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Jordan Manufacturing Deluxe Chair Cushion, Greenwich Dark Chocolate
Average rating: 4.5out of 5 stars9 reviewsratings
Walmart #: 563264116
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Outdoor Deluxe Style Chair Cushion, Solid Apple:
- Spun polyester fabric
- 100 percent eco-friendly polyester fiberfill
- UV inhibitors
- Mold and mildew resistant
- Easy spot cleaning
- Patio Chair Cushion dimensions: 22" x 45" x 5"
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The picture states grenwich dark chocolate, but it looks gray? Is it brown or gray?
by Nat10/19/2012
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A.Chocolate Brown
by LanaiGrandma9/16/2013
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A.It is a nice brown.
by MzMermaidz8/30/2013
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by alanonman2/3/2013
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The picture states grenwich dark chocolate, but it looks gray? Is it brown or gray?
If I purchased 6 of these chair cushions. What would be the shipping weights and dims please?
by Catherine11/17/2013
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If I purchased 6 of these chair cushions. What would be the shipping weights and dims please?
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Johnny Winter Saints & Sinners / John Dawson Winter III
Only 10 copies left
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Available: Usually ships in 1-3 business days
Format: CD
sku: QKJ6
Brand New
CD Details
- Released: September 18, 2007
- Label: Bgo - Beat Goes On
- 1.Stone Country
- 2.Blinded by Love
- 3.Thirty Days
- 4.Stray Cat Blues
- 5.Bad Luck Situation
- 6.Rollin' Cross the Country
- 7.Riot in Cell Block #9
- 8.Hurtin' So Bad
- 9.Boney Moroney
- 10.Feedback on Highway 101
- 11.Dirty
- 12.Rock & Roll People
- 13.Golden Olden Days of Rock & Roll
- 14.Self-Destructive Blues
- 15.Raised on Rock
- 16.Stranger
- 17.Mind Over Matter
- 18.Roll With Me
- 19.Love Song to Me
- 20.Pick up on My Mojo
- 21.Lay Down Your Sorrows
- 22.Sweet Papa John
Product Description:
Personnel: Johnny Winter (vocals, guitar); Johnny Winter (guitars); Dan Hartman (guitar, background vocals); Rick Derringer (guitar); Edgar Winter (saxophone, alto saxophone, piano, tack piano, Clavinet, organ, keyboards, background vocals); Jo Smith (saxophone); Lew Del Gatto (tenor saxophone); Alan Rubin, Randy Brecker (trumpet); Bobby Caldwell (drums, percussion); Richard Hughes (drums); Barbara Massey, Tasha Thomas, Carl Hall (background vocals).
Additional personnel: Dan Hartman, Randy Jo Hobbs, Rick Derringer (bass guitar); Bobby Caldwell (drums, percussion); Jo Jo Gunne, Kansas (hand claps); 'Sing-Sing""Singers, Lani Groves (background vocals); Barbara Massey, Edgar Winter, Richard Hughes , Alan Rubin, Lew Del Gatto, Randy Brecker, Tasha Thomas, Carl Hall.
Audio Remasterer: Andrew Thompson .
Liner Note Author: John Tobler.
Recording information: the Hit Factory, NY; The Record Plant East, NY; Village Recorders, LA.
Introduction by: Edgar Winter.
Photographer: Bill Metz.
Unknown Contributor Role: Karen Lee Grant.
These two albums -- contained on a single disc -- were released by Columbia in 1974, and marked the beginning of Johnny Winter's creative decline as an artist. He wouldn't rescue himself until he rescued Muddy Waters a few years later. Winter had always been eclectic, always trusted his own or his first handler Steve Paul's direction. On these two records it failed. Big production (by Rick Derringer and engineer Jimmy Iovine) on certain numbers (with strings no less) halted the surge that began with his self-titled debut album. It doesn't mean these records are total losses, there are still some fine moments: Chuck Berry's "Thirty Days" comes off well, as does the nasty, tripped out, bad gumbo called "Dirty," on which Winter plays his old National guitar -- weirdly, the flute solo (yes, flute solo) by his brother Edgar, who plays tons of instruments here works beautifully. This is an absinthe dream of a track, but it's not exactly what most of Winter's fans at the time wanted. The latter recording works a lot better because of its less schizophrenic nature, but it still suffers from FM radio-ready production in places. The hardcore faithful will want this since the individual titles are not available in the U.S., but those seeking out Johnny Winter would be better served by his debut album, or the Johnny Winter And live disc. ~ Thom Jurek
Rick DerringerAll American Boy / Spring Fever
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Captured Live (CD)(36)
Nothin' But The Blues (CD)(4)
Roots (LP)(65)
White Hot Blues (CD)(10)
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subset: commoncrawl


text:
Southampton, apparently cruising to a handsome victory at Gresty Road, eventually spluttered into the last 16 of the FA Cup after Crewe came up on the rails in last night's fourth-round replay.
The Premiership side were 3-0 up in 25 minutes and might have doubled their advantage by half-time. But after conceding a goal early in the second half, and another with 15 minutes remaining, Southampton were forced to endure intense pressure before they could claim the dubious privilege of an away tie against one of Crewe's Second Division promotion rivals, Swindon, on Saturday.
Dele Adebola - a 6ft 3in, 13st striker born in Nigeria, led the fightback, and in the 82nd minute sent a header against the woodwork. In stoppage time he saw a similar effort cleared off the line by Simon Charlton. In the dying seconds, Southampton's Richard Hall appeared to handle in the penalty area, only for the referee to intimate that he had already blown for time.
Southampton's domination had been total. Crewe, seeking their first victims from the top section since 1961, were badly missing four injured regulars and, surprisingly for a team managed by Dario Gradi, they were exposed tactically.
In the first meeting, Crewe seized an early initiative. This time the roles were reversed with a vengeance, Southampton scoring from their first corner after nine minutes and repeating the feat 11 minutes later.
Matthew Le Tissier was the provider on each occasion. For the opening goal, a Crewe defence lacking the height of their captain, Steve Macauley, allowed his cross from the left to reach Neil Shipperley beyond the far post. They compounded their folly by backing off Southampton's top scorer as he drilled in his 10th goal of the season.
Le Tissier's next flag-kick, an outswinger from the opposite side, found Hall soaring to head over Mark Gayle's grasp from fully 14 yards. While Le Tissier could not claim an assist for the third goal, Jason Dodd's high, swerving drive from 25 yards would not have looked out of place in the Channel Islander's portfolio.
At that point, Gradi's ploy of deputing Shaun Smith to shadow the South Coast enigma wherever he roamed effectively granted Southampton the freedom of their right flank. Mark Gayle saved well from Mark Walters and Le Tissier, while Westwood slid Shipperley's goalbound effort away.
Crewe, renowned for their purist principles, were uncharacteristically direct in the second half. After surviving a penalty appeal four minutes after half-time when Smith brought down Gordon Watson, they set about discovering why Southampton are floundering near the foot of the table.
Rob Edwards, unchallenged as he headed his 14th goal of the season, planted seeds of self-doubt in the 52nd minute. With Neil Lennon spreading the ball wide at every opportunity, Westwood made them grow alarmingly with a leaping header from a Smith free-kick.
Adebola all but forced extra time, leaving Dave Merrington, the Southampton manager, to savour an escape instead of a romp. "If we'd got the penalty it would have killed them off," he said. "All credit to Crewe - they got a goal and put us under pressure, though it's the first time I've seen them play the long ball."
Gradi, who is likely to lose Lennon to Coventry today in a pounds 600,000 deal, said, "at half-time I told the lads they might as well relax. Get one goal and the fans will be pleased, I said. Get two and anything could happen." It very nearly did.
Crewe Alexandra (4-3-3): Gayle; Unsworth, Collier (Garvey, 68), Westwood, Smith; Lennon, Barr, Collins; Edwards, Adebola, Rivers. Substitutes not used: Pope, Savage.
Southampton (4-4-2): Beasant; Dodd, Hall, Monkou, Charlton; Le Tissier, Magilton, Widdrington, Walters; Shipperley, Watson (Hughes, 80). Substitutes not used: Neilson, Oakley.
Referee: P Alcock (Redhill, Surrey).
- More about:
- Charlton Athletic
- French Football
- Southampton Fc
- Swindon Town


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April 8, 2014
I absolutely love history, not only American but world also.
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It is important. It is personal. It is your career. Your career is uniquely yours and developing it rests in your hands. Often times we find we need help and that is where the SMPS Mentor/Protégé program can be of benefit. This informal program is designed to match up A/E/C industry marketing and business development professionals seeking career guidance with mentors that are willing to share their knowledge in order to help facilitate that individual's growth and development.
Are you looking to develop your leadership skills? Do you feel stuck in your current position but want to grow professionally? Are you willing to share your expertise through one-on-one engagement with a fellow SMPS member? We are looking for both mentors and protégés for our 2015 program and would love to have you join us!
If interested, please contact Tamara Zupancic at email@example.com for more information and our program schedule.
5 lessons to prepare you for using golf for business development


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Feel free to chat about off topic issues in this forum!! Politics, economics, religion, society...whatever! Freedom of speech lives! Except that neither religious, racial, sexual, nor gender bias or defamation will be accepted!
