user 537 508 system 156 155 library size(bytes) 2,996,428 3,435,124 T3D compile time(seconds) user 1444 2474 system 275 373 library size(bytes) 4,596972 52,303,988It almost doubles the compile times. It is a big surprise to see a factor of 12 increase for the size of the library.
Also in execution speeds the effect of the -a static flag is dramatic. Here are some execution times for the Livermore Loops on the Y-MP and the T3D:
-a stack(the default) -a static Y-MP(M98) program time(seconds) 46.30 47.24 harmonic mean(mflops) 15.69 15.91 T3D program time(seconds) 53.75 149.78 harmonic mean(mflops) 8.33 2.35So whereas the -a static had little effect on compile times, program sizes and execution speeds on the Y-MP, it has large negative effects on the T3D and should be used carefully. But it is also important to get the the right answers regardless of the cost.
Y-MP System Activity Generated on the T3D.At least three users in the past two weeks have experienced the somewhat hidden effects of the client for a T3D job. Each T3D is launched from the Y-MP by one job running on the Y-MP and maybe several of these jobs will service the T3D job throughout its execution. These jobs are called the clients. These clients provide several services to the T3D job:
- Launch
All I/O activity
- file I/O
- I/O to the user's screen
- PVM communication between partitions
- CPU limit enforcement
- Termination
- Probably a lot more
denali : Top Process Display 09:11:43 Interval: 10 Passes: INDEF Times : System(=) User(*) Total (all CPUs) 397% +0--------20--------40--------60--------80------100+ mppexec 35228 31% M ============*** mppexec 35227 31% M ============*** lapwit 63724 27% M =***** mppexec 5225 26% M ===========** a.out 15349 24% =****** m553 34867 24% =****** 11oneway.e 43838 24% =****** irs 26457 12% ******* NOMAD3DNEW 25099 9% **** nfc3d.x 500 6% M =** acous 81366 6% *** na631D_hib6E 16309 6% M *** p133B_hib6Ew 53498 6% M *** na631D_hib6E 16273 5% M ** standard.x 58444 5% ** dtns3d.test 28340 5% ** p133B_hib6Ew 53499 5% M ** p131A_tib6Ep 17655 5% M ** p131A_tib6Ep 17656 3% M = cylf2d 27158 1% = p131A_tib6Ep 17649 1% M(To get this display you must enter a x once the initial display is shown, a q will exit from the display.) Using csam, a user can optimize an application to reduce the system overhead on the Y-MP. This is important because the Y-MP at ARSC is already close to 400% utilization. I went over my own PVM application and made several changes that reduced the activity from sometimes 40% of a CPU to 1 or 2% of a CPU. Here are the changes I made:
- The master program of the master/slave implementation was moved from the Y-MP to the T3D. This reduces the number of slaves by one. But it serves the purpose of moving work load from the Y-MP to the T3D.
- The number of pvm_probes was reduced by putting a sleep before the probe to reduce the number of probes per second.
- Originally the I/O to an output file and to the screen was unbuffered with the setbuf command. This was removed and some of the capability was restored with the fflush command.
Memory Usage on the T3DIn the last newsletter, we looked at the two fixed size partitions of the Private PE memory model, code and data. These two areas do not change size during execution, so tools such as mppsize and memsize are very useful for monitoring them. There are two additional areas of the Private PE memory model, the stack and the heap. These two partitions can change size during the execution. Below is a picture copied from the Cray MPP Loader User's Guide SG-2514 1.1, showing the layout of memory and the directions that the heap and the stack grow.
-------------------------- Code -------------------------- Data -------------------------- Heap g r o w t h \ / v --- --- ^ / \ g r o w t h Stack --------------------------The boundary between the stack and heap partition actually is the unused memory of the PE processor.
In the default stack mode of compiling, local variables will be allocated on the stack during the execution of a routine or function. So in the example below, the storage for the array a[ ] will come from the stack partition when the function fromstack() is invoked and will be returned to the stack on exit from fromstack().
#define XXXX 1000000 main() { fromstack(); } fromstack() { int a[ XXXX ]; blahblahblah(); }Using a similar script as in the last newsletter we find that the array a[] could have about 1,500,000 elements and fails with the error message:
User core dump completed (./mppcore) Operand range errorLocal variables in main also are allocated from the stack but they remain there for the entire execution. Variables allocated with malloc (and its relatives) are placed on the heap.
We can investigate the behavior of allocation from the heap using the above program and a shell script similar to the one used in the last newsletter. Again we find that about 1,500,000 integer values can be allocated on the 2MW T3D node. This method of allocation has the benefit that a user is notified within the program that memory is exhausted and it can react before the program aborts.
main( )
fromheap( );
fromheap( )
int *a;
int i;
int sum = 0;
a = (int *)malloc( sizeof( int ) * XXX );
if( a != NULL ) {
for( i = 1; i < XXX; i++ ) a[ i ] = i;
for( i = 1; i < XXX; i++ ) sum = sum + a[ i ];
printf( "Sum of first XXX integers = %d\n", sum );
} else {
printf( "Could allocate enough space for XXX integers\n" );
Current Editors:
E-mail Subscriptions:
Ed Kornkven ARSC HPC Specialist ph: 907-450-8669 Kate Hedstrom ARSC Oceanographic Specialist ph: 907-450-8678 Arctic Region Supercomputing Center University of Alaska Fairbanks PO Box 756020 Fairbanks AK 99775-6020
Subscribe to (or unsubscribe from) the e-mail edition of the
ARSC HPC Users' Newsletter.
Back issues of the ASCII e-mail edition of the ARSC T3D/T3E/HPC Users' Newsletter are available by request. Please contact the editors.


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|GTA V Latest News | #GTAV | #GTAOnline
2009 Chinatown Wars PSP: In Stores Now!
GTA: Chinatown Wars - General News | @ 11:42 AM MDT | By Slim Trashman
The PSP version of Grand Theft Auto: Chinatown Wars is now available from North American retailers and for digital download (527 MB required) via the PlayStation Store for $39.99.
The game will be available in Europe this Friday, October 23rd.
Last night, the first reviews for the game went live and overall received very positive scores, including two 10's from Play Magazine and Videogamer.com, a 9.5 from Now Gamer, a 9 from Eurogamer, and a 4.5/5 from GamePro
Alongside the launch, Rockstar has released a new gameplay video, "Out for Revenge" and another PSP exclusive audio preview from DJ Khalil:
In addition to the celebration of the game's release, new Chinatown Wars features have been added over at the Rockstar Games Social Club:
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text: I'm looking for a way to use old triangle handguards on a carbine upper. I think I remember seeing a company that sold shortened triangle handguars and a front handguard cap that allowed you to use them on a carbine for some kind of retro carbine look. I wanted to see how they did it so I could maybe do some mid-length triangle handguards. Anybody know or remember what the name of that company is?


text:
I have a hive that I think has swarmed before May 2nd. I went into this hive May 2 and saw no queen, no eggs/larve. Just lots of capped brood. I added a rack of larve and eggs from another hive, May 3 to see if they would start making queen cells to see if they were queenless or raising a virgin queen. I checked the rack May 5 and saw only one cell that was started??????? With that info, I assumed that they had a virgin queen that hasn't started laying yet. Should they have started more than one cell if they were queenless? I checked this hive May 13 and still no queen or eggs????? I'm wondering if I should introduce a queen or give some time?
It's been at least 2 weeks since this hive has had any eggs laid. It is a strong hive and I hate to loose it. I would appreciate any help. Thanks, Duane.


text:
Edith Widder:
How we found the giant squid
Humankind has been looking for the giant squid (Architeuthis) since we first started taking pictures underwater. But the elusive deep-sea predator could never be caught on film. Oceanographer and inventor Edith Widder shares the key insight — and the teamwork — that helped to capture the squid on film for the first time.
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- Oceans
- Submarine
- Technology
This talk was presented at an official TED conference, and was featured by our editors on the home page.
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Only Oracle's software and systems span the communications industry technology landscape — from carrier-grade servers, storage and IT infrastructure, to mission-critical business and operational support systems and service delivery platforms; from business intelligence applications and retail point-of-sale solutions to the Java platform running on more than two billion mobile and handheld devices. Oracle helps 100 of the world's top 100 service providers innovate and exploit new business models, build strong, profitable customer relationships, and streamline operations. For more information, visit http://www.oracle.com/us/industries/communications/index.html
Oracle (NASDAQ: ORCL) is the world's most complete, open, and integrated business software and hardware systems company. For more information about Oracle, visit oracle.com
# # #
Katie Barron
Janice Hazen
O'Keeffe & Company


