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On most SoundCanvas models, you can access a variety of advanced functions via front-panel button sequences. Controlling the SoundCanvas through MIDI, however, offers substantial advantages — not only for models with limited front-panel access, but for sequencing and live applications on all models. For example, since edits can't be saved in the SoundCanvas itself, to save the edits you make from the front panel in micro edit of part edit, you must do a part or bulk system-exclusive (sys-ex) dump into your sequencer. That's fine if that particular dump will take care of the whole song, but if you want to make substantial changes in instrumentation, effects, or tunings in the middle of a song, sending the dump back to the SoundCanvas may cause unacceptable interruptions in playback. Using smaller controller and sys-ex messages will enable you to create more expressive performances and take greater advantage of Roland's GS parameters. Small sys-ex messages are also a heck of a lot easier to edit once they're in your sequence.
The tips that follow will introduce you to many highly musical avenues to explore when programming your SoundCanvas. Everything presented here will work on the following Roland products: SoundCanvas models SC-33, SC-55, SC-55mkII, and SC-155; the Boss DS-330 Dr. Synth sound module; the JV-30 and JW-50 synthesizers; the SCC-1 GS sound card; and the VE-GS1-01 GS expansion board for the JV-1000 music workstation.
(The following models, released after the original publishing date of this article will also respond to GS programming: SC-50, SC-88, JV-35, JV-50, W-50, SCD-15, RA-30 and RA-95.)
Using continuous controllers is an easy way to begin exploring some of the hidden features of your SoundCanvas. Once you know which controllers access which features, you can experiment with them by entering the controller numbers and values into your sequencer's event list and then playing the data into the SoundCanvas.
You're probably already familiar with controllers such as modulation (CC1), volume (CC7), and pan (CC10), and the SoundCanvas of course responds to them. For some added finesse, however, let's take a look at some special controller tricks and what you can do with Registered and Non-Registered Parameter Numbers (RPN and NRPN).
A. Mono and Portamento. If you want your SoundCanvas to go retro and sound a bit more analog, select a synth sound, such as #82 Saw Wave, and use continuous controllers to set part 1 to mono mode and add portamento . . . instant vintage synth! You may also want to add some chorus to fatten it up a bit. Send the following data values on the MIDI channel of the part that you want to edit:
CC126 Value 1 Mono On
CC65 Value 127 Portamento On
CC5 Value 40 Portamento Time
B. Volume and Expression. Another important aspect of successful sequencing with the SoundCanvas is the relationship between volume (CC7) and expression (CC11). Roland recommends using volume to set the maximum level for each part. Use this to set the initial balance of your sounds. Expression can then be used as a controller for adjusting volume between 0 and the level set by CC7. This allows you to retain a lower level, yet still have a full range of expressive control over your mix. It's also very handy when you want a part's maximum level to be an irregular value, such as 71. Using only CC7, it can be difficult to return a slider or pedal exactly to 71. However, if you assign the slider to CC11, you simply run the slider to the top, and the Level will return to 71.
C. Pitch-Bend Sensitivity. Registered Parameter Numbers CC100 and CC101 define the RPN functions, which include pitch-bend sensitivity, fine tuning, and coarse tuning. Use data entry CC6 (MSB — most significant byte) and CC38 (LSB — least significant byte) to set the values for the registered parameter you choose. (MSB and LSB commands allow two 7-bit data words to be used to send a single 14-bit word. "Most" and "least" simply refer to which byte is sent first.) Again, be sure to enter these MIDI messages into your sequence on the proper MIDI channel for the part you intend to edit. The SoundCanvas has a default pitch-bend range of a whole-step, which is fine for most musical uses. But to get a real bluesy string bend on a guitar part, a ribbon-bender effect on a synth lead part, or realistic fall-offs on brass stabs, you'll need to increase the Pitch-Bend Range. You can set the bend range for an individual part to up to two octaves by inserting these messages into your event list:
CC101 Value 0
CC100 Value 0
CC6 Value X
X is the number of half-steps, from 0 to 24, to which you want the SoundCanvas to respond. CC101 and CC100 tell the SoundCanvas that pitch-bend is the parameter you want to adjust.
D. Coarse Tuning. The coarse tuning parameter lets you change the pitch of the SoundCanvas in half-steps over a four-octave range. Since all registered parameter functions affect only the channel on which they are sent, you can transpose just the parts you want to, and leave others unaffected. This lets you transpose a piece to suit a singer's range, while leaving the drum and sound effects parts at their original pitch. On the other hand, you may want to tune the drums up or down to fatten or tighten them up, and leave the other parts untouched. If you try to do this by transposing your entire sequence, the note numbers in your drum tracks will be transposed as well, yielding some unexpected and possibly undesirable results. Add the following message to the event list of each track you wish to transpose:
CC101 Value 0
CC100 Value 2
CC6 Value X
X can be any value from 40 to 88, with 64 being standard tuning, and each number higher or lower than 64 representing a half-step up or down.
E. Fine Tuning. The pitch of standard tuning has not been consistent over the years, and indeed, many ensembles and orchestras today choose pitch references other than A=440Hz. With the Fine Tuning registered parameter function, the SoundCanvas can be tuned to match any modern or historical pitch level. Here's the basic message:
CC101 Value 0
CC100 Value 1
CC6 Value X
For standard A=440Hz tuning, X=64. For each increment of X, the pitch of the SoundCanvas changes approximately 1.5 cents (a cent is 1/100 semitone), giving you a range from 415.3Hz to 466.2Hz. Here are the messages for three common historical pitch references (note that A=415Hz requires a coarse tune message to get beyond the 415.3Hz bottom limit). Insert them in each track you wish to tune.
A=430Hz A=460Hz A=415Hz
CC101 Value 0 CC101 Value 0 CC101 Value 0
CC100 Value 1 CC100 Value 1 CC100 Value 2
CC6 Value 36 CC6 Value 115 CC6 Value 63
CC101 Value 0
CC100 Value 1
CC6 Value 62
F. Synthesis Editing. The SoundCanvas synthesis engine comes alive with the NRPN controllers CC98 and CC99. Eight NRPNs let you control basic synthesis functions, and five are for editing the level, pitch, pan, reverb, and chorus amount for individual instruments within a drum kit.
Listed below are the synth editing NRPNs, their controller numbers, and their value ranges. A value of 64 is the default setting. You can raise or lower any of the values ±50; values above 64 will increase the effect, and values below 64 will decrease it. Some sounds may not respond as you'd expect because the ROM value is already maximized. For instance, if a sound's factory default for filter cutoff is already wide open, adding +50 to it will have no effect. In this case, lowering the cutoff by -50 should produce a noticeable effect. Note: On some SoundCanvas instruments, you must first enable the device to receive NRPNs by sending a GS reset message (see the final tip in this article). The CC6 values of 64 are default settings, and 14 and 114 are the allowable minimum and maximum, respectively. (See Figure 1, page 3)
Fig. 1.
Vibrato Rate 01 08 14 – 64 – 114
Vibrato Depth 01 09 14 – 64 – 114
Vibrato Delay 01 10 14 – 64 – 114
Filter Cutoff 01 32 14 – 64 – 114
Resonance 01 33 14 – 64 – 114
TVF & TVA Attack Time 01 99 14 – 64 – 114
TVF & TVA Decay Time 01 100 14 – 64 – 114
TVF & TVA Release Time 01 102 14 – 64 – 114
To slow the attack time of a particular part, insert the message below into your sequencer on the MIDI channel the part is set to respond to. For a slower attack, X should be a value between 65 and 127.
CC99 Value 01
CC98 Value 99 (TVF & TVA Attack Time)
CC6 Value X
To get a musical wind instrument vibrato, try this message on a flute sound.
CC99 Value 01
CC98 Value 8 (Vibrato Rate)
CC6 Value 72
CC99 Value 01
CC98 Value 9 (Vibrato Depth)
CC6 Value 78
CC99 Value 01
CC98 Value 10 (Vibrato Delay)
CC6 Value 100
G. Drum Instrument Editing. NRPNs let you tweak any individual sound in a SoundCanvas drum kit. In this case CC99 defines the function, CC98 specifies the note number, and CC6 sets the value. The following table shows these controllers and values. (See Figure 2)
Fig. 2.
Drum Pitch Coarse 24 Note number 0 – 64 – 127
Drum Level 26 Note number 0 – 127
Drum Pan 28 Note number 00 = random
01 – 64 – 127
Drum Reverb send 29 Note number 00 – 127
Drum Chorus send 30 Note number 00 – 127
Try changing the pitch of the snare drum assigned to E2 with these messages:
CC99 Value 24
CC98 Value 40
CC6 Value 70
Once these NRPNs reside in your sequence, you can easily make subtle or drastic changes to any of these parameters by altering the corresponding CC6 value.
Sys-ex commands allow you to alter the entire sonic makeup of your SoundCanvas by typing a data string into your sequencer's sys-ex list. If you haven't used sys-ex before, check out the "What the Hex?" sidebar on page 6 for a tutorial on how it works with the SoundCanvas. (The first five bytes in the messages below, F0 41 10 42 12, are a header for all SoundCanvas sys-ex messages. The F0 is a sys-ex status byte, and the rest of the message consists of data bytes.) In all of the following examples, we have computed the checksum for you, so all you have to do is enter the data. Roland MC-series sequencers with Super MRC automatically compute the checksum when you enter 00 just preceding the F7 (end of exclusive) message. Refer to Section III for more info on checksums. A. Two Rhythm Parts. Enabling a second part for rhythm lets you mix the Jazz and Jazz Brush Kits, for example, combine the Electronic kit with the Standard kit, or use the SFX Kit along with any of the other drum kits. The first message below will change part 11 to drum part 2, after which you can send a program change on channel 11 to call your second drum kit. The second message changes part 11 back to a normal part.
B. Controller Routing. A common misconception is that the SoundCanvas doesn't respond to aftertouch. It will actually receive both channel and polyphonic aftertouch, but first you need to assign aftertouch to a destination. All told, the SoundCanvas can accept six control sources: modulation, pitch-bend, channel and poly aftertouch, and two assignable MIDI controllers. What's more, each of these can have up to 11 simultaneous destinations: pitch, filter cutoff, and amplitude, and rate, TVF depth, TVA depth, and pitch depth for each LFO. For a complete list, check addresses 40 2n 00 through 40 2n 5A on the MIDI Implementation Chart in your instrument's owner's manual. Note that the "n" in these addresses is the part number. The following message enables aftertouch to create volume swell and add a bit of vibrato on part 1:
Try this on #49 Strings to add a little intensity, or on a lead sound, such as #88 Bass & Lead. For other parts, change the second digit of the address byte (the sixth data byte, 21, in the above example) as needed. Note for hex-heads: When specifying parts, Roland uses 1 for part 1, 2 for part 2, and so on up through part 10, which is specified using 0. Parts 11 through 16 are specified with the hex digits A through F.
C. Alternate Scale Tunings. Through sys-ex, you can tune individual pitches to create scales that stray from the equal-tempered path. All kinds of historical and ethnic tunings are possible, and since a message affects only the part to which you send the string, you can even have interesting fusion effects like an ethnically tuned solo accompanied by an equal-tempered band. Increasing the value of any single data byte (the 12 bytes following the six address bytes) raises or lowers the pitch one cent, and standard equal temperament is represented by 40 (hex). These parameters are located with the Micro Edit functions on the MIDI implementation pages of the SoundCanvas manual. As with all Micro Edit functions marked in the manual with an asterisk, you must send the data for all addresses within the parameter; in this case, you must send data for all 12 notes of the chromatic scale, even if there are notes that you aren't changing. The following example, set for part 1 (as denoted by the second digit in the sixth data byte), is one of many Arabic tunings, and it is effective with #16 Santur.
D. Changing Effects. There's a lot more to the effects capabilities of the SoundCanvas than most people realize: There are eight different reverbs, each with eight variations, plus two delays and a flanger. You can edit effect parameters, such as reverb master level and time, plus chorus rate, level, and feedback. You can use CC91 and CC93 to control the amount of reverb and chorus per part, but the master levels default to 50%. With sys-ex you can increase the level as well as edit all the effect parameters. For a complete list of editable parameters, consult addresses 40 01 30 through 40 01 3F on the MIDI Implementation Chart. Here's how to select Room 2 reverb, and max its master level:
Here's how to max out the master levels and increase reverb time:
This message switches chorus to flanger:
The chorus level for each part defaults to 0, so you'll have to boost its level in order to hear the flanger.
E. Turning Channels Off. When using more than one sound module with a sequencer, you may want to thin out the orchestration by turning off a part or two on your SoundCanvas. Let's say you want to have a piano module respond to MIDI channel 1 and the SC-55 to channels 2 through 16. Since the SoundCanvas listens on all 16 channels, you must use a short sys-ex message to turn part 1 off:
Any of the 16 parts can be turned off using the part numbering given in Figure 3 (page 5).
Fig. 3. The SoundCanvas listens on all 16 MIDI channels. Use the sys-ex messages in this chart to turn off individual parts.
Part 1: F0 41 10 42 12 40 11 02 10 1D F7
Part 2: F0 41 10 42 12 40 12 02 10 1C F7
Part 3: F0 41 10 42 12 40 13 02 10 1B F7
Part 4: F0 41 10 42 12 40 14 02 10 1A F7
Part 5: F0 41 10 42 12 40 15 02 10 19 F7
Part 6: F0 41 10 42 12 40 16 02 10 18 F7
Part 7: F0 41 10 42 12 40 17 02 10 17 F7
Part 8: F0 41 10 42 12 40 18 02 10 16 F7
Part 9: F0 41 10 42 12 40 19 02 10 15 F7
Part 10: F0 41 10 42 12 40 10 02 10 1E F7
Part 11: F0 41 10 42 12 40 1A 02 10 14 F7
Part 12: F0 41 10 42 12 40 1B 02 10 13 F7
Part 13: F0 41 10 42 12 40 1C 02 10 12 F7
Part 14: F0 41 10 42 12 40 1D 02 10 11 F7
Part 15: F0 41 10 42 12 40 1E 02 10 10 F7
Part 16: F0 41 10 42 12 40 1F 02 10 0F F7
F. Splits and Layers. For live performance, use your sequencer and sys-ex to instantly create complex splits and layers — even on keyboards that don't have zoning capabilities or can't transmit on multiple channels. First we assign part 2 to MIDI channel 1. To do this, create a sys-ex string in which part 2's address, 40 1n 02 with n=2, is followed by the data byte 00, which denotes MIDI channel 1. (Part 1 is already assigned to MIDI channel 1, so we don't have to tinker with it.) We now assign the parts to specific keyboard ranges using the Key Range Low and High addresses (40 1n 1D and 40 1n 1E). Now select tones for each part with the Tone Number address (40 1n 00 and 01; two bytes required). This is great if you want to play a bass and piano break in the middle of a song. Leave out the Key Range messages and you have an instant layer.
First, assign part 2 to MIDI channel 1:
Now let's use modulation to control the level of the sound on Part 2. We'll assign modulation to amplitude and turn the pitch modulation off, like this:
You can use this example to fade in a string sound over a piano sound.
G. Voice Reserve. This parameter lets you assign a minimum number of voices and a hierarchy for each part, so that if the number of notes in a sequence exceeds the unit's polyphony, it will borrow voices from the lower priority parts and keep the higher ones playing. If two parts are assigned the same number of voices, the lower-numbered part will take priority. The SoundCanvas has a default part priority where part 10 (the drum part) is highest, followed by parts 1 through 16 in ascending order.
The following message reassigns the voice reserves for parts 9 through 16, reserving a minimum of three voices each on parts 9, 11, and 12, and two each on parts 13 through 16:
H. GS Reset. This message will reset the SoundCanvas to its factory default condition. In the case of the newer SoundCanvas instruments, such as the SC-55mkII, you must send this message before using the NRPNs to program your sounds. Insert this message at the beginning of every song, in order to wipe the palette clean:
The best thing about this message is that you don't need to worry about messing up your SoundCanvas by entering any of the other messages in this article incorrectly. It will always return you to a clean condition. So have fun with your MIDI hacking!
MIDI messages can be notated numerically in one of three ways: binary, decimal, or hexadecimal. The method the microprocessors in your MIDI equipment prefers is binary, in which each of the eight bits in a data byte is represented by either a 0 or a 1. You, though you may not realize it yet, prefer to use the decimal system, in which each of your ten fingers is represented by an Arabic numeral, the familiar 0 though 9. Hexadecimal notation (or "hex," as it is affectionately known), makes working with MIDI messages easier than either of the other two systems. Hex is base 16, with the rightmost column being the "ones" column, and the column to the left being the "16s." Our decimal system only has 10 symbols for representing numbers, but hex must have 16. To accommodate these six unrepresented values, we use the letters A through F to represent the values from 10 through 15 decimal. A value of 16 appears in hex as 10. (Some publications use an "H" after a hex number, to make it easy to tell the difference between 10 in decimal and 10H, which would be 16 in decimal.)
Contrary to popular belief, the engineers who invented the hex system did not have eight fingers on each hand. They did, however, have plenty of eight-bit bytes in binary to worry about. Since four digits of binary can represent a total of 16 different values, we can quickly translate an eight-digit binary number into a two-digit hex number. It's easier to recognize status bytes and MIDI channels when they are in hex notation; consequently, it's easier to keep track of MIDI messages when inserting them in a sequencer track or programming your SoundCanvas in Micro Edit mode, which displays all parameters in hex.
MIDI system-exclusive messages contain hexadecimal representations of a given instrument's internal parameter settings. The SoundCanvas's sys-ex messages are divided into three sections: header, body, and end. The header is virtually identical for most of the sys-ex messages you'll use with the SoundCanvas. It simply identifies this message as sys-ex data for a Roland GS instrument.
F0 Begin sys-ex
41 Roland ID
10 Device ID
42 GS Model ID
12 Data Set Command
The body consists of a three-byte address, any number (up to 256) of data bytes, and the infamous Roland checksum. Each editable parameter in the SoundCanvas has its own sys-ex address. This allows you to send a sys-ex message to a specific address without bothering the neighboring parameters. Look for the Parameter Base Address near the back of your SoundCanvas manual, then find the table labeled Patch Parameters for the addresses used in these examples.
For our first example, we'll change the reverb from the Hall 2 default setting to delay. Under Patch Parameters, Reverb Macro is listed next to the address 40 01 30. We enter those numbers as our three-byte address.
40 \
01 Address
30 /
The address is a starting point for the data bytes to enter memory. The first data byte is entered at that address, and the remaining data bytes automatically flow to the following address locations. For Reverb Macro, the manual indicates there are eight choices, of which delay is number 06, so 06 becomes our first and only data byte.
06 Data
Next, we need to compute a checksum for this message. The checksum is used to protect your SoundCanvas from receiving corrupted data by ensuring that the address and data bytes follow a precise mathematical formula. Corruption is usually not a problem when creating small messages, as in these examples, but can be when one missing byte in a bulk dump can ruin a dozen of your favorite patches! Here's a simple translation of the checksum formula:
80 – (sum of address bytes + sum of data bytes) = Checksum
If the sum of the address and data bytes is greater than 80 (hex), the result will be a negative checksum. In that case, subtract 80 from the address and data sum as often as necessary until the sum is less than 80, so that the subtraction that computes the checksum yields a positive result. For our example, we have:
80 – (40 + 01 + 30 + 06) = Checksum
80 – 77 = Checksum
09 = Checksum
But hypothetically, if the sum of the address and data bytes had been greater than 80 (hex):
80 – (80 + 40 + 01 + 40 + 06) = Checksum
80 – 107 = Checksum (negative, so subtract 80)
80 – (107 – 80) = Checksum (still negative, so subtract 80 again)
80 – (87 – 80) = Checksum (positive) 79 = Checksum
So our body now becomes:
40 \
01 Address
30 /
06 Data
09 Checksum
If you're new to hex, you may be confused to see an equation like 80 – 77 = 09. You may find it easier to convert all the values to decimal, perform the subtraction, and then convert back. In this case, 128 (equal to 80 hex) minus 119 (equal to 77 hex) equals 9.
The checksum is followed by the end-of-exclusive byte F7. Our entire message would be:
For the SoundCanvas, there is a slight variation on this message format when we want to address parameters for a single part. Look in the Patch Parameter addresses in the manual to find:
40 1n 02 Rx Channel
40 1n 03 Rx Pitch-Bend
Notice all the addresses past this point have an "n" in the second address byte. In hex, the 16 SoundCanvas parts are numbered starting with 1. For part 1, n=1, for part 2, n=2, and so on. For part 10, n=0, after which part 11 is numbered A and so on. For this example, let's say we want to change part 1 from MIDI channel 1 to channel 16, and not have it respond to pitch-bend messages. First, we use the same five-byte header, followed by the appropriate starting address as shown in the Patch Parameter list — with n=part 1 — and two data bytes, since we're changing two consecutive parameters:
Header F0 41 10 42 12
Address 40 11 02
Data 0F 00
Our checksum for this message would be:
80 – (40 + 11 + 02 + 0F + 00) = Checksum
80 – 62 = Checksum
1E = Checksum