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Hovdey: Camelot takes rare shot at English Triple Crown
All eyes will be focused on the Town Moor at Doncaster Racecourse in Yorkshire County on Saturday when the heroically named Camelot attempts to dust off the history books and become the first winner of the English Triple Crown in 42 years.
To accomplish the rare feat Camelot will need to negotiate the mile and three-quarters and 132 yards of the St. Leger Stakes, nearly the full circuit of the Doncaster course, starting just around the corner from the finish post, up and over the iconic Rose Hill and around a broad, distant turn, then on to a finishing straightaway of about 4 1/2 furlongs.
The unbeaten Camelot is a darkish bay with a pair of distinctive white glyphs where most colts carry a blaze. He will be accompanied on his journey by 10 other 3-year-olds, but most importantly by Joseph O'Brien, the tall, lanky 18-year-old son of trainer Aidan O'Brien who has so far been unflappable in Camelot's five victories.
O'Brien, the trainer, refers to Camelot as "too good to be true," and describes his colt as graceful and lilting in stride as a "dressage horse." O'Brien still worries that if his Camelot is to be beaten it will be the trip of more than 14 furlongs that does it.
"You just never know until they try," said O'Brien, who has won three St. Legers from his Ballydoyle base of operations in Ireland.
Despite a rainy summer in Yorkshire, the course should be good to firm for Saturday's test, which goes off at 3:40 p.m. local time. The St. Leger, sponsored by Ladbrokes, carries a purse of about $884,000, which is only slightly less than Camelot cost as a yearling. A son of 1999 Arc and French Derby winner Montjeu, he was bred in England by Highclere Stud and races for the Coolmore partnership of Derrick Smith, Susan Magnier, and Michael Tabor.
Camelot's Triple Crown adventure began last May when he made his 3-year-old debut in the 2000 Guineas at Newmarket and battled to a narrow win over 17 opponents at a mile. He came back a month later to set the table for the Triple Crown by coasting home in the mile-and-one-half Epsom Derby, then added the Irish Derby for good measure in July.
There have been 15 winners of what eventually became known as the English Triple Crown since West Australian swept the Epsom Derby, the 2000 Guineas, and the St. Leger in 1853. Since 1935, however, when Bahram became the 14th Triple Crown winner, the concept of a Triple Crown winner has become nearly obsolete.
Nijinsky was unbeaten when he added the St. Leger to his victories in the 2000 Guineas, the Derby, the Irish Derby, and the King George IV and Queen Elizabeth Stakes in September of 1970. But when Nashwan took the first two legs of the Crown in 1989 he was pointed instead for the Arc de Triomphe, while Sea The Stars did the same in 2009. Nashwan never made it to the Arc, but Sea The Stars capped his career with a memorable win in Paris under Mick Kinane.
"I've no doubt Sea The Stars could have won the St. Leger," Kinane said. "He did some remarkable things, and always with something left. But that wasn't the point. Winning at a mile and three-quarters would have done nothing for him as a stallion these days."
Kinane, who won the 2001 St. Leger aboard Milan, also rode Camelot's sire, Montjeu, to significant victories, including the 1999 Arc de Triomphe.
"There's a lot of Montjeu in Camelot," noted Kinane, who was at Doncaster this week to compete in the Leger Legends charity event. "And Montjeu would have had no trouble with the mile and three-quarters. He would have been too immature mentally, though, to have handled the Guineas like Camelot."
Many of those grasping for an alternative to the heavily favored Camelot have turned to Main Sequence, a son of American sprint champ Aldebaran who was undefeated in four starts – including the Derby Trial Stakes over an all-weather course at Lingfield – when he took the field against Camelot in the Epsom Derby. Main Sequence ran the best race of his life that day, but it was only good enough for second, five lengths back of the winner.
Since then, Main Sequence has been a respectable fourth to Imperial Monarch in the Grand Prix de Paris at Longchamp and a close second to Thought Worthy in the Great Voltiguer Stakes at York. Ted Durcan, who won the 2009 St. Leger aboard the Godolphin-owned Mastery, rides Main Sequence once again for trainer David Lanigan.
Thought Worthy's Great Voltiguer victory at a mile and a half was accomplished from the front all the way on what John Gosden, his trainer, concedes was clearly a false pace.
A son of Dynaformer, bred by his American owner, George Strawbridge, Thought Worthy has raced six times over six different courses and won three. He also tried Camelot at Epsom and found himself 11 lengths back at the end in fourth.
Gosden, in the midst of a banner season, has won the last two runnings of the St. Leger, three of the last four, and four in all, dating back to Shantou in 1996.
This time around Gosden has three in the field, including pacemaker Dartford and Michelangelo, a son of Galileo owned by Bjorn Nielson. Gosden and Nielson teamed last year for a mild surprise in the St. Leger with Masked Marvel, but if they've got a similar result in mind this time around, Michelangelo will need to improve mightily over his last race in the mile-and-one-half Gordon Stakes July 31 at Goodwood, when he was third, beaten 2 1/2 lengths by Frankel's little brother, Noble Mission.
O'Brien also has three in the field, although it stretches the imagination to think that Camelot's stablemate Imperial Monarch would spoil the day in spite of his sharp win in the Grand Prix de Paris. Earlier in the year Imperial Monach also handled Thought Worthy without much fuss in the Classic Trial at Sandown.
"It will be very hard to get Camelot out of his comfort zone," Gosden said. "He's the best horse, and it may sound strange given the mile and three-quarters, but at the end of the day Camelot may just have too much speed for the rest of them."
Almost forgot, GO CAMELOT, take that crown!
How can Frankel be considered the greatest of all time by the brits when he's never banged heads with this horse? They are in the same country. Not a Zenyatta-Rachel Alexandra situation? No. The "greatest horse of all time" should be the one holding the triple crown or bidding on it. Frankel has distance limitations, or so they think. Therefore, he should only be considered the greatest miler of all time. Two wonderful ponies, they are lucky. I'm jealous. It's been such a miserable year for the sport here. No star attractions at the Breeders Cup in 2012. Forget the glory and excitement, I'm just hoping for as few injuries as possible.
Pleasure watching this animal run..just when you think he had enough he kicks into another gear. Trainer right..only if the horse gets bored and says water fountian will he lose.
Could he be coming to America? Spacing between races would work for the B.C. Classic. OR A date with Frankel?
As much as I admire Aidan O'brien's training prowes, I think he's overly concerned regarding Camelot's chances, and may over trained his star colt in fear that he may not get the mile and 6 1/2 furlongs. Having followed Camelot's races thus far, I am not as overly concerned as O'Brien is. Camelot is towering over his rivals and I think he has no problems handling his rivals. The only concern that I have is that if Camelot doesn't show up and not feeling well on raceday. If he's semi-feeling good--not necessarily feeling super good--he'll destroy this field. That's how strongly about Camelot's chances. Having said that, there's always a dark horse that usually came out of nowhere and spoils the party parade--or in this case, Camelot's Party Parade. That darh horse, in my mind, is Guarantee; and given the statement I just stated above regarding Camelot's chances of a virtual lock, I may have to retrack my statement, since the name of my dark horse is Guarantee and he may as well runs to his namesake and guaranteeing a win. Kidding aside, I still believe Camelot will win and if any horse in this field is capable of upsetting Camelot it would be Guarantee. He's improving steadily and who knows how much more he'll improve. I pick Camelot to win and Guarantee a chance of an upset. It should be a good race to watch but not wager.
Imagine being a 78 year old Englishman and witnessing only ONE UK Triple Crown in your lifetime!
Thanks Mr Hovdey..just one small note. It's not "Yorkshire County" Yorkshire IS the county ('shire' means 'county') So that would be superfluous. Kinda like Orange County County


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National Park has a wealth of fun stuff for the outside adventurers . It seems that Natty Park has moved on from just a ski town and railway stop to adventure central being in the middle of the island. Handy.
I am not going to list it all , thats the job of the tour promoters. But will mention that there seems to be a lure of the mountains that brings people back...myself included.
One of the objectives for this stay was to try for a sunset at the top of Mount Tongariro looking south past Ngauruhoe towards Ruapehu with my trusty climb companion Tim. To get to Tongariro meant using the Tongariro Alpine Crossing track which for us is the fourth time that we have climbed this particular route.
For the start there is just this little shelter to walk thru...hundreds of thousands of hikers have started at the same spot. I wonder actually how many the count is so far....
Note; on any image just mouse click on it to enlarge. Even the ones in the carousel.
From the entry point at the carpark the track meanders thru a mix of old flows to swamp areas which are protected by board-walks to a staging point at Soda Springs where there is a gaggle of eco toilets. Best stay up-wind of that lot! And judging by the wire ropes holding them from bowing away there must be a occasional stiff breeze running thru methinks.
All the while you have the big fellow Ngauruhoe on your right getting ever closer and Tongariro on your left.
About now it seems that you are in a big basin. Next comes whats called "the devils staircase". A whole bunch of steps...lots and lots and lots. Did i say steps... but hey , this is the worst batch of steps going up on the crossing on this side anyways.
From here after all those steps you get this just awesome view back from where you came .
If you click on the image of me standing at the track edge with the blue pack you will see some of the steps of the devils staircase but also a view down the valley. On this side of the hill in the far middle distance is the carpark where we started from. To this point is about 6kms from the carpark.