text:
Breaking news related to automated transit networks (ATN – an umbrella term for personal rapid transit (PRT) and group rapid transit (GRT) systems, also known as podcars), along with links where available. Reader beware: we publish links to articles that appear to be newsworthy, without concern as to whether or not they are for or against PRT and without checking their sources. Comment directly on the original article, not here.
On-Demand Levitating Monorail Could Revolutionize Urban Commuting
This unique hybrid maglev-monorail system is more than just a pipe dream. Many people who advocate for public transit also fear opposition from those who are accustomed to being able to move about in an individual manner with cars. In certain circles, this group sometimes seems to have won out. However, a futuristic on-demand 500m monorail test loop being built at the Israel Aerospace Industry (IAI) campus in Lod, Israel combines the best of both worlds and might have you thinking differently about transit. Read More…
Futuristic elevated transport system to be built in Israel
TEL AVIV (Reuters) – California-based skyTran has teamed up with Israel Aerospace Industries (IAI) to construct the world's first public pilot project for skyTran's elevated transit network. A number of skyTran projects are being planned globally, including in India and the United States, pending the success of the pilot in Israel. Read More…
High-Speed, Elevated, Mass Transit Gets Real
SkyTran and Israel Aerospace Industries (IAI) to build a skyTran Demonstration System…skyTran, Inc., headquartered at the NASA Research Park (NRP) near Mountain View, California, and Israel Aerospace Industries (IAI), a company headquartered in Lod, Israel, entered into an agreement today for the construction of a skyTran technology demonstration system (TDS) on the grounds of IAI's corporate campus. Read more….
COMMON GOOD at PCC-2014
If government is supposed to be about the pursuit of common good, then public officials should be thinking of ways for us the people to live in harmony and promote a sustainable general welfare. Auto De-Addiction: Our transportation infrastructure, so heavily weighted to auto addiction, is sadly unsustainable. Do we need an unending stream of new cars, vans and trucks?A Pod-Way Out of Our Dilemma: We, the People of the USA and the World, need preemptive policies to get us out of our auto addiction. There are very strong arguments that investing in pedestrian and bikeway networks provides more benefits per dollar than highway improvements. Read More…
Welcome to Podcar City 8!
Dear attendees, speakers, sponsors and exhibitors – Welcome to the 8th International Podcar City Conference – To the Next Level! Learn from experience, meet the experts and network for a better understanding of the next generation of public transportation – A Podcar comes when you push a button and it takes you directly to your destination. Read More…
ATRA Forum for ATN
ATRA, Advanced Transit Association has initiated a new FORUM where members of ATRA will answer questions related to Automated Transit Networks. ATRA is available to support you if you have, or are considering, an ATN system. Sample topics may include:
- Planning & Design
- Operation & Maintenance
- Information on ATN Systems and Technology
To view or join the discussions, log on to http://www.advancedtransit.org/forums/, register, and start posting your questions!
UP inks over Rs 54,000cr business deals
NEW DELHI: The UP government signed MoUs worth Rs 54,606 crore on Thursday, including a Rs 220-crore (US$37M) project for a personal rapid transit (pod taxi) system in Noida. Twenty-three companies inked a pact with the UP government at its Investors' Conclave in Delhi, some promising to expand existing businesses, and others pledging to set up shop in the state over the coming years. Read More…
Suyzer - Innovative public transportation for people and goods.
We have made a choice….Creative intelligence does not rely on the past. It is more inviting to create a resourceful future instead of preserving the all-consuming past. We have a dream and left behind the legacy of confined business models that are only suitable to those who control them. We want to give and share and in addition make a profit. To reach this goal we had to develop a system that is beneficial to the core of society. A system, that helps people to meet face to face instead of digital. Read More….
Skytran: first contact
The first meeting between the inventor of skyTran, the American Gerald Jay Sanders, and Alain Mollet, project manager for special projects Poma, the Grenoble company ranked among the world's two leading manufacturers of lifts, held Tuesday at the Hotel Palladia. Alain Mollet refused to comment at the end of this presentation he calls "simple handshake." Organized at the initiative of the Association of Friends of skyTran the meeting yesterday morning was aimed at presenting to investors and industrial operation of air shuttle monorail according to Jean-Pierre Plancade, leader of the "Love Toulouse 'list could one day supplement arsenal transit Toulouse. Read More… Note: Translated from French.
SJSU students to unveil their innovative solar-powered Automated Transit Network design at upcoming Maker Faire
In an interdisciplinary effort, San José State University engineering, business, design and urban planning students are determined to revolutionize transportation with their new Spartan Superway, a 100 percent solar-powered Automated Transit Network (ATN), using driverless podcars. The ATN project was first motivated by a solar design challenge proposed by the Institute of Sustainable Transportation (INIST) two years ago, to help cities move toward a more sustainable future. Read more…
Lightweight Transport for a Crowded World
The larger the mass, the more energy is required to move it. In an aircraft more mass means more power is required to keep it in level flight. On a train, car, truck or bus, more mass requires more power to accelerate and more power to keep it moving. Reducing the mass reduces the fuel burned and emissions generated. Read More…
The Heathrow Pod
The Heathrow pod is Ultra Global's innovative Personal Rapid Transit (PRT) system at London's Heathrow Airport, the service provides passengers transport between the airport's Terminal 5 and a designated business car park. The PRT system has been open since May 2011 and has carried close to a million passengers. Mark Griffiths is Ultra Global's Head of Operations and has been in charge of the team of controllers and technicians responsible for the day to day running of the system. Read More… BlogIT-003
Frost & Sullivan Perspective on: The Impact of Driverless Podcars on Dubai Roads
The Personal Rapid Transit (PRT) systems in Dubai are certainly a good first step towards mitigating traffic congestion. In a land where oil is abundantly available and cars are highly affordable, congestion is an obvious challenge. Enticing people to use personal rapid transit and other modes of shared mobility can remove personal vehicles from the roads. However, the biggest challenge is still first- and last-mile connectivity. Read More…
1 Million Mark
On May 22nd at 13.55 hours, the PRT system at Masdar welcomed its 1 millionth passenger. 'This milestone demonstrates the popularity of the technology being showcased at Masdar City,' said Anthony Mallows, Director of Masdar City. 'The PRT system has made a significant contribution to the city's development thus far, and will continue to feature as an important function of the city's transportation system.' Read More…


text:
Preprofessional Degree, 120 Credits
The core of the undergraduate architecture curriculum is a sequence of courses in design, design communications, architectural history, structures, environmental systems, and building technology. Related electives in architecture and a variety of other disciplines are available. The program culminates with an architectural design capstone project.
You may pursue this degree as either a bachelor of science (BS) or a bachelor of arts (BA). The BA degree requires two years (or the equivalent) of study in a foreign language.
The following schedule outlines the typical course of study for this degree:
WPP Exam is required in the junior year. Take pre-reqs of ENG 103 and 104 in the freshman and sophomore years.
ARCH 229 will count for three hours in UCC Tier2 FinArts/Hum/Dsgn. ARCH 401 will count as a Tier 3 Core Capstone Course.
Students may register for ARCH 455 Internship (0 credits) with approval of the internship coordinator. Credit received in ARCH 455 can count toward meeting the master of architecture (M.Arch) professional degree internship requirement.
Second year students: ARCH 405 (3 credits) between second and third year and ARCH 406 (3 credits) between third and fourth year substitute for ARCH 402 fourth year. Third year students: ARCH 405 (3 credits) first summer and ARCH 406 (3 credits) second summer between third and fouth year substitute for ARCH 402 fourth year.
For questions about our bachelor's degree in architecture, contact (James) Rod Underwood, undergraduate architecture advisor.
For course descriptions and complete information on program requirements, please consult the Ball State University Undergraduate Catalog.
Copyright © 2017 Ball State University 2000 W. University Ave. Muncie, IN 47306
800-382-8540 and 765-289-1241


text:
What would happen if people shed conventional wisdom about obesity? They would likely lose a lot of weight, says science and health journalist Gary Taubes, author of the eye-opening book "Why We Get Fat."
Keynote speaker at Touro University's Research Day, Taubes of Berkeley on Wednesday said long-held theories about obesity are not founded in good science, and cause more harm than good.
Touro's Research Day also included doctoral students giving short talks about research projects into a range of topics, including a cancer vaccine, and effects of sugar in fatty liver diseases. Meanwhile, others displayed research projects on posters at a reception in Farragut Inn.
Health risks, such as diabetes and heart disease, associated with obesity are key issues Touro University is addressing with research and community-based projects, university Research Director Alejandro Gugliucci said.
This year's Research Day represented a 25 percent increase in the number of presentations, Gugliucci said. "We're doing some very important research here," he added.
Part of that research included Taubes' talk.
He said that with 43 percent of the adult population considered overweight and a recent five-fold increase in diabetes, it's critical that science takes a new approach.
Long-held beliefs that weight gain is due to taking in more calories than are expended, or that people will lose weight if they eat less and exercise more lacks scientific evidence and should be challenged vigorously, Taubes said.
"Nothing is more damaging or misguided than the calorie in-calorie out" theory, he said.
This conventional wisdom, he said, does nothing to explain why some poor people who do not have enough to eat and lead physically active lives working in the fields or factories still get obese.
Nor does it explain why some people remain thin while others gain even while coming from the same families and leading similar lifestyles, he said.
Over the decades, health officials have clung to this belief, though various researchers have pointed out eating less and exercising more have had marginal impacts on weight loss, Taubes said.
The alternative hypothesis is that obesity is a disorder of excess fat accumulation, not energy imbalance, or over-eating or sedentary behavior, he said.
And what is making Americans so fat and sick is a diet with a heavy preponderance of carbohydrates, substances which lead to insulin production and then further fat accumulation, he said.
Food culprits are breads, cereals, refined grains, potatoes, sweets, fructose and glucose, he said. Instead, people should eat a diet rich in protein (animal or vegetable), plus lots of vegetables, eggs, cheese and certain fruits and fats.
Contact staff writer Sarah Rohrs at email@example.com or (707) 553-6832. Follow her on Twitter @SarahVTH.