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subset: commoncrawl


text:
Titans: Midnight: "Heroes": Part 1: Hollow Spaceboy
"Welcome, my friends. Today's the day."
Schwarz was leaning on the window, knee on the glass, staring at the clouds below him. Weiss, stood next to him, was facing the other way, however. He stood triumphant, smirking as the legendary Team Temporal were brought before him.
"See, I told you we wouldn't need any soldiers." Weiss turned to Krystal. "What's wrong with the girl?" Weiss asked Sepia. He knew who the leader was. It was fairly obvious. The writhing, pulsating girl had been brought in on a stretcher.
"She's reacting to something. I think it's something that hasn't happened yet. Funny, she only started doing it again when we got here..." Sepia said, a sour look on his face. He wasn't laughing anymore. There wasn't time.
"Well, I can thank you all for coming. I was so pleased you could make it." Weiss rubbed his hands together gleefuly. Schwarz continued to look away. "I wanted to show you all something before we started, however." He motioned to a side door. In walked Polaris, plain as day.
"Polaris?!" Roy shouted, surprised. Max just laughed.
"I thought you gave this all up?" Max said, sneering somewhat.
Their former compatriot laughed a jarring laugh.
"You really think anyone could changes sides like that?" Weiss stepped over to Polaris and placed a hand on his shoulder. "You've all been had. In fact, even I was duped. Isn't that right, Schwarz?" He called back to his partner. Schwarz just grunted in agreement.
"What?" Sepia blurted out.
"Your 'friend' here isn't who he seems." Weiss pointed to a screen at the side of Jirachi 7's flight deck. It burst to life with images of a young man being captured by Rocket. "That is the real Polaris. We sought to capture his Smeargle. We threw him into a cell, unfortunately only to have a lethal allergic reaction to the StopAll that we had lined the bars with to prevent escape." The screen changed again, this time to the Polaris the group knew. He was behind bars, and the footage clearly showed a man with a Scyther releasing him. "Schwarz sent in his younger brother, an out of work actor, to figure out who was trying to undermine our Terrut operations. It turns out, funnily enough, that it was your friend, Cinnabar."
"What?" Roy exclaimed.
"He worked for us, I'm sure you knew that though. But he wasn't to be trusted, clearly. So we pushed onwards. We knew he had links to a young man who we'd already identified as one of the group that would cause Deoxys' meteor to destroy us all. Thus, he had a new mission. One he performed perfectly. How else did you think we were able to keep such close tabs on you?"
"So it is true. The meteor... It's a prison." Sepia said, genuinely interested. He stepped forward. "But what help have you given them? We've pretty much walked straight into their hands here."
"Not you." Polaris snapped. "This." He strode over to a wall and pulled a switch. Up came a panel and behind it stood Daebi, wired to a machine and surrounded by a thin, blue light.
"Daebi?" Hari said, surprised. "But how?"
"Chronon Loop." Daebi said, disgusted. "Time is like an ocean. I move by rippling the water. This disgusting device stops it. Freezes the water."
"I'm sorry." Sepia said, his face getting increasingly dim. "I'm so sorry that it came to this."
"I'm an abomination, really." Daebi said, laughing a hollow laugh. "Don't pity the damned."
Sepia turned away, sighing softly. Max stepped forward this time.
"We can't be the only threat to you. If you know the future, you must be able to just stop the main event. You can't surely mean that everything we do is a threat?"
Schwarz laughed, and Weiss turned to face him.
"He is right, you know. In many ways."
"It has to be like this." Schwarz sneered as Jirachi 7's lights began to flicker. Warning signs began to flash, advising that it was about to make its final steps towards its goal.
"And here we go." Weiss said, smugly. There was a tremor as the vessel broke through the atmosphere, making its way outward, sliding on its imaginary rails. The rumbling became more and more intense as Sepia began to wave his arms at the group. Signalling for them all to drop. They did so, attempting to cling to the white, polished floor they had stood on. Weiss, Schwarz and Polaris did not move. Eventually, the tremors ceased as the craft reached its destination - space.
"We're here!" Weiss said, ecstatic. He grabbed Polaris and hugged him, laughing all the while, before moving over to the window. "The first humans. We've done it. We've actually done it!"
A siren began to blare as warning lights flashed on the monitors scattered around the sides of the bridge.
Warning. Warning. Hull breach detected in Car 5.
"What?!" Weiss said, running over. He pushed a young rocket out of the way and started pressing buttons. "Nothing's working! We're losing pressure!"
"Code seven on Car 5." Schwarz said, still not moving from his viewpoint.
"Code seven?" Weiss said, blinking. "But that would separate it completely."
"And car 5, the final car, I should point out, is the prison. It has no inhabitants. The guards and prisoners are now on deck. It is no loss."
Weiss began pressing buttons, but another light began to flash.
"No good. The thing's stuck. It'll have to be done manually." Weiss pointed to Giovanni and his men. "You! Take everyone and get them down there. This is on autopilot now. We need you to repair damage!"
"But sir!" Giovanni was disgruntled, "That will leave you all unprotected!"
"Do as I say! We can handle ourselves!" Weiss shouted. Giovanni ushered his men, and the remaining flight crew, out of the door, mumbling under his breath.
Weiss stood up and turned to Team Temporal, still angry. "This... all of this is a feat of human engineering like nothing before. I will not let you destroy this."
"We don't want to destroy the planet!" Sepia shouted as he clamboured to his feet. "We just think there must be a different way to do it than starting a war!"
"War is the only option!" Weiss said, a vein in his head throbbing as he shouted. "Nothing else would justify the increased spending! No matter what we do, I am still an elected official. I cannot authorise the funding necessary to form proper defences in time! A war gives me emergency powers, and I can channel them into a project that will save us!"
"Why not use Pokemon?"
"We have relied too often on them. In doing so, our government sorely lacks the funding it needs. Even Jirachi 7 was built as one of the few scientific aims unachieveable by pokemon. And when it comes to stopping this, we simply can't. There is nothing powerful enough to stop the onslaught of a meteor. Not even a god."
"So we go to war..." Sepia said, sighing. "I can't believe it really is the only option."
"Then what do you suggest?"
"What about Jirachi 7?"
"We could fit it with whatever we like, but it would take a lot of money and time to get it operating at a level that could do some good. At present, our only option would be to ram it. I don't like that idea." He smiled a dark smiled and turned back to the view. A siren began to blare, causing Weiss to turn on his heels to look at his monitors. "Damn. We've been invaded, it seems."
Images of Kiss and her followers filled up one monitor, and on the other, Krystal Spectrum appeared in what appeared to be brand new clothes. Sepia's eyes widened when he saw the second Krystal.
"What?" He said, moving over to them. "How on Earth?"
The doors were ripped off their hinges as Kiss and her followers stormed the room. They still had their guns, a sight that surprised Polaris. Kiss herself rode a rudimentary throne constructed from her followers themselves, arching their backs and crawling where necessary.
"No! No weapons, Kiss! Nobody dies today!" Sepia shouted at her, but she ignored him. She kept her attention on Weiss and Schwarz.
"Now, where was I?" She said, smirking. "I have arrived, at long last, to bring you to judgement. You will pay for your crimes, and I will take your place. Fun, hm?"
"Telling me your plans before you kill me? A little cliché." Schwarz was still nonchalant, still gazing outward, ignoring the action.
"I thought it only fair." Kiss dismounted her throne, stepping delicately towards her intended victims. Unlike her counterpart, she enjoyed walking. She found it provided a certain austerity to her actions. "After all, the dead tell no more secrets than I will permit them." She laughed, before turning her gaze to Daebi. "You have her imprisoned? Rather excellent work. That little pest was always meddling in my affairs. Speaking of which..."
She clapped her hands and Jiroid appeared, as always, face covered by symbols of warding.
"Your Jirachi-based aspect, is it?" Weiss was smug, but telling cracks were appearing in his visage. "I haven't heard any reports of it being active for some time now."
"I haven't needed it. It has no power but to affect dreams and, don't you know?" She smiled gleefully as she made every crewman on board Jirachi 7 kneel before her. "I'm walking divinity now."
"No, you're not." Schwarz said, finally turning away. His face looked dead, emotionless, cold. Weiss turned to him, worried.
"Schwarz? Are you okay?"
"Better than ever." Schwarz still remained emotionless, even as he strode over to Kiss. He placed his hand on her forehead, and she screamed in terror as a pain shot through her. "You, worm, should know there will always be those far superior to you. Always." Kiss collapsed in a heap as he turned to her cultists. Every last one of them was assembled in the room. He smiled a wicked smile as his form changed.
"I have to stay out of sight." Krystal said. She knew what was coming. She had hidden herself in the engine room, knowing that she could keep track of what was going on without missing her chance. She began to examine the various dials and monitors in Jirachi 7's engines, noting various inconsistencies in them. Her eyes narrowed as she saw one final screen. The readings were clear, and she knew what she had to do. She set to work, pressing buttons, flipping switches, anything to get the readings where she needed them. "See, this is what I never realised. This is what I couldn't understand. This entire ship should have been thrown back to Kanto. It wasn't. Only the wreckage was. I understand that now. But... Yes!" She gave a tiny high-five to Constant. "There's a gravity field supporting this ship. When everything goes wrong, it will act as a sling, throwing us through time. If I adjust these, then only those with a direct connection will suffer temporal delay. Everyone else will still be thrown, but they'll stay within this timeline... Brilliant!" She smiled broadly as she realised. This was what she was here for. Her crowning moment.
The bodies of Kiss' cultists lay around her as she rose sluggishly to her feet.
"Good morning, sunshine." Schwarz was again in his normal form, his face still expressionless. "Time for me to do some explaining." He stood up and strode across the room. Kiss looked around her, saw the sea of bodies, and began to understand. She saw the covered face of her aspect lying on the floor, and she knew.
"No... no... Not again..." She began to tremble, uncontrollably. She gripped her head, screaming in pain. Her eyes began to glow brightly as she was consumed by it.
"No!" Sepia rushed over, placing his hands around hers, clutching them. "Hold on, Kiss. You can do it! I know you want to give in, but you can't! If you let it consume you, everything here will perish, including you!"
"But... I can't... I can't..."
"I know that it isn't easy. I saw it in your eyes. When you killed the Krystal Clones, it killed a part of you. It left a wound. You were always one of many. You thought it would help, but..." He placed his forehead to hers, still gripping the hands around her head. "You needed a family. You needed company. You needed to be loved... So you summoned your cultists without realising. Psychics imprinted upon with your image when you first gained your power. And I'm sorry, but you have to hold on. I know it hurts, but you have to hold on. You can't give in now!"
"I..." Kiss was calming, but her eyes betrayed concern. "It's going to happen. I'm sorry... I can't stop it."
"Damn..." Sepia gave her hands a squeeze and stood up. "I'm sorry it had to come to this."
"I only wanted to reshape Rocket... I should not have been born... I wanted to remove those that were creating monsters and replace them, shape things in a better image... Funny how power makes you lose sight of these things..." Kiss, still unsteady, crawled over to a young girl. She was only about nine, and she was one of cultists. This is what she had brought upon people. "I'm sorry..." Kiss pulled her towards herself and held her, tightly. Sepia could see a tear in her eye.
"How touching." Schwarz interjected. "Might I remind you that we're in the middle of something?"
"What's wrong with you, Schwarz?" Weiss was worried. He could see something in Schwarz's face that troubled him greatly.
"Well, no time for charades, is there? First things first, we are indeed on a direct course for the meteor. Weiss here seemed to be ignorant of this, so I thought I'd better fill that in."
"What?" Weiss grabbed Schwarz by the shoulders, shaking him. "Are you mad?"
"Quite." Schwarz laughed as Weiss was paralysed, frozen in place before him. "Now, you may be wondering why. See, what Weiss here doesn't realise is that when two objects that are identical come into contact, they become one. I don't mean 'similar', I mean two objects made from the exact same materials. The same piece of wood, in two times, merges into one. I, of course, was made from a fragment of the same Deoxys in that meteor. We are, as it happens, now one. The prison is opened, the prisoner released. Does it scare you to have a deity in the room?"
"Not as much as it should..." Sepia was graven. "Perhaps I've seen too much."
"Perhaps." Schwarz walked over to Krystal, who was still seizing. "This poor girl... I've been watching her. Poor thing thought the pain she was experiencing was from the wound she suffered. Little did she know it was because this moment was coming closer. She is literally on top of herself... well, more specifically, to the side, at a different point in her timestream. The other is unaffected, naturally. The ripple goes backwards. For the one who is chronologically in the future, it's like a low hum in the background. Maybe a headache. Possibly something worse if the past fights back. There, but ignorable. Krystal here is doing her best not to succumb. She's used to it, isn't she? Because she's so very special."
"Wait, why don't aspects merge with us, then?" Sepia said, slightly bewildered.
"The process takes a pokemon and adapts it to a human. If your aspects had encountered the pokemon they were based on, then they would have merged. But the human in them is rather like... icing."
"How convenient." Sepia narrowed his eyes at Schwarz. "So what now?"
"Now, I reclaim my throne." Schwarz laughed as he turned to the window. "This craft is on course to destroy the meteor, meaning the earth below is safe. However, it will only make a dent. What we have here, though, is a unique opportunity. When it strikes, we will have both a psychic explosion and, thanks to our other passenger, Daebi, a temporal explosion, meaning that I can say, without a doubt, the meteor will be not only be shattered, but thrown harmlessly across time and space in fragments so small that they will never be a danger to anyone."
"So, you've saved the world." Max snarled.
"Yes, and it will be ripe for the taking. I will, however, be kind." Schwarz discarded his body and resumed his Deoxys form. He was no longer a fusion. His Deoxys body was now the true incarnation of the beast. "I wish to restore my world as it was. I alone cannot rule, just as Arceus could not. So I will require time to reassemble my compatriots. But, and I must stress this, when I have freed Regigigas and Arceus, and they join me again, I will not be so forgiving. Until then, you are inconsequential. Even now, you are as insects to me. I see no reason to fear you, even with this one's memories."
"So. You are a monster." Roy said, his voice betraying his fear.
"And you fight monsters, don't you? Your exploits are impressive, but I assure you, they mean nothing." Deoxys floated back to the glass. Polaris approached him, changing his form in the process. Sepia let out an audible gasp.
"You would rob me of my free will?!" Polaris screamed at the creature.
"Polaris, I don't know what you've done, but you have to get away from him!" Sepia shouted.
"You... I'll kill you!" Polaris shouted, launching his rocky form at the beast. He was frozen in mid-air, and Deoxys simply laughed.
"I will enjoy one thing: My compatriots will only have their memories, not their stupidity."
"We... We've lost." Fuschia fell to her feet, crying. Wehc put an arm around her, knowing it wouldn't comfort her much. The situation did seem bleak.
Sepia walked over to Daebi and smiled weakly. "So, this is it, huh?"
"Don't cry for me, hero. It's not becoming."
"I always wondered why you had such free roam."
"I had to avoid myself to prevent merging with myself and forming a loop... But I was never anywhere. I guess this explains why I never really got around a lot, doesn't it?" Daebi smiled back, just as weakly.
Schwarz tapped the viewing window, and Sepia turned.
"Look, we're here!" The meteor, plain as day, lay before the ship. Its tracks of light ran directly into its heart.
"Brace yourselves!" Sepia said, ignoring the futility.
Schwarz simply laughed and laughed as the vessel gave way.