From there is across South Crater and up towards the summit of the crossing at Red Crater but just before that we hang left towards our goal - Tongariro.
Bah... No sunset.
Bah again.
Oh well never mind. At least got a half decent shot of Ngauruhoe...so its not all bad then. Thats photoging for ya...
So...its never not worth it. Even after 10 odd kms return up and down in the dark.
Plan wise it would have been awesome as a full moon was rising behind us as we decended but that didn't work with all the cloud going on. But hey...thats just mountains. If you got upset with a little setback then you shouldn't go near them. Bit like motor racing really...your whole racing week-end could be scuppered by a $10 part breaking!
One thing about wandering around places like this is that it brings out your risk management skills...even on the crossing things can go bad...and in a hurry. It is a alpine environment after all. No trees and birds up there.
Always be prepared just like a boy scout...
Anything with a watermark can be ordered. Just give me a tinkle...so easy.


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Welcome to the Rotary Club of Hawick
I was invited to join The Rotary Club of Hawick in 2007and have appreciated greatly the fellowship enjoyed since then.Having served on different Committees, I was then invited to serve as Junior Vice President, Vice President, and now to become President of The Rotary Club of Hawick is a great privilege.
The theme of the new Rotary Year will be 'Rotary Serving Humanity'. With so much unrest and turmoil in many parts of the world, I am confident that even in a small way we will be able to contribute to Serving our fellows.
Jim Walker President 2016-17
Photo above : 'The Horse': possibly the best known landmark in Hawick, and a symbol of the town's historic traditions. However, we're an active club, and, while aware of our successful history, we're trying always to look forward, keen to welcome new members who will bring freshness and new ideas. We're lucky to live in a lovely part of the Borders - Hawick among the hills - and maybe that's why so many of our club members are keen golfers, enjoying the views, for example, from the top of the local Vertish Hill.
Photos by Derek Lunn
Meeting Information...
We meet on Thursdays at 18.30 for 19.00 Mansfield House Hotel, Weensland Road, Hawick TD9 8LB tel: 01450 390350


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|Publication number
|Publication type
|Application number
|Publication date
|Jul 18, 1989
|Filing date
|Mar 11, 1988
|Priority date
|Mar 11, 1988
|Fee status
|Also published as
|Publication number
|Garry F. Newman, Dean F. Carson, Steve B. Cherry
|Original Assignee
|The Clorox Company
|Export Citation
|BiBTeX, EndNote, RefMan
|Patent Citations (20), Referenced by (13), Classifications (17), Legal Events (4)
|External Links: USPTO, USPTO Assignment, Espacenet
Polyvinyl alcohol (PVA) decomposes at 200� C., well below the temperatures required for thermoplastic processing. In order to process PVA thermoplastically, it is necessary to incorporate plasticizers into the PVA resin to be processed. Plasticizers act to lower the softening temperature of PVA below the decomposition point.
Incorporation of plasticizer into the PVA resin has proven to be a challenge. The plasticizer must be in intimate contact with the PVA resin to assure a homogeneous melt upon processing. Granules of PVA which have been insufficiently permeated by plasticizer using known methods yield incompletely plasticized regions after thermoplastic processing. The art has addressed this difficulty by providing various means to absorb the plasticizer into the PVA resin. For example, plasticizer has been incorporated into PVA resin by the use of a liquid carrier which must be subsequently removed, requiring processing and drying steps. An alternate process requires heating and cooling of PVA resin in the presence of plasticizer. The resin particles absorb the plasticizer, swell, agglomerate, and are then mechanically separated prior to thermoplastic processing. Other processes require the presence of numerous solvents, substantial energy inputs, or long reaction times for the plasticization. Generally, currently known processes are intricate and/or require careful control of temperature in order to produce a homogeneous mixture of PVA and plasticizer.
The present invention relates to the addition of plasticizer to polyvinyl alcohol (PVA) to provide a dry, granular compound which is capable of thermoplastic processing, e.g., it is extrudable.
It has been surprisingly found that when PVA particles of a sufficiently small size distribution are plasticized, it is not necessary that the plasticizer be absorbed into the PVA particle to provide a homogeneous mix of PVA and plasticizer for thermoplastic processing. Rather, it is thought that the plasticizer is adsorbed onto the surface of the PVA particle, with only trace amounts of plasticizer absorption. It is also believed that the intimate contact of the plasticizer and the PVA resin which is afforded by the large surface to volume ratio of the particle allows the production of PVA/plasticizer granules which provide a homogeneous thermoplastic melt. To complete the process, a dry powder coating medium is employed for coating the PVA/plasticizer granules and producing a dry, flowable PVA/plasticizer blend. The process may be conducted within an ambient temperature range.
In a preferred embodiment, an antioxidant is mixed with the PVA resin particles prior to contact with a plasticizer, providing improved characteristics during thermoplastic processing of the PVA/plasticizer blend, e.g., reduced oxidation of the PVA. It is also preferred that the dry coating medium comprise one or more antiblocking agents which also act to provide enhanced properties (e.g., reduced blocking) to sheet or film products made from the PVA/plasticizer blend.
It is an object of the present invention to provide a dry, flowable mixture of plasticized PVA for use in thermoplastic processing and from which high quality films may be extruded.
It is still another object of the invention to provide a process for plasticizing PVA particles which does not require heating or cooling steps.
It is another object of the present invention to provide plasticized PVA granules which yield improved melt uniformity upon thermoplastic processing.
It is another object of the present invention to provide a process for plasticizing PVA particles which does not require long processing times.
It is yet another object of the present invention to provide a plasticized PVA blend which may be thermoplastically processed.
FIG. 1 is a graph of blend temperature v. process time (in minutes) for the process of the present invention.
In accordance with the present invention, appropriately sized PVA particles are agitated and coated with a liquid plasticizer medium. The PVA/plasticizer granules are then mixed with a dry coating to produce a dry, flowable PVA/plasticizer blend. Other additives, as appropriate, may be incorporated into the dry PVA/plasticizer blend.
Polyvinyl alcohol (PVA) resin is widely used as a film-forming material, and has good strength and water solubility characteristics. PVA is made by polymerizing vinyl acetate and subsequently hydrolyzing the resin, and PVA can and typically does include up to about 20 mole percent residual acetates, and may be considered a copolymer of vinyl alcohol and vinyl acetate. Other comonomers can be polymerized with the vinyl acetate, and are within the scope of the present invention. The term "polyvinyl alcohol" thus includes such copolymers. Examples of other comonomers include those having carboxylic acid or ester functional groups, such as acrylic acids, methacrylic acids, acrylates, methacrylates and maleates, and sulfonates. Such PVA copolymers are all included within the scope of the process of the invention herein.
The use of appropriately sized PVA particles is critical to achieving the proper association of PVA and plasticizer necessary for successful thermoplastic processing of PVA. PVA resins include particles of varying diameters. The range of particle sizes, or particle size distribution, of a particular resin is critical to the practice of the subject invention.
Resins which are appropriate for use in the subject invention will have a distribution of particle sizes, prior to adsorption of plasticizer, which provides a passage of at least 80% of the particles through a 35 mesh screen. This specification is satisfied by PVA resins comprised of granules of which at least 80 weight percent are less than about 500 microns (0.5mm) in diameter. Preferably, the PVA particle size distribution provides a passage of at least 80% through a 35 mesh screen, at least 25% through a 60 mesh screen, and at least 15% through a 100 mesh screen. More preferably, the PVA resin will be sized such that at least 95% pass through a 35 mesh screen. PVA resins which meet this more preferred specification will have particles in which at least 95 weight percent are less than about 500 microns in diameter. Most preferably, the PVA resin particles should have a particle size distribution such that at least 95% pass through a 35 mesh screen, at least 65% through a 60 mesh screen, and at least 25% through a 100 mesh screen. As used herein, all screen sizes are standard U.S. mesh.
A PVA resin having a particle size distribution such that less than 80% of the granules pass through a 35 mesh screen will result in a wet and sticky blend which may not be fully plasticized, is not free-flowing and which is difficult to extrude.
PVA resin having an appropriate particle size distribution is commercially available and exemplified by the products sold under the trademarks: POVAL (Kuraray), VINOL 205S (Air Products and Chemicals), GOHSENOL (Nippon-Gohsei), and GELVATOL 3000 (Monsanto). Other commercially available PVA resins can be mechanically conditioned, e.g., by milling, screening or pulverizing, to result in the appropriate size distribution. Air Products and Chemicals' PVA resins sold under the trademark VINOL 205 can be milled or pulverized to yield the requisite particle size distribution.
Other characteristics of the PVA resin, e.g., molecular weight and percent hydrolysis are determined by the end use of the resin and do not significantly affect the practice of the present invention.
Generally, the PVA resin particles, together with appropriate additives, are coated with a liquid plasticizer medium. Plasticizers act to reduce the softening point of PVA to below the decomposition point, and are added to PVA to facilitate thermoplastic processing. The plasticizer may be a single compound, or a mixture of compounds. Appropriate plasticizers are known to the art, and include but are not limited to glycerin, trimethylolpropane (TMP), water, neopentyl glycol, polyethylene glycol, and mixtures thereof. Particularly preferred is a mixture of water, glycerol and TMP. Plasticizers which are liquids at ambient temperatures are especially appropriate for use with the subject process. Plasticizers which are solid or crystalline at ambient temperatures, such as trimethylolpropane, may be dissolved in water or another liquid plasticizer medium for use as a sprayable plasticizer. The plasticizer medium may be heated as necessary to incorporate non-liquid components; however, the plasticizer medium is preferably allowed to return to ambient temperatures to avoid heating of PVA granules during the process.