text:
Dennis Haynes
(Photo by Patrick R. Dunn)
Interim dean named for College of Public Policy
By James M. Benavides
Public Affairs Specialist
(Oct. 9, 2008)--UTSA Provost and Vice President for Academic Affairs John Frederick has appointed Dennis Haynes interim dean of the College of Public Policy. The chair of the Department of Social Work, Haynes will fill the position as Jesse Zapata, the college's first dean, takes on additional duties as vice provost and chief academic administrator for the UTSA Downtown Campus.
Today's headlines
- La Prensa Foundation is newest member of UTSA Lone Star Society
- UTSA alumna Jordan Kaufmann wins $50K for new stent-graft start-up
- UTSA begins new way-finding sign installation this summer at Main Campus
- USA Today: UTSA long jumper Tyler Williamson rescues three-year-old boy
Article tools
Haynes holds a bachelor's degree in family relations from Brigham Young University, a master of social work degree from California State University and a Ph.D. from Florida State University. He joined the UTSA Department of Social Work in 2003 and chaired the accreditation process, earning accreditation for the program in 2008 from the Council on Social Work Education, the field's national accrediting body. The social work department has grown from 17 students in its first cohort in 2005 to 124 at present.
"I am delighted that Dennis Haynes has agreed to assume this leadership role for the College of Public Policy," said Frederick. "I look forward to working with him this year as he builds upon the solid foundation that Vice Provost Zapata has created. Dr. Haynes is a proven leader, consensus builder and communicator who will continue to move the college forward as we begin a national search for a new dean."
A professor of social work, Haynes is known for his expertise in child abuse and neglect prevention, children's mental health, religion and spirituality in social work, and university-community collaborations. He is a fluent Spanish speaker. As an administrator, he is co-chair of the UTSA Department Chair Council and a member of the UTSA Outreach Council. Haynes is president of the Texas Association of Social Work Deans and Directors and recently was selected as the National Association of Social Workers Texas Chapter Social Worker of the Year.
Zapata will step down Oct. 15 to facilitate greater access to services provided by the Office of the Provost to students and faculty at the Downtown Campus. Zapata has seen the campus grow to more than 6,000 students in 10 years. During his tenure, the College of Architecture and the counseling program in the College of Education and Human Development were established at the Downtown Campus. In addition to his administrative duties, Zapata has been a tireless advocate for UTSA's presence in the city center and a visionary for the urban campus' future.
A search committee will convene before the end of the fall semester to begin a nationwide search for the College of Public Policy dean.


text:
Homeschool Edition | Languages | System Requirements
Version 3 Homeschool Edition offers a full-year curriculum and alternate paths of study. The full-year lesson plan is intended to guide a student through one level of a language in a scholastic year. With the alternate paths of study, there are 11 different paths to choose from based on the student's learning objectives.
Version 3 Homeschool Edition also offers Parent Administration Tools to assist parents in lesson planning, viewing student progress, and generating reports. The reporting tool gives parents the ability to view, print, and export student results for exercises the student has completed, current lesson progress, scores achieved on exercises, and time spent learning.
With each Version 3 Homeschool Edition language level purchased, activation of the license is required. Activation may be done through the Internet or by phone. Separate activation is required to "unlock" the homeschool administrative functions of the program. Both activation codes are included with each Version 3 product, which may be activated on 2 computers in the home.
Each Version 3 Homeschool Edition language level purchased includes these items: Parent's Guide, headset with microphone, keyboard stickers, Application CD, Language CD, Installation Guide, and Illustrated User's Guide
Version 3 (V3) Courses
1 Credit Per Level
Please refer to the Language Library for a list of available courses.
- New Level 1 V3 (1 credit) Build a Foundation of fundamental vocabulary and essential language structure. Students will gain the confidence to master basic conversational skills including greetings and introductions. Level 1 also includes colors, adjectives, numbers, prepositions, definite and indefinite articles, singular and plural nouns, family relations, the five senses, and time of day.
- New Level 2 V3 (1 credit) Navigate your surroundings while building on the vocabulary and essential language structure learned in Level 1. Students will learn to talk about their environment such as giving and getting directions, using transportation, telling time, dining out, enjoying basic social interactions, and much more. Level 2 also includes verb tenses, adverbs, formal imperatives, school subjects, months of the year, and emotions.
- New Level 3 V3 (1 credit) Connect with the world around you by building on the language fundamentals and conversational skills you developed in Levels 1 and 2. Students will learn to share ideas and opinions, express feelings, and talk about everyday life, interests, work, current events, and much more. Level 3 also includes household items, physical activity, animals, possessive pronouns, present subjunctive, present perfect, weights, and measurements.
- New Levels 4 and 5 V3 (where applicable, 1 credit each) Refine crucial communication skills, and make full use of everything you learned in the previous levels. Develop your command of the language with accelerated vocabulary, advanced grammar and sentences, and more real-life conversations.
The assigning of credits has changed for Version 3 products. For each level of Version 3 language courses completed, the student is awarded 1 credit. This is a change from Version 2 where each completed level is awarded 2 credits.
Rosetta Stone products are shipped directly from the manufacturer. Please allow additional time for delivery.
While Rosetta Stone materials represent the highest quality academics, they were not written under A.C.E. development guidelines and may include some content inconsistent with A.C.E. standards. In particular, Rosetta Stone uses real life images to teach language in a natural context. These images include girls and boys in shorts, women in short sleeves and skirts above the knees, mixed swimming in bathing suits, etc.
Site Licenses
Rosetta Stone Homeschool Edition is licensed for use solely by the original purchasing family. Version 3 products may be activated on 2 computers in the home.


text:
Garibaldi square historical center - 1
Size15 m²
Floor No.2(with elevator)
- Kitchen
- Washer/dryer
- Smoking allowed
- Elevator in building
- Internet/WiFi
- Family/child friendly
- Lockable room
Accommodation summary
Compact and well furnished, the living area features a double sofa bed and a flat screen TV. Guests will find a comfortable single bed on the mezzanine level, and the the modern kitchenette is well-equipped.
Surrounded by stunning architecture and historic monuments, this charming studio is perfectly located for any tourist wishing to see all that Nice has to offer. The Natural History Museum, the National Theatre and the Museum of Modern and Contemporary Art are all less than one minute walk away.
The beach is less than a 10-minute walk away, and the Garibaldi Square features a wide variety of shops, cafes and delicious restaurants. Guests will find a supermarket nearby, and the nearest transport stops are on your doorstep.
** Late Check-ins till midnight and check-ins on sunday **
We are not available to receive guests after 8pm from monday till saturday or on sunday the whole day. Nevertheless, we can send a trusted contact person that will ask you on arrival an aditionnal fee of 20 euros.
House rulesA mandatory cleaning fee is required.
|Check-in After
|Check-in before
|On arrangement
|Check-out Before
|Cancellation Policy
Reviews for this host's other properties
Salvatore is friendly and helps you with every difficulty you have with his appartements or in nice. I hope that every owner is like him.
All we could wish for! Very clean! :)
First of all Salvatore is not a private person, this is an agency which doesn't care if there are any problems. I would never recomend him as a host nor his flat. We had to go to the agency to pick up the keys but in the description of the flat at wimdu was written that we will meet at the flat. Also the stink of cat piss from the outside of the flat was so strong, that we couldn't sleep with an open window which was unbearable (it was really hot in Nice).There were also cockroaches in the flat. Last but not least we had no wifi for 2 days. We contacted the "cousin" and Salvatore (as he was our contact person) to take care about this problems and there were no reaction. Until the second complaint he came to the building to check what's wrong with the internet. Our problem with the cat piss stink wasn't resolved and therefore I will write a complaint letter to wimdu. Never again. It was the worst host & apartment & wimdu experience ever.
We had a great stay at the apartment! It was quiet, clean and we got very good informations about the city and trips we could do. Every time again!
The flat was really clean and the rooms are cosy. We really enjoyed staying there. It was not complicated and really worth the price.
Everything was alright. Salvatore and his cousin Stephan have mad a lot of efforts that everyone would have a nice stay, they will help you with every question or fix any problem you have. They prepared a lot to make everything super easy (check-in, -out, location, maps, etc.) and especially their self-made tour i can recommend. Of course the apartment wasn't decorated as seen on the pictures, but overall the interior was as seen. You have everything you need for self catering and so the price is definitely very good. So we had a good stay and i'll come back for my next trip to Nice.
The -: expensive apartment for a very small area. Very uncomfortable bed mattresses used in foam. A blocked store. Bedside lamp does not work, kc bulb, I replaced. Very noisy place (bvd François Grosso) forcing to sleep closed window.
The pros: clean apartment. door machine in the bathroom. secure apartment door. good condition.
Les - : appartement cher pour une surface très réduite. Lit très inconfortable sur matelas usagé en mousse. Un des store bloqué. Lampe de chevet ne marche pas, ampoule kc, je l'ai remplacée. Lieu très bruyant (bvd François Grosso) obligeant de dormir fenêtre fermée.
Les + : appart propre. porte linge dans la sdb. porte appart sécurisée. bon état général.
Salvatore welcomed us at his agency and gave us heaps of tips for exploring Nice. In addition to that, the apartment was equipped with a 20-pages brochure about Nice and surroundings, including getting there by bus or train.
The apartment was well maintained and clean and is within walking distance to all major locations in Nice. Outside the building, there are several bus stops, supermarkets (already spotted by Salvatore) and a bike hiring station (Vélo bleu).
We've enjoyed our stay and can highly recommend Salvatore.
Thanks again and see you :)
Salvatore is a super nice host.
The handover of the apartment worked without problems.
The apartment was clean and mainly corresponds broadly to uploaded photos. The apartment is very centrally located for a city break.
There are grademal 5 minutes to the train station. Around the corner is a small "Boulangerie" where you can stock up with fresh baguette in the morning etc. low and croissants, Parisien. Our apartment (no. 5) faced the courtyard. so you have not heard anything from the street noise. For large central shopping street, it is also just 1 minute. If you look down this one can already see the sea. For 1.50 EUR You can also take the tram.
Merci et a bientot Salvatore :)
Salvatore ist ein super netter Gastgeber.
Die Übergabe der Wohnung hat problemlos geklappt.
Das Appartment war vor allem sauber und entspricht in großen und ganzen den eingestellten Fotos. Das Appartment liegt für eine Städtreise sehr zentral.
Zum Bahnhof sind es grademal 5 Minuten. Um die Ecke liegt eine kleine "Boulangerie" wo man sich morgens mit frischen Baguette und Croissants, Parisien etc. günstig eindecken kann. Unser Appartment (Nr. 5 ) lag zum Innenhof. sodass man vom Straßenlärm nichts mitbekommen hat. Zur großen zentralen Einkaufsstraße ist es auch nur 1 Minute. Wenn man diese herunterschaut kann man schon das Meer sehen. Für 1,50 EUR kann man auch die Tram nehmen.
Merci et a bientot Salvatore :)
It was a good choice to stay at Salvatores Apartment. It's central, not very big but enought for a citytrip and it is equipped with all necessary things!
- Quality assured accommodation
- Every host is verified by telephone
- Secure payment via SSL encryption


