text:
|Television Production Handbook
|Ordering Information
|©1980-2009 Roger Inman & Greg Smith. All rights reserved.
Editing and Program Continuity
Editing a television program is much more than just putting shots together on a single piece of tape so they can be viewed as a whole. It is in the editing phase that a production is finally made to conform to the producer's vision of it. Editing is both the last and one of the most powerful opportunities the producer has to influence whether a program will communicate the information it was meant to convey successfully, and whether it will affect the emotions and moods of the audience as the producer wished. The editing process is also a difficult and demanding craft, and presents many opportunities for the unprepared to go astray. Indeed, the failure to communicate effectively in many beginners' television programs is much more often a failure of the editor to develop a coherent conception of the flow of the program than of any problem with other technical aspects of the art of television, such as camera work or sound recording.
Conversely, it is possible for a skilled editor to take even seriously flawed original footage and produce a program which still manages to say what the writer and director had in mind - but we certainly hope you will never be forced to work that way.
In commercial television and film production, the "shooting ratio," or amount of film or tape shot divided by the length of the finished program, averages about 10:1. In other words, for every minute of edited program you see, ten minutes or more of tape was recorded by the camera crew. In some specialized and difficult programs the ratio routinely climbs above 100:1. On the other hand, in live television production in the relatively comfortable atmosphere of a studio, it is often possible to use every second of the original recording with a shooting ratio of 1:1.
Actually both of these represent extremes which you will not ordinarily encounter. Ways to reduce editing time include keeping the overall shooting ratio as low as practical, grouping scenes shot in the same place or time together on the original tape, and, when possible, "slating" shots by holding up a card in front of the camera showing the place, time, date, and crew members present and any other information you think may be helpful in identifying material later.
You may have inferred from the above that the process of editing in a sense begins long before any tape is recorded. In those productions which are scripted in detail before shooting, the script may in fact dictate almost exactly how the finished program will be edited. So a knowledge of some of the rules of visual and aural continuity is as essential for the script writer, director, and camera operator as for the editor. Again, the more planning and preparation before entering the editing room, the less time and money spent there. Even if your program doesn't lend itself well to detailed scripting in advance, it is usually possible to write up an outline, or perhaps even an exact "editing script," based on several viewings of the original footage, which can guide the editor in putting things together properly in the minimum amount of time. This is not to imply that many decisions won't have to be made during the process of editing - especially the specifics of exactly on which frame to make cuts - but good planning can make the actual work with the editing machines much quicker and more pleasant.
There are basically three purposes in editing a program. The are:
1. To eliminate material which is unusable because it is technically flawed;
2. To remove footage which is irrelevant to the information to be presented in the program;
3. To assemble what is left in a way which communicates the important information in the program and, at worst, the editing isn't distracting to viewers and, at best, the program is both interesting and entertaining.
There is almost never a justifiable reason for making a program longer than the absolute minimum necessary to cover the topic adequately. If in doubt about the relevance of a particular shot or sequence, it is almost always better to leave it out. Keep cutting away at what you have available (while watching the shooting ratio soar) until every frame of the remaining tape has something valuable to say. Your audience will be grateful for it, and may reward you by staying awake through the whole program.
What follows is a selection of various rules and concepts of editing which have been developed through experience over the last century of editing motion pictures and, more recently, television programs. The rules are, to some degree, flexible, but they should be violated blatantly only with great trepidation and after carefully considering all of the alternate ways of editing the sequence. However, if you have something important to say, and only unconventional editing will communicate it effectively, then the content should take precedence over any editing rules. Remember, your final consideration is your audience and their reactions.
1. WS - MS - CU sequences; using close-ups
Beginning television news camera people are always taught to take three shots of each subject, using different distances, angles, or lens settings to yield a long shot, medium shot, and close-up of the subject. Then these three pieces of tape are edited together in that order to give the viewer an impression of moving in on the action from the outside, finally becoming involved (through the close-ups) in the action itself. Watch television news coverage of a fire or similar event the next time you can. Typically, you'll see something like:
LONG SHOT, the burning building;
MEDIUM SHOT, firefighters pulling hoses off the truck and carrying them toward the fire;
CLOSE-UP, firefighter's face or hands as he wrestles with the hose.
Additional shots would tend to be more close-ups: equipment on the truck, hands holding the hose, the faces of spectators, etc. At some time, determined by the pacing of the editing and, in this case, the severity of the fire, there might be a return to the long shot to reestablish the overall layout of the scene in the viewer's mind.
Notice the emphasis on close-ups. Television is a relatively low-definition medium, and subjects seen in medium shots or wider just don't come across powerfully on a television screen. It is details, sometimes shot at very close distances, which are most effective in adding visual interest to a story. Use close shots - details of objects, a person's surroundings, or especially of the human face -whenever it is possible and meaningful to do so. They do more than anything else to add excitement and interest to your program.
As the amount of information on the screen decreases, so does the viewer's ability to watch it for a long time. This implies that close-ups, which contain relatively little visual information but spread it over the entire area of the screen, shouldn't be held on the screen for a very long time. When presented with a single detail of something, an audience can look at it for no more than three or four seconds before it becomes bored and turns away. Exceptions to this rule occur when there is something going on to maintain interest. For example, moving objects can be held longer than totally inanimate ones. A narrator heard in a voice over may point out interesting details in what is shown so that the audience is continually discovering new aspects of the picture. In these cases, even extreme close-ups can remain on the screen for a relatively long time.
Close-ups of faces, on the other hand, can be held for along time, as we seem to find endless fascination in that particular subject. Close-ups are very powerful and revealing for interviews and tend to give at least the illusion of great insight into the speaker.
By contrast, long and medium shots are used less in television, although they certainly have a very important place in most programs. The audience can become disoriented if they are not occasionally reminded of where they are, the overall arrangement of objects and people in the location and the relationships between them. This is the purpose of the long shot. Medium shots reveal more about a single subject, without the emotional commitment of a close-up and they are also most often used for showing the progress of action, as in our fire example above. Of course, there are an infinite number of possible variations. It is the subject matter and overall mood and structure of your program which determine in the end how sequences of different angles views will fit together.
2. Jump cuts and the thirty degree rule
One of the most distracting mistakes it is possible to make in editing is called a "jump cut." If you've watched commercial television all you life, you may in fact never have seen a jump cut. They are so visually distracting, and such pains are taken to avoid them, that this particular error almost never makes it to your home screen.
A jump cut happens when you attempt to edit together two shots which are too similar in visual content. The most obvious example might occur if you remove a single sentence from an interview shot while the camera (which recorded the interview originally as a single shot) remained static. What would happen is that the background would remain still, while the subject's head might "jump" a bit to one side, or lips which were closed might appear instantly to open.
The result is a very jarring interruption in the otherwise smooth flow of action. There are several solutions to this problem. In the case of the interview, an appropriate response would be a cutaway shot - about which more will be said later. In other situations application of the "rule of thirty degrees" can help.
The Thirty-degree Rule
The thirty degree rule states that if you make sure that the angle of view of the camera to the subject changes by thirty degrees or more between two shots cut together, the background will move enough that the shots will cut together well without any apparent visual discontinuity. The diagram below illustrates the rule. Failure to move the camera at least thirty degrees between shots almost invariable leads to a jump cut. There are exceptions, of course. Cutting from a medium shot to a close-up, for example, can be done even if the camera is not moved an inch. The point is to make each shot as visually different from the one preceding it as possible, so that the viewer's point of view of the scene appears to change in a natural manner. Notice that if you invariably follow the long shot - medium shot - close-up sequence suggested earlier, the problem of jump cuts caused by violations of the thirty degree rule never develops. And cutting from one subject to an entirely different one, or from one location to another, rarely presents any problems.
There are other types of visual discontinuities you must guard against. Most of these are essentially the responsibility of the camera crew at the time of shooting, and the editor's only involvement is to try to cover them up when they occur.
Errors of this sort usually creep in when shooting is spread out over several hours, days, or months. A typical problem might be shooting part of an interview one day, then coming back a few days later to get additional material and finding the subject dressed in different clothing. (Invariably the clothes the subject wore the first time will be in the laundry and totally unavailable.) You can't cut together parts of the two interviews without making it look as though the subject instantly changed clothes. Errors like these can only be avoided if you are aware of them and plan around their occurrence. It is also among the editor's responsibilities to point out continuity problems when they occur, so that a way can be found to avoid them or minimize their effects. (For example, in this case, it might be possible to group the footage in such a way that the clothing appears to change during a long interlude while other subjects are being shown. When the action returns to the interview the change won't be obvious.)
3. Direction of motion and the 180 degree rule
By this time you may think that editors and directors have to be experts in geometry. Not so! There is really only one other "angle rule," which is designed to keep people facing and moving in the same direction on the screen. One of the more distressing visual discontinuities is reversal in direction of motion, or in screen position of people. An example:
Someone walks out of one room and into another. In the first shot, you set up the camera in the middle of the first room and the subject walks from the left side of the screen and exits through a door on the right. Now on entering the second room, into which the subject is to walk, you find a large expanse of windows on one wall, with the door on the left as you face them. You don't want to shoot into those bright windows, as the camera will give you a poor picture, so you set up the camera on the window side of the room looking toward the middle. Now the subject walks in, but this time WILL BE ENTERING FROM THE RIGHT SIDE OF THE SCREEN. When this is edited together with the previous shot, it will look like the subject changed direction in mid-stride.
The solution is to keep the camera always on the same side of the moving subject. If something is traveling from left to right, it should continue to go in the same direction in every shot you think might be edited into the same sequence. Sometimes, as in our window example, this takes considerable pre-planning and can be something of a headache if there are many locations involved. But it is necessary if the audience is to be able to follow the action without confusion. Again, if you just can't think of any other way, a cutaway may be used between two shots where the action reverses direction. But this technique is all too obvious to the viewer much of the time.
A somewhat related situation arises when you are dealing with multiple subjects, perhaps in a discussion situation. It is necessary to arrange your shots, and their editing, so that subjects don't appear to be moving from one side of the screen to the other, or looking in different directions at different times.
Study the diagram below, which represents a simple situation with two people seated at a table. If the camera always stays in the area indicated by the number "1" no matter what two shots you cut together, subject "A" will be looking toward the right side of the screen at subject "B," who faces left. This will result in proper visual continuity.
The 180 Degree Rule
If, however, the camera crosses over to the other side of the table, the apparent positions of the two subjects will be reversed. If you cut two shots of "B" together in succession, "B" will suddenly appear to be looking at himself, but from opposite directions.
This is called the 180 degree rule. When dealing with two or more subjects, visualize a straight line drawn through both of them. As long as the camera always stays on one side or the other of this line, apparent visual continuity can be maintained. The name derives from the fact that the camera can move through an arc of 180 degrees relative to the center point between the subjects.
Now remember the thirty degree rule. We have set up a situation in which, in order to maintain effective visual continuity, the camera has to move at least thirty degrees between shots but has an overall field of only 180 degrees to work in. It can be frustrating, to say the least, to the editor who has to work with material shot without regard for these two rules. Yet the editor, too, has the responsibility of putting shots together in such a sequence that these rules are observed, while still trying to make sense out of the overall meaning of the program. Good luck!
4. Cutaways and inserts
Often the availability of proper cutaway or insert shots is the only thing which saves the editor from, at best, profound frustration, or possible even insanity.
You see cutaways frequently in television news interviews. These are the shots of the interviewer looking at his notes, or nodding at what the subject is saying. Usually the cutaway shot has been used to cover up an edit in a continuous shot of the interview subject when removing a few words or sentences would other wise have produced an unacceptable jump cut. As such, the cutaway is a valuable device, but it should be used with great discretion, as it looks rather contrived. (Often these shots are done after the interview is completed, and the interviewer isn't really reacting to anything - which often shows.) Over-the-shoulder shots are common too - and also often don't work because the sound is noticeably out of sync with the subject's body or facial movements.
It is also possible to cut away to other subjects, like the crowd reacting to a speaker's words, or a close-up of the subject's hands. These sometimes work well and can cover many otherwise embarrassing gaps in visual continuity.
Insert shots have another function in that they actually contribute to the meaning of the program. Inserts are shots, or sequences, which usually show something that a speaker is talking about. While an interview subject describes a process, an insert sequence can be designed to show that process actually taking place. While these segments can be used to cover continuity difficulties they also tend to make a program more interesting and meaningful.
Achieving the proper balance between "people" footage (interviews and speakers) and "process" material is difficult, and of course depends on the nature of the specific program you are making. In general, though, it is better to show something than to talk about it; television is a visual medium and only by making use of its ability to show things as they actually happen can it truly be distinguished from radio or audio tape. Of course, there are programs where the emphasis is on the people involved as much as the things they are doing, and in these cases there is nothing more beautiful or interesting than the human face. So keep your purpose in mind when deciding on an overall plan for the editing of your programs.
Insert and cutaway footage is so important in editing that it is essential to be aware of the need to produce this type of material at the time of shooting. Many discontinuities are not the result of ignorance of the rules on the part of the editor, but happen simply because the required quantity or quality of insert material was never shot. Much of a good camera person's time is spent looking for and recording reaction shots and various close-ups and cutaways which can be used by the editor to cover any difficulties later. It is definitely something to keep in mind when you start to shoot tape.
5. Shot timing and pacing
The need to keep certain shots fairly short was discussed earlier. In general, close-ups do not hold interest as long as medium shots and it is uncommon to see any shot that lasts longer than about ten seconds, but certain types of action can be held longer if it seems appropriate. It is a good idea to vary the length of shots, particularly if many of your shots are fairly short, unless the building of a definite and predictable rhythm is what you have in mind.
One final note. Changes in shots that are too frequent and done for no apparent reason can be worse than long static shots. Editing should never be allowed to interfere with or distract from program content.
6. Cutting sound
In professional film editing, it is not considered much of a problem at all to restructure sentences or even words by precise editing to change the meaning of what someone says. Digital audio files and the audio portion of digital video files can be processed using computers to change not only the sequence of sounds, but volume, pitch, and other characteristics. Even so, most audio editing for video is restricted to making cuts between phrases or sentences, trying to fit together the sometimes random-sounding ramblings of your subjects into a smooth whole.
It is beyond the scope of this chapter to try to dictate how your subjects' thoughts should be fitted together, so we will concentrate on a few rules and suggestions as to how the continuity of sound fits into the overall production of a program.
Most programs of the informational or educational genre have their continuity dictated almost entirely by the content of the sound track. In fact, the spoken word probably conveys most of the actual information in most of the television programs you have seen.
This is a difficult problem, because errors in visual continuity (which is what most of this chapter has been about) are usually much more obvious and distracting to the viewer than a more abstract lack of logic or coherence in what the interview subjects or narrator say. So in many cases the content will have to be adapted to the needs of maintaining a smooth VISUAL flow. Cutting within interview footage, which is often necessary from a content perspective, almost always generates a visually offensive jump cut which requires a cutaway or something similar to reduce the distraction.
The use of sound other than voices should be considered. The natural sounds of many settings - chirping crickets or the cacophony of a factory - can be used to make some kinds of points more effectively than any narration. The use of music in setting moods is fairly obvious; indeed it is possible, and often very powerful, to edit the visual portion of a program to fit, in both rhythm and content, a prerecorded piece of music.
One technical detail about editing sound which seems relevant here involves the timing of different spoken segments to be edited together. In average conversation, most people pause about half a second between sentences. If you are trying to edit dialogue together so that it still sounds natural and flowing, you should try to maintain the time between utterances at about this figure. Most people do not pause noticeably between individual words, although a gap of a tenth of a second or so will go unnoticed if it doesn't occur too often. Naturally, these times have to be adjusted somewhat to fit the specific speech patterns of the individuals involved, so they are only a guide.
A second consideration in sound editing might be thought of as an audio jump cut. Every recording location has a characteristic sound, or presence which may even change slightly during different times of the day. People, too, vary the quality of their voices according to many conditions from stuffy noses to fatigue or emotion. Very few narrators can duplicate the sound of their own voices from one day to the next. Even though two sequences might be recorded using the same equipment in the same location, the quality of the audio may well be so different that a noticeable and objectionable change in sound occurs at an edit point. In editing narrative sequences, the speaking pace must also be fairly constant if the edit is to be "believable."
This barely begins to scratch the surface of the field of editing, yet the rules and ideas presented here are basic ones you will have to keep in mind while shooting and editing videotape. Watching television critically, with an eye toward the contribution of the editor to the finished program, then editing your own work, will teach you more about the craft than any stack of books could. Don't be afraid of all those buttons!
Video editing is the selective copying of material from one videotape (or computer file) to another. The process is entirely electronic. Nothing is cut, glued, or pasted. The original is not altered in any way by the editing process. Successful and efficient editing requires some specialized equipment, some knowledge of how the equipment works, and a great deal of planning and preparation both in shooting original footage and in editing itself.
The necessary editing equipment includes two videotape recorders, two television monitors, and an edit controller. The original tape is played back on the source recorder, which is sometimes called the master recorder. This recorder must be designed to be run by remote control. The audio and video outputs of the source recorder are connected to the inputs on the editing recorder, sometimes called the slave recorder. The editing recorder, in addition to being operated by remote control, also needs some features not found on most videotape recorders. First, it must operate in sync with the playback recorder. That is, its internal timing circuits have to lock to the sync portion of the incoming composite video signal. Second, to make clean edits between old and new video, it must be able to go from the playback mode to the record mode and back only in the vertical interval, or the brief time between pictures. Finally, to accomplish this, it must have special erase heads, called "flying" erase heads, actually mounted on the video head assembly. Most videotape recorders have erase heads that are fixed and erase the entire width of the tape. Because the video signal is laid down on tape in long diagonal passes across the tape, the conventional erase head would erase portions of many frames of video. The erase heads mounted on the video drum can erase video one field at a time, allowing very clean transitions between old and new video.
The audio and video signals from each recorder are also connected to television monitors. This allows the operator to see and hear what is on either tape at any time. Finally, both recorders are connected to a compatible edit controller. The controller includes the basic transport controls for both recorders, such as fast forward, rewind, play, pause, and stop, plus special editing functions.
Editing modes:
In the ASSEMBLE mode it is assumed that there is nothing recorded on the edited videotape after the selected edit point. Each new sequence is edited onto the end of the previous sequence until the tape is completed. No picture of sound which might already have been on the tape is used.
In the INSERT mode, it is assumed that material already on the tape is to be retained. New material is inserted into old. Not all of the signals during the edit need to be replaced. The operator sets the editing machine to change the picture or either of the sound channels or any combination of the three. At the end of the edit, the recorder will return from the record mode to the playback mode.
The Control Track:
Almost all videotape recorders record and play back a special sixty hertz pulse called the control track. This track is used in playback to make sure the video heads are positioned correctly to read video information recorded on the tape. Any break in the control track, or sudden shift in phase, or loss of signal level will cause a videotape recorder to vary its speed until it returns to lock. This in turn usually causes the picture to break up or disappear entirely. The essential difference between the assemble and insert edit modes is that in the assemble mode new control track is recorded from the edit point on, while in the insert mode prerecorded control track is used and no new control track is generated. Therefore, the picture will always break up at the end of an assemble edit and, conversely, there must always be good continuous control track already on the tape throughout an insert edit or the picture will break up on later playback wherever the control track was flawed, even though no trouble was observed during the actual insert edit.
Many editors commonly in use are called control track editors because they use the control track as a reference for all of the editing functions. It is critical to know and understand this. Without a good and continuous control track from at least six seconds prior to an edit point to at least two or three seconds after an edit point it may be impossible to make an edit at all. Actual requirements vary from machine to machine, so it is advisable to make sure there is always at least ten seconds of control track in front of and behind every shot recorded.
SMPTE Editing:
The Society of Motion Picture and Television Engineers devised a special audio signal that can be recorded on tape and used to identify the location of each frame of video precisely. This SMPTE code is used in many edit suites for three reasons. First, edits using SMPTE code are frame-accurate and repeatable. Second, the code can be used to trigger events in other equipment, such as special effects generators, computers, and audio recorders. Third, preview copies of raw tapes can be made with the frame numbers showing on the screen, so you can make editing decisions "off-line."
Most SMPTE code is recorded on a linear audio channel. That means you have to have two audio channels to use it. Three are better. Most one inch and many 3/4 inch VTR's have three audio channels, leaving two for program content.
SMPTE is not the only time code in use today. A number of companies have their own proprietary codes. They all serve the same purpose - allowing precise control over editing equipment.Computer Editing
With the exception of very high-end systems, nonlinear editing systems use AVI or Quicktime files that are compressed from 20 MegaBytes per second down to around 4 MB/sec. One CDR will hold about three minutes. One DVD-R will hold about 16 minutes per layer.
See the editing forum at http://tv-handbook.com/discussion/.Handbook Contents