To achieve a uniform plasticizer coating it is preferred to utilize a spray mechanism to coat the PVA resin. The spray pattern must be appropriate for the PVA batch size, and for the spray nozzle and mixing apparatus used. A poor spray pattern may result in poor coating, incomplete plasticization of the PVA resin, and ultimately, an inferior product after thermoplastic processing. Spray patterns will be individual to the apparatus used, however, some generalities may apply. In general, a less viscous spray will coat better and cause less clogging of the nozzle. Nozzles providing a fine spray are preferred as they will generally coat more evenly than those with a coarse spray. Nozzles should be arranged so that a maximum area is covered. An example of a preferred spray nozzle is that manufactured by Spraying Systems Company, Wheaton, Ill., and sold under the trademark VEEJET, especially a VEEJET Model 31655 atomizing nozzle. The pressure used to spray the plasticizer through this particular nozzle is about 30 psig. The nozzle may be employed in a single, or more commonly, a ganged, configuration. The PVA granules may be mixed, agitated, or fluidized during coating to assure a uniform plasticizer layer. If used, mixing should provide maximal exposure of the granules with a minimum of heat generated. Thus, low and medium-intensity mixers, such as those utilized in the art for plastic processing, are preferred if mixing is used.
PVA granules should not be heated during the plasticizer coating process, as they may agglomerate and prevent adequate coating. Excessive shear forces result in excessive heat, which can increase the gross temperature of the PVA granules or cause degradation of the granules due to increased localized temperatures. Generally, the temperature should be maintained at less than 105� F., preferably less than 90� F., and mixing should be limited to that conducted in the low or medium-intensity mixers. The specific configuration of the mixer used is not critical, as long as sufficient mixing is achieved to effect even, homogeneous coating without production of excess heat. Alternatively, a fluid bed or electrostatic coating process may be employed.
The quantity of plasticizer which is present in the dry, plasticized PVA blend will be that amount which is sufficient to plasticizer the PVA granules. The specific amount of plasticize will generally vary from about 10 to about 20 weight percent, preferably from about 12 to about 18 weight percent, and more preferably from about 15 to about 17 weight percent.
The length of time required for coating of the PVA resin granules with plasticizer will vary depending upon equipment used, materials, and batch size, but in general will take from about 30 seconds to about 45 minutes, more usually from about 1 to about 15 minutes.
The PVA/plasticizer granules are next coated with a dry, fine powder coating, preferably an impalpable powder coating, producing a dry, flowable PVA/plasticizer blend. "Impalpable" refers to a powder which is so fine that the individual particles cannot be distinguished as such by pressing the powder between the thumb and index finger. Impalpable powders include, but are not limited to, powders of magnesium stearate, potassium stearate, sorbitol, fructose, starch, and mixtures thereof. Such powders are known to the art and are commercially available. More preferred for the thermoplastic production of sheets and films is the use of one or more antiblocking agents as the dry, fine powder coating. An antiblocking agent is a substance, e.g., finely divided solids of a mineral nature such as magnesium stearate, potassium stearate and the like, which is added to prevent adhesion of the surfaces of films to each other or to other surfaces. Particularly preferred is an impalpable powder/antiblocking agent, such as magnesium stearate available, for example, from Mallinckrodt, Inc., St. Louis, Missouri. An example of the most preferred impalpable magnesium stearate sold by Mallinckrodt is that sold under the registered trademark HYQUAL. This powder has a particle size distribution such that at least 99.8 percent is smaller than a 325 mesh screen, and has a bulk density of about 7-9 lbs/ft3. A less preferred, though acceptable, fine powder coating/antiblocking agent is a potassium stearate, sold by the Witco Chemical Corporation, New York, New York, and having a particle size distribution of at least 50% through a 100 mesh screen.
A coating-effective quantity of the dry, fine powder coating medium is present in the dry, plasticized PVA blend, and generally will be from about 1.0 to about 10.0 weight percent, preferably from about 1.0 to about 7.0 weight percent, more preferably from about 1.0 to about 5.0 weight percent. The dry, fine powder coating may comprise only one compound, or may comprise mixtures of two or more compounds. The dry, fine powder coating is distributed on the PVA/plasticizer granules by mixing, spraying, or blending, and, as with the plasticizer coating step, must be done in the absence of excessive shear forces or heating. FIG. 1 demonstrates the average range of temperatures encountered during a series of six runs, plotted against time of the plasticizing process. The PVA was blended in a low-intensity mixer, and plasticizer and dry, fine powder coating mixtures were added. The temperature of the resin ranged from 77.9� F. to 82.1� F. initially, and the average was 79.9� F. At the ten minute point, temperatures ranged from 89.1� F. to 99.1 � F., averaging 96.4� F. The final temperature of the blend ranged from 89.5� F. to 104.6� F., averaging 96.9� F. In general, the highest temperature during the process should be below about 105� F.
The dry, flowable PVA resin blend produced when PVA resin granules have been coated with plasticizer and the dry, fine powder coating medium will have a distribution of granule sides which provides for passage of at least 90% of the particles through a 1/4 inch screen. This specification is satisfied by PVA resin blends having a particle size distribution of at least 90 weight percent less than about 1/4 inch in diameter. Preferably, the PVA resin blend particle size distribution provides a passage of at least 90% through a 1/4 inch screen, at least 85% through a 6 mesh screen, at least 70% through a 16 mesh screen, and at least 50% through a 20 mesh screen. More preferably, the PVA resin will be sized such that at least 95% pass through a 1/4 inch screen. PVA resin blends which meet the more preferred specification will have particles in which at least 95 weight percent are less than about 1/4 inch in diameter.
It may be desirable to incorporate additional components into the PVA/plasticizer blend. Antioxidants are an especially preferred additive in PVA thermoplastic processing, as they act to protect the PVA chemically during extrusion and melt processes. Antioxidants are generally added to the PVA resin granules in an amount of from about 0.0 to about 2.5%, preferably about 0.1 to about 1.0% by weight.
In a preferred embodiment, one or more antioxidants are mixed with PVA resin granules before coating with plasticizer. The choice of antioxidant, if any, will depend in part upon the ultimate use of the PVA product and of the thermoplastic environment. For example, if the PVA is to be used in a water-soluble film, it is preferable that the antioxidant be water-solubhle. Antioxidants which are appropriate for use with the present invention include but are not limited to citric acid, aspartic acid, phosphoric acid, heavy metals, and a tetrakis (methylene [3, 5-di-tert-butyl-4-hydroxyhydrocinnamate]) methane with the chemical formula of C73 H108 O12, especially that sold under the trademark IRGANOX 1010 by Ciba-Geigy Corp. Other appropriate antioxidants are well known in the art.
Additives which facilitate the processing of the granular PVA/plasticizer blend may also be incorporated, especially lubricants such as stearic acid, waxes, fine-particle silic acid, and heat stabilizers. Additives such as dyes or colors may also be desired to affect characteristics of the product to be formed by thermoplastic processing. If the PVA is to be incorporated into a film which is to be in contact with a perborate-containing compound, such as a bleach, it may be desirable to include a borate scavenger, as described, e.g., in U.S. Pat. No. 4,626,372 issued Kaufmann et al., the disclosure of which is incorporated herein by reference, and/or a pH control agent in the dry powder coating.
Additives desired in the dry, flowable PVA/plasticizer blend may be included during the processing of the blend, and granular additives may be conveniently added to the PVA resin before the plasticizer coating. Liquid materials, and suspensions or solutions of solid materials, may be incorporated into the plasticizer spray. Additives which may be formed into a sufficiently fine or impalpable powder may be added to, or used as, the dry powder coating. Finally, additives may be mixed with the dry PVA/plasticizer blend at any time before or during thermoplastic processing.
The total amount of such additives is preferably less than about 10%, more preferably less than about 5%.