text:
Energy transfer under impact load studied by molecular dynamics simulation
- First Online:
- Received:
- Accepted:
DOI: 10.1007/s11051-008-9398-8
- Cite this article as:
- Chen, R., Luo, J., Guo, D. et al. J Nanopart Res (2009) 11: 589. doi:10.1007/s11051-008-9398-8
- Citations
- 127 Downloads
The process of amorphous silica clusters impact on a crystal silicon substrate is studied by molecular dynamics simulation, focusing on the energy transfer between clusters and the substrate under different impact conditions such as cluster size, impact velocity, and incidence angle. The impact process is divided into cluster deformation stage, cluster resilience stage, and cluster rebound stage according to the courses of energy change during the impact process. The simulation elucidates that the time of impact process of every cluster is only related to cluster size and is independent of impact velocity and incidence angle. The translational energy loss of the cluster and the potential energy increment of the substrate during cluster deformation stage, and the dissipation energy of system are independent of cluster size under the same impact energy and incidence angle. And the translational energy loss of the cluster during cluster rebound stage changes from energy absorption to energy release after the incidence angle becomes more than 60°. The rotational energy of the cluster may be omitted when the incidence angle is less than 15°. The ratios of the rotational energy increment of the cluster, the kinetic energy increment, and the potential energy increment of the substrate to the translational energy loss of the cluster are obviously influenced by impact conditions. And the ratios of the increment of the other categories of energy to the translational energy loss of the cluster are not sensitive to impact conditions.


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Challenge FiveMature
Shehzaad sat next to the ornate four poster bed in the middle of the Royal Chamber, looking out the window towards the softly glowing sun. The heavy velvet curtains hid the rest of the view from his gaze but it did not seem to matter to him. He continued to stare at the unvarying scene, one hand on his thigh and the other clasped in the frail grasp of Ozil's fingers. Topaz and sapphire rings twinkled on two bony fingers as they tightened their hold on Shehzaad's hand.
Sensing the hesitant movement, he reached over with his other hand and caressed the leathery skin of his grandfather's hand, reassuring him of his presence. He mumbled a few whispered words in Ozil's ear and on seeing a feeble smile make its way onto his lips, he gently kissed his grandfather's sagging cheek. A tear escaped from underneath Shehzaad's lashes and he turned his face away from the bed and wiped it off.
Such a long awaited reunion it had been for Ozil and his grandchild. But little did they know that their relationship was about to suffer another obstacle, this one longer and more immutable than the last. Not more than a couple of weeks had passed since the day Shehzaad had embraced his grandfather and decided to return to the Palace for good.
However, this happiness was not to be enduring. Ozil had fallen grievously ill and was now completely bed-ridden. The Royal Hakeem had strived to find a cure but had finally given up. Even Ilahi Bi had refused to disclose what she had seen of Ozil's future and when Shehzaad had insisted, she had cryptically said, "Rukhsaan-e-Meer has a very important task for our Overlord and He awaits his presence before Him eagerly."
Shehzaad could not fathom the meaning of Ilahi Bi's answer but with Ozil's continuously deteriorating health and weakening spirit, he soon realized the importance of those words. Once it dawned upon him that his grandfather may not have long to live, Shehzaad was gripped with a sense of unrelenting panic. The fear of losing Ozil was too much for him to bear after he had already lost Mehzil. He ordered Peeran to search the glades and glens of Parzenia for any man who could cure his grandfather's ailment. But it was to no avail. There wasn't a medicine that could bring back Ozil's vitality nor any herb that could instill in him an ounce of strength.
Bed-ridden and helpless, Ozil put up a brave face as everyone around him ran ragged in search for anything that could end his misery. One evening, with Peeran, Shehzaad, Pasha and a couple of guards surrounding him, Ozil beckoned Shehzaad. He crouched at his grandfather's bedside and tilted his head towards him, waiting for him to speak. A scratchy, weak voice whispered to him, "Shehzaad, my child. You must stop trying. It is of no use. Rukhsaar-e-Meer has decided that it's my time to bow in His serene presence and there is nothing that can obstruct His will. You must accept your responsibility towards Parzenia now. You have to take care of your family and your people. I think the time has come for you to light the Holy fire and partake the blessings of the Great Sorcerer. It is time for you to take your rightful place as Overlord of Parzenia."
Shehzaad had vehemently disagreed at first but then mellowed down to a meek acceptance of his grandfather's wishes. Ozil's joy had known no bounds and he had given orders to his ministers and officials to start preparing for the accession ceremony. From his sick bed he had made sure that everything had been set up perfectly. The Palace was lit up like the sky during a meteor shower, the streets of the Capital were decorated with festoons and sundry ribbons, and camp sites had been set up all across the town centre to welcome people who wanted to see the ceremony being performed. The banks of the Lodha river had been swept and smoothened to ensure safe passage for all those who were travelling by rafts and canoes, and the Tazlans rose majestically over the entire landscape as if blessing Parzenia.
The markets had been provided with the freshest produce and whatever had gone bad or was even slightly bruised or out of shape was immediately discarded. The stalls wore bright, cheerful awnings and the sidewalks were teeming with people from far off lands. Sunny, joyous faces crowded the Palace gardens from sun up to sun down in the hope of catching a glimpse of Shehzaad and to pray for Ozil's soul. Sounds of the evening prayers and hymns sung in the praise of Rukhsaar-e-Meer could be heard resounding throughout the land of Parzenia and not a single being was untouched by the happiness that pervaded the very fabric of the land.
Hearing the sounds of the people rejoicing and celebrating, Ozil had felt a mixture of pride and satisfaction at making the correct decision. The fervor of the people prompted him into making his own preparations for the upcoming ceremony. Although he had been too weak and frail to perform any spells, he had directed Shehzaad to mix some potions and set them beside his bed. Each day Ozil would drink from one of the vials and then smash it against the wall, only to repeat the same process the next morning. Even when asked by Shehzaad about his strange ritual, he did not reveal its significance.
This morning, sitting with Ozil's hand clasped in his own, Shehzaad remembered all the frenzied activities that had been happening in Parzenia. A simple 'yes' from him had overturned the gloom that had enveloped the terrain and transformed it into a land of hope. However, in his heart he still ached for Mehzil. The despair that had transcended his soul was yet to be lifted. With every cheer of joy that he heard, Shehzaad was reminded of the sorrow in Mehzil's eyes and the last words that she had spoken to him. "Just come for me as soon as you can. I will wait for you." A black sorrow threatened to overwhelm him yet again but he was pulled back from his dark memories by the gentle prodding of his grandfather.
Shehzaad asked him what it was that he wanted and then handed Ozil the last vial of the potion he had concocted under Ozil's directions. He watched as his grandfather sipped from it, bracing himself for the crunch of glass against the stone wall. As the vial crashed, a whitish smoke billowed from its remains and then fizzled out just as suddenly as it had emerged. Ozil muttered some hymns from his memory and then patted his chest thrice before asking for Shehzaad's assistance in getting out of bed.
He dismissed everybody from his presence, including Shehzaad, and told them to get ready for the ceremony. He then went over to the shattered remains of the vial and picked each shard carefully. Clasping all the minute pieces in his palm, Ozil began chanting a spell in the language of the ancient texts of Parzenia. A spell so powerful that it drained the last remaining strains of strength from Ozil's frail body. As he fell down to his knees, he saw someone rushing towards him before darkness befell his gaze.
Ozil took his last breath in Shehzaad's trembling arms, tears falling on his slackened face from the dreary eyes of his grandchild. Hearing Shehzaad's pleas for help, more people began pouring inside the Royal Chamber. Ozil was laid down on his bed for one last time while the inconsolable Shehzaad was comforted by Peeran. Sheiba was also present beside the still form of Ozil as she quietly chanted a prayer for his soul. Hakeems, officials, ministers, guards and a few of the visiting dignitaries also made their way inside the chamber and knelt before their erstwhile Overlord, while the crowds standing in the gardens below began chanting hymns.
From the celebratory mood from a few moments ago, the entire Palace was drowned in deep sorrow. Ozil's name began resounding from the gardens as the news reached more and more people. Sounds of wails, cries and sobs pervaded the air, replacing the claps, songs and laughter from before. Sheiba tried to console Shehzaad and then took him aside, away from the crowd that had gathered in the chamber.
"My child, I can imagine your sorrow and pain. Ozil's sudden departure is very disconcerting and the ache in your heart is shared by all the people of this proud land. However, you must contain your anguish and look beyond your personal grief. You have responsibilities on your shoulders, ones that you can not turn your back on. The whole land looks to you for guidance in this dark hour. They need their Overlord."
Shehzaad's bleary eyes looked at Sheiba in a strange manner, as if trying to understand what she was saying. Coming to his senses, he glanced towards his grandfather's body, and as if gaining strength from his mere presence, he got up from the floor and stood up straight.
"Peeran, make arrangements for the ceremony. It was grandfather's last wish and nothing can stop it from taking place."
Just as Shehzaad uttered these words, a blade of grass was seen spurting in the arid land of Dahroob.