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Willie Nelson Joins Toy Drive Of Sheriff That Busted Him For Pot
EL PASO, Texas - A post on Willie Nelson's Website is asking fans to donate to the Hudspeth County Sheriff's toy drive - the same sheriff's office that busted him Nov. 26 for marijuana possession.
Nelson was stopped at a Border Patrol checkpoint near Sierra Blanca, Texas. He was then arrested by the Hudspeth County Sheriff's Office for marijuana possession. Nelson has been charged with a Class A misdemeanor possession of 4 ounces of marijuana, punishable up to a year in jail and a $4,000 fine. The amount of marijuana on Nelson changed from the original 6 ounces - a felony - that the Hudspeth County Sheriff's Office reported on the day of the arrest.
"For what it's worth, we appreciate the mention and we're glad to take any donations for the children of Hudspeth County," Chief Deputy Mike Doyal of the Hudspeth County Sheriff's Department told Rolling Stone. "We think that's pretty good."
The post on Nelson's Website states: "Hudspeth County Sheriff?s Office every year takes donations to buy gifts for our school kids in Sierra Blanca ISD, Fort Hancock ISD and Dell City ISD, on December 13, 2010 Santa Clause will fly to each school and deliver the gifts. We would greatly appreciate your support.
Hudspeth County Sheriff?s Office P.O. Box 39 Sierra Blanca, TX 79851
Make your donation in the Willie Nelson name so that they know how much we support Willie."
Doyal was at the sheriff's office when Nelson was booked, and said he was surprised by the remarkable media response.
"He had a little bag of marijuana and I would never have dreamed of the coverage it got," he said. "Nonetheless, we've got a job to do and we've got to do what we've got to do. We handled it as easily as we could and still do our job. The man's, what, 77 years old? What are we gonna do to him? He was very cooperative and nice and pleasant to be around."
"I'm betting it doesn't go there, but that's between him and the county attorney," Doyal said. "We did our part. Now it's up to the lawyers and the judges."
Nelson's arrest did not sit well with legal expert Dick DeGuerin, a criminal defense lawyer.
In an interview with Rolling Stone, DeGuerin questioned the lawfulness of the search of Nelson's tour bus where the marijuana was found.
"It needs to be contested," DeGuerin said. "It's supposed to be a checkpoint only for aliens, and [agents] overstep their authority all the time. I've had several cases from that checkpoint and they just use the opportunity to check out anybody they want to. If you have long hair, if you're driving a van or it looks like you're from California or you look like a hippie, they do profiling."
Author-singer-political candidate Kinky Friedman told Rolling Stone he believes Border Patrol agents overstepped their boundaries and said it showed a lack of priorities because he claimed a drug cartel is taking over Hudspeth County, where Nelson's pot bust occurred.
Friedman joined Nelson on his tour bus for three days before the Thanksgiving break to work on a fiction book and said Nelson, "Rolls 24 hours a day. I couldn't take it - staying out all night, smoking dope. And I was the youngest person on the bus."
In January of this year, Nelson's tour bus was stopped at the Sierra Blanca Border Patrol check point for five hours and searched, according to a blog post by Nelson's daughter at the time of the incident. The group received one citation, but she did not say what it was for.
That same month, six of Nelson's band and crew members were busted in North Carolina for allegedly possessing moonshine and marijuana in a vehicle they were in. They were issued citations.
Authorities searched Nelson's tour bus back in 2006 in Louisiana and found about a pound-and-a-half of marijuana and mushrooms. Nelson was charged with a misdemeanor.
Nelson's friend Snoop Dogg has spoken to TMZ about Nelson's arrest and he's got the country legend's back.
"They better leave Willie the (expletive) alone, man," Snoop said. "Willie Nelson is a legend. Sometimes you need to back up off of certain people and have a certain amount of respect for your elders. And Willie Nelson is our elder. Willie Nelson is my people. If you got a problem with Willie Nelson, you got a problem with me."
Since the bust, Nelson was also nominated for a Grammy for his covers album Country Music for Best Americana Album.


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Rally driver admits he has no idea what co-driver is talking about
Top British rally driver, Mark Fischer, today found himself at the centre of a storm of controversy after confessing that he had absolutely no idea what his long-term co-driver, Gethyn Davis, was talking about during races. It had been assumed that co-drivers were reading pace notes, a series of instructions describing how to negotiate the road layout ahead, but Fischer claims the notes are total nonsense and that he has simply been humouring his co-driver all these years. Its just gibberish, he said. But the regulations say that there must be two people in the car at all times during the race, and Gethyn was a good mate so I always just took him along for the ride.
Davis is reported to be furious at Fischers statement and maintains that they were equal partners in the team, but Fisher has been quick to dismiss this.
Oh, come on, he said. I mean, 50 5-left and stop 2-right half minus braking into K-right 90 maybe and absolute crest 500′. What the hell am I supposed to make of that when Im flat out over a jump sideways at 90mph?
This is not the first time Fischer has courted controversy over the role of co-drivers. In 2009, after finding himself without a co-driver for the Jyvaskyla Rally in Finland, he kidnapped a homeless man and forcibly strapped him into the passenger seat to ensure that the two-people-in-each-car rule was complied with. The stunt only came to light when onboard footage taken during the race revealed that rather than reading the pace notes, the Finnish co-driver was in fact screaming the words Oh 5hit! over and over again, occasionally interspersed with other phrases including, Watch out for that house and Slow down, you mad bastard.


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get valdez up
Leake, bad night(and luck). Simon was due for a smacking. The beatdown a cometh.
I don't care if we won 100 in a row this is embarrassing and a terrible loss after being up 3-0 at home to SD. Marty should keep his hair after this mess.
Atta boy Mes, someone needed to wake these guys up
this is not good
We only live in patches. - H. G. Wells
this ump is terrible...
Good grief, the team loses a game and it's suicide hotline night on the Sun Deck. WOW
beyond awful game by simon
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SearchAll Refuges
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There are wildlife viewing opportunities year-round on the refuge. Come by in the winter for a chance to see hundreds of black ducks and Atlantic brant. Summer is a great time to spot turtles sunning by the water. Visit our Seasons of Wildlife page to learn more!
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text: Didn't realize Toyo came out with a new version of the Open Country AT....I think I'm a little late on this but I haven't seen a thread about them so I figured I would start one! As some of you might know, I was really torn on my next set of tires...decided I was going to to with the Toyo MT's....but now I see these new AT's and I might reconsider my decision. Anyone running these or know someone running these? 65,000 mile warranty on them...pretty impressive. If you don't like them after 500 miles you can give them back... They look REALLY nice...best looking AT tire I've seen. It actually looks like their MT, just a little more mild. They come in "Extreme" for the bigger sizes, I'm hoping a 305/55/20 falls under that category, because then they look even better. I'm still probably around 80 percent sure I still want the MT's...the general consensus seems to be that they handle extremely well for an MT on the road, and people get pretty good mileage out of them..some in excess of 40,000 miles. I like having the option to go offroading and not worry about getting stuck that I will get with the MT's. I'm not an extreme offroader, but like I said, I like having the option. However, if the AT's are substantially cheaper, because I've heard the MT's come with a price, I will probably go with the AT's and get over 60,000 miles out of them. I haven't been able to find prices on either. Thoughts? Thanks guys! Here's what it looks like...unsure about the size. Looks like around a 33 to me..


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Stay connected with us to get the latest health and fitness news, innovative workouts, healthy recipes and wellness tips.
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ACE Fit Share
In this quick German-inspired side dish, red cabbage is cooked until just tender and combined with sweet apples, caraway and a tangy vinaigrette. Serve with roasted pork loin or turkey kielbasa.
Nutrition Profile:
Diabetes Appropriate
Gluten Free Diet
Healthy Weight
Heart Healthy
Low Calorie
Low Carb
Low Cholesterol
Low Sat Fat
Low Sodium
Serves 6
Prep Time 20 min
Total Time 20 min.
Step 1
Heat oil in a large saucepan over medium heat. Add cabbage, caraway seeds and salt. Cook, covered, stirring occasionally, until tender, 8 to 10 minutes. Remove from the heat. Add apple, shallot, vinegar, mustard and pepper and stir until combined. Serve sprinkled with toasted walnuts.
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Flatten your stomach and build strength in the muscles that provide stability and mobility for the spine, pelvis, ribs and hips.
Focus on pulling, rotating and building strength with workouts created alongside Olympic Gold Medalist Dominique Dawes.
This workout provides a challenging total-body workout that can be done from the comfort of home with no equipment other than bodyweight and space.


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very nice!!!!!
Welcome to the Quilting Board!
very nice!!!!!
That is very pretty. Don't know why she would not want it. When people ask me to make stuff for them, they have to pay a deposit; which is half off what it cost. The deposit is non refundable.
Very Yve St Laurant, congrats!
Beautiful runner
My newest Grandson, Caleb Austin, was born May 29th. I am now Grandma to 4 precious babies. I am so blessed!!!!
I'd keep it :-)
Batik Swap - Feb 2013 http://www.quiltingboard.com/members...bums17908.html
Definitely going with non-refundable deposits for any new customers. Only my older customers who have been so wonderful in the past get the benefits of pay-on-delivery. You should consider that, also. This table runner is really cute. I'd keep it too!
Great job!
Wayne & Gabriele, the married quilters.