PVA resin blends may be formulated to have various compositions, depending in part upon the intended use of the blend. Generally, blends will include PVA resin, one or more plasticizers, and a dry powder coating medium. Colorizing agents, antioxidants, antiblocking agents, pH buffers, etc., may be included in the blend. Variations within the teachings of this invention will be obvious to those skilled in the art. Exemplary of such blends are:
______________________________________ Formula WeightIngredient percent______________________________________Example 1Polyvinyl Alcohol Resin 60.0- 85.0Plasticizer 10.0- 20.0Dry coating powder 1.0- 10.0Other additives 0.0- 10.0Example 2Polyvinyl Alcohol Resin 69.0- 83.0Glycerin (96%) 0.0- 15.0Water 1.0- 7.0Trimethylolpropane 0.0- 14.0Borate Scavenger 0.0- 10.0Magnesium Stearate 0.0- 2.0Potassium Stearate 0.0- 2.0Citric Acid 0.0- 0.10Antioxidant 0.0- 0.25Other additives 0.0- 10.0Example 3 Weight % Weight %PVA Resin 74.26.sup.(a) 83.27.sup.(b)Borate scavenger 8.16 9.67Water 3.00 1.95Glycerin 6.64 2.69TMP 6.64 1.13Magnesium Stearate 1.02 1.02Antioxidant 0.27 0.27______________________________________ .sup.(a) PVA Resin as Kuraray 405S .sup.(b) PVA Resin as NipponGohsei KL05S
Exemplary of a specific formulation to produce a 2.27 kilogram batch of PVA blend is the following:
______________________________________Ingredient Weight % Quantity (grams)______________________________________Example 4PVA resin 72.75 1651Sorbitol 8.00 181.6Water 5.00 113.5Glycerin 6.50 147.6TMP 6.50 147.6Magnesium Stearate 1.00 22.7Antioxidant 0.25 5.7______________________________________
Particle size, which is critical to the success of the process, is conveniently measured by "screening" the PVA resin. A series of progressively finer screens are weighed to determine tare weights. PVA resin is then passed through the series of screens. PVA granules which do not pass a given screen mesh are weighed, together with the screen, and the tare weight is subtracted, to give the amount of PVA resin which remains on the screen. PVA resin which passes a screen is then screened by the next in the series. A particle size distribution for a given PVA resin source or batch may thus be determined. Alternatively, methods other than screening may be currently available and may find use to determine particle size. For example, a GRANULOMETRE (a trademarked product of Micro Scientific) utilizes a laser to determine particle size ranges. Tables 1 and 2 show particle size distributions for various commercially available resins, both as supplied and after conditioning. Note that Samples C and D of Table 1 do not possess the requisite particle size distribution of the present invention.
TABLE 1______________________________________Particle Size Distributionof Uncoated PVA Resinsas Measured by Screening(Weight percent)Screen SampleSize A B C D E F______________________________________5 0 -- 0 0 -- --6 0 0 -- 0 -- --8 -- 0.4 -- -- -- --20 0.1 -- 76.9 15.2 0 0.0530 0 -- 15.6 13.3 0 0.0535 0.2 0 -- -- 0.1 0.240 -- -- 5.1 -- -- --50 -- -- 0.9 -- -- --60 0.1 0.2 -- 40.0 21.2 15.280 -- 24.1 -- -- -- --100 12.2 4.7 -- 15.4 44.8 41.4170 -- 23.0 -- -- -- --200 60.3 3.6 -- -- 26.0 35.3Tray 27.3 34.4 0.9 16.0 7.8 7.7Total.sup.(1) 100.2 100 99.8 99.9 99.9 99.9______________________________________ A = GELVATOL 3000 (Monsanto) B = GELVATOL 3000 (Monsanto) C = M488 (Hoechst) D = VINOL V205 (Air Products) E = Pulverized VINOL V205 (Air Products) using a MikroPulverizer, type SH (a trademark of Mikropul, a division of the Slick Corporation) F = Twice Pulverized VINOL V205 (Air Products) using a MikroPulverizer, type SH .sup.(1) Total may not equal 100% due to rounding.
TABLE 2______________________________________Particle Size Distributionof Uncoated PVA Resinsas Measured bv Granulometer(Weight percent)Particle Kuraray Nippon-GohseiSize Screen 405-S KL-05S(Microns) Size Trial #1 Trial #2 Trial #1 Trial #2______________________________________1 * 0.4% 0.7% 0.2% 0.2%1.0-1.5 * 0.2% 0.2% 0.2% 0.1%1.5-2 * 0.8% 0.5% 1.0% 1.5%2-3 * 0.9% 0.1% 1.2% 0.8%3-4 * 0.6% 0.0% 1.1% 1.1%4-6 * 0.6% 0.0% 1.1% 1.1%6-8 * 0.5% 0.2% 0.5% 0.7%8-12 * 0.6% 0.0% 0.2% 0.3%12-16 * 2.2% 0.3% 2.1% 2.7%16-24 * 4.4% 0.3% 5.4% 5.6%24-32 * 5.9% 2.3% 8.5% 7.6%32-48 325 12.8% 6.9% 20.8% 20.9%48-64 250 7.1 8.1% 10.3% 9.7%64-96 150-250 23.74% 35.4% 25.4% 26.3%96-128 120-150 29.4% 33.7% 16.4% 15.9%128-192 60-120 9.9% 11.3% 5.6% 5.3%Total.sup.(1) 100.0 100.0 100.0 99.8Median, 81.5 91.4 59.8 60.1in microns______________________________________ *= screen size smaller than 325 mesh .sup.(1) Total may not equal 100% due to rounding.
A clean, dry medium-intensity mixer was charged with PVA resin and antioxidant (IRGANOX 1010) in the proportions given in Example 4. The PVA resin was GELVATOL 3000 having the particle size distribution of Sample A of Table 1. One-half of the sorbitol was added, and the mixer was run for 30 seconds prior to addition of plasticizer. The liquid plasticizer mixture of TMP, water, and glycerin was sprayed onto the dry ingredients at a rate of 200-300 grams per minute, and the mixture was blended for 1 minute following the complete addition of the plasticizer. Mixing continued for 1 minute after the magnesium stearate and the remainder of the sorbitol were added, and the blend was discharged.
The maximum temperature of the blend during mixing, as measured by a probe within the mixer, was 80� F., and the maximum blend temperature immediately after discharge was 105� F. After discharge of the blend, the mixer appeared clean with only trace amounts of resin and plasticizer on the mixing plows and walls of the mixer. The blend was free-flowing upon discharge, and remained free-flowing after storage in a sealed bag. The particle size distribution of the PVA/plasticizer blend was such that at least 90% of the granules passed a 1/4 inch screen, at least 85% passed a 6 mesh screen, at least 70% passed a 16 mesh screen, and at least 50% passed a 20 mesh screen.
The PVA resin of this Example was mechanically conditioned to meet the particle size distribution requirement.
A clean, dry medium-intensity mixer was started and charged with pulverized V205 PVA from Air products, IRGANOX 1010, and TMP in the proportions given in Example 4. The pulverized V205 PVA had the particle size distribution as shown by Sample E of Table 1. The mixer was run for 30 seconds, and then glycerin and water were sprayed in at a uniform rate over 75 seconds. A mixture of sorbitol and magnesium stearate was then added, the mixer was run an additional 30 seconds, and the blend was discharged. No temperature increase was noted: the temperature remained near ambient. The mixer appeared clean except for some residue on the plows and walls. The blend was dry and flowable, and did not cake. The particle size distribution of the resulting PVA/plasticizer blend was such that at least 95% of the granules passed a 1/4 inch screen, at least 90% passed a 6 mesh screen, at least 75% passed a 16 mesh screen, and at least 50% passed a 20 mesh screen.
Example C demonstrates the effect of a poor liquid plasticizer coating on an otherwise appropriately-sized PVa resin.
The procedure of Example A was followed, but all the sorbitol was added to the liquid mixture. This caused the liquid mixture to be extremely viscous, and a good spray pattern was not formed. The resulting blend was wet and sticky. Upon drying, the blend took the shape of the container, and was difficult to break apart. The addition of the sorbitol to the spray mixture resulted in a more viscous solution, causing a poor spray pattern. As a result, plasticization was incomplete, the resultant PVA/plasticizer resin blend was not dry or free-flowing, and a particle size distribution of the coated PVA/plasticizer blend was unobtainable.
Example D demonstrates the failure to provide a suitable dry powder coating. Here, the dry powder coating agents were added to the PVA resin before plasticization.
The procedure of Example A was followed, but all the sorbitol and the magnesium stearate were initially added to the PVA and antioxidant instead of being used as a dry powder coating. The result was a wet, sticky blend which took the shape of the container upon drying and was very difficult to break apart. No particle size distribution was obtained for the resulting PVA/plasticizer blend. The use of a dry coating powder as a coating layer after plasticization is important to the production of a free-flowing PVA/plasticizer resin blend.
Example E demonstrates the use of a PVA resin having an inappropriate particle size distribution, leading to incomplete plasticization resulting in a PVA/plasticizer resin blend which is not free-flowing.
A clean, dry medium-intensity mixer was started and charged with M4-88 PVA from Hoechst, IRGANOX 1010, and TMP in the proportions given in Example 4. The M4-88 PVA had the particle distribution as shown by Sample C of Table 1. The mixer was run for 30 seconds, then a total of 259.4 grams of glycerin and water were sprayed in at a uniform rate over 75 seconds. A mixture of sorbitol and magnesium stearate was added, the blender was run for 30 seconds, and the blend discharged. No temperature increase was noted. The mixer was extremely messy, with wet beads of resin coating the entire mixer. The blend was very dense and wet, and caked severely. No particle size distribution was obtained due to the caking.
Example F demonstrates the inability to obtain a useful product due to high intensity mixing resulting in a blend temperature of above about 105� F. Runs were carried out with both Nippon Gohsei GL-05, and Kuraray 405-S resins, each having a particle size distribution satisfying the minimum requirements of the present invention. The formulations used to produce the blends were as defined in Example 1. A clean, dry high-intensity mixer, of the type used in the art for plastic processing, was filled with the dry ingredients. The mixer was started at low speed, then run to high speed as liquid plasticizer was sprayed in. Mixing continued until the blend reached a temperature of about 212 to 220� F., then mixing was stopped and the blender cooled. The mixer was emptied when the blend temperature dropped to about 150� F. The GL-05 resin batch yielded a very clumped blend, having a number of "plastic" lumps which were difficult to break apart. The 405-S batch mixed well, however the walls of the mixer were gummed up with the blend and were difficult to scrape down. Blend particle size distributions were not obtained.