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Winner: Fifteen Cornwall, Watergate Bay
Teetering like a crow's nest high above the beach this has to have one of the best sea views in Britain. There is nothing between you, the beach and the pounding surf of the Atlantic, which provides the backdrop to the riotous exploits of the Extreme Academy situated underneath the restaurant.
On a blustery winter day there this Christmas we had a fabulous long lunch (£24.50 for three courses) while a kite surfer almost caused us to call out the lifeboat. The atmosphere is relaxed. Booking is essential, although breakfast (8.30-9.30am) is first-come-first-served and very popular with surfers, who swagger in trailing sand behind them.
Students wear white hats, qualified staff are in black ones, all scurrying around in the open kitchen. Food is sourced locally as much as possible and great emphasis is placed on recycling - lots of bins in the car park, a little pink wagon run on bio-diesel scoots about picking up, and the loos (too dark for make-up repairs, but who cares) are flushed with rainwater (of which there is an abundance in Cornwall).
· Watergate Bay, Cornwall (01637 861000)
Runner up
The Drunken Duck, Cumbria
High above Lake Windermere, this lovely old inn has been owned and run by the same family for the past 30 years. As well as stunning views over the surrounding fells, it has an idyllic garden and grounds with complimentary fly-fishing, three dining rooms - two traditional, one modern - and a menu that showcases local ingredients such as leg of Kendal rough-fell lamb with pomme purée, French beans and cabernet sauvignon jus. Duck is always on the menu, drunken or sober, and service is quietly attentive.
· Barngates, Ambleside, Cumbria (01539 436347)
Best of the rest
Tower Restaurant
The Museum of Scotland
Chambers Street, Edinburgh (0131 225 3003)
Towers on spanking new modern buildings are rare as hen's teeth, so no wonder the restaurant on level five of this fascinating museum is such a hit. If the sexy, curved furniture fails to impress, then the view over the city surely will. Add to that cutting-edge Scottish food, and you have an unmissable occasion.
Druidstone Hotel
Broad Haven, Haverfordwest, Pembrokeshire (01437 781221)
Druidstone Beach is a mile of sand from end to end with rock pools and caves; Druidstone Hotel sits on the clifftop above, a rambling country house with affordable food running from fancy restaurant stuff (seafood and laverbread risotto, for example) through children's high teas, to hearty Sunday lunches and 'themed feasts' on certain nights throughout the year.
N. Ireland
Portaferry Hotel
10 The Strand, Portaferry, Co Down (028 4272 8231)
Characterful old hostelry with pleasing views over Strangford Lough and a deliciously somnolent ambience. Dining here is a treat, with an inventive menu ranging from Portavogie prawn wontons, to Finnebrogue venison with potato rösti.
Yorkshire and Humberside
The Star Inn
Harome, near Helmsley, North Yorkshire (01439 770397)
Wonderful thatched inn with Michelin-starred restaurant and much-admired wine list. Partridge with braised chestnuts and curly kale, locally smoked salmon with brioche, Duncombe Park deer with 'a little venison cottage pie' - the menu makes you want to set off for lunch straight away.
North West
Sharrow Bay Country House Hotel
Lake Ullswater, Penrith, Cumbria (01768 486301)
As the address says, this venerable Cumbrian institution (Sharrow Bay was Britain's first 'country house hotel' and bristles with appropriate awards) sits slap on the side of Ullswater, with a Michelin-starred menu and wine list to match the breathtaking views.
North East
The Baltic Centre, South Shore Road, Gateshead, (0191 440 4949)
In the rooftop of the world's largest contemporary art gallery, this restaurant benefits greatly from the building's industrial architecture and position overlooking the Tyne. Fabulous views, with assiettes of tender morsels got up to look like Phillip Treacy hats.
Cavendish Hotel
Baslow, Derbyshire (01246 582311)
This 18th-century inn has a brilliant restaurant, firelit bar and two dozen rooms - every one of them enjoying uninterrupted views of the Chatsworth Estate in the heart of the Peak District. If the Gallery Restaurant feels too formal, try the Garden Room for a light supper or a cream tea.
East Anglia
The Victoria
Park Road, Holkham, Norfolk (01328 711008)
The Victoria at Holkham panders to metropolitan tastes with its modern food, witty decor and souped-up farm buildings, where fine foods and wine may be purchased. Best of all is the hotel's proximity to the wild, windy landscape of the beach, with its grassy dunes, pine trees and posh beach huts.
South East
Due South
139 Kings Road Arches, Brighton (01273 821218)
Sparklingly fresh and local ingredients make up the dishes on the eclectic menu at this seafront restaurant.
South West
Porthminster Café
Porthminster Beach, St Ives, Cornwall (01736 795352)
The blinding light of Cornwall's coast in sunshine is a lure few can resist, and this famous eatery offers it in spades - together with fresh seafood lunches, crab sandwiches for tea and chilli squid for dinner.
The Portrait Restaurant
National Portrait Gallery, St Martin's Place, WC2 (020 7312 2490)
The view from here over Trafalgar Square is a heady mix of antique roofscape, famous monuments and wheeling pigeons. The food is suitably ambitious, too, contributing to that feeling of being on top of the world.
Le Coq d'Argent
No 1 Poultry, EC2 (020 7395 5000)
Whatever you think of Conran restaurants, Le Coq has always been one of the smartest, with its leafy roof terrace, its so-very French staff and its twinkling views of the City by night.
· Compiled by Sue Webster and Rebecca Seal


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The Russian connection: See all our coverage | Read about our investigation
Bill Galston thinks the fiscal cliffsters need to STFU:
Public discussions encourage posturing and allow die-hards to strangle compromise in its cradle. If the leaders of the parties are serious about reaching an agreement (some of their troops are not), they'll have to shift course and enter into private, face-to-face negotiations, during which they would agree to cease tattling to the press about the transgressions of the other side. President Obama and House Speaker John Boehner will have to take the lead, as they did in the famously abortive "grand bargain" talks of 2011.
OK, I'll grant that. I've been mocking John Boehner for making a public proposal so vague as to be almost useless ("revenue" doesn't mean a thing until you commit to specific policies for getting it), but obviously there's a limit to how far out in front of his skis he can get with the tea-party wing of his caucus ready to pounce on his every word. The problem with Galston's suggestion is that Boehner and Obama tried private talks last year during the debt ceiling negotiations, and it was a debacle. Oh wait:
It's understandable why both of them might be reluctant to go down this path again. Last year's talks produced intra-party conflicts among Republicans that Boehner found hard to manage. For his part, the president reportedly believes that it was a mistake to closet himself with the Speaker and that only constant public pressure can induce the Republicans to abandon extreme positions.
Galston thinks things are different this time, but I'm not so sure. The problem isn't on the Democratic side: Obama can probably round up the votes on his side of the aisle for any deal he makes. The question is whether things have changed for Boehner. Galston thinks they have: "Some of the early Tea Party fervor has cooled, and the House Republicans are more unified around Boehner's leadership....Both Eric Cantor and Paul Ryan signed onto his latest proposal....He speaks for his party to a greater extent than heretofore."
Maybe. It's true that there are signs that Boehner has a firmer hold on things than he did last year. The problem is that Galston is asking Democrats to take on faith the notion that Boehner can deliver on a genuine compromise proposal even if Obama ratchets down the public pressure. I'd call that a very dangerous proposition. The uncomfortable truth that everyone in Washington is tiptoeing around is that neither Eric Cantor nor Paul Ryan has explicitly said he'd be willing to raise real revenue yet. All they've signed up for is "pro-growth tax reform that closes special-interest loopholes and deductions while lowering rates." This looks for all the world like a proposal that would lower rates, get back to revenue neutrality by imposing a few minor limits on deductions, and then add $800 billion in "revenue" from the alleged growth-powering magic of tax cuts.
If you think I'm just being nitpicky, you'd better think again. These are the kinds of distinctions that killed the debt ceiling deal last year, and they're the kinds of distinctions that people like Ryan and Cantor live for. They aren't going to agree to a real revenue increase unless they're under intense pressure, and that's only going to happen if Obama goes public and stays public. There can be plenty of private talks at the same time, but they aren't enough. Obama needs to keep pressing his advantage if he wants to keep it. Sweet reason behind closed doors isn't going to get the job done, and Galston is being naive if he truly thinks differently.