text:
Moab Folk Camp Sept. 29 - Oct 3 http://www.moabfolkcamp.com/
We offer a supportive environment where you can experience the joy of making music and learning new skills in a caring community.
SummerSongs Camp
Join us July 23-29, 2017 for the 19th annual SummerSongs songwriting camp, where we will explore aspects of song-writing, music, singing & performance.
Learn from nationally-known artists, attend workshops & concerts, network, perform, share songs, collaborate, jam, and relax at a beautiful summer camp in Stony Point, NY.
Enjoy the best "camp food" you've ever had – organic farm-to-table! Classes will include songwriting, song arranging, performance/stagecraft, harmony singing, co-writing, guitar, keyboard, creative process and more – and you'll have many opportunities to share your music in song circles, coffeehouses, concerts, and feedback sessions. So come unleash your creativity and join the musical family at SummerSongs!
Songwriting from the Heart—Progressing on the Journey
Come take your seat among other songwriters as we work to refine our songwriting tools. We will go beyond the basic nuts and bolts of the craft, working to take our skills to the next level. Get ready to develop the ability to translate our own life stories into well-crafted, heartfelt songs. Through writing exercises, song assignments, performances, co-writing, and demonstrations, the inner muse will be coaxed and cultivated. In a safe, supportive, fun workshop climate, we'll share and receive constructive feedback on our works in progress.
Legacy Group - Songsmithing:
Opening the Creative Channel
Month of January 14 - February 11 , 2018
If your life was a song, what would that song be? If you told the story of your heart, what story would you tell? Discover your authentic singing and songwriting voice through creative exercises, prompts, and assignments. We will focus on opening the creative heart and bringing forth the music and stories that dwell there. All are welcome; no prior songwriting experience is needed.
With a mindful and playful attitude, we will invite the stunning natural beauty of the Big Sur coast, its healing waters, and the spirit of Esalen to work its magic on us as we immerse ourselves into creative flow. Within the safe container of the group, everyone will be invited to delve into the deep work that only creative play allows.
Johnsmith has led work scholar programs and workshops at Esalen since 2006. His transformational offerings help students reach deeply inward to bring forth their truth and story in well-crafted songs. Johnsmith always brings along his infectious, curious, fun-loving otter spirit to his work...or play, one might say. We will use journaling, movement, meditation, co-writing, solo and group singing, impromptu jams, and performance — for ourselves and the Esalen community. Playing a musical instrument is not necessary, but you are welcome to bring one if you play. We will cultivate a fun, dynamic, and safe place to experience our creative selves. John will also be inviting guest artists and staff to assist during the month.