Although the above description and the claims which are appended hereto describe methods and compositions which are useful for providing a PVA/plasticizer blend suitable for thermoplastic processing, in fact, variations and modifications thereof will be obvious to those skilled in the art, and obvious equivalents and alternative embodiments consistent with the scope and content of this application are included herein.
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|Apr 11, 2006
|Pvaxx Research And Development Limited
|PVA-containing compositions
|Mar 1, 2001
|Mar 27, 2007
|Pvaxx Research & Development Limited
|Method and apparatus for blowmoding capsules of polyvinylalcohol and blowmolded polyvinylalcohol capsules
|Aug 12, 2011
|Jan 26, 2016
|Church & Dwight Co., Inc.
|Detergent pouch with improved properties
|Mar 1, 2001
|Aug 14, 2003
|Stevens Henry Guy
|Method and apparatus for blowmoding capsules of polyvinylalcohol and blowmolded polyvinylalcohol capsules
|Apr 4, 2003
|Oct 30, 2003
|Stevens Henry Guy
|Polymer processing method and tablet-forming apparatus
|U.S. Classification
|427/202, 427/214, 524/557, 427/427.6, 525/61, 428/327, 427/222, 427/393.5
|International Classification
|Cooperative Classification
|European Classification
|Mar 11, 1988
Owner name: CLOROX COMPANY, THE, OAKLAND, CA, A DE CORP.
Free format text: ASSIGNMENT OF ASSIGNORS INTEREST.;ASSIGNORS:NEWMAN, GARRY F.;CARSON, DEAN F.;CHERRY, STEVEN B.;REEL/FRAME:004874/0113
Effective date: 19880310
Owner name: CLOROX COMPANY, THE, A DE CORP.,CALIFORNIA
Free format text: ASSIGNMENT OF ASSIGNORS INTEREST;ASSIGNORS:NEWMAN, GARRY F.;CARSON, DEAN F.;CHERRY, STEVEN B.;REEL/FRAME:004874/0113
Effective date: 19880310
|Jan 4, 1993
|Fee payment
Year of fee payment: 4
|Jan 17, 1997
|Fee payment
Year of fee payment: 8
|Jan 17, 2001
|Fee payment
Year of fee payment: 12


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How to search Barclays Bank branches in Maharashtra?
1. You are in Maharashtra page of Barclays Bank. Here you can see list of 1 district(s) of Maharashtra where Barclays Bank has branches.
2. Now select the district from the dropdown which says "Select District" or click on the district from the list below IFSC tool which will redirect you to the page with list of Barclays Bank branches available in the selected district.
3. To view details of any Barclays Bank branch in selected district, click on the branch name from the list under IFSC tool or select from the dropdown list.


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Born in Leicester in 1946, Julian Barnes is the author of nine novels, a book of stories, and a collection of essays. He has won both the Prix Medicis and the Prix Femina, and in 1988 was made a Chevalier de l'Ordre des Arts et des Lettres. He lives in London.
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Model Year Close Out! Save!, our dealership is excited to offer this fantastic 2017 Ford Transit Connect XL, Frozen White, and well equipped with 2 Speakers, 2nd Row Fixed Glass on Both Sides, 3.21 Axle Ratio, 4-Spoke Steering Wheel, 4-Wheel Disc Brakes, ABS brakes, Air Conditioning, AM/FM radio, Black Power Adjust Heated Mirrors w/Manual Fold, Bodyside moldings, Brake assist, Cruise Control, Day/Night Rear-View Mirror, Driver door bin, Dual front impact airbags, Dual front side impact airbags, Electronic Stability Control, Fixed Rear Door Glass, Front anti-roll bar, Front Bucket Seats, Front Center Armrest w/Storage, Front wheel independent suspension, Illuminated entry, In-Cluster Message Center, Low tire pressure warning, Occupant sensing airbag, Order Code 100A, Outside temperature display, Overhead airbag, Overhead console, Passenger door bin, Power steering, Power windows, Radio: AM/FM Stereo Receiver w/2 Speakers, Rear anti-roll bar, Rear Washer & Wiper, Remote keyless entry, Tachometer, Telescoping steering wheel, Tilt steering wheel, Traction control, Variably intermittent wipers, Vinyl Front Bucket Seats, and Wheels: 16 Steel w/XL Full Wheel Covers.Ford has outdone itself with this gorgeous 2017 Ford Transit Connect. It just doesn't get any better at this price! This is the right one for those looking for luxury! Satisfy your discerning taste without breaking the bank. No need to sacrifice.YOU MAKE THE CHOICE- WE MAKE IT EASY! , Excellent selection of New and Used vehicles, Financing Options, Serving Seattle, Tukwila, Kent, Federal Way, Tacoma, Auburn, Olympia, Lynnwood, Kirkland, Bellevue, Shoreline, Issaquah, and the great Washington State.
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From Wikipedia, the free encyclopedia
Madolenihmw is one of the administrative divisions of the Micronesian island of Pohnpei. It is located in the central east of the island, to the east of Mount Nahna Laud and south of Mount Kapwuriso. The coast of Madolenihmw includes a large bay which contains the island of Temwen, famous for its Nan Madol ruins.
|Metalanim, Pohnpei, Federated States of Micronesia
(elevation 9.1 metres (30 ft)
|Climate chart (explanation)
See also[edit]
- Kitti (municipality)
- Sokehs
- U, Pohnpei
- Nett
- Kapingamarangi
- Pingelap
- Sapwuahfik
- Nukuoro
- Mokil
- Kolonia
- Oroluk
- Palikir
Bendure, G., & Friary, N. (1988) Micronesia: A travel survival kit. South Yarra, Australia: Lonely Planet.
Coordinates: 6°49′15″N 158°18′10″E / 6.82083°N 158.30278°E
|This Federated States of Micronesia location article is a stub. You can help Wikipedia by expanding it.


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How Does Website Development Work?
Your web site will be responsive and built to engage your clients and prospective clients across a variety of platforms and devices, including smartphones, tablets, widescreen TVs, and computers. Together, we'll work through a five-step process to create a dynamic, interesting, responsive and compelling web site that provides a perfect showcase for your products or services:
- Consultation: An initial discussion of your needs, goals, and aspirations. I'll ask you to send me some examples of web sites that you love and don't know why <- that's the secret sauce, I'm looking to put the "you" into your web site. Your potential customers and clients want to work with someone who is just like them. My end goal is to create a web site that reflects you, and attracts customers who want spend time and money with you!
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- Additional Support: Technology evolves, issues arise and businesses change. I am available to my clients to answer questions, troubleshoot and find solutions.
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"Thank you for your cheerful, speedy, wonderful customer service this morning. After talking to you, I knew things were in the right hands." – Ben – Recording Studios in Nashville, Tennessee


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- Former VIP
- Community Moderator
Rosemary was the winner of the 2012 Tycoon Mastermind Alliance Better Your Best content and won a shiny porsche sportscar!
In this video, Rosemary reveals how she made and extra 7k for just 30 minutes work. In this video you will learn:
- The importance of a 'killer leaflet design' when finding bargain properties.
- How to effectively use negotiating strategies for fast profit.
- How to get your offer accepted, EVEN when it's not the highest!
- Plus much more...
- Admin
Great video Rosemary and congratulations on winning the car! You really did 'Better your best!'
- Former VIP
- Admin
Rosemary you have a halo - someone up there likes you :)
I like that idea!
Great work on the site, guys! See you all soon!
Its Really Good work by Rosemary ,I am listing a lot about this regards property, I want to start but how an when..
Nice work!
I would add that besides leaflets there is a cheaper but still effective way to search for bargains: park your car in a desirable street, put banners on windows and wait for magic to happen :)
Your Opinion
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text: View All Events Latest News Upcoming Events Latest News6/21/2017Growers' Market Returns to South Valley with Special Event South Valley MainStreet and Bernalillo County kick off La Familia Growers' Market on Friday, June 23 with music, art and food from 4-8 p.m. at Dolores Huerta Park, 100 Isleta Boulevard SW. The mar...6/9/2017BernCo, Working Classroom Seek South Valley Stories Bernalillo County's Public Art Program is sponsoring a project by Working Classroom and artist Mark Horst to collect and preserve the stories of the South Valley. Students and staff from Working C...6/5/2017Community Welcome to Learn About Design and Construction of Improvements to Paradise Hills Park, Park Lane Bernalillo County's Parks and Recreation Department welcomes the public to a community meeting Wednesday, June 7 from 6-8 p.m. for an update on the design and construction of proposed improvements to... Community Services6/27/20176/27/2017 - Senior Open Gym Basketball Join us Tuesdays from noon to 2 p.m. for Senior Open Gym Basketball for those ages 50 and up. Membership is $12 - cash not accepted. Veterans and seniors over 55 are free. Location:Los Vecinos Community Center, 478 NM-333, Tijeras 6/30/20176/30/2017 - Adapted Aquatics 50 + Seniors 50 +who are members of the City of Albuquerque Department of Senior Affairs can register for adapted aquatics classes taught at the UNM Therapeutic Pool (92 degree water). Participants will be led through a series of range of motion exercises that will increase joint mobility and develop muscular strength. Transportation from Vista Grande is provided and leaves the center at 12:20. Space is limited. Class cost is donation of $8. Register in person or over the phone at Palo Duro Sports and Fitness 880-2800 or Los Volcanes Fitness Center 839-3710 or North Domingo Baca Fitness Center at 764-6496. Location:UNM Therapeutic Pool 6/30/20176/30/2017 - Teen 3 on 3 Basketball Location:Westside Community Center, 1250 Isleta Blvd. SW


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BMSS Records
Latest Releases
Mind Lab
Mind Sets
Dark & Roll
Black Hole
Boom Shankar: Psyence Fiction [Dj Set 2016]
"It took me a while to come up with something fresh for your ears, but here we go: Psyence Fiction, the latest recorded output from my Mixer. Two hours of mind altering Psytrance. Slightly twisted but fully loaded. Containing some of my favourite tracks of the past season, some gems from BMSS Records, a handful of unreleased blasters and of course some wtf surprises.