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To view tomorrow's agenda use the buttons above and below the following table. Use the calendar to right to access agendas for the following days and weeks.
'Fixtures and times represented on the site are subject to changes which may not have been updated on the website. Please contact the Pro-Shop/Office for confirmation'
|09:00 - 10:30
|Juniors Mid Term


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Available for pre-order. Bindings will ship by Nov 30th or sooner.
- Includes: Bindings, Ride Mode, Tour Mode w/ heel lockdown
- Binding Weight: 675g per side (medium binding)***
- Stack Height: 14.5mm (.57 in)
- Materials: Carbon Fiber, Titanium, Aluminum, Stainless Steel, Dupont Zytel ST
- Change Over Time: less than 2 minutes (includes removing skins, collapsing poles, packing gear)
- Removal of splitboard bindings not required to change from snowboard to skis
- No loose parts or pins
- Mounting: existing production splitboard bindings hole pattern or use DIY mounting template
- Karakoram board clips required, NOT COMPATIBLE with Voile Chinese Hooks
***Production weight may vary


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The University of Colorado Boulder's financial education program, CU Money Sense, will host Money Smart Week 2014 on April 21-24 to help celebrate National Financial Literacy Month.
Guest speakers from Elevations Credit Union, Wells Fargo bank, the Colorado Bureau of Investigation, the CU-Boulder Office of Financial Aid and the Office of International Education, as well as a dietician and a certified public accountant will give free personal finance workshops specifically designed for CU-Boulder students throughout the four-day event. Any student planning to attend should visit http://bursarweb.colorado.edu/money-smart-week-2014/ to register and to see the complete schedule.
Workshops being offered include:
--Salary Negotiations: What Are You Worth?
--Got Student Loans?
--Life and Money After College
--Financial Strategies for Studying Abroad
--Why College Students are the Top Target for Identity Theft
--Car Buying
--Home Buying
"We want students to take advantage of these workshops to become more informed about their personal finances in a fun and interactive way," said Niomi Williams, associate program director of CU Money Sense. "These workshops and experts are being offered at no charge to students. Normally, you would have to pay for this kind of education. Learning to manage their money better now will help students so much once they've graduated."
Nearly all of the workshops for Money Smart Week will take place in the University Memorial Center. Door prizes and giveaways will be handed out at every workshop.
On Thursday, April 24, Money Smart Week will conclude with a fun "Closing CereMoney." Each attendee will receive a goody bag. This event will include a panel discussion, free food, financial resources, door prizes and giveaways.
"We really hope students will bring their friends and attend our Money Smart Week 'Closing CereMoney.' It will be a fun and educational evening designed to make students feel better about financial mistakes that we all sometimes make in our lives," said Williams.
Students are encouraged to attend as many free workshops as possible during the week. The workshops are offered at varying times to accommodate students' schedules.
For more information, including a full schedule, visit http://bursar.colorado.edu/cumoneysense.


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Asian studies expert to discuss the universal characteristics of Holy War
Asian studies professor and Zen priest Brian Daizen Victoria will discuss "Religion Hijacked: The Universal Characteristics of Holy War" at 7 p.m. Thursday, October 7, in Casadesus Recital Hall in the Fine Arts Building at Binghamton University. The presentation is free and open to the public.
Victoria is currently a visiting professor in the Asian and Asian American Studies program at Binghamton University. He is a senior lecturer in the Center for Asian Studies at the University of Adelaide in South Australia. Victoria is a graduate of Nebraska Wesleyan University in Lincoln, Nebraska. He received his master's degree in Buddhist studies from Komazawa University in Tokyo, and a doctorate from the Department of Religious Studies at Temple University.
In addition to his new book, Zen War Stories, Victoria's major writings include Zen At War; an autobiographical work in Japanese titled Gaijin de ari, Zen bozu de ari (As a Foreigner, As a Zen Priest); Zen Master Dôgen, coauthored with Prof. Yokoi Yûhô of Aichi-gakuin University; and a translation of The Zen Life by Sato Koji.
Victoria is teaching two courses at Binghamton University this fall, "Western Human Rights: Asian Values" and "Religion and War."
The presentation is sponsored by Binghamton University's Asian and Asian American Studies Program. For more information, contact Fran Goldman at 607-777-4938.


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With the mild winter here my bees are bringing in lots of pollen. One Sunkist hive with their entrance reduced to a half inch they were at least thirty bees waiting to get in. Is this a sign of early build up? Should I go ahead an reverse the boxes?
With the mild winter here my bees are bringing in lots of pollen. One Sunkist hive with their entrance reduced to a half inch they were at least thirty bees waiting to get in. Is this a sign of early build up? Should I go ahead an reverse the boxes?
BB's Honey
same question here... Still have Feb ahead of us but supposed to be very mild march april
When does your first spring flow start? When do your bees usually start swarm preparations...I mean when do you normally see swarm cells being started? And is it that flow that gets swarming started?
michael, i live pretty close to sonny and guy. looking at last year's notes, swarming started in earnest in late march, peaked in mid april, and was pretty much played out by early may.
it was mainly the locust and tulip popular flow, along with lots of other stuff too.
however, we were a couple of weeks early on everything last spring.
journaling the growth of a treatment free apiary started in 2010. 20+/- hives
But locust and poplar can't be the first good flow. What about early spring plants like hen bit? If swarming started in earnest in late March, what flow is happening during the first half of March?
I would super for the earliest flows, and reverse just as the earliest cells appear. That way, you are allowing both upward movement of the cluster and overhead nectar storage...when they need it.
what i do may not apply to reversing double deeps. i have one deep with a medium above and below that are checkerboarded on the early flows.
the ornamental, (lots of bradford pears around here), and regular bearing fruit trees (apples, peaches, pears, plums), are early along with red maple, dogwood, and redbud. these are accompanied by lots and lots of wildflowers of many varieties. my bees having been mixing these nectars with last fall's stores and using that for their spring build up. toward the end of the early flows, and at the beginning of locust and popular is when they usually swarm.
Last edited by honeyman46408; 01-27-2013 at 05:28 PM. Reason: UNQuote
journaling the growth of a treatment free apiary started in 2010. 20+/- hives
I didn't include that I was feeding semi heavy syrup. I don't do,a lot of measuring. I just keep mixing with the DEWALT. Adding more sugar or water to make it look right. For the most part around he it's hebit and dandelion. Watching a Bradford pear in the front yard with the buds getting longer every day. I love seeing the earth waking up from winter.
BB's Honey
yep. i don't feed except if i run out of capped honey to give 'em, so mine depend on the flow for timing their swarming.
since yours always have a flow, they may not be relating to the natural flow at all. i'm guessing they could swarm anytime they are more bees and 'forage' than room in the cavity.
probably best to keep an eye out for swarm cells, and considering splitting your good queens out before they take off.
journaling the growth of a treatment free apiary started in 2010. 20+/- hives
Reversing double deeps is not as applicable to the southeast as it is to northerly locations. In the SE, the colony normally starts winter with the cluster in the lower and the upper filled with honey - the bees eat their way into the upper during the spring broodnest expansion.
In northerly locations, the colony winters in the upper, and come buildup time, the lower is basically empty - Brood and cluster are already located in the upper. Reversal of the deeps puts the empty lower back in service as a brood box.
Won't go into all the ways these two different situations affect swarm prevention, but will say that timing of reversal in the southeast is more a function of colony status than seasonal timing. When the colony is expanding into the upper, there is a point in population growth where splitting the brood nest does not result in brood chilling. Remembering that the colony typically stops short of using all the honey at the top of the expansion dome, the broodnest WILL be divided. Tough judgement call.
Swarm prevention is given an assist by removing that band of capped honey at the top. Reversal does help, and adding drawn comb immediately above may be all that is required, if done at the same time. The colony "wants" to store nectar immediately above brood.
I am curious about how your medium on the bottom is working out. I have been meaning to ask about who was trying that and how it was working out. I have read Walt's pollen reserve papers and was planning on trying this out this spring.
I also love the early flow timing conversation. I am learning to watch closely that "waking up from winter" at my house, not what the books or calendar says should be going on.
i still have a mix of drawn and undrawn frames of foundation in my bottom mediums, as they were added after the main flow last year.
one obvious and immediate benefit of putting those bottom mediums on was that it stopped the bearding that i was getting on the hot summer days. i guess they acted like slatted racks.
when the plants start to 'wake up' i will move the bottom mediums up to the top, and replace any foundation frames with drawn comb.
after i harvest the spring honey, i'll gather up any medium frames that have brood in them, put them in a medium box, and move them to the bottom again. i expect this will help with cooling and give the bees a place to store pollen in anticipation of the fall brood up for overwintering bees.
journaling the growth of a treatment free apiary started in 2010. 20+/- hives
Last year my hive swarmed March 15-17... I have been wondering the same thing, trying to watch them closer this year. 2 weeks ago, the top was still full of honey, felt like it weighed 60-75 pounds....the bottom empty except for bees, there are brood in there too, but not a lot.....and my bees have been bringing in pollen since the first week of Jan. Though we just had a colder snap, yesterday it was 44 and they were just doing cleansing flights seemed mostly, but I did see some bees searching through weed flowers around the yard. I am wanting to swap my deeps too....
i don't have any experience with the double deep configuration, so take this for what it is worth.
walt's observations suggest that when there is a solid dome of capped honey overhead the bees will work up through it, and at some point when conditions are favorable they will swarm.
he has found as have others, that having empty comb overhead for nectar storage can prevent swarming.
if all you have is the one hive, and no additional drawn comb on hand, there are a couple of things you could try.
you might extract a few frames of honey from your upper deep once you see that nectar is coming in, and checkerboard the empty drawn comb back in. or, you could put those honey frames out in the yard, 75 - 100 yards away from the hive and let them get robbed out and put the empty comb back in.
you might pyramid the brood comb from the bottom box up into the top box, opening up a break through the solid honey, while keeping the broodnest together vertically.
you could try adding foundationless frames in the broodnest in order to make room for the queen to lay and allow the broodnest to expand.
if you want a second hive, you could split the one you have before it swarms.
from what i have read about reversing, it has to be done just right or it can do more harm than good. there was a good discussion about it recently on bee-l.
journaling the growth of a treatment free apiary started in 2010. 20+/- hives
Actually I have thought about splitting, as I lost a hive to beetles last summer and want another. But not sure when I should do that....
i hope mike bush doesn't mind that i keep sending folks to his website.
i had excellent results from following his directions for the 'cut down split'.
you have the swarm date from last year, which may have been a little sooner than usual because of the early spring. did you record what was blooming at the time? you definitely need drones flying.
you might want to order the manuscript from wcubed.
journaling the growth of a treatment free apiary started in 2010. 20+/- hives