subset: commoncrawl


text:
The Steamboy T1 is a repeat Best Buy selection, because no other model that's in this price has a longer cleaning time (30 minutes) or a larger tank capacity than this model has.
*"No steam mop that's in this price range has a longer cleaning time (30 minutes) than the Steamboy T1 has. That's because no other steam mop has more tank capacity than this model does."
This magnificent steam floor mop will change the way you clean your floors forever.
Imagine cleaning your floors and carpets with the purity of simple H20 (water)! The dream is now a reality with the remarkable Steamboy steam floor mop. Plug it in, turn it on, and in seconds the Steamboy will change the way you clean. Steam is a great, effective way of removing dirt and killing bacteria and germs naturally. Steamboy delivers 248º F steam to floor and carpet surfaces, sanitizing as it cleans. Now you can say goodbye to expensive and potentially harmful chemicals.
Chemical-free cleaning is the safest way to clean your home, keep your family safe and protect our fragile environment. The Steamboy floor steam mop. Simply fill the removable tank with water, plug it in and you are ready to clean with the power of steam. Whether you have sealed hardwood floors or ceramic floors, Steamboy is tough enough for the job. You won't believe the difference steam makes. Each Steamboy unit comes with 2 cloth pads, (that can be hand or machine washed) a carpet glide so you can clean and deodorize your carpets, and a replaceable water filter to protect against scale.
Add Extra MicroFiber Replacement Cleaning Pads, Replacement Water Filters under Recommended Accessories Below. Minimum Orders. Use Tap Water. Boiler Pump Made in Italy
Chemical-free cleaning is the safest way to clean your home, keep your family safe and protect our fragile environment.
The Steamboy floor steam mop is such a delight to use. Simply fill the removable tank with water, plug it in, and you are ready to clean with the power of steam.
Whether you have sealed hard wood floors, or ceramic floors, Steamboy is tough enough for the job. You won't believe the difference that steam makes.
Each Steamboy units comes with 2 cloth pads (that can be hand or machine washed) and a replaceable water filter to protect against scale.
- Water Capacity 3.3 Cups
- 1500 Watts
- Continuous Steam 30 Minutes
- Weighs 14 lbs
- Steam starts immediately - No waiting
- Powerful 1500W heating element
- 180˚ swivel head to get into tight spaces and under furniture
- 3.3 cup water capacity
- 30 minutes continuous steam
- Ergonomically designed handle to reduce hand and wrist stress
- 16' electrical cord with wrap around feature
- 2 cloth pads
- 1 water filter
- Steam pump made in Italy
Best used for:
Sanitizing and cleaning floors:
- Ceramic
- Tile
- Hardwood
- Marble
- Slate
Warning: On surfaces that have been treated with wax, the wax may be removed by the heat and steam action. Do not use on unsealed wood floors.
- Steam starts immediately - No waiting, with the Steamboy, there is no need to wait for the unit to heat up. Plug it in, and in seconds you are ready to clean and sanitize your floors.
- Powerful 1500W heating element, no other steam mop offers more steam sanitizing power than Steamboy. The temperature at the pad is rated up to 248º
- 180º swivel head to get into tight spaces and under furniture, most steam mops can handle open floor spaces, but what about tight corners? Steamboy's 180º swivel head allows easy access to those tight corners.
- 11" cleaning path with swivel head
- 3.3 cup water capacity
- 30 minutes continuous steam
- Ergonomically designed handle to reduce hand and wrist stress
- 16' electrical cord with wrap around feature
- Chemical free cleaning: why spend all of that money on a revolving door of cleaning chemicals? With Steamboy, all you use is 100% natural (and free) water. Nothing could be more pure, or more simple.
- 2 microfiber cloth pads, Steamboy comes with two washable microfiber pads. When dirty, just throw them into the wash, and hang dry.
- 1 water filter
- 1 carpet glide, Steamboy can clean carpets as well. The carpet glide fits right under the swivel head, and quickly converts the steam floor mop into a carpet sanitizer.
Reliable Warranty Information (.PDF)
- US Warranty 1 year limited warranty on defects in materials and workmanship.
- Extended US Warranty: Extended Warranty Available
- Non-US Warranty: 30 days parts and labor
With our fragile ecosystem, why use potentially harmful chemicals to clean floors? A pristine floor through the chemical-free power of steam is at consumers' fingertips with the innovative Steamboy T1 Steam Floor Mop.
Fast as it is easy to use
Don't stand around waiting for steam to begin. Save time with the wait-free Steamboy. Simply fill the removable tank with water, plug in and it's ready for use. A powerful steady stream of steam sanitizes floors as it cleans, keeping families (and their pets) healthy by ridding homes of bacteria and microbes.
What kind of floors can I use my Steamboy on?
Whether floors are tiled, sealed hardwood, carpeted or ceramic, the Steamboy is powerful enough for any job. With an 180˚ swivel head and an 11-inch cleaning path, it never misses a spot – maneuvering through tight spaces and under furniture.
What comes with it?
The Steamboy T1/6P comes with 6 machine or hand washable cloth pads, a carpet glide for cleaning and deodorizing carpets. A replaceable demineralizing crystal water filter helps ensure the longevity of the Steamboy.
Versatile and easy to use
The Steamboy T1 is both versatile and easy to use. Need to clean hard surfaces? No problem. How about carpet? With our new Steamboy carpet glide, you can now clean & disenfect carpets as easily as hard floor surfaces
Replaceable water filter
To ensure a long life, we equip the Steamboy with a replaceable water filter. The water filter ensures that the internal parts of the steam mop stay clean. When the filter changes color (approximately 6 months of regular use) simply slide it out, and replace it with a new unit.
Easy to refill
The Steamboy is made to tackle the toughest floor cleaning jobs. When the water has been used up, simply slide the container out and refill it. The water container on the Steamboy has a large 3.3 cup capacity.
Heavy-duty microfiber pad
A tough steam mop requires a tough pad. We use the finest quality microfiber available, with a composition of 70% polyester, and 30% polyamide. The perfect combination of strength, absorption and durability.
180º Swivel-head
Convenience and practicality are what separates the Steamboy from other mops. Our 180º swivel-head allows you to get into tight corners with ease. Without this feature, it is impossible to get into the crevices where dirt and germs lurk.
Model T1
- Electrical 110V/120V
- Water capacity 3.3 cups - 800ml
- Wattage 1500W
- Steam ready time Immediate
- Continuous steam 30 minutes
- Power consumption 13 amps
- Electrical approval ETL
- Weight - net 8 lbs
- Shipping dimensions 8" x 28" x 7"
- Shipping weight 9 lbs
- Warranty: Reliable™ 1 Year Warranty
It is pass through aluminum type with brass fittings (to reduce scale build-up). Made in Italy. Reliable
Water on the floors?
I am not sure whether it is too late for this now but it sounds like she is using the mop incorrectly. I think she is most likely holding on to the steam switch and not letting go, so that eventually the water is just flowing through the steam chamber but not having enough time to be turned into steam. She needs to just hold the switch for a few seconds (I do it at home for approx. 5 or 6) , and then let go for a few seconds (of course you can continue to mop) , to give the water a chance to turn into steam. That should solve her problem about the water on the floor.
Thanks, Alice Zee, Reliable Corp.
I am buying a second one! Spring also know as mud season is a challenge in our household. We have two golden retrievers, a 4 year old boy, and WHITE floors in the kitchen, dinnette, and bath rooms. I finally wore out the plug after using the Steam Boy 1-3 times a week for a couple years. I have recommended this product to friends. It is not as light weight as my old Shark. But the Shark never cleaned like the Steam Boy.
Gail, Florida
I find the unit is a little hard to push when cleaning, also the pad seems to slip off to often, but I like the finish look of my tile floors.
Terry, Louisiana
I was very pleased with your service. I had found the item for a lower price and you matched it. I truly appreciate the honesty. I will definitely recommend your company to others. Thanks, Terry Thompson
Donna, Mississippi
I found the item at a lower price online, but you matched that price. I was able to use my new mop for the first time this morning and I am so excited at how well that it works. My floors look so clean. Thanks, Allbrands!
Dana, Louisiana
The transaction was flawless.
Pat, Texas
I am very pleased with your company. Love how fast I get my purchase. Pat
Kris, Idaho
I have only used this steam mop one time so far. Its seems to do alright for me. I have pets so I am hoping this will be good to clean the floors and not have to use chemicals.
Debra, Florida
The company met my expectations. Thank you. I will use your site again.
Christy, Arizona
Thanks for the great service-I'll definately use allbrands in the future!
Judith, Wisconsin
I thought my order was processed expeditiously. I am also very happy with my purchase. I would have no problem ordering through your company again.
Barbara, Port Charlotte, FL
Your company had the best price for this product. The site was easy to navigate, and I read other customer reviews before ordering. That helped a lot in my decision making.
Susan, Florida
This was my 1st time ordering from you but I will always check w you first in the future whenever I want to buy appliances. Very impressive web site, product selectio, prices + service. I am completely delightd w every aspect of the purchase of my steam boy mop. I read the review in the nytimes; clicked on the link to your website + ordered it after browsing the web a little for customer comments. You also offered the best price + free shipping...what more could anyone want? Thanks!
DeAnne K, Albertville MN
I was thrilled to get free shipping on my item but when I tried to add accessory pieces to the order I was charged my for the shipping than the product I wanted to add.
Jean Y, Medford ORE
So far, so good. I have used the SteamBoy a couple of times and it does a very good job on my bare floors, both sealed hardwood and tile. Thank you.
Robert R, Auburn NH
Very pleased with All Brands. I recommend this company to all buyers.
Kaye, Santa Clarita, CA
New York Times, Home & Garden Currents
The Steamboy Steam Floor Mop ($99) safely cleans all the floors in the house -- stone, ceramic or sealed hardwood -- without chemicals, according to its manufacturer, Reliable. It begins to steam as soon as it is turned on and runs continuously for 30 minutes before it needs to be refilled with water. The machine has a swivel head that gets under appliances, furniture and into corners, and comes with a replaceable water filter. Information is at (866) 255-2726 or allbrands.com. MARIANNE ROHRLICH http://www.nytimes.com:80/slideshow/2008/01/30/garden/0131-CURRENTS_4.html
Ilene O., Starke, FL
I purchased this for a gift for my daughter. As far as I know she is pleased with it. It was very easy ordering from you and it came in plenty of time for Christmas.
Carl R., West Milford, NJ
Bilan, Very nice young lady.
Laurie M, Port Saint Lucie FLA
Best price around!!!
Darlene B, Palm Bay FLA
Thank you for your speedy response. I have already placed an order for the Steamboy and have received a shipping confirmation today on your order. It has been a pleasure doing business with Allbrands so far.
Bundle & Save
Get additional savings when you purchase any of these items along with this product.