Psyence Fiction reflects my night-time approach towards Psychedelic Trance, driven by energy, rolling basslines, intense soundscapes and occasional references to the past. This is my take on the slightly darker side of Trance. Psyence Fiction tells a coherent story and gives you a psychedelic experience that ends in a rather groovy positive mood.
My thanx go out to all participating artists for their master pieces and to all the labels involved for releasing such amazing tracks! And you guys, enjoy this psy-transcendental flight and have a smooth landing...I hope you have a blast!"
Boom Shankar
, November 2016]
Coming next: Boom Shankar - Psyence Fiction
Boom Shankar`s
new mix will be online tomorrow via
Datacult makes the Basstrump great again
Nuff said:
for President!
PsiloCybian: Mumbo Jumbo
returns to BMSS with two decadent tracks that teeter ingeniously on the edge of the lunatic fringe. A duet of challenging chattering tracks bounce along over driving funky grooves interrupted only by clever witty sampling and hints of old school Goa Trance.
Though frantic and frenzied these elaborate tracks work both morning and night and are a massive leap forward in PsiloCybians production. Mumbo Jumbo is a delightful macrocosm of complex soundscapes designed for adventurous grown up trippers.
Analog Mastered by Micky Noise @ Plus Six Mastering
01. PsiloCybian - Mumbo Jumbo
02. PsiloCybian - Spinal Spiral
Micky Noise @ Plus Six Mastering
Armin Acora
Release date:
24.10.16 via
Coming next: PsiloCybian - Mumbo Jumbo
returns to BMSS with two decadent tracks that teeter ingeniously on the edge of the lunatic fringe.
A duet of challenging chattering tracks bounce along over driving funky grooves interrupted only by clever witty sampling and hints of old school Goa Trance. Mumbo Jumbo is a delightful macrocosm of complex soundscapes designed for adventurous grown up trippers. The EP will be out via
October 24th!
Our BMSS Records Artist Roster for 2016
Have a look to our extended family. Find more info on each individual artist on our
artist page
and please use the
booking form
in case you want to invite our Djs, Live Acts, VJs and Deco crews to your events!
Mystic & Hujaboy: In the Beginning
Mystic, a Psytrance project by Dor Hasson from Israel melds modern Full On with old school fundamentals. Enveloped in melodies, the robust basslines fuel writing and arrangement that is rooted in psychedelic traditions. Supernatural references to Goa Trance float over a profound rhythmic section that works for night time sorcery or daytime wizardry.
Featuring the uncommon style of Hujaboy and his bone shaking psychedelic beats and tight production in a remix of his classic "The Game this EP has the perfect spells to mystify your dancefloor.
01. Hujaboy - The Game (Mystic Remix)
02. Mystic - In the Beginning
03. Mystic - Psychedelic all around us
Stryker Masterings
Armin Acora
Release date:
17.10.16 via
Coming up: Mystic feat. Hujaboy - In the Beginning
Mystic, a Psytrance project by Dor Hasson from Israel melds modern Full On with old school fundamentals. His debut EP with us "In the Beginning" which features as well a killa remix to Hujaboy`s "The Game" will be out via
October 17th!
Hakan Hisim: Interview with a Visionary Artist
[Interviewed by Soraya Putra]
Hakan gives us some insight into his creative process, his thoughts on technology as well as arts.... It was a pleasure to find out more about the creative force behind the artwork.
Chapter 1: YOUR PERSONAL APPROACH
A lot of artists and creatives would much rather focus on their artistic work and forget all about the messy business of marketing and running a business. Whats it like for you? Do you enjoy being an entrepreneur, or would you rather have more time for creativity? Or have the worlds of promoting yourself as a brand and being an artist become one cohesive dimension?
I would definitely appreciate more time for creativity. I think that the stigma of self-promotion is still quite prevalent among those who cling to the "Starving Artist" mindset and paradigm. We live in an age where an artist has so many tools to utilise, and social media is just another tool. I feel some sort of success is a delicate balance between promotion and creativity. I have spent years as a recluse not showing or sharing my art, just creating, and also years spent mainly trying to promote myself and get my art "out there", after doing both I can clearly say both methods were not productive; psychologically, socially or artistically.
I think being able to create full-time art and continually promote yourself is something of a shift that"s occurring since the rise of the Internet and the proliferation of digital art. It"s happening at a time where the people realise there is no scarcity and that the model of the starving artist and tortured soul is obsolete in a world filled with endless opportunities.
Do you remember what it was that drew you to the psychedelic arts? Are those feelings still relevant to you or have they evolved?
I was always drawn to the arts and also spent years making abstract and surreal oil paintings. My very first LSD experience had a very powerful effect on my art and life in general. But what changed everything for me in a very profound and palpable way was my first DMT breakthrough experience. The visual aspect, especially really effected me deeply and I remember thinking as I was returning to 3D reality "I have to learn to be able to capture this with art!"
After all these years, I"m still mesmerised by those higher dimensions but much less "Infatuated" with creating DMTesque visuals. I love to mix a lot of stuff styles up these days.
What is one of the most constant ideas in your work? Are there any elements or ideas that you seem to always come back to when creating? What are they and can you explain how these ideas connect to psychedelic arts?
I do use recurring patterns and themes throughout my artworks; I like to think they create a sense of continuity and familiarity to the viewer that creates an illusion of a cohesive fantasy world. This also creates a reference point for the "experienced" viewer: The Nostalgic feelings of "returning home" activated with Psychedelic medicines help to accentuate this feeling of continuity.
I use a lot of sacred geometry in my art, but not the standard fare. I like to recreate sacred structures imbued with more interest and detail, its mostly for aesthetics as the base forms and geometries are more or less the same.
I also like to use a lot of cryptic texts, alien languages and symbols in my art, again deeply influenced by the linguistic dmtesque machinery.
As an artist, it"s important to keep testing the limits of your medium and your creative processes. How do you keep your artwork fresh? Is it a constant process of challenging yourself to move to new ideological places so that you can develop a fresh perspective or does this happen quite naturally?
I wish it would happen naturally! I have an innate pull towards my comfort zone and therefore can really get caught into stagnation quite easily. This is why I try to incorporate the shake things up approach to my daily routine. Its very very easy to get caught in one"s own traps and pitfalls. Connecting with amazing people and artists online and especially at festivals can really help shift ones perspective enough to catalyse a mini creative renaissance within the psyche.
Mushroom Magazine wrote this about you: "Deeply influenced by the occult and esoteric concepts, his use of bold colour schemes are used to accentuate this intrinsic contrast of micro and macro, of the familiar and the alien." Could you tell us a bit more about how your work expresses these differences? Do you have any motifs or colours or patterns that you always come back to for certain things?
I like to use ancient motifs and symbols as guides to recreate them with more detail and interest to support the original meanings of those symbols. I really love to use contrast, in any way that I can. This realm is one of duality, and I think strong contrast really resonates with everyone on the planet.
Chapter 2: THE STATE OF THE ARTS
Do you believe in the concept of formal training for aspiring artists?
No. I went to art school, studied traditional painting. Went to film school, studied cinema. I was taught a whole lot of formulas, theories and ideologies; I was taught with technology that is now obsolete. I was indoctrinated into the "western art cult."
What I learnt and what I use today is what I taught myself, watched online or taught by a friend. All I have from my formal training is some colour theory and Anatomy / Shading / Rendering but to be honest I don"t believe one needs to be initiated into the traditional educational systems to learn any of this. The education models that currently exist for our children and youth are grossly dehumanizing and standardising; I find it amusing that we think that we graduate to a better education system when we graduate to another school.
Do you feel that contemporary psychedelic artists lean too heavily on a relatively limited design language and a relatively small palette of elements and ideas?
I think this is a personal journey and unique for every artist as they evolve along with the tools at our disposal. I was heavily influenced by the art of Alex Grey and also Luke Brown when I first started making psychedelic art, I think is great to be inspired by great artists but its also a personal choice and responsibility to develop your visual language over time and experience.
You"ve been an artist in this scene for a while? Are there areas or ideas that you feel are under-explored, or getting forgotten about?