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Play Misty for me
An ABT soloist finds her Prince.
Tue May 12 2009
Photograph: Gene Schiavone
There's a certain video circulating on the Internet that, on the surface, has nothing to do with princes at American Ballet Theatre, but with the very Prince himself. Misty Copeland, handpicked by the Minneapolis rocker to star in his new "Crimson and Clover" video, is, of course, a soloist at ABT distinguished by her elegant rigor in classical ballets, natural affinity for more contemporary dances and, of late, a sparkling aptitude for acting. In classical ballet, black dancers are rare. Copeland, 26, is more than an inspiring performer, but one of the few examples of women who have broken the color barrier. During ABT's spring season, which kicks off Monday at the Metropolitan Opera House, Copeland will perform Gulnare in Le Corsaire, as well as leading roles in Paul Taylor's Airs and George Balanchine's Tchaikovsky Pas de Deux. For the latter, Copeland, a recipient of a 2008 Leonore Annenberg Fellowship in the Arts, received coaching by Merrill Ashley. She spoke about the upcoming season at ABT's studios.
Is this the first time you're dancing Balanchine's Tchaikovsky Pas de Deux?
I've never done it. When I first starting learning it, I was working with Kevin McKenzie and Clinton Luckett just to get the basics and to learn the steps, but I actually was coached by Merrill Ashley. Recently, we worked together because of this Annenberg Fellowship that I've been given. It's so amazing. I was going to work with her on Tchaikovsky Pas de Deux and on Theme and Variations—just to do them—before I was cast. It's been sort of a wake-up call because I feel like a lot of the Balanchine ballets are hard for me. That's one reason why I wanted to work with Merrill; I know that is a weakness of mine—moving fast and never having trained in Balanchine. It was exciting to work with her and it was very different from what I thought Balanchine was. You think you want to distort things, but it is very classical; it's all about being up on your legs. I have so far to go, but I'm aware. [Laughs] She's just someone I admire and who has taught me so much in the short time that we worked together.
Did you apply for the Annenberg Fellowship?
No. Kevin selected dancers. I'd never heard about it before. I think this is the first year they've used dancers. In the past, they've used a lot of musicians, singers, actors—all professionals.
Did you choose Ashley or was she chosen for you?
We were allowed to choose anyone we wanted to work with. I've worked with Susan Jaffe a lot. Just for fun, on our time off, I worked with her on Giselle, just to have the experience. It's a role that I've always wanted to do. Susan also coached me a little bit on Gulnare for Le Corsaire. I worked with Cynthia Gregory on Swan Lake; she's such a great person. And I also have been working with an acting coach a little bit, Byam Stevens. He coached Kevin when he danced, and they're very close friends; he also worked with Susan through most of her career. He has no dance training at all, but has developed his own method of incorporating theater and ballet and it's been so cool to work with him. It's not just coming from a physical-dance point of view. When I worked on Giselle, I actually got to have both of them in the studio at the same time. They worked on Giselle together when she was dancing it. It was amazing to have that.
When did you work with Jaffe?
The company was on a layoff. This was right before we went to London [in March].
Why did you pick Ashley?
I worked with Merrill a little bit when she came and set Ballo della Regina. I never saw her perform live, but just from watching videos and working with her—she's part of the last generation of dancers who worked with Balanchine who is also really still up and going and setting things.
And I've watched her a few times—she is blessedly clear.
Yes. Exactly. She gets the point across. There's no beating around the bush and I love that. I love to just get it done and she's very clear, but just watching her in videos—there's such an elegance in her upper body and then her feet are doing crazy things. [Laughs] So I don't know: She's just someone I admire and who has taught me so much in the short time that we've worked together.
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Like what?
I've been working with Georgina [Parkinson] and Irina [Kolpakova] for eight years now. People get comfortable when they see you every day; there are a lot of things that are missed and it was great having a fresh set of eyes as well. But it's just a completely different way of working that I've never experienced. She didn't take me aside and try to retrain me, but there were so many things about having a straight line at the hip. In the Balanchine technique, everything is so fast; there's no time to have that break in your hip. It's been so hard for me. But she was great and she encouraged me and would tell me that she saw improvement and that I was really soaking everything in. She has left town, so I have the next three weeks without her before I perform it. I have to remember everything she says. I wanted to film some of it, but we didn't get a chance. But we'll work together again.
Who is your partner in Tchaikovsky Pas de Deux?
Jared Matthews. Merrill and I did a lot of private work, but I brought her in so that she could work with us together.
What did she stress the most for this role?
She told me that I'm supposed to be very elegant, like a queen, but that sometimes it can tend to get a little bit competition-like. She said that it's not at all about that—everything is in the choreography: You don't have to do overdo anything.
Have you thought of your approach for the ballet?
In my dancing in general, I like to keep things as clean as possible. That's always my goal. It's never about trying to do crazy tricks, but just trying to keep things as simple as I can. There's so much fast footwork; I keep it basic, so it doesn't look like it's cluttered and messy.
What has motivated you to work with people like Susan Jaffe?
Well, they're people that I've looked up to ever since I started dancing. They're amazing artists, and I feel at this point in my career I need that. It's not just about the technical abilities anymore; it's time to go to the next level. And Cynthia and Susan were amazing artists.
What does it mean to go to the next level?
I worked a lot with Byam on this. He's helped me come up with my own way of researching roles before I perform them, which is not really something I thought about before. I think it's also because I was never really doing major roles. This is all pretty new to me. It's just so that you're never onstage not knowing what to do, that there's never an empty moment where you're waiting for the next step. So it's about being completely prepared before you go onstage in every little moment, even if you're just standing, having a backstory, because it will come through. It's all still very new for me; the first role I did all of this research on was probably Gulnare when we were in London. I did a lot of thinking and I felt so comfortable and I got a lot of good feedback from Kevin and from the ballet mistresses. I hadn't told them that I had done any of this before, so it was really nice to have them see the work that I put into it.
Tell me about Gulnare.
I was actually supposed to perform it a while back and I got injured and I'm actually really thankful that it didn't happen then because I don't think I was ready. I don't think that my dancing was mature enough. I just never ever want to go onstage feeling like I'm not ready to do a part. I'd rather not do a role then be pushed out there just to say, "I'm getting this opportunity." That's a huge fear of mine: feeling like I'm not really capable.
Has that happened before?
Never in a major role. I mean there are always little demi-soloist parts that you don't really have a say about [Laughs]. I danced Gulnare for the first time in the last Met season.
What was the research process like for Gulnare?
If you read the synopsis of the ballet, Gulnare is not really a character that is talked about as far as where she comes from and how she's different from Medora. They're so not the same character and it always tends to be like Gulnare is in her shadow. I think that Gulnare is probably a Greek woman that comes from an incredibly wealthy background: She's someone. She can be taken as being coy or shy, but I think she's not at all. Medora is very flirty and much softer, and I think Gulnare should be a strong woman—she's put in a position and she's fighting it; she's not scared. I love the part. Also I enjoy the adagio and the variation—I love doing big grand-allegro work.
What part are you performing in Paul Taylor's Airs?
I'm doing the pas de deux girl. It's been a really hard process; picking up that style is so hard on the body but I really like the part. It's hard for the guy. It's a lot of slow presses and lifts, but I'm doing it with Isaac Stappas. He's a muscleman so I feel very safe. [Laughs]
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Why is it so hard on the body?
Because it's the complete opposite of what we do everyday. It's hard when you spend one hour doing a variation in a pas de deux and you go into the next hour and you're completely rotated in, up and down on your knees and doing squats. You're almost developing different muscles and your body's fighting it. It's just not what we're used to. I'm sure if I was in the Taylor company it would be fine on my body, but we just don't use those big muscles on a daily basis. This is my second Taylor dance. I was also in Company B.
There are so many different categories of modern or contemporary work, but you're excellent in them. How do you approach contemporary dances?
I think that when it comes to the more cutting-edge works, you have the freedom to bring your own artistry to them. But something like this is very specific—you don't really have room to do whatever you want. It's a technique and I'm sure there are so many things that here at ABT we're not doing completely correctly. But it's really difficult, almost more difficult than the freer contemporary things, because it's a completely different language.
One role you performed to great success was in Twyla Tharp's Sinatra Suite. Was that just as affecting for you?
Yes. I think it was the first time that I really got to play a character onstage. The first time I did it was in London with Angel Corella. [Beams] Oh, he was amazing! There's this energy that he would bring out of me. That was an amazing role to do because it's like you're playing so many different characters in one ballet. You get to be the aggressive woman and you get to be in love; I didn't get to work with Twyla directly on that. I worked with Elaine Kudo, which was great, because I grew up watching her in the video when I was young.
I think that piece made people see you in another way, too—that you could act.Definitely. I think that's the first time Kevin saw that in me. I never had the opportunity before. When I was promoted, he let me know that was the first time when he was like, "Oh, she really has that side to her," and I think it was when he thought I was ready. But that's definitely a role that he brought up in telling me that I was ready for this next level.
How were you promoted? Was it just contract time?
No—it was toward the end of the season, two Mets ago, and I was just hanging out waiting for the show to start. I was called into his office, which is normal; there's always something going on and so I didn't really think anything of it. It was very casual. I just went in and he said, "I'm going to promote you." [Laughs] And it's so funny because you think of all the ways it's going to happen—if it does happen—and how you're going to react, and I definitely didn't react the way I thought I was going to. I think I was kind of shocked. I just said, "Oh, okay."
Did it hit you later on?
Once I spoke to my family, it was more emotional. I always thought I would have cried, but it didn't happen like that at all. It's seemed like such a long journey.
What I'm impressed with is your ability to fight through what must be unimaginable bullshit and to remain very elegant—onstage and off as far as I can tell. Why is it so important?
I think that my mother is the same way. She's been through so much in her life and she had six kids and all of us are doing so well—she has just fought and fought. On the outside, I just think of her as a strong woman and I think I've learned from watching her not to give up and let too much affect me.
Why is ballet so important?
I love it and that's why I don't want to give up. And I feel like there are so many other African-American dancers out there that have struggled and who look up to me. To just give up would be such a letdown. Even if it's just two little girls that I've talked to—it means so much.
Do you have contact with many young black dancers?
There are some people that I e-mail with and write letters to if I get a letter from them. I definitely try to respond if I get anything. If someone just approaches me after a show, that keeps me going. Just hearing them say, "I saw you this one time, and you inspired me."
What is the burden of being a role model like that?
The pressure. But if someone's inspired by you, that's enough.
What roles suit you best?
Contemporary roles definitely suit me really well. I think my body just takes to them. I'm still finding my way in the classics.
It would be different to really carry a ballet.
Yeah. Definitely. I trained to be a classical dancer, and that's always been my goal, so I hope that one day I'll get the opportunity.
What role would you want to do?
I would love to do Giselle. I would love to do Kitri [in Don Quixote]. I'm not sure about Swan Lake yet. [Laughs] I don't know if I can see myself—who knows. A couple of years ago there were so many things I couldn't see myself doing that I'm doing now.
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How did you meet Prince?
I received a call from a friend of mind that I grew up with in California. She works with Career Transition for Dancers and said that a friend of hers in Hollywood was looking for me. This woman called—and I believe she had worked with Prince on Billboards for the Joffrey Ballet, and that's how they knew each other. And Prince, I guess, had been trying to get a hold of me for a couple of months and...[Disbelieving] couldn't find me? Or something weird like that. So she told me, "He's very interested in having you be in his video, could I give your number to him?" I said, "Yeah, you can." [Laughs] He called me and said that he's a huge fan of mine and he's been following me for a while now. It's so strange. He shot the whole thing with another girl and saw the end result. He was not happy and was like, "I want her in the video." He flew me out to Hollywood for two days and we shot it. He's so, so kind, and he's just so intrigued by dancers. He said that I inspired him. [Laughs]
Has he been to the ballet?
He has. I've never invited him or anything like that, but he was just here and was hoping to see a show, but I'm like, "We don't start for another couple of weeks." He was here two or three days ago. Hopefully, I'm going to get him to come a lot more. To support ABT.
What did they have you do in the shoot?
Everything happened so fast. They got me all ready—I'm in my pointe shoes and I have this gown on and I get onto the set, and I'm like, "What am I supposed to do?" He said, "Well, you're amazing, just improv, and we're going to put the music on—just do whatever you want." So I just improvised the whole time. They let the song play four or five times and I just did whatever. He was very involved; he directed the whole thing. He was sitting there on the set with me.
What were his notes?
There weren't really any! I've never had so much positive reinforcement for being a dancer. The song would finish and everyone would just clap so much and I was like, [Looks around mystified] "I'm not used to this." I went to him and said, "Is there anything that you want me to do—more jumps? Anything in particular?" And he was like, "No. Everything's great. We're just going to do it again." [Laughs]
Did you ask him why he liked your dancing?
Is there going to be a song called "Misty?"
[She covers her face and laughs.] Oh, no! He wanted me to perform with him. He was on The Ellen DeGeneres Show last week, and he wanted me to do that but it didn't work out. It would have been cool.
Do people know about it around here?
I didn't tell anyone. I just didn't feel the need to, and you never know what kind of reaction you're going to get from people, so I just sort of kept it [close]. My mom knew about it, but it slowly has leaked out and when he was on Ellen's show they played a little bit of the video. People saw it and were like, "Was that you?" It's slowly getting around.
Are you embarrassed by it?
No, no. Not embarrassed. I just didn't feel the need.
How old were you when you started dancing?
I was 13. I had never done any type of dance. When I was little I used to choreograph all the time. I had no experience or formal training, but I remember making my little sister learn routines that I would make up. When I was 13, I decided that I wanted to audition for the drill team, which was the dance/cheer team in my middle school, and I had never done anything before. I was so confident for some reason; I think it's because I had no idea of what I was getting into and had never really seen dance except on MTV. I auditioned for captain. You had to choreograph your own dance and learn a dance, and I did it all and I made captain and from there, the coach—she had danced classical ballet her whole life—told me I had the physique of a ballet dancer and that I should consider taking some classes. That's how it all started. I ended up dropping the drill team and going into ballet hard-core because my teacher said, "You have a lot of potential; if this is what you want to do, it's going to be a lot of intense training because you missed out on so much." I kind of dove into it and haven't stopped since.
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When did you go on pointe?I think a month after I started. [Laughs] The thing is my whole family, naturally, have very muscular bodies. Even though we're not all physical. But before I started, I had muscles in my legs and calves. I never had any injuries; I was always just ready. It's funny when I look at photos of myself then: For some reason I understood how to hold myself.
When did you first see a performance?
I was maybe 14. I saw ABT in Orange County; I saw Paloma [Herrera] and Angel do Don Q, and I was blown away. I was like, "That's what I want to do and this is the company I want to dance with."
Virginia Johnson has just been named the new artistic director of Dance Theatre of Harlem. What would you do if she asked you to become a principal dancer?
Oh! I would be flattered and honored, but I definitely don't think I'm ready yet. I think that I have so many things that I want to accomplish at ABT. Maybe in the future—but there are so many things here that I feel like I need to do. I don't think I'd be ready to let go yet.
Tell me about some of those things you need to do.
I'm not ready to leave. Classically, I have so much growing to do. I'm so excited to get to go through the process I'm going through right now. Just goals. I want to try my hardest to be a principal dancer for so many other people. I don't want to give up and let that dream go just yet.
Were you friends with Danny Tidwell, the dancer who left ABT to pursue more contemporary work and So You Think You Can Dance?
Yes. I still am.
Was it difficult when he left?
I was so angry with him. I was so upset with him, because he has just so much talent. He can do anything and I've told him that so many times. It was hard because we were close and it's always hard seeing another black person leave. It's been a while now. When Eric Underwood left, I was really sad because we became really close. I don't know. I've been alone for a while. [Laughs] Eric is doing so well at the Royal Ballet. I saw him when we were there; we spent some time together.
Yes, he's a principal dancer now at the Royal. How do you deal with being the only black dancer in the company?
I think I've gone through more difficult times in the past. Also, it was because I was growing up, too. We're all just people in the end, but I think definitely when I first came, it wasn't even something I had considered growing up. When I got into the company, it really brought to my attention: You're an African-American woman and there's no one else in this company that looks like you and so not until then did I think, Oh, you're right. I felt like there were a lot of things, culturally, that I didn't connect with other people, and so it was always nice when Eric was here. But I think I've matured a lot; it would be nice to have another black person here. Not just for the sake of me—but it needs to happen.
Why hasn't it?
I really don't know. I feel like there's a lot more coming into the school, which is very nice to see. We've got one young girl in ABT II who came from SAB; it's really encouraging to see that. I feel like, with classical ballet, there is a certain audience and it's all about history and there are just some people who have been coming to the ballet for years and years, and there's this certain thing they want to see. It's not always a black woman onstage doing the lead role. And it's just because they're not used to seeing it so they don't want to see it. It's hard to think of that. That there are people who aren't looking at your talent.
It will change as they die off. You've never been tempted to do something like So You Think You Can Dance?
No. No. I mean this is what I've trained to do, and this is what I want to do. I've never been a competition dancer. I wasn't trained that way. And it just doesn't really interest me. I dance because it's an art form, and I enjoy doing it—not for television and to win money. I just don't. It's just not for me. I could never see myself on that show.
Have you ever worked with Twyla Tharp?
Oh yeah. I've actually been working—the first time I worked with her was when I was in the summer program. I did one of the leads in Push Comes to Shove; we worked together in her new Rabbit and Rogue. I also worked with her this past winter on the Sinatra [project]. That was such a cool experience. There were times when I would just sit back and be like, "Wow, I am a part of a creation of hers, and she's just so brilliant." She's great to work for. In the end, we did a little showcase of it and had an actual jazz band with Frank's voice. It was so phenomenal. It was like he was there in the room. It was so cool. You just got chills. I don't know if it's even going to go anywhere, but it was amazing just to be part of something like that.
Why do you work on things without the possibility of performance?
Twyla is a legend and just watching her create—I think the process means so much. Being a dancer isn't just about going out there and bashing through shows. It's a learning process.
Do you have people you rely on for advice or coaching? Do you have a mentor?
Susan Fales-Hill. She is on the board and she's been my sponsor for a while now; she is definitely someone I would consider a mentor and from whom I get such great advice. She's an amazing, successful black woman, and she's always keeping me up. It's so great to have someone like that in my life. At first, she was sponsoring me and I didn't really know who she was. At ABT, they try to keep that separate, but I think it got to the point where Kevin saw that she really was someone who could help me. Our relationship changed before I got promoted. She just helped keep me positive and not feeling like, Am I doing the right thing? Is my career going anywhere? She's just great person to have around.
How has your perspective changed since you joined the company in 2001?
I feel like it's gone in so many different directions. It's all a part of growing up. I've gone through times when I was not sure if I was in the right place or if I was ever going to reach my goals. I had times of being so discouraged. And I feel I'm in such a different place now. I feel motivated. Kevin has given me so many opportunities and I'm so grateful for it. I want to put in the work. I'm in a completely different place now than I was when I first joined the company. I've seen the company change in the time that I've been here. It seems like a different place.
How so?
It was just a different generation of dancers. The corps de ballet was a lot older; I feel like I came in and I was terrified and I feel it's not that way anymore. The corps is younger now and its more of a family, but then there are some things that are not as good. There's not as much respect coming from a lot of the younger dancers because they don't have that older dancer telling them what they should and shouldn't do. I don't know. It's just a little different. I feel like when I joined I kept my distance. I didn't want to get into anyone's way; I just wanted to do my job and not tick any of the older dancers off because I was terrified of them. And now I feel like girls kind of just come in and they'll push a principal out of the way to stand in the front. It's just very different.
And you're only 26!
I know! And I'm considered an old, senior member. [Laughs] When I joined there were 30-year-old corps members. It's just so different.
ABT is at the Metropolitan Opera House Mon 18--July 11.