text:
The Harper government has blacked out large sections of relevant files handed over to the independent inquiry probing allegations of transfer to torture of detainees in Afghanistan, despite the fact that its investigators have the highest levels of national security clearance.
The heavily redacted documents, obtained by The Globe and Mail, underscore the sweeping nature of the government's efforts to keep the documentary record from the Military Police Complaints Commission, which is attempting to conduct an inquiry into allegations that Canada knowingly transferred prisoners to likely torturers in Afghanistan.
The MPCC's repeatedly thwarted effort to get to the heart of the detainee-transfer issue - it has faced attempts by the Harper government to gag witnesses, limit the scope of the investigation and withhold documents - prompted opposition politicians to open their own limited probe through a parliamentary committee, leading to last week's explosive testimony by diplomat Richard Colvin. But that committee's efforts have been similarly stymied, since it has no power to compel the government to deliver the documentary record and no real opportunity to cross-examine witnesses.
In the material delivered to the MPCC, government blackouts render unreadable many of the documents, some drafted by Mr. Colvin. The sweeping redactions were imposed even though everyone who works with or serves on the MPCC must have at least "secret" clearance and all of the senior investigators, as well as the panelists who would conduct the inquiry, have the highest security clearances.
"I'm not sure 'cover-up' is the right word but someone is going to considerable lengths not to disclose what was known," said Stuart Hendin, an expert in the law of war and international-rights issues who represented now-retired Brigadier-General Serge Labbé, one of the most senior Canadian officers embroiled in the Somalia affair 16 years ago.
"It's almost impossible for any independent authority to conduct a meaningful inquiry" with documents rendered so unreadable, Mr. Hendin added. "It all suggests someone knew there were issues."
Some documents dating back to spring of 2006, a full year before ministers and senior officers said they first heard of abuse allegations, are entirely blacked out. Others have whole sections censored.
The redactions aren't based on freedom-of-information or privacy laws, but on an untested claim that the government can block access by the MPCC, an independent investigative body created in the wake of a high-level cover-up that was partly exposed by the Somalia inquiry before it was shut down in 1997.
The government contends that Section 38 of the Canada Evidence Act gives it the latitude to withhold some documents - and heavily redact others - even through the MPCC was created by Parliament with a structure and investigators capable of dealing with highly classified issues involving the military police, who are responsible for the custody and transfer of prisoners captured on the battlefield.
Until recently, the government routinely provided documents with such classifications to the MPCC, investigators say. But when it sought to investigate allegations that Canadian military police had been ordered by ministers and senior bureaucrats to transfer detainees to Afghan authorities knowing they would probably be abused and tortured, the government claimed in Federal Court that the commission had exceeded its mandate.
Transfer to torture is a war crime under the Geneva Conventions. It is also outlawed by international convention.
The Globe has only a limited number - roughly 80 documents - totalling fewer than 200 pages out of thousands sought by the MPCC. Most of the heavily redacted documents carry low-level security designations, such as "CEO," which means "Canadian Eyes Only" - a level below secret. "Many have top secret and we have secure facilities to allow for rigorous security," said Nancy-Ann Walker, a spokeswoman for the MPCC.
Parliament created the MPCC in the 1990s after the Somalia inquiry into the torture and murder of a Somali teenager and the subsequent cover-up - perhaps the worst stain in the long and proud history of Canada's military.
"Some of the key lessons of the 'Somalia experience' wherein accusations whether well founded or not, were fuelled by a total lack of transparency, have not been learned," MPCC chairman Peter Tinsley wrote in a judgment last month suspending the inquiry because of the government's failure to deliver documents.
Mr. Tinsley, a former UN special war-crimes prosecutor and a 28-year-veteran of the Canadian Forces, said Canada's soldiers will "continue to live under a government-enforced dark cloud of unproven suspicion" because the government is withholding documents.
Defence Minister Peter MacKay has chosen not to renew Mr. Tinsley's appointment as chairman of the MPCC, despite the fact it is in the midst of the most complex and serious case in its 10-year history.Report Typo/Error
Follow @PaulKoringon Twitter:


text: Hi gang, I'm selling off a couple items. These parts have sat for years and it is time to make some space at home. I worked for Warmoth for several years and these parts were hand picked. Buyer pays shipping and I can take PayPal. SOLD - Gecko 6 Body and Neck. Ultra light swamp ash body (@3lb 6oz.) finished in white pearl. Body is routed for EMG 45 shaped pickups and the bridge pickup was moved back 3/8". The body is loaded with a discontinued Takeuchi 6 string bridge and custom white control cover. The neck is maple/ figured maple and the back contour was reshaped (by myself and other Warmoth crew) and finished in Tru Oil. FYI, I took the shoulders in a bit and flattened the contour. It has a black graphite nut and was previously loaded with Hipshot A tuners. Bridge, strap buttons and electrosocket jack plate are included. No case. I can disassemble the body and neck for shipping. $460. {} {} {} {} SOLD - Fretless Deluxe 5 5-inline neck This is an old, old factory 2nd neck. I bought it to experiment with superglue finishes but could never get it to polish up the way I wanted. There was a hairline crack between the D & G tuner reams that was repaired. The fingerboard has a light superglue finish (following Dan Erlewine instructions) and the maple shaft is unfinished. Comes with old Gotoh tuners. Nut width is 1 3/4" Asking $175 {} {}