Visionary art has been quite hip for some years now, and the scene definitely has a cliquey vibe to it. It"s quite funny writing this as an artist who is often labelled visionary I am well aware of that! From what I can see, many artists seem to be drawing on second-hand visions (I have also done this in the past), being heavily influenced by powerful visions of artists like Alex Grey rather than interpreting a unique visionary experience themselves. Again, this a journey and from what I gather, the artists putting out the most unique work are often those who are deeply involved with processing thier own internal vision, rather than just trying to make something look aesthetically pleasing in a fashionable way.
What would you say are the core aspects of psychedelic art? Are there any artists out there whose work you feel really captures this essence? Who are they?
I think Psychedelic art is transpersonal, Patterns and geometries obviously play a strong role leaning towards a more recursive and fractal nature. There are so many amazing artists to be all named here, although I can"t help but mention both Ben Ridgeway and İhti Anderson. Their art is incredibly unique and massively transpersonal creating coherent dimensions in their own right!
Chapter 3: TECHNOLOGY
What sorts of equipment/materials are you currently using to create your visuals effects?
I currently use two high-end laptops, PC, Mac and Linux, Wacom Intuos Touch 5 and too many hard drives to mention. I like to use and experiment with all types of visual software, most using Photoshop, Painter, Cinema 4D and Zbrush for static art. I use Photoshop, Cinema 4D, After Effects and Zbrush mainly for creating video. I don"t use fractal generators as often anywore, but mostly use Ultra Fractal, Incendia and Mandelbulb 3D. For live performances and video mapping, I use Resolume Arena and Madmapper.
I have recently been learning and experimenting with game engines to create visual effects and plan to develop my animations further into VR. I have started with Unreal Engine 4, Substance Painter and Marmoset Toolbag. When familiar with the terrain I would like also to learn how to use the Unity Engine.
In the last decade have there been any technological developments that were clear game changers for visual artists?
For sure. The exponential growth in the power and capability of hardware has allowed game engines like Unreal and Unity to create incredibly beautiful and detailed realtime environments with Physical Based Shading, now starting to rival a lot of the 3D raytracing on the market without having the need to wait excruciating render times. Instant visual feedback in immersive environments that you create yourself gives a whole new meaning to "creative flow" It"s actually a whole new way of creating digital art, opening incredible avenues up to artists every single day. The Occulus Rift was also another game changer, spawning amazing software like Tilt brush. Virtual Reality is both an apex and gateway into truly immersive works of art.
Clearly there is a lot of technology involved in the work of an VJ and technology is continually changing and evolving. Do you find this a distraction? Or are you naturally open to using new technologies relating to your creative work?
It sometimes can be a distraction, but also incredibly beneficial, with everything, balance is the key. Being open and aware of new technologies without having to rely on any of them too much seems to work best for me. It can be difficult, though, to keep making art, promoting and maintaining yourself, and live gigs don"t leave too much room to research and learn new tech.
There seems to be a lot of importance placed on words like "natural" and "organic" and "hand made" when it comes to psychedelic culture. Do you think that the use of technology goes against these ideas? Or do you find that they are somehow complementary? In either case, could you explain how or why?
This futile feud between digital and traditional art is even more prevalent in developing countries like Turkey. I have had people telling me to automate the process so the computer spits out art all day long by itself because all I need to do is click some buttons!
Having done both, I can easily say that all art is hand made. The computer is just an awesome high-tech paintbrush, canvas and pigment stash all rolled into one. Using a computer or organic materials to create art is a matter of choice and preference of the artist and nothing more. I really respect artists that utilise both methods, remixing both technologies together, blurring the lines to create some amazing masterpieces!
"The act of painting with light and electricity is the purest form of painting that is currently possible." I read that elsewhere on the net about your artwork. Could you tell us how technology is enabling you to express this idea?
We humans have so many thoughts and ideas its crazy, multiply this with the hyper mass media manipulation of our senses and emotions, we think and create at lightspeed in our minds and spirits. The computer removes the "Physical Inertia" or general speed restrictions for creative processes offered by traditional media allowing us to make immediate changes to the piece without having to wait for some physical material or medium ready for another coat. To me this feels closer to creating with my spirit rather than say, drawing, I can process my ideas a lot faster and with a better flow on a computer than with paper. Game Engines are currently doing the same thing now regarding realtime (instant) vs. Rendered (processing time) imagery.
What are you looking forward to, with regards to new creative technology?
In the near future, I would love to create my artworks as multidimensional pieces. Where the viewer is able to see its static image, see its animated version and then also plug into its full immersive 3D environment. Incredibly precise Audioreactive elements could also be introduced into the scene for those with a penchant for synesthesia :)
Moon Tripper joins Brother Moon Sister Sun
We are very happy to announce the signing of
Moon Tripper
to the BMSS Records family!
Starting from a solid base in Ambient, Psychill, Uplifting and Tech Trance, Brad has carried on establishing his Psychedelic Trance style. He kicked off his Psy-Trance project under the alias "Moon Tripper in 2013. A twist of dark, serious and mysterious atmospheres blended with ethnic resonances, oriental vibes, crunchy and spirited soundscapes designed to elevate your journey.
Moon Tripper will have his first release on BMSS Records in the coming months...an EP is in the making plus he will be featured on
Boom Shankar`s
upcoming double CD compilation "Trancefusion", due to be out in late 2016.
To welcome Brad properly, here is "Trip to the Moon", the Live Promo Set of Moon Tripper featuring some of his best releases so far. Enjoy!
More info on Moon Tripper
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It's double the good news today to start off August 17th in Korea – child actor turned leading man Yoo Seung Ho turns 23 years old (or 24 in Korean years) and he's been offered the lead in an upcoming … Continue reading
Tag Archives: Yoo Seung Ho
K-actor Yoo Seung Ho won't be moving into the KBS house just yet, last week he's officially declined the leading man role in the network's upcoming Mon-Tues drama The Man Living in Our House. That's okay, the offer is forever … Continue reading
My baby boy Yoo Seung Ho continues having a smashing acting career, after last year's one-two punch of the SBS drama Remember: Son's War and the sageuk movie The Joseon Magician, he's back in the spotlight for another potential one-two … Continue reading
I don't think this will end up being some great debate as much as a fun time to share personal visual preferences. While Korean actors are well known for being intensely easy on the eyes, sometimes their styling onscreen and … Continue reading
The current bunch of prime time K-dramas hasn't been all that buzzy but that doesn't equate to failure. SBS leads the ratings for both Mon-Tues with Six Flying Dragons, and especially on Wed-Thurs with Remember (Son's War), which was netting … Continue reading
I know Christmas is passed but hopefully everyone has been good and in the mood for extra pretty presents. The cast of upcoming sageuk movie The Joseon Magician is pulling out all stops to promote the movie ahead of its … Continue reading
It's so cute when celebrities recognize their own lookalikes, it saves fans the trouble of doing double takes. Last week Sistar's Bora ran into K-actress Han Chae Young at an event and the two took a selfie asking their fans … Continue reading
My affection for any of my fave actors or actresses don't blind me to any shortcomings with acting or script in any drama or movie. I can still enjoy it with caveats, and that's the case with Yoo Seung Ho's first prime … Continue reading
Last week SBS quietly wrapped up the run on Wed-Thurs drama The Village (Achiara's Secret), a drama that never got much traction or buzz but was reportedly well made enough to not be a blight on the resume of the … Continue reading
The press conference for Yoo Seung Ho's upcoming SBS drama Remember wasn't nearly as cute-inducing as his press conference last week for MBC cable drama Imaginary Cat. But then again, Imaginary Cat trotted out a real life "I could give … Continue reading
I excepted more pretty with the posters for SBS drama Remember, but one out of three ain't bad and these days I'm grateful for the little bits of delivered quality. The official drama posters are out for Remember, and it … Continue reading
I fee like an overprotective momma Koala when it comes to Yoo Seung Ho, not concerning his love life but totally centered on his acting career. I get particularity nitpicking about his female leads, but so far his return to … Continue reading
I sense that SBS knows exactly what it has to work with on upcoming Wed-Thurs drama Remember and is doing a bang up job of maximizing it on all the promos. The latest batch features angsty Yoo Seung Ho looking … Continue reading


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News About: Nautralism Stakes
Early Melbourne Cup Tips: Our Ivanhowe The Value
Ratings expert has Fame Game on top of his 2015 Melbourne Cup tips, but he believes it is Our Ivanhowe that represents the best value in betting markets for the Group 1 event that will be held at Flemington tomorrow afternoon.
2014 Zipping Classic Tips: Spillway The Horse To Beat
Spillway is on top of the 2014 Zipping Classic tips of form analyst Adam Blencowe and he believes that the imported stayer is the horse to beat in the Group 2 event at Sandown this afternoon.
Spillway missed …
News Topics
- Chris Waller
- Melbourne Cup
- Gai Waterhouse
- Cox Plate
- Caulfield Cup
- Peter Moody
- Golden Slipper
- Melbourne Spring Racing Carnival
- Flemington
- Hugh Bowman
- Stradbroke Handicap
- Doncaster Mile
- Darren Weir
- Damien Oliver
- Black Caviar
- Queen Elizabeth Stakes
- Peter Snowden
- Craig Williams
- Caulfield Guineas
- Caulfield
- James McDonald
- Blue Diamond Stakes
- Newmarket Handicap
- David Hayes