text:
Found another Pre-Pro #2 image here ==> Boba Fett Bathrobe. I resized the image to 200% and also added and fixed the extra 'background' (no suit pixels were harmed during that process!):
This image was also added to the first post.
Found another Pre-Pro #2 image here ==> Boba Fett Bathrobe. I resized the image to 200% and also added and fixed the extra 'background' (no suit pixels were harmed during that process!):
This image was also added to the first post.
Last edited by RafalFett; Dec 8, 2012 at 5:12 AM. Reason: Added warranty.
Awesome finds! Am I seeing correctly that the Supertrooper's flamethrower actually worked, in some manner of speaking?!
That was a REAL flamethrower, but because Alan Harris' (the person who was in that suit) arm was caught in flame, they modified the flamethrower (look at the Pre-Pro #2 images). The suit had also working rangefinder LEDs, working chest light, speaker under the abdominal plate and microphone in the helmet, a torch (light) in the right gauntlet, a smoking jetpack operated with 2 switches on the right gauntlet and the light beacon located on the jetpack. It was conceived as an all-in-one mobile lethal weapon.
Last edited by RafalFett; Dec 10, 2012 at 3:55 AM. Reason: Added light beacon.
Just amazing. Impressive that they gave this suit so much functionality! Doubt you'd see that kind of attention to details these days.
Updated the end of the first post with a great find - one mystery solved! One more to come...
Great find Rafal, and thanks for sharing!!
So, if I'm understanding you correctly (also via our pm) is Jan Steven's mainly the one credited for the sculpt of the armor?? Or JP also?
cast and crew list, there were only 3 sculptors (modellers) hired to work in the preproduction of the movie (source ==> Star Wars: Episode V - The Empire Strikes Back (1980) - Full Cast & Crew):
From the Star Wars - The Blueprints book (quote taken from the first post of this thread):Art Department
Ted Ambrose ... draftsman
Ivor Beddoes ... sketch artist
Michael Boone ... draftsman
Reg Bream ... draftsman
Frank Bruton ... property master
Steve Cooper ... draftsman
Richard Dawking ... draftsman
Joe Dipple ... property dressing supervisor
Fred Evans ... modeller
George Gunning ... head carpenter
Fred Hole ... assistant art director
Michael Lamont ... assistant art director
Ralph McQuarrie ... design consultant and conceptual artist
Dave Middleton ... construction storeman
Allan Moss ... modeller
Edward Rodrigo ... chief buyer
Bert Rodwell ... head plasterer
Janet Stevens ... modeller (as Jan Stevens)
Charles Torbett ... property supervisor
Bill Welch ... construction manager
Andy Aitken ... plasterer (uncredited)
Gerry Bourke ... props (uncredited)
Mark Harris ... art department assistant (uncredited)
Tom Jung ... poster artist (uncredited) / poster designer (uncredited)
Peter Mann ... constructor (uncredited)
Kieron Mcnamara ... props (uncredited)
Per Mørk ... construction manager (uncredited)
It says the outfit complete with backpack and helmet range finder, so I guess it was sculpted (at least partially?) by Jan Stevens with the aid of Brian Archer. It is possible that the jetpack was build (with clay) around the main tube and the side tanks and possible other scratch made parts."As I recall, just before I started full-time on Empire, Robert Watts received a sketch from ILM depicting what was described as a super stormtrooper," says Reynolds. "He asked me if I would develop the character and produce an outfit for George to consider, so I enlisted the aid of a sculptor, Jan Stevens(*), and a model maker, Brian Archer (who previously had helped me with Threepio's costume), and produced the outfit complete with backpack and helmet range finder. When George finally received the outfit, he decided to change the concept from stormtrooper to bounty hunter."
Added another great update to the end of the first post.
Incredible addition, Raf!
Wouldn't it be something if we were able to get in touch with her....
That is truly some incredible detective work Rafal, thanks so much for sharing and I love the pic of the Snowtrooper Commander (?). Great shots of the molds too!
Any idea what that is on the floor behind the mannequin in the first photo (of her sculpting)? Looks like some TK shorts or something, maybe....
Amazing work! Also great shot of the snow commander. I have a friend building one right now that will love seeing that.
Thank you for the great info.
Great work Raf. You are the gift that keeps on giving!
images and informations (although these are not necessarily new images, but never shared by others from lack of time or other motives). Thanks for the kind words!
I actually know someone on that list who worked in the Art Department for both Episode IV & V. He and his wife own a home near me and I usually see him around the holidays (when he is not shooting another movie). If you have any specific questions you would like me to ask him, just PM me a list and I will see hwat he remembers. He has some great stories and photo's from back then.
If he has pics of fett then that would be great. Anything that can help focus the 501st ESB CRL would be awesome.
Take your time, I don't bug him when he is off on a project but I do expect (hope) to see him on December 14th.