text:
Start Early
Start With What You Don't Need
Stay Organized
Contact Your San Francisco, CA Moving Specialists
Using a moving service can cut down on time and energy you need to pack and unpack boxes, and get settled in. There are also certain protections you have when you use a moving service. Your property is covered if it is damaged during the move in this very important occasion.
In San Francisco and all the surrounding areas, it is incredibly mountainous with steep hills and multiple steps. Many of the buildings also have very narrow doorways. It's not only can be a hassle, but it can also be dangerous and costly if you don't know what you are doing. Professional movers have insurance. Their insurance typically covers your items if anything gets broken during the move. For many people, some of the items that are being moved are extremely valuable and irreplaceable. Even though that is the case, it is better to have some type of coverage on it, where as if you move it yourself, there is no coverage on it unless you have insured those items individually.
You want to use movers who are familiar with the terrain and the design of the housing structures in areas like Los Altos Hills, or Mountain View. Moving future up or down a hill or mountain side, if that is where your new dwelling is located, is a difficult task. It is the same idea with the inside of the home. You want to work with a company that is used to going up several flights of stairs. Nobody wants tired, or inexperienced movers trying to carry their bed and dressers up to the third or fourth floor. That is how walls and the property get damaged.
You have to be careful when selecting moving companies. There are some people who say they are movers, but really they are just looking to steal your property or your money. The company you use should have a website, or at least reviews somewhere on the internet. The moving company you are thinking about using has no digital footprint, not even a social media page or website, it might be better to choose a different company. You should know what the moving service you use has done and if they are a reputable company. That will help to do decide who to choose when it is time to move.
Don't choose just anybody when you are ready to move. Choose a company who cares about getting the job do not just quickly, but also correctly and carefully.
Not Researching Companies
Not Planning Packing
Not Labeling & Sorting Boxes
Leaving Your Valuables With The Movers
Packing Flammables & Other Non-Movables
Lifting And Carrying Everything
Forgetting Rover Needs To Move Too!
Not Preparing A "Survival Kit"
Forgetting To Change Your Address
Not Checking Your Insurance
Contact Your San Francisco, CA Moving Experts
Start Early
Start With What You Don't Need
Stay Organized
Contact Your San Francisco, CA Moving Specialists
Do the Research
Don't Just Look for the Cheapest Price
Once you've narrowed down the search to a few companies, it's time to get written estimate from each one. This should be a very thorough, itemized list of all the work to be performed. If a business isn't willing to send an employee to do a free in-home estimate, don't waste your time with them! Be careful about phone estimates as the price can often be underestimated and you may be charged for the "difference". Make sure you and the movers know of every aspect of the move prior to any work being preformed, as to eliminate any room for misunderstandings.
When looking for a moving company, your first impulse is to go with the lowest quote. Resist that urge.
When calling a professional, you get what you pay for. If the moving company is giving you a lower price than their competitors, you can almost count on corners being cut. Meaning your belongings will pay the price in the end.
Always Ask for Credentials
Always Ask Questions About the Contract


text:
Eau Parfumee Au The Vert Unisex fragrance by Bvlgari
9 out of 10 based on 1 ratings
|Design House
|Fragrance Gender
|Unisex Fragrance
|Year Introduced
|Available Types
|Jean Claude Ellena
|Bottle Designer
|Thierry de Baschmakoff
|Scent Classification
|Citrus Aromatic
|Fragrance Notes
Popularity Total Hits: 26924
Voting Results
Scent Sillage: subtle
based on 4 users opinions
Scent Longevity: 0-1 hours
based on 4 users opinions
Season: summer
based on 4 users opinions
Audience: any age
based on 4 users opinions
Occasion: day
based on 4 users opinions
Eau Parfumee Au The Vert Bvlgari - Description
Fragrance Eau Parfumee Au The Vert Unisex fragrance by Bvlgari was introduced in 1992. Bvlgari Eau Parfumee Au The Vert is classified as Citrus Aromatic fragrance. Scent notes of Eau Parfumee Au The Vert Bvlgari include top notes of citrus bergamia, lemon, mandarine, citrus blossom, green cardamom, cilantro, middle notes of jasmine, woodland lily, rose and base notes of amber, musk, cedar wood, sandalwood, woody elements, green tea. Bvlgari Eau Parfumee Au The Vert fragrance composition is a creation of Jean Claude Ellena. The bottle is a design by Thierry de Baschmakoff.
Eau Parfumee Au The Vert Unisex fragrance by Bvlgari 9 out of 10 based on 1 ratings and 4 user reviews. In stock From $3.99 to $137.53 based on 20+ offers.
Eau Parfumee Au The Vert Bvlgari - Full Story
Disclaimer: We can not guarantee that the information on this page is 100% correct. Read more.. [show/hide]
Whilst every effort has been made to ensure that the information on this site is as accurate as possible, PerfumeMaster.org cannot be held responsible for any inaccuracies or consequences arising out of the use of this site.
This page contains information, reviews, perfume notes, pictures, ads, vintage posters and videos about Eau Parfumee Au The Vert Unisex fragrance by Bvlgari but we do not warrant accuracy of information. If you have more information about Eau Parfumee Au The Vert Unisex fragrance by Bvlgari, you can expand it by adding a personal fragrance review.
Additionally, you may find hyperlinks to 3rd party web-sites On-line Internet stores, however PerfumeMaster.org has no access or control over those websites. We do not provide warranties neither accept responsibility for what you might find as a result of these links, or for any future consequences including but not limited to money loss. User reviews of Eau Parfumee Au The Vert Unisex fragrance by Bvlgari represent views of individual site users only and do not represent PerfumeMaster.org views.
Eau Parfumee Au The Vert Bvlgari - User Opinions and Reviews
Date Added: 26/02/2015Bvlgari Eau Parfumee Au The Vert is a fantastic, refreshing and stimulating aroma. Violet and lemon is what initially comes out and it's a marvelous combination. It settles out to a splendid warm and fresh woody fragrance on my skin. I discover I must apply this fairly heavily considering it simply won't last as long on me as I'd love it to. For me, this is like wearing a cool breeze on a warm summer day.by Albert
Date Added: 09/11/2012It's a wonderful, energizing-relaxing, calming, refreshing and yes, Zen-like fragrance. It's unisex, but I think it's more for women - but O.K. gentlemen, if you want to wear it, too, I don't mind:). Sillage is average and lasting power is pretty good on my skin. I love the spices, the green tea and the woodsy notes together, without lemon, and WITHOUT MUSK! (On my skin musk is overwhelming and unpleasant with tea/lavender/rose in scents.) So I love this one, this is the No.1 tea-scent on my wishlist.by perfume fish
Date Added: 09/11/2012This is not for everybody but great for me on the day. I love to wear this to the gym as well and everyone asks me what im wearing. I work out in this scent believe it or not and i had a friend pick me up to go out to eat after and as soon as i got in her car she yelled "OMG you smell like a freshly bathed man! mmmmm, so good." So that was very nice to hear. especially since i did sweat too. not sure if that made the fragrance smell more manly or my sweat mixed with the green tea had the pheromones speak out to her but over all the smell is very calming and refreshing sweating or not.by perfume pill
Total User Opinions: 4
Other Fragrances by Bvlgari
for Women
Similar Scents to Eau Parfumee Au The Vert
Frargance Directory - Most Popular Brands
Copyright © 2017 PerfumeMaster.org. Powered by Perfume Master V.3.0
Privacy Policy
Privacy Policy


text:
WASHINGTON, July 23 (Reuters) - A further rise in the U.S. dollar as the monetary policy gap between the United States and other major economies widens could have a significant negative impact on other countries, the International Monetary Fund warned on Thursday.
In its annual spillovers report, the IMF said lower oil prices, more monetary stimulus in the euro zone and Japan and expectations for interest rate rises in the United States and Britain created a "spillover-rich" environment.
Although so far there were few signs of stress among emerging markets, which have suffered from capital outflows and currency weakness in past episodes of dollar strength, high debt levels could still create problems.
"Sustained U.S. dollar appreciation associated with expected divergence in monetary policies among systemic advanced economies poses significant risks for other countries," the report said.
Advanced economies are not immune from spillover risks. An expected rise in U.S. interest rates, a move economists expect in September, could not only drive the dollar higher against the euro but also push up euro zone interest rates, the report said.
And asset purchases in the euro area might put downward pressure on U.S. long-term yields, undermining any attempt by the U.S. Federal Reserve to pull back stimulus.
The IMF report said spillovers from the euro area to the United States had been "particularly large" since early 2014.
Emerging markets' vulnerability was more acute in cases of high gross debt with a high share of foreign currency obligations, the report said, pointing to potential problems in Chile, Hungary, Malaysia, Poland, Turkey and Thailand.
Corporate debt levels would be a problem for other countries if conditions worsened.
Stress tests, assuming a 30 percent depreciation of the local currency against the dollar, a 15 percent against the euro, a 30 percent rise in borrowing costs and a 20 percent decline in earnings, showed debt at risk could rise above two-thirds of total corporate debt in Bulgaria and Hungary.
Debt at risk across the total sample of 15 countries could increase by $290 billion, and account for 34 percent of total corporate debt compared to 28 percent in 2013, the scenario showed, according to a staff note released with the report. (Reporting by Krista Hughes; Editing by Chizu Nomiyama)


text:
Order a Case of Toddler Formula and receive free shipping
KABRITA Goat Milk foods are naturally easy to digest, delicious, non-GMO and specially designed for your child's developing digestive system and nutrition needs.
"Parents have a wonderful new option for toddlers. We now have a company with integrity producing high quality non-GMO goat milk products." Dr. Mary Anne Morelli Haskell, D.O. Integrative Osteopathic Paediatrics Coronado, CA
As a Very Important Parent, you'll be the first to know about special offers, new products, and the latest in childhood nutrition.
KABRITA goat milk foods are naturally easy to digest, non-GMO and brought to you with over 70 years of infant nutrition expertise.
KABRITA Goat Milk Toddler Formula is naturally easy to digest, non-GMO and perfect for children with cow milk sensitivity.


text:
Required Site Engineer ( 6 yrs)
GMS Elegant Builders (India) Private Limited
Chennai, Coimbatore, Erode, Madurai, Tiruchirappalli
Candidate with well experience in Factory building and Government work.
Key Skills : site supervisor,site engineer,site management,civil engineering,site construction management
Babaweedy Hr Solutions
RS 1,00,000 To 1,25,000 Coimbatore, Erode, Madurai, Salem, Tiruchirappalli
B.E/M.E/Diploma - Civil/ Mech/ Electrical Freshers most welcome 1 yr contractual government project work location is all major cities in Tamil Nadu Salary 8000 to 10000
Key Skills : civil engineer,site engineer
Wanted Junior Engineer For Dubai/Singapore ( 0 - 1 yrs)
RS 4,75,000 To 6,50,000 Bangalore, Cochin, Kottayam, Palakkad, Kochi, Chennai, Coimbatore, Madurai, Nagapattinam, Thanjavur, Tiruchirappalli, Tirunelveli
Wanted Junior Engineer for Dubai/singapore description: dubai/singapore Job Offers 0-1 Year Experience qualification : B.e/diploma(cse/ece/eee/civil/iti) salary Inr 40k to 50k Plus Ot food and Accommodation Plus Transportation Free
Key Skills : junior engineer,civil engineer,site engineer
Technicians - Fitters, Electricians, Carpenters, Riggers, Foreman ( 0 - 5 yrs)
Navodaya Consultancy Services
RS 90,000 To 3,50,000 Hyderabad, Ankleshwar, Surat, Gwalior, Jaisalmer, Madurai, Tiruchirappalli, Rawra , pollepally , PAN India
Job Description :- A good , energetic and skilled Electricians, Fitters, Riggers, Carpenters, Supervisor (Civil & electrical) & Foreman are required, for Solar projects, based of remote locations Candidate is expected to do basic site works i.e. e...
Key Skills : electrician,electrical engineer,electrical site engineer,electrical maintenance engineer,electrical incharge,electrical supervisor,electrical...