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Cadillac Catera and Cimarron Forum Discussion, 1998 Catera Cranks, not firing, no fuel pressure. in Past Cadillac Vehicle Discussion; New to me 1998 Catera w/ 60,000 miles. Turns over, will not start. So far I have: Replaced crank sensor ...
- 03-23-13 04:28 PM #1Cadillac Owners Member
- Automobile(s): 1998 Catera
- Join Date
- Mar 2013
- Age
- 58
- Posts
- 1
1998 Catera Cranks, not firing, no fuel pressure.
New to me 1998 Catera w/ 60,000 miles. Turns over, will not start. So far I have:
Replaced crank sensor
Replaced spark plugs
Replaced valve cover gaskets
New battery
New (used) ECM (popped cover on original and there were three burnt resistors)
New vacuum fittings various to replace leaks
I have checked all fuses and relays
Checked coil pack statically and seemed good.
Checked Spark Plug wires statically and seemed good.
I can bypass fuel pump relay and get more than 50 psi
No spark
No Fuel unless I bypass relay, no clicking of injectors
Compression seems good (my tool will not fit all the way down through the valve cover, however blows a screwdriver handle off the spark plug seat very well.
I have done the 30 minutes on with key, off with key, repeat 3 times.
Same symptoms
Everything electrical works. Just can't get spark or fuel due to ???
I am pretty much at a stand still, The ECM does not seem to be "triggering" the fuel pump relay.
Any help will be appreciated.
One more thing I forgot, the Engine Control Power Relay is energizing.
- 03-23-13 06:55 PM #2Cadillac Owners Connoisseur
- Automobile(s): Cadillac
- Join Date
- Sep 2007
- Posts
- 1,024
Re: 1998 Catera Cranks, not firing, no fuel pressure.
Just a guess, if ECM replaced then have to reprogram it at the dealership or maybe bad fuel pump.


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I am trying to make everyone in my family quilts for/by Christmas. My sister is in love with bees, and so for her quilt I picked white/black/grey/yellow prints. She came to visit me this past week/weekend, and so I gave her the quilt early. She loved it. <3
|Modeling the quilt
|Happy as a clam, eh?
|Here is the back. I pieced the middle just to break up the grey speckled fabric.
|The quilt top held up by my wonderful sisters husband.
|A closer look at the design.
|Closer look at the stippling.
|Folded and Ready for use.
I love this quilt. I think part of the reason it is one of my favorite so far is because of the reaction. I gave it to them in person, and saw them use it and love it. And since then, I have received pictures of them using it at home also. <3 It makes me happy to know that the quilt I took time creating is well loved.
I used a pattern from a magazine, and just changed it to suit my color choices. For quilting the top, I used an all over free motion meander. I used grey thread, because I didn't want it to be shocking on the back of the quilt. The binding is machine sewed to the front, and hand stitched to the back. I was actually working on this quilt while they were here - finishing up the hand stitching!! :D
Don't forget to check out the other gorgeous quilt creations here. Or you can click the button on my sidebar.
Happy Quilting


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Owning your driveway paved with concrete isn't the least expensive option available, but this hardy product far more than will make up for it with wonderful advantages. The overall prices would still change relying on aspects including the dimensions from the driveway and decorative options. Why don't you choose a look for the strong advantages and wonderful style alternatives of a concrete driveway Oklahoma City?
Positive aspects of the Concrete Driveway
1. Straightforward to Sustain
Concrete, when laid out on the ground, can make up for just a major slab of driveway substance to suit your needs or your guest's vehicles to travel on. This inherent property can make it much easier than other sorts of material to generally be cleaned and maintained all all through the several years. The lessen maintenance and mend costs of concrete allow it to be a lot less of the headache within the future.
2. Potent and sturdy
A concrete driveway is famous for staying straightforward to sustain, nevertheless it won't quit there. It really is really sturdy and its excellent energy keeps it from breaking apart or chipping faraway from each day use. Whatever vehicle you or your loved ones members might have, you are able to make sure that a concrete driveway can manage a thousand lbs . of pounds working day in, and day trip. They are able to even hold their structural form intact for a longer time in instances of organic disasters like flooding and earthquakes!
three. Aesthetic Enchantment
Grey concrete may be remodeled into much more pleasant-looking products that will fit and search excellent with any sort of dwelling. It can be strong sufficient to resist a metamorphosis or stamping into a lot of beautiful designs like cobblestones, natural stone impact, random interlocking and european enthusiasts. It is possible to also colour it to resemble a far more pricey materials which include pavers and distinct stones, when retaining in finances and making sure a robust driveway for many years to come back.
Driveway paving with concrete could be personalized with stamped concrete, or if not known as textured to look like flagstones, bricks, wood or tiles, producing an authentic and costly seem and experience. You could also stain a driveway to stay in step with your home's total topic. Etching it could possibly change the appearance of concrete to make a more in depth result. Uncovered aggregate is one of the oldest and however the obvious way to alter your driveway's glimpse in accordance with your preferences. Property owners who prefer a one-in-a-million driveway style can employ the service of contractors to groove or noticed their driveway into any imaginable pattern!
Whether you are needing a driveway that can previous provided that your own home, a driveway that matches the color and elegance within your beloved abode, or simply just need a driveway substance that may be versatile and easy to keep up, you'll be able to hardly ever go erroneous with concrete. It has most of the most effective qualities of every one of the other driveway paving elements, and much more.
Lifestone Paving is definitely an revolutionary Perth corporation which has been transforming the landscaping of Perth households because 1995. These are professionals in Driveway Paving which happens to be robust, long lasting and attractive.


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A set of stickers inspired by coupons tickets. On each sticker, it says either "TICKET. LET'S GO AWAY FOR A WHILE" or "KEEP THIS COUPON. LET'S GO AWAY FOR A WHILE"
You can use them to customize your snail mail letters, on your Traveler's Notebook or as an invitation to the future trips! Using them on your next project will surely bring up your "traveler's" itch:)
Each sticker rolls easily out of "drafting dots" style sticker case!
A package includes 40 individual stickers. (2 variations)
Package Dimension: W 2.75" x H 2.75" x D1.3"
Designed By: Midori in Japan
Made In: Japan
Condition: New
More Photos & Inspiration on Our Blog:
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Does my child have a learning disability?
A learning disability can have a significant impact on a student's success in the classroom, yet the red flags are often missed. Learning disabilities such as dyslexia often go undiagnosed until at least the third grade, perhaps longer. Educators, parents, and others are invited to learn more about the symptoms of learning disabilities, how they are diagnosed, and the resources for students with such learning challenges.
The Center for Learning Differences Education at Trident Academy is pleased to host Chantal Milcarek, Founder of Sprouting Minds and Licensed Psycho-Educational Specialist, at 6:00 p.m. on Tuesday, October 8.
Some questions that Chantal will answer during her presentation:
- What is a learning disability and how is it diagnosed?
- What is ADHD and how is it diagnosed?
- What is a psycho-educational evaluation and types of tests are used as part of the evaluation?
- What can parents expect prior to their child's assessment? How should they prepare their child for the assessment?
- How are scores reported and what do they mean?
- Will a child be eligible for Special Education or additional support at school if they receive an independent psycho-educational evaluation?
- What are the next steps following a psycho-educational evaluation?
- Does a child need to be re-evaluated after receiving an initial psycho-educational evaluation?
All are invited to attend this event at Trident Academy, located at 1455 Wakendaw Road in Mt. Pleasant. RSVPs are requested but not required. To reserve your spot, call 884.3494 or email email@example.com.


