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With Thanksgiving being just a blink away, helping someone in need maybe something you are interested in.
I have not posted about Hurricane Sandy help opportunities earlier for a few reasons : one - there were so many posts about it, I felt like most people would read , but not really think about it, because so many are responding already. Two - there were so many fake companies that always appear in such situation. As time passed, those got sorted out. And three - while there was a multitude of help that arrived immediately after the hurricane, as a little bit of time passes we all move on with out lives - because that is natural, really - but damage and devastation for those that suffered is, by far , not gone, and much help is needed still.
So, here are a few different ways of how we can still help.
Across the Region
- The American Red Cross needs volunteers this week at fixed distribution sites to hand out food and disaster relief items. Sign up here. Financial donations are always welcome. Visit www.redcross.org, call 1-800-RED CROSS or text the word REDCROSS to 90999 to make a $10 donation.
- Occupy Sandy is running grassroots operations across New York City, Long Island and New Jersey. Follow their Twitter feed for constant updates on what is needed and where, and check their website for a list of urgent needs.
- The United Way is seeking donations but does not need volunteers. They are also running Operation Turkey Coney Island and by raising $15,000 by Friday, they will be able to feed the 1,000 people they've invited to a traditional Thanksgiving dinner. Any funds raised over its goal will be given to the United Way Hurricane Sandy Recovery Fund, which will aid people along the entire Eastern Seaboard that were impacted by the hurricane.
New York
- Host a Thanksgiving Dinner for a Family: A Facebook page has been set up for people who want to cook a Thanksgiving meal for a family in need. Other holiday donation ideas are also listed on this page, which mentions groups or restaurants that can share a meal with families.
- Thanksgiving food items are needed in Coney Island. Through its initiative Coney Recovers. the nonprofit Alliance for Coney Island is requesting holiday fixings as well as diapers, baby food, toilet paper and blankets. Bring items to MCU Park Parking Lot at 1904 Surf Avenue between 10 a.m. and 3 p.m (next to the Brooklyn Cyclones baseball stadium). One-hundred volunteers are needed on Thanksgiving Day. Fill out this form if you're available.
- Occupy Sandy is collecting turkeys, heating pads and other warming devices for the residents of Coney Island. Bring items to donate on Tuesday and Wednesday from noon to 2 p.m. or come volunteer on both days from noon to 3 p.m. at Coney Island Generation Gap, 2904 Neptune Ave. For info, contact Pamela Harris of the Coney Island Generation Gap at [email protected]
- OpenTable, the Food Bank of New York and the Food Network, are hosting "Our Table Is Yours, Thanksgiving Dinner For Hurricane Sandy Relief" at Cipriani Wall Street in Manhattan for 1,000 New York City seniors and families who were impacted by Hurricane Sandy on Wednesday, Nov. 21. The Food Bank of New York is also accepting donations.
- BKGirlsGiveBack is looking for volunteers to prepare, serve and deliver Thanksgiving dinner for New Yorkers affected by Sandy as well as first responders. Its Twitter page is frequently updated with volunteer needs of other groups as well.
- Rockaways Council Member James Sanders, Jr. of the 31st Council District is looking for volunteers on Thanksgiving day. Call 718-471-7111.
- Promaster Gourmet in Staten Island is collecting prepared dishes to distribute to Hurricane Sandy victims on Thanksgiving from 7 a.m. until 1 p.m. Drop off items at Promaster, 1888 Hylan Blvd. If you would like to donate a dish, contact Alexis Garbarino at 917-560-5974 or [email protected]
- The Greenpoint Church in Brooklyn is hosting Thanksgiving and needs volunteers. All you need to do is show up. A full schedule is available on the website.
New Jersey
- Marvel US Management is looking for volunteers to help serve Thanksgiving feasts at three locations in Plainfield. Volunteers are needed between 9 a.m. and 5 p.m. and monetary donations, canned goods and toy donations are being accepted at Freehold Boxing and Fitness in Freehold. If you're in a band, entertainment is also appreciated! Contact [email protected] or call 732-570-9467.
- Free Thanksgiving dinners are being hosted for victims of Hurricane Sandy all over the state. The Asbury Park Press has compiled an exhaustive list, and volunteers are needed at many of the dinners.
- Share your table with those in need through Tablesharing, which is matching displaced people and out-of-state utility workers away from their families with a place at the Thanksgiving table in a welcoming home. Fill out the form is you'd like to host someone or more than one person.
- Liquid Church, a Christian ministry based in five New Jersey towns, needs volunteers to serve Thanksgiving meals to thousands of families. They're also organizing groups of volunteers to clean out devastated homes and distribute relief supplies.
- The New Jersey Community Food Bank has a list of food donation sites for Thanksgiving items to be distributed by those affected by Hurricane Sandy.
Long IslandVolunteer to help fill bags with food for delivery to needy Long Islanders. This is an annual event in Rockville Center is hosted by the business Mid-Island Collision and has new importance this year. Contact Nicole Tirino at [email protected] to sign up to help through 2 p.m. on November 21.
Food Not Bombs' 7th Annual Thanksgiving Bonanza is going on this whole week in Hempstead. Volunteers are needed as well as monetary donations.Island Harvest, a food bank on Long Island, is collecting donations to serve the area's needy residents and offers ways to participate in both Nassau and Suffolk Counties. Long Island Cares, another food bank, also needs donations.
Huffingpost also suggests some ways of helping here.


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The health club industry has gotten a publicity boost during the past year, thanks to the media's attention to the workout habits of President-elect Barack Obama. Almost