text:
Ronald R. Arias (1971, B.A., kinesiology and physical education) retired in December after nearly 13 years as director of the City of Long Beach Department of Health and Human Services. A 2006 distinguished alumnus of CSULB's College of Health and Human Services, Arias has been with the city since 1990 and is recognized for his accomplishments in community health education.
Marx Group Advisors in San Rafael named John Nodson (1972, B.S., business administration– marketing) as vice president, responsible for the firm's work in acquisitions and divestitures. Marx provides strategic consulting for the automotive, commercial vehicle and aftermarket firms.
Preston A. Henne (1973, M.S., engineering) retired as senior vice president of programs, engineering and test for Gulfstream Aerospace Corp. He has been with the firm since 1994 and led teams that developed a variety of aircraft including the new G650.
Thomas L. Gordon (1975, B.A., journalism) is an editor with the Orange County Register and is co-founder with his wife of the Pepper Project (www.pepperproject.org), a charity that sells Kampot pepper from Cambodia to support numerous social and charitable causes in that nation.
Sound Telecom appointed Cheryl L. (McKinney) LaBaw (1977, B.S., community health education) as director of customer relations for the nationwide provider of telephone answering, call center and communication services. She previously spent more than 32 years in customer service-related positions with United Airlines.
Denise Noldon (1977, B.A., psychology; 1991, M.S., education–counseling) is the new president of Contra Costa College in San Pablo. She was a senior administrator at Folsom Lake College and Chabot College and earned a Ph.D. at the University of Maryland at College Park.
The University of Delaware named John E. Sawyer (1977, B.A., psychology), professor of business administration, as interim associate provost for institutional research and effectiveness.
The California American Board of Trial Advocates Chapter (CAL-ABOTA) elected Douglas M. DeGrave (1978, B.A., political science) as its 2013 president. He earned his J.D. degree from Loyola Law School in Los Angeles and is founding partner of the civil law firm Poliquin & DeGrave in Laguna Hills. ABOTA is dedicated to preserving the right to jury trials in civil cases.


text:
Savin swaps her sampot
Sam Savin swapped her classical dance clothes for a more ethnic look this morning at the official launch of the Asean Tourism Forum at NagaWorld. She joined the other dancers from the royal university of fine arts onstage to perform what was termed a newly-created ethnic harvesting dance as part of the morning's proceedings, which of course included the usual interminable speeches by various dignitaries. The deputy prime minister Sok An was in the chair for this formal presentation of the forthcoming ATF, that will take place in January, as well as the launch of the new Ministry of Tourism website. Lots of men in suits were in attendance, lots of cameras, lots of hype, but little substance. And the translation into English was abysmal. However, Savin was as splendid as ever, and is off to France to dance next month, and I also got to meet and congratulate Cambodia's latest sporting hero, 15 year old Sam Sophea, who brought back a bronze medal in judo from the recent Youth Olympics in Singapore. An incredible achievement for this slip of a girl with a lovely smile and personality to match. Meanwhile, the ATF is a big event for Cambodia hence the lavish presentation this morning. Then it was back to the grindstone.
Labels: ATF, Sam Savin, Sam Sophea


text:
Around 30,000 people attended Truckfest at Newark Showground on Saturday and Sunday.
There were displays of around 700 trucks, monster truck demonstrations, performances by the FMX motorbike display team, vintage vehicles and vehicle recovery demonstrations.
Mr Tom Sidall, the event director, said: "The Newark show has always been our season finale and a lot of people come from across the East Midlands and the north.
"Truckfest's aim was to bring like-minded people together to talk about the industry and have a beer with friends.
"The event is also well-supported by families."
There were special appearances by Ron and Amy Shirley, the stars of US TV show Lizard Lick Towing, and Joey Essex, of ITV's The Only Way Is Essex.
Joey, 24, said: "You get to meet all sorts of different people here. There's more of a younger crowd and it's nice to make an appearance and say hello."
Joey, who was greeted by hordes of screaming girls, said the highlight was seeing the trucks and the motorbikes.
"I used to go to Truckfest when I was little," he said.
"I was into trucks like every other boy and it brings back memories for me."
Alan Vaughan, 20, of South Muskham, drove a monster truck he built with his father, Mr Kevin Vaughan, and uncle Mr Karl Swallow.
Alan said his uncle used to drive the truck, called Slingshot, but after his death 2½ years ago he took over.
When he started, aged 18, Alan was the youngest monster truck driver in Britain.
"We built this truck in 2006. My uncle used to drive it and it was his wish that I carried on," he said. "I've been all over the world with it."


text:
One creative visualization cycle should take around some 20 minutes.Complete at least 4 full creative visualization cycles per day.So your goal work should take you about 78days.Now you can topup your lifestyle with latest trends in a budget that suits you as zee punjabi launches a brand new show 'lifestyle da funda' on 28th august 2011.This half an hour show covers products and services in vogue that ranges from cars to casinos, from garments to gizmos, from food to fashion, from spas to sports etc.Follow it at 1 fake beats by dre pro.30 hogan borse outlet PM every Sunday only on Zee Punjabi.
A study at st andrews university, meanwhile this month reported that beautiful women go for more masculine men.A woman's taste depends on how attractive she thinks she is.The academics reckon that beautiful women go for masculine men because they are driven by the urge to have beautiful children while less attractive women find a partner who is least likely to desert them.
The camp one does seem fairly demanding, however try not to haul my favorite ft at the same time getting them because i going to place them of form for long periods.I purchased the typical proportions therefore will fit flawlessly, however we several bother placing the departed neverwinter gold regarding, however think it can loosen hogan outlet on line sito ufficiale eventually.I want neverwinter gold, that they ended up saving my own base of your specialized.
Louboutin was born and raised in paris's 12th arrondissement.He was the only son hogan outlet scarpe of roger, louboutin outlet an cabinetmaker, and irene, a homemaker, his parents are european french and he has three sisters.Louboutin said in a 2012 interview that he was"Much darkerskinned than everyone else in his family.
Mr.Steinberg obtained the information from mr.Horvath.The current qfawaa 2013 taskforce team includes four of the qfawaa 2000 and 2006 filipino women achievement award recipients, two founding taskforce advisors, three award recipients and four scarpe hogan outlet 2013 nominees.The current 2013 qfawaa taskforce team includes:Dr.Evelyn ybarzabal, chair;Myrla prianes, secretary;Flor birkett, treasurer;Connie da cunha, consultant;Letty rulloda stevens vendramini, media coordinator;Three other media members reena gabutero gallardo johnson, edel suede(Qfawaa award recipient 2000), Nini Seilaff and Emma Smallwood, both Nominees for QFAWAA 2006.
Amino acids are the building blocks of protein, and getting them in any diet is simpler than you would imagine.Although there are high sources in meat, seafood, and dairy if you opt out of these food choices, you are not left in the dust.Not saying these nonvegetarian options are bad for ya, but make sure they are organic, happy, and grassfed if you are eating these things!.
Related Articles:
Linked Articles


text:
Welcome to Voodoounicycles.com!
The home of the UK's only Trials, Street and Mountain unicycle display team. Each Voodoo rider has their own style and type of riding that makes them unique.
Our fully insured team are available to perform at events, shows and concerts. I love curry. For more information, please see our hire page. Browse the site to see what we are about and contact us if you have any questions.


text:
Very good picture quality, and excellent Wi-Fi capabilities
Sharp lens. Wi-Fi. GPS. Long zoom range. Crisp OLED display.
Generally attractive daylight shots
GPS and Wi-Fi connectivity
Excellent design and feature set
More intelligent noise reduction
Intelligent Auto and a variety of scene modes
Good image quality
Delivers the wow of 3D, but when used as a conventional 2D snapshot, unsurprisingly delivers images that are no better
No 3D playback, Limited controls, Small sensor, Poor battery life
Compact for a 3D camera
Fast continuous shooting
ReviewGist helps you find the best products to buy by making sense of online reviews.
We are currently aggregating 376,500 reviews
covering over 29,502 products.
© 2017 ReviewGist.com. All Rights Reserved.


text:
House Speaker Nancy Pelosi today weighed in on the heated debate over the proposed Islamic community center in Manhattan, saying that New Yorkers should be left to decide on what she called a "zoning issue."
Asked by The Chronicle what her position was on the community center, which includes a prayer space that some opponents are referring to as the "ground zero mosque," Pelosi, D-San Francisco, said that she is leaving the issue to her colleagues in New York.
And when Doug Sovern of KCBS asked a follow-up question, Pelosi criticized those who are trying to use the issue for political gain and also offered a bit of a retort to us dang reporters for not focusing on why we were gathered there, which was something to do about transferring Treasure Island from the Navy to the city.
Shaky Hand Productions was there to capture Pelosi's reponses, and apologies for the poor sound quality. It was a bit windy (just ask Mayor Gavin Newsom's hair).
Even though Pelosi doesn't like it, the issue has indeed been "ginned up" to a national debate. The GOP is trying to gain traction from the mosque melee, hoping to pin Democrats as supporters of the unpopular project.
At a White House dinner celebrating Ramadan last Friday, President Obama issued what at first appeared to be an endorsement of the project, but then clarified that his remarks were not an endorsement less than 24 hours later.
And on Monday, the office of Senate Majority Leader Harry Reid of Nevada, who is facing a tough re-election fight against conservative Sharron Angle, released a statement that said Reid "thinks that the mosque should be built someplace else."
The National Republican Senatorial Committee has tried to pressure Sen. Barbara Boxer, who is also up for re-election, into giving an opinion on the issue. In a statment, a spokeswoman called for Boxer "to step up and explain whether she stands with President Obama in support of this mosque or whether she stands with the countless 9/11 families who believe it's location is inappropriate."
But in a statement in an LA Times blog, Boxer's spokesman also said that the issue should be left up to New Yorkers.
The blog also outlined Boxer's Republican challenger Carly Fiorina's position.
"We all support religious freedom — I don't think that's what its about. I think it's now about the sensitivities of people who lost loved ones and honestly I think we ought to leave it up to the community of New York to work this through," Fiorina says in the blog.
This report was written by Chronicle staff writer Drew Joseph. E-mail him at firstname.lastname@example.com.