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LEGO® your cares and connect with natureSee the giant LEGO® sculpture exhibit at the NC Arboretum
When LEGO brick artist Sean Kenney creates sculptures, he does it in a big way. Visitors to the North Carolina Arboretum are in for a treat with the NC Arboretum's new exhibit, "Nature Connects, Art with LEGO® Bricks."
The exhibit showcases Kenney's latest collection of 13 nature-themed and larger-than-life LEGO sculptures, made from 370,000 LEGO bricks. A stroll through the arboretum's gardens is a great multi-generational activity, with something to delight all ages.
An estimated 55,000 people visited the NC Arboretum's 2013 exhibit of Kenney's LEGO work. But, the 2016 exhibit features new sculptures — the only returning piece from the previous exhibit is the beautiful Hummingbird, made of 31,565 LEGO pieces. The 626-pound LEGO Hummingbird is displayed outside the front door of the Baker Center. While in the Baker Center, pick up the easy-to-carry exhibit guide and map of the installation sites.
The other 12 sculptures are new to visitors and are, quite naturally, focused on nature. See the magnificent Monarch at Milkweed, made of 60,549 LEGO pieces, in the gardens outside the Baker Center's upper doors. It's a showpiece not to be missed.
The exhibit does a good job of placing the sculptures in their natural environment. The Pileated Woodpecker sculpture is up in a tree, the Duck with Ducklings sculpture is on the edge of a pond, and the Kneeling Gardener is 'working' in the gardens behind the Education Center.
Visitors to the arboretum and the exhibit will enjoy a leisurely stroll through the gardens and great photo ops. The Giant Praying Mantis, next to the Education Center, draws a large crowd of admirers, as does the stately Bald Eagle, perched near the top of the waterfall and Bonsai garden. There is even a face cut-out photo op LEGO board depicting a rabbit being chased by a fox, which makes for fun pictures.
It's clear Kenney understands nature in the Snake and Mouse sculpture and the whimsical Birds vs. Squirrels at Feeder sculpture.
Well-designed signs at each installation give information on the number of LEGO bricks used, dimensions of the work and information on the animal or item depicted.
The Kneeling Gardener sign lets viewers know that gardeners have a longer life expectancy that average, because "Gardening reduces stress and uses a full range of motion to keep muscles active and healthy."
"Due to its size, uniqueness and magnitude, Nature Connects is a one-of-a-kind exhibit that truly appeals to all ages, groups and interests," said George Briggs, executive director of The North Carolina Arboretum. "Sean Kenney does a terrific job of bringing together art and nature using an iconic toy, the LEGO brick, to help connect visitors with the natural world. We are excited about the many new pieces added to the collection."
Based in New York City, Kenney was the first of (now) 15 LEGO Certified Professionals in the world.
The NC Arboretum's theme for 2016 is "Year of the Pollinator," focusing on the crucial role of pollinators in nature, and the Nature Connects exhibit is a natural extension of that theme.
"In conjunction with the NC Arboretum's annual Monarch Butterfly Day, Sept. 17, the Arboretum will host a special Nature Connects Build Day," said Whitney Smith, arboretum's marketing and PR manager, "Participants are invited to create their own LEGO brick sculptures and learn more about the monarch butterfly and ways to contribute to the species' conservation and preservation."
The Nature Connects, Art with LEGO® exhibit is already a hit with young and old alike.
"Wow — 370,000 LEGOs," one young visitor said, jumping for joy.
See Nature Connects, Art with LEGO® through Oct. 23.
Exhibit admission is free for the LEGO sculptures and the Monarch Butterfly Day. The standard arboretum parking fee ($12 per vehicle) applies for non-members. The North Carolina Arboretum is at 100 Frederick Law Olmsted Way, Asheville. For information, visit www.ncarboretum.org or call (828) 665-2492.


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Click here to view sale items.
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Fizik's Endurance Soft Touch Bar Tape is 2.5mm thick for extra grip and better control. Suede-finished Microtex is durable, strong, breathable, washable, and comfortable to touch in any weather condition.
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Recent changes in the sources of capital being put to work in the reinsurance markets could favour mutual insurers who will become increasingly valued by traditional reinsurers keen to maintain long-term relationships with these clients.
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Alternative Capacity, Mutuals, Reinsurance, Willis Re, Renewals Report, Robin Swindell


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Suzuki Swift Dzire
From: Php 579,000
In its 4-Door Sedan form, the Kia Rio with its subtle sporty look is a stunner on the road. It has just the right size and weight for the busy city roads in the Philippines.
It also boasts its comfortable interior space, ample trunk capacity, and a very user-friendly driving mechanism with a fuel-efficient engine.
The Rio's city-adequate power and notable fuel-efficiency comes from either a 1.2L inline 4-cylinder Kappa MPI petrol, or a 1.4L inline 4-cylinder Gamma MPI petrol. A 4-speed AT with manual mode distributes power along the way, and for everyone's safety, Anti-lock Braking System (ABS) and Electronic Brake-force distribution (EBD) is on-guard all the time.
Kia Rio Sedan 1.2 LX MT
Promo Available
₱ 635,000
|Add To Comparison
Kia Rio Sedan 1.4 EX MT
Promo Available
₱ 735,000
|Add To Comparison
Kia Rio Sedan 1.4 EX AT
₱ 775,000
|Add To Comparison
Subcompact sedans have been one of the top choices of car buyers due to their practicality as a city car. Out of all the locally available models, we pitted the Kia Rio and the Hyundai Accent for a head-to-head spec sheet battle to find out which is the better Korean subcompact sedan.


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No. That will ruin the mat. Each mat uses a different wire size and is built with a specific ohm (resistance) value, so the length must remain as it came from the factory.
Can I cut the blue heating element in the SunTouch mat if I have too much?
Published on: March 21, 2013.


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Liz Imperio of Imperio Productions, one of the finest choreographers and directors in today's dance world, has the heart of Jennifer Lopez! J-Lo works exclusively with Liz on many aspects of dance, fine-tuning routines for fans around the world. Enjoy Liz on CBS' "The Insider"!
While growing or maintaining a brand, business or entertainment career, it is imperative to have an established and creative Branding, Marketing and PR firm behind you.our Services
Featuring an unparalleled 27 year history of success, Eileen Koch & Company Inc. (EKC PR) is a full-service Branding, Marketing, Consulting and Public Relations Specialist. We handle clients from a variety of industries such as entertainment, beauty, fashion, retail stores, restaurants, sports, medicine, corporate sectors and more.more about EKC PR
Eileen Koch has started and advanced the careers of international icons such as Milla Jovovich, Marisa Miller, Irina Voronina, Jayde Nicole and many others. We maintain relationships with the editors, agencies, stylists, and industry shows that help us further your career.
Headquartered in Beverly Hills, CA, Eileen Koch & Company Inc. (EKC PR) is a full-service Branding, Marketing and PR firm that defines Public Relations. When developing your plan, EKC PR assures optimal exposure and recognition with its services: Publicity, Brand Development, Marketing, Advertising, Product Placement, Media Relations, Photoshoots/Electronic Press Kit Design, Crisis & Reputation Management, Sports, Product Launches, Television, Management, Consultation, Music, Hollywood Talent, Red Carpet / Special Events, plus much more.
© 2017 Eileen Koch & Company Inc – EKC PR
A Full Service Branding, Marketing & Public Relations Firm
9350 Wilshire Blvd | Suite 323 | Beverly Hills, CA 90212


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Toronto Toddler Reunited With Parents After Roaming Streets At Night
TORONTO — A toddler who walked out of her family's Toronto home in the middle of the night has been reunited with her parents.
Police say a three-year-old girl got dressed, put on her rain boots, unlocked the door and walked to a nearby grocery store while her parents slept.
They say they received a call from staff at a Sobey's store in downtown Toronto around 2:30 a.m. Monday and spotted the child wandering in the parking lot.
Const. Craig Brister says officers took the girl to the nearby division, where she watched cartoons and ate a snack.
He says her parents called police when they woke up a few hours later after realizing she was missing.
Brister says charges won't be laid, but reminds parents to child-proof their doors.
Also On HuffPost:
If your toddler likes to "help herself" to whatever is in the fridge, two 3M hooks and a rubber band will prevent massive spills. Source: Pinterest
For kids who love to see what they can fit down a floor vent, we've got an easy fix... tulle. Get the instructions here: Baby Toolkit
Cookie cutters are a quick way to secure cupboard doors! Source: Pinterest
Kids notoriously bonk their heads on sharp table corners. This is where tennis balls can provide a soft landing! Source: Life Hacker
If you can't keep your kids out of the cupboards, make sure dangerous cleaning supplies aren't easily accessible. These plastic containers are a perfect way to keep chemicals out of reach. Source: Pinterest
Tupperware containers as doorknob protectors? Brilliant! Get the instructions here: Pinterest
These spongy squares, usually used as floor mats, work perfectly on stone fireplaces. Get the instructions here: Revolution Of Love Blog
You know those crib bumpers we're not supposed to use anymore? Well, they should be re-packaged to baby-proof hearths! Source: Apartment Therapy
Pool noodles to the rescue! Soften the edges of your hearth with this cheap hack. Only $4. Get the instructions here: Excitement On The Inside
Not only are these DIY baby gates cheap, they don't permanently damage your walls. Get the instructions here: The Mom Bot
Sometimes all you need to do is get things out of sight to avoid your baby pulling all the DVDs down. If that's the case, some cheap Ikea fabric and staples will do the trick. Get the instructions here: The Book Of Jimmy
Does your baby pull all the books down? This dad uses inner tubes to keep his daughter from doing just that. Get the instructions here: Instructables
A plastic container can easily house power bars, keeping little fingers away. Get the instructions here: Pinterest
Keep little fingers from getting jammed in doors with this pool noodle hack. Get the instructions here: Muslin & Merlot
Prevent little ones from squeezing through stair railings with MDF board and zip ties. Get the instructions here: The Mom Bot
If your toddler likes to unroll the toilet paper roll, just secure it with a hair band! Source: Seesaws and Sawhorses
Band-aids, duct tape, electrical tape... any of these work to prevent kids playing with electrical outlets. Source: Carpe Travel
Keep drawers closed with a meter stick. Source: I'm a Lazy Mom
OK, some hacks can't be done for free. There's a real danger of kids pulling out dresser drawers and climbing, only to have the whole unit tip over on them. Furniture straps to the rescue! (But don't worry, they only cost about $13.) Buy them here: Amazon
Kids love to play with the TV, touching the buttons, turning it sideways. If you are worried they'll pull the TV over on top of themselves, secure it with these handy straps. Get them here: Amazon
An elastic of any kind can do the trick to keep cabinet doors closed. Source: The Third Boob
How cool is this simple hack? Source: Pinterest
This great video will show you how to secure tall bookcases to the wall... it's easy and cheap! This will prevent your kids from pulling over heavy furniture. Get the instructions here: Today's Home Owner


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Andy's Frozen Custard, America's largest frozen custard-only chain, is expanding its operations in Illinois and is currently hiring for all of their locations including a new store opening soon in south Naperville in Naperville Crossings, 95th & Rt. 59.
Applicants with managerial qualifications are encouraged to attend a Hiring Fair at the 95th Street Library in the Nomura Room, 3015 Cedar Glade Rd, Naperville, IL 60564.
Full-time career opportunities at Andy's Frozen Custard offer highly competitive compensation and benefits designed for long-term employment. For more information on all positions, visit http://www.eatandys.com/careers.
Andy's Frozen Custard began in Missouri in 1986 and now has locations throughout the country including Missouri, Arkansas, Illinois, Oklahoma and Texas, with new locations slated for both Tennessee and Florida. Andy's current Illinois locations include Burbank, Bolingbrook, Countryside, Evanston, Oak Lawn and Oswego. The Naperville Crossings store will open in the Fall. For more information visit www.eatandys.com.
This item was posted by a community contributor. To read more about community contributors, click here.


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Date of Stay: July, 2016
Very nice city park. We were able to drive around to select a site for our one night stay. We picked #6 and this one has shade at various times of day, but also shared utilities with #5 so our hose and electrical cord are running under the coach. The sewer hookup is in an entirely impractical spot way up front and to the right, so we will use the dump station on our way out. It seems there are many long term campers here. So even on a Thursday in the early afternoon, we didn't have the best selection. I wouldn't recommend showing up at 5 on a Friday expecting to find an open site. The seasonal sites are neat enough but clearly here for the long term. Not sure what the rules are about that. If everyone had their air conditioners running at the same time, I'd be concerned about possible low voltage. Would stay here again if in the area.
Date of Stay: October, 2013
What a great find, thanks to rvparkreviews! We landed here after our plans to camp at Zion were sidetracked due to the government shutdown. At least we could drive through Zion which we'd never seen before. In high season, reservations are strongly recommended for this place. Most sites are well shaded. We found the WiFi outstanding. Quiet at night. Gravel throughout the campground, keeping the dust down. Exceptionally nice people own this business and work here. Would definitely return if in the area.
Date of Stay: September, 2013
Price reflects Golden Age card. Got here around 2 pm on a walk-in basis, and all the pull-through waterfront spots were taken, as were most of the back-in spots. All sites are uncomfortably close together, nothing like other COE campgrounds we've been in. Back-in sites don't have much of a view either. Those are the reasons for our low score. Lack of on-site sewer hookup doesn't concern us, but proximity to neighbors does. Best get there quite early for best choice of sites, or make a reservation.
Date of Stay: May, 2013
Campground runs on generator so electricity is not one of their strong points. Location is. Rate shown is for electric only site. We camped right next to the river. Lovely couple owns the campground. Would not even consider driving into the Pink Mountain Campsite, looked very rough from the road. Sikanni is only another 20 miles or so north on the Alaska Hwy. WiFi is available but only on the front porch at the office/store. Our second visit and would stay here again.
Date of Stay: November, 2012
We stayed for three nights while geocaching in the area. As previous reviewer indicated, electric hook-up is 2 15-amp plugs. There is no sewer dump; owner had to close it after very expensive repairs to her septic system. Can't imagine where the 30 sites indicated are. We parked right behind the restaurant in one of 3 or 4 pull-through sites with trees on either side, not large enough for big rigs. Dry camping is also available. The restaurant is open 8 to 8 and the food is good, home style cooking. Makes a great base for exploring the area, but it's very rustic. Presently there is no gas station in town (none between Ash Springs and Tonopah) so plan accordingly. Would stay here again if in the area.
Date of Stay: October, 2012
Rate paid reflects Good Sam/FMCA discount of 10%. If you're wondering why this campground has no photos of campsites on their website, wonder no more. It's terribly hilly, with some amazing slants for tow or towing vehicles, although the actual pad for the camper is level (cement). Sites are reasonably spaced, some with more privacy and territory than others. Campsites on the north side of the campground are literally feet away from and below I-44. Highway noise is constant. There are 4 washers and 4 dryers in the laundry room for this large park, so we had to find a laundromat elsewhere in town to meet our needs. We were visiting family in the area, but might choose another park in the future. We understand the park is open year round, and apparently there are many full-time residents who work at the nearby casino. However, everything is well kept and there must be some pretty strict rules about keeping long term sites and campers neat. Very busy park so reservations are recommended.
Date of Stay: October, 2012
Rate paid reflects Good Sam discount for a pull-through site. Back-ins are $2 less per night. What other reviews don't mention is that this campground is on a rather steep hill, much steeper than suggested by photos on the website. Nonetheless, each site has a level area for the camper to park on, even if the tow or towing vehicle has to park on a slant. It's not a friendly place for biking around. We stayed on weekdays in October and so have no knowledge of amusement park noise. Worlds of Fun is open on weekends in October, and reservations for the campground are essential then. Traffic noise is pretty loud and audible at all hours. Would stay here again if in the area as choices are limited in the KC area.
Date of Stay: September, 2012
Since this campground hasn't been reviewed in a while, I thought we'd add our two cents. Sites are mostly level and private. A big 5th wheel might be able to maneuver, but not a big motorhome. Detected no noise from I-35 during our stay. Dust is a big issue, though. Road goes from asphalt to gravel/dirt almost immediately after leaving the office and it's a half mile in to the campground. Most sites seem to have full sun, we were fortunate to get one that is mostly shaded (34E). There is a $7 fee for online reservations plus the $5 per day vehicle fee (waived for tow car). Very nice little exhibit about agate in the office/visitor center.
Date of Stay: July, 2012
Can't believe previous reviewers stayed at the same place. Campground is on a hill which usually means trouble. Site we were assigned was not level and we didn't see many/any that were. Stepped out of coach into dirt-sand, very messy. We were lucky it didn't rain. One night was plenty. Never again.
Date of Stay: September, 2011
Not sure what to add to previous reviews except that it's surprisingly quiet given the proximity to Hwy 101. The sites in the "new section" have 50 amps, cement pads, and asphalt parking spots for tow vehicles and cost $64 per night. The sewer hookup is a little unusual, but all hookups are together and well positioned. Perfectly adequate for our 2-day stay in the San Francisco area, and preferable to other options apparently available.
Date of Stay: September, 2011
Pretty steep - price paid includes $3 pet charge. Sites are old and hookups are not positioned well in the pull-throughs for motorhome plus tow car. We had to dump in site in front of us as we left as our sewer hose was nowhere near long enough to hook up in our site. Enjoyed the walk under Hwy 101 to the Inn where we had dinner. Wine list was very reasonable although food was pricey. Pretty quiet considering the location next to the highway. Had always wanted to visit the Inn. Now it's been there, done that, and no incentive to return.
Date of Stay: September, 2011
This place is pretty rough. STEEP grade (14%) down into park, fortunately we'd already unhooked the tow car. Park on dirty sand. Grass is brown and sparse. We paid $40 plus $2 for the dog. No Verizon cell service but Wi-Fi was excellent. Needed electricity for the night so we stopped here instead of the nearby state park. Probably would avoid in the future.
Date of Stay: July, 2011
We concur with all 3 previous reviews. Sadly, it seems that the nearby Beluga park gets most of the business. The rusty water seems to be a phenomenon throughout Kenai as we noticed it at the visitor center too. Very nice owner who hugged us goodbye. He is native Hawaiian and speaks with a heavy accent, a little difficult on the phone. The adjacent Burger Bus is a can't miss stop. The bluff overlooking Cook Inlet in a small park is just a block away and makes for a nice walk with the pooch. This campground has grass between all sites, and each site has a picnic table. The owner gave us a flower basket to enjoy during our stay. The restrooms and showers are fine. Would come back in heartbeat if in town again. Price paid is minus the 6% sales tax. There is a dentist located next door if needed: nice guy, retired military.
Date of Stay: May, 2011
Got a recommendation to come here and we're glad we did. The KOA is beyond the edge of town. The Ponderosa is right in town so it's very convenient to restaurants and attractions. Layout is a little odd, but we came early in the season and had our pick of sites. After mid June, we understand reservations are essential. Level gravel sites. Pet friendly. Very clean bathrooms and showers. Nice little store and gift shop. Extremely congenial and helpful owners (an older lady and her two daughters). Highly recommended. We paid $30 plus tax for a back-in site, pull-throughs are $5 more.
Date of Stay: November, 2010
Pros: beautiful scenery; many lakefront sites; large sites; full hookup sites available Cons: appalling conditions in bath house for 16-36 loop - should be bulldozed and rebuilt; unfriendly to dogs with burrs in the grass; sites in 16-36 loop are not as level as other areas. Would stay here again, but would never plan on using bath house. Price paid is for E/W site with Golden Age Passport discount.


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Report: Former No. 1 pick Matt Bush to accept plea deal
Matt Bush, the top pick in the 2004 draft, will spend at least three years in prison after a DUI accident injured a man on a motorcycle.
|Bush was drafted ahead of Justin Verlander. (US Presswire)
Former No. 1 overall draft pick Matt Bush will accept a plea deal from the state of Florida next week to end his DUI hit-and-run case from this past March, according to Joe Smith of the Tampa Bay Times.
Bush's father told the paper his son will serve a prison sentence of at least three years, not including the time he's already served.
The top overall pick by the Padres in 2004, Bush was arrested on March 22 when he hit the motorcylce of a 72-year-old man and fled the scene. When police found him, he had a blood alcohol percentage of .180, well above the legal limit.
Tony Tufano suffered broken bones in his back, broken ribs, a collapsed lung and brain hemorrhaging. He is back home, according to the paper, which said the Tufano family is suing Bush and Rays minor-leaguer Brandon Guyer, who owned the car Bush was driving, for $5 million.
Bush -- who was drafted ahead of Justin Verlander, Jered Weaver and Stephen Drew -- was suspended by the Padres before he even played his first professional game after a fight outside an Arizona bar. In addition to other off-field incidents, he struggled on the field, as well. Drafted as a shortstop, the Padres converted him to a pitcher before the 2008 season. The team designated him for assignment before the 2009 season and then traded him to the Blue Jays.
After an incident at a party in Florida that spring, the Blue Jays released him.
The Rays signed him to a minor-league contract in 2010. Coming into the 2012 season, some expected him to have a chance at the Rays' bullpen, but he was placed on the restricted list after the accident and was officially released in October.
For more baseball news, rumors and analysis, follow @EyeOnBaseball on Twitter, subscribe to the RSS feed and "like" us on Facebook.


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Swedish (native) Sales Consultant
For our international relation we are searching Swedish Sales Consultants:
It is a growing company which for that reason is searching eager consultants. We are searching for people from Sweden. Acquisition will go mainly by phone and email from the head office in Naarden. In the function of sales consultant your main tasks will be informing, acquire and building new relationships with clients. With good result development to either foreign countries or the position of account manager is within the possibilities.
-Following up leads. For example people who inquired about the newsletter.
-Building your own client database.
-Helping clients with their questions and follow up.
-Informing clients about the products and services.
-Experience with sales (not afraid to pick up the phone)
-Native Swedish and knowledge of the customs from either one of these countries.
-Preference for working with targets
-Good communicative phone skills
-Enthusiastic, inquisitive and determined
-Living in or around Naarden <30 km.
-Able to work 2 nights a week till 20:30
This vacancy:
-40 hours per week
-Base salary is 1600,- gross per month
-Bonus on performance and/or targets
-On average total income including bonus will be around 2500,- gross per month.
-Because of the training process in the first month you will get 2000,- gross.
Uiteraard staat deze vacature open voor zowel mannen als vrouwen.