text:
Talk:Naka Shrine Pass Technique
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Just need a bit of confirmation, that stone was not there in the past was it? I mean the last time we saw the shrine, it was concealed by a floor mat/plate/tile thing.--Cerez365™(talk) 12:56, January 31, 2013 (UTC)
- I don'think the stone thing was shown but given how quickly Sasuke got there, that may have been how he got there on the first time. Darksusanoo (talk) 13:16, January 31, 2013 (UTC)
Itachi as a user
Ok...looks like even basic stuff needs to get past the radar. Since it was Itachi the one who even told Sasuke of the existence of the shrine, the tablet, etc, ettc, it stands to reason that he, as an Uchiha with such knowledge, has more than likely been to the shrine and as such knows the technique to open it. Darksusanoo (talk) 13:19, January 31, 2013 (UTC)
- This ties into the discussion up there. I don't think anyone else should be listed as a user because this seems like something Kishimoto just added. It could be that Sasuke sealed it before leaving or something like that but in the past it was just a mat that covered it.--Cerez365™(talk) 13:34, January 31, 2013 (UTC)
- then obito would be an user too, since he also was there once when I remember right....Orochimaru and Kabuto were also there at least once, so they would be users too, despite not having the Sharingan. Bit confusing, isn't it?22.214.171.124 (talk) 14:26, January 31, 2013 (UTC)
I'm pretty certain Sasuke was the one who sealed the shrine with that stone--Elveonora (talk) 14:47, January 31, 2013 (UTC)
- Probably but the timeline of events seems warped, mayhaps for me alone but something seems off.--Cerez365™(talk) 15:57, January 31, 2013 (UTC)
It was obviously not there early on, also from where would Sasuke know the handseals if it weren't his technique? Remember, he had been to Konoha post time-skip and prior to current events already, not directly, but didn't his fight against Itachi take place close to Uchiha Clan's place?--Elveonora (talk) 16:07, January 31, 2013 (UTC)
- The shrine is in Konoha itself the Uchiha hideout was in a mountain somewhere. This is also the first time Sasuke's been back to Konoha, hence the whole survey the village bit.--Cerez365™(talk) 16:13, January 31, 2013 (UTC)
Sealing technique
Shouldn't this technique be classified as a fuinjutsu, since the shrine was sealed off and it one can only enter with the specific technique to un-seal it. Darksusanoo (talk) 14:14, January 31, 2013 (UTC)
- I suppose. --X29 14:34, January 31, 2013 (UTC)
I thought this would be a barrier technique.184.108.40.206 (talk) 15:40, January 31, 2013 (UTC) Yomiko-chan
That's not what a fuinjutsu is, such techniques seal things into other things, or unseal things from other things. Also some immobilizing techniques are also labeled as such, this is either a barrier or simply a ninjutsu moving the rock 0_o--Elveonora (talk) 15:58, January 31, 2013 (UTC)
- Bit of an old topic but yes this is what Funinjutsu does with Five-Seal Barrier and Cloth Binding Technique being examples. The sealing formula in this case sealing the inner shrine from intrusion. I'd like to suggest Funinjutsu be added to the classification. Arrancar79 (talk) 05:38, March 8, 2013 (UTC)
Well, I think this one is hard to classify and requires further discussion--Elveonora (talk) 20:37, March 8, 2013 (UTC)
- As I see it, Ninjutsu, Fuinjutsu, and Barrier Ninjutsu are the applicable classifications. Arrancar79 (talk) 22:25, March 8, 2013 (UTC)
Classification as Kekkei Genkai and Dojutsu
If you look at the pages 5, 6, 7, 8 (7, 8, 9, 10 in mangareader) you will see that Sasuke only activates the Sharingan (Kekkei Genkai and Dojutsu) for the technique and deactivates it right after, so he uses it to the technique and if he don't use to break the seal and only to read the inscriptions I say that we need classify the technique as I mentioned above. MaskedManMadara (talk) 20:16, February 5, 2013 (UTC)
Possible, but still enough evidence... how do you move a rock with your eyes? 0_o--Elveonora (talk) 20:41, February 5, 2013 (UTC)
- There is a Sharingan on the rock, it could be a optical eye-contact key like in our modern safes. MaskedManMadara (talk) 21:22, February 5, 2013 (UTC)
- Possible, but not conclusively proven. Could just as easily be a hiden-like technique. Omnibender - Talk - Contributions 00:31, February 6, 2013 (UTC)