text:
I was wondering what to write for the next article here at Games Xtreme. It seems like only yesterday I was listening to a song with my grandmother, Ian Drury's: Hit me with your rhythm stick (Ian Drury and the Blockheads if you want to be technical) and it struck me, no pun intended that there was a veritable goldmine in that very song. My mind flicked across in a typical tangent and constructed an article on a genre that was founded pretty much by the previous kings of simon-says like button-music matching games: Konami.
What am I talking about? I'm talking about the genesis of Band games as they now stand. To explain further one has to go right back to the source of such things. In the infancy of electronic entertainment there were several things that conspired to making the current generation of music games as they stand. Oddly enough, Simon Says, that electronic nightmare of button matching to musical beeping was the grandfather of the original Konami designed Beatmania series.
I don't care what Konami say, someone there must have thought: hey, this is a novel concept, let's see if we can't make a game out of this and sell it for far more than the original toy. There's something addictive about pressing brightly coloured buttons in time to the beats of yesteryear. Of course it didn't take long for the concept of Karaoke to filter into the modern game market either - once again spearheading this is, you guessed it, Konami.
Konami at one time or another have produced a bewildering array of beat driven games, from dancing, singing, and even guitar...and keyboards, drums. But they never thought of combining those concepts into a single core game with a band mechanic, a fact that has cost them dearly in the innovation stakes and sent them into a blood-curdling fury of activity - both legal and game development wise. More on that a little bit later in the article.
Harmonix enter the fray, the young bright stars of the rhythm game industry and produce a revolution in rock games: Guitar Hero. It soars to new heights of interactivity and allows you to experience the feeling of being a rock star from the comfort of your own home. It sold massive amounts and shifted numerous electronic controllers to boot. There have been several iterations of Guitar Hero since then. Harmonix went their own way and left Activision, leaving another company to take up the mantle of GH development.
Whilst this was going on, Harmonix partnered up with MTV and game giant: EA to produce the most innovative music game yet: Rock Band, this staggering entry into the genre really set the fires of competition alight in both Konami and Activision. In Konami's eyes they had just beaten them to the punch and the only reaction was to grab their legal swords and start slashing, claiming patents and copyrights, attempting to bring these media giants crashing down. It was a futile attempt that ended up with a terrible show at the 2008 mini-E3.
Music games had come of age and Rock Band buried the Konami instrument titles, it combined two guitars (lead and bass) with drums, and a microphone. It touted an impressive track list with many master recordings available right on that disc. The addictive mix of instrument play and Karaoke-style singing gave players a taste of being a rock band and brought with it an incredible sense of team-play, more importantly it allowed non-gamers a chance to shine. My own wife being a prime example, she's not really a gamer, but given a copy of Rock Band and a microphone, she'll happily take that mic over until forcibly removed from it. Recently it brought another poor soul into the genre who claimed that he had: two left hands and couldn't play these kinds of games.
Yeah, I had to fight to get my fake plastic guitar off him.
Rock Band's instrument design was solid, but flawed. The strum-bar on the guitar wasn't as reactive as it could have been, the solo notes worked fine but the buttons were fairly clunky. The overdrive (star power) wasn't as sensitive as it required quite an angle for tilt. The microphone worked perfectly and the drums were criticized for a less-than-solid return-bounce from the sticks, poor rapid-note performance and a tricky foot-pedal.
Yet with all those flaws the game was a massive hit. It sold incredibly well and the inevitable sequel was already in the works. Harmonix said that they wouldn't change much and just address certain issues with the original game and instruments. Yet that wasn't the only thing about to change. At the same time Harmonix were coding away at Rock Band 2, Activision had decided to enter the rock band stakes with the next in the Guitar Hero line, the aptly named World Tour.
One might have expected both companies to stare war-like over the game trenches on this one, but something incredible happened. In a massive show of solidarity, perhaps to fight against Konami's heavy-handed approach to their patents and perceived rights over all things music based. Harmonix/EA/MTV and Activision decided that there would be a large degree of compatibility between the instrument sets in Rock Band 2 and GHWT.
This is a great thing since the GHWT instruments are leagues ahead of the Rock Band kits. Both the guitar and drums are wireless and have a better action, solid construction and pretty flawless design. The kick-pedal is better but still needs work (since I'm not a drummer I can't complain too much), but this observation comes from a real drummer. So thanks Alex!
The guitar is nice, the strum bar has a good feel to it, the fret buttons are superbly reactive and the innovative slide-bar makes for some fun solo bits in the actual game. Compatibility has been tested between Rock Band and we can report that the GHWT drums perform better than the standard first edition Rock Band kit. GHWT as a game features the same type of gameplay that has made GH a solid hit so not much has changed. Custom Characters are incredibly detailed and an almost Oblivion/Fallout 3, Mass Effect level of customization is possible compared to Rock Band's fairly generic design.
It is also possible to customize your instruments for GHWT, a feature that is absent from Rock Band and Rock Band 2. There are a few things you can change on the previous games but nothing compared to a fully functioning instrument builder that lets you create the instrument of your dreams from a lot of parts and designs. These features mean that owning both titles is a must if you're seriously into those kinds of games.
This brings me neatly around to the aforementioned Rock Revolution and why Konami are probably seething right now.
Whilst Rock Band 2 and Guitar Hero World Tour were being touted, loved, enjoyed and drooled over by press and fans alike. Konami in their infinite wisdom produced their newest title, one that they hoped (and said: would give them the edge in the music game industry once again). The aptly titled Rock Revolution has yet to show over here in the United Kingdom and won't appear until 2009.
I was able to see Konami crash and burn via the safety of YouTube and the show they put on was less than stellar. I am reliably informed that a certain member of the MTV crew who was on hand, watched Konami fail at their own game as they demoed it before a live studio audience mostly made up of press and lucky gamers. Whilst Konami's Rock Revolution touts several innovations over the previously mentioned games it looks cheap, tacky and highly plastic. It will probably appeal to someone out there who has a love for Konami still.
Konami tried to outrock the big guns and failed, it's plain and simple. Whilst you might have a decent cover of a Ramone's track with a real band - the moment that you play your own game and fail at it, you're going to end up being targeted for some kind of friendly banter. In a stellar show of 'taking their ball and going home' Konami's obviously gutted exec dismissed everyone and called their press conference to a close early. The bright thing to do there would have been to actually carry on, restart and just grin and bear it.
No, Konami now have a lot to live up to and I have to say that I am highly sceptical that they can even pull it off after just seeing Rock Revolution on a video. I have to say that the current market leaders: Rock Band (1 and 2), Guitar Hero World Tour are going to slaughter Konami come 2009 since by then Rock Band 3 and the newest GH will probably be in the works. Music games are now massive business and the record industry authorities are demanding even more money from the licensors to use the tracks of their artists, a fact that probably has the RIAA and so on rubbing their hands in glee as they can finally get their claws into another bastion of entertainment.
Meanwhile the end user has very little clue what's going on behind the scenes and is left to see the innovations, picking and choosing between the best of both worlds since the new era of instrument compatibility has ensured that you can own both of these giant titles and enjoy a fresh experience playing them. With Rock Band 2 already out in the US and debuting in the UK today, it is a good day for fan and new fan alike as finally we can rock out to 100 or so authentic master tracks from Rock Band 2 to join those already present in GH WT.
We can experience the features of both games without having to worry about spending around £300 on buying two sets of instrument boxes. Where can we go from here?
I would have said a fully functioning drum kit that can be used on stage with a real band, but Alesis and the Ion Drum Rocker have already beaten me to it.
Harmonix and Activision have already said they want to see more 3rd party peripherals for their games, so the new era of compatibility means even more choice for the player and end user. Add to that Downloadable Content from the Xbox Live marketplace and so on, a staggering 500 songs by Christmas 2008 are said to be downloadble from the marketplace.
We shall see!
Whatever happens next this genre can only continue to grow, the systems in place become more complex and the feeling of being a rock star or band becomes more apparent. Perhaps they might include a fake plastic lighter for those massive solo-moments when the crowd waves a salute to the fake plastic guitar heroes of 2009.
I'll be there, rocking with the best of them.
Because, I AM IRON MAN!


text:
Women's Metallic Lunaria Aquamarine & 18k Yellow Gold Large Drop Earrings
From the Lunaria Collection. The diffuse radiance of hand-engraved 18k yellow gold pairs gorgeously with an aquamarine stone of soft, tranquil blue shimmer. Aquamarine. 18k yellow gold. Length, about 1.7". Width, about 0.8". Post back. Made in Italy. Color: metallic


text:
Bob Watson still can whip it good. The Toronto Rock goaltender, nicknamed Whipper, returned to top form last night to lead his team to a 15-9 win over the expansion Minnesota Swarm at the Xcel Energy Center in St. Paul, Minn.
The Rock (3-2) snapped a two-game National Lacrosse League losing streak, giving Toronto some momentum heading into a tough game tonight against the rested Calgary Roughnecks (4-2) at the Air Canada Centre.
The Swarm's goal total was the lowest for a Rock opponent this season. The Rock outshot the Swarm 51-40.
"We've made some adjustments to our defence and the boys did a tremendous job keeping them outside," said Watson, who made 30 saves and then earned a well-deserved rest when he was replaced by Phil Wetherup with the Rock ahead 14-7 in the fourth quarter.
"When they do that, you make some saves."
Watson held the Swarm off the scoreboard for a span of 22:16 between the first and third quarters, allowing Toronto to open an 8-4 lead.
Watson had struggled this season, carrying a lofty 13.71 goals-against average and an unimpressive .722 save percentage into last night's game.
"Defensively, we were pretty good and Bobby was big," Rock general manager/coach Terry Sanderson said.
"He had some good minutes for us."
With the win, the Rock swept the season series against the Swarm (2-4) and moved into a tie for second place in the East Division with the Rochester Knighthawks. Last month, the Rock beat Minnesota 19-15 in Toronto.
Colin Doyle led the Rock with four goals. Aaron Wilson and diminutive Josh Sanderson had three goals apiece for Toronto, to the chagrin of Swarm general manager Marty O'Neill.
On the Minnesota-based television broadcast last night, O'Neill said, "Josh Sanderson does a good job of falling down whenever he's touched."
Perhaps O'Neill was frustrated with his team's penalty problems as the Rock scored four first-half power-play goals.
"That's all right," Josh Sanderson said when informed of O'Neill's comments. "I got under their skin a bit and that's fine."
Sanderson and Doyle each had nine points for the Rock.
The Swarm was missing leading scorer Craig Conn, who was out with a leg injury. But Toronto did not have regular forwards Matt Shearer (ribs) and Rusty Kruger (knee).


text:
La Perla Charming Flowers Boy Thong 15217
Sorry, no other customer-recommended styles found.
This product was discontinued January, 2014 and is no longer available. Please consider one of the Customer-Recommended Replacements above, or try a new search.
This perky, sexy panty features a wide stretch floral lace band at the top, with a mesh bottom and back.
Try these keyword searches with similar features:


text:
Frank Baca's Bellator debut is a big one.
Baca, an Albuquerque mixed-martial arts fighter with an extensive and impressive résumé in King of the Cage competition, is scheduled to face New Yorker Anthony Leone on July 31 at the Santa Ana Star Center in Rio Rancho.
The match is part of a 13-fight Bellator 97 card. And it's a Bellator Summer Series Bantamweight (135-pound) Series Semifinal.
The night's main event matches unbeaten (11-0) Michael Chandler of High Ridge, Mo., against David Rickels (14-1) of Derby, Kan., in a 155-pound (lightweight) match.
In a semimain event, two unbeaten 170-pounders – Ben Askren (11-0) of Phoenix and Russia's Andrey Koreshkov (13-0) – will meet.
Baca (16-2), who trains at Albuquerque's FIT-NHB gym, is one of nine New Mexico fighters scheduled to compete on the Bellator 97 undercard. He has had 13 of his 18 professional fights under the King of the Cage banner and has an 11-2 KOTC record. Now, he's stepping up to the more prestigious Bellator circuit.
Leone, Baca's opponent, is 2-2 in Bellator fights, has won his last two for Bellator and is riding a three-fight win streak overall.
Among the more interesting fights involving New Mexicans is a bantamweight clash between Rio Rancho's Adrian Cruz (4-0) and Albuquerque's Felipe Chavez (5-3).
Cruz was an impressive winner (second-round submission) over Albuquerque's Nick Gonzalez on Bellator 91 at the Star Center in February. Chavez, a cousin of Albuquerque MMA icon Diego Sanchez, has not fought since September 2009.
Farmington lightweight Cris Leyva (9-5) is scheduled to face Will Brooks (9-1) of Schaumburg, Ill. Leyva has lost his last four fights. Brooks suffered his first pro defeat, by first-round TKO, to Saad Awad at the Star Center in February.
Featherweight Donald Sanchez (28-13), Baca's FIT-NHB teammate and a KOTC veteran, is scheduled to face Cliff Wright (7-4) of Cedar Rapids, Iowa. Sanchez is making his second appearance on a Bellator card, having lost by unanimous decision to Johnny Eduardo in Norman, Okla., in April 2009.


text:
Grasping at straws
The straw poll at last weekend's Republican Party of Wisconsin convention sent a strong message to the candidates considering running for Senate. Former State Senator Ted Kanavas won the poll with 73 votes. Former Governor Tommy Thompson finished a distant second at 61 votes. Attorney General JB Van Hollen, an unlikely candidate at this point, finished third with 40 votes. Former Congressman Mark Neumann, who challenged Walker for the gubernatorial nomination last year and lost to Russ Feingold in 1998, finished fourth with 33 votes.
While straw polls are not scientific polls of Republican Primary voters, the attendees at the Republican convention are the ones that know these particular candidates the best. They are also people who will raise the money for candidates and provide volunteers.
Kanavas' showing demonstrates he has solid support within the party. It would be interesting to see what was the geographic breakdown of the vote and how much work Kanavas will have to do in the rest of the state to win the nomination. However, as Kanavas is also likely to be perceived as the most conservative candidate in the race, he could also be the candidate that attracts the most Tea Party support.
Thompson's disappointing second place is even more significant given his prior dominance of the state party. The vast majority of delegates are ready to move on without Thompson. Thompson will not be able to reach out to the Tea Party movement either given his support for bigger spending. Thompson is now a candidate without a base of support. Who would have thought that just a few years ago?
Neumann's fourth place finish should send a message to national Republicans who had been talking up a Neumann candidacy that Republicans in Wisconsin will not forget nor forgive his horrible campaign last year against Walker. Neumann now runs into the same problem he had running for governor. Almost nobody in the party supports him and he cannot get Tea Party support (despite his claims to the contrary). Neumann now has the added burden of explaining why he did not want to run for senate last year but this year moving back to Washington D.C. looks so attractive to him.
If Neumann thinks that he should get the Republican nomination just because he finished second in the last contest, he needs to understand the difference between the Walker-Neumann race and the Walker-Green race. Walker earned the gratitude of many in the party for not running a scorched-earth campaign against Green in 2006. In 2010, all Neumann's candidacy did was permanently alienate the Republican Party regulars with his false attacks on Walker.
Unless someone else enters the race, Kanavas has to be considered the candidate to beat.


text:
Labour leader Ed Miliband will today pledge to take the positive case for the Union directly to Scots between now and the independence referendum.
In a speech to the Scottish Labour conference in Perth, he will tell delegates that arguing for the benefits of the UK would win the vote.
And he will say that co-operation between Scotland and the other parts of the UK is the best way to achieve social justice north of the Border.
Loading article content
His speech comes as Coalition sources indicate that they plan a new phase of positive campaigning.
Camley's Cartoons: on Better Together's positive case for the Union
A senior Whitehall source said that repeated attacks on independence, dubbed the "Dambusters' strategy", had been judged to be effective, but there was a growing view the approach had been too negative.
Instead, he said, there had to be an "injection of love" for Scotland.
Earlier this week former Liberal Democrat leader Charles Kennedy called on those arguing for a No vote to be more positive, a view echoed by Tory backbencher Guto Bebb.
The SNP has long accused the pro-Union parties of running a negative campaign, dubbed "Project Fear".
In his speech Mr Miliband will argue that Scots can win a "race to the top" as part of the UK.
In what has been described as a deeply personal address, he will also highlight his own links to Scotland, including the fact his father trained in Inverkeithing while serving with the Royal Navy during the Second World War.
And he will say, under independence, First Minister Alex Salmond and Prime Minister David Cameron would embark on a damaging competition to offer the most tax breaks to the rich.
"The SNP want to tell you that there is a progressive Scotland and a Tory England," he will tell party faithful.
"There isn't. There are millions of people across every part ... who want to be part of a country that is more just, more equal, more fair.
"Let's rebuild all of our country in the cause of social justice. Together, not alone; as neighbours on this island, not as strangers; as friends, not as competitors; in a race to the top, not to the bottom."
He will suggest independence would leave David Cameron and Alex Salmond on the starting blocks of such a race "in which the only way they win is for you to lose".
In a conference curtain-raiser last night, former Prime Minister Gordon Brown claimed that Scotland's low and middle-income families would be better off to the tune of £1.4 billion under a Labour administration at Holyrood compared with an SNP government in an independent Scotland.
Johann Lamont, the Scottish Labour leader, will address the conference tomorrow.
At Holyrood yesterday she condemned Nationalists for refusing to support calls to make all firms accepting government contracts pay their workers the living wage. It followed a row last week when Nationalist MSPs blocked a bid by Labour to include the proposal in legislation going through the parliament.
The voluntary living wage is £7.65 per hour, compared with the minimum wage of £6.31.
Speaking at First Minister's Questions she said the move would help 400,000 Scots.
Mr Salmond said his party had an "impeccable" record, having enforced the living wage for Scottish Government employees.


text:
microsoft has released a new version of its reader program. it is for your desktop, laptop, or pocket pc 2002 device. those of you with an ipaq or @migo device should be able to install this in ram after you upgrade to 2002. the new 2002 devices come with 32 mb of rom and will have reader in the rom. unfortunately, i have an hp 548 and am stuck with the current version of reader. arghhh.
user comments 1 comment(s)
|reader (11:40am est tue oct 30 2001)
once again…microsoft changes formats to force the consumer to upgrade
arghhh – by firstname.lastname@example.com


text:
strollers for 1 or 2 kids
portacots & baby bassinets
high chairs for home & away
child & baby carriers
Baby car seats & boosters
Replacement rear axle for the wheel of your buggy.
Not currently available in this region.
No tools are required to replace this axle, which is compatible with the following model strollers:
Written by: Vicki
09/01/2017 9:51 pm
Initially thought it needed the cap, but when it arrived it was the wrong piece, emailed you guys, and sent pics, you recommended the axle piece, and it was correct, appreciated the help, and easy to follow directions to find where to buy it
Written by: Carz 35
16/08/2016 5:16 am
Bought tyres, communication was great about the delivery and when the product arrived it was perfect
Please note: reviews will not be made public until they have been scrutinized to omit objectionable material
Your privacy is important to us, personal details are used for phil&teds purposes only.
Privacy policy
Thanks %user_name%
Your review has been sent for 'review'!
check out our returns policy before you buy - learn more
information about shipping times and prices - learn more
product not as expected? check out our warranty policy - learn more
Want to receive updates about new products and promotions?
© 2017 philandteds.com
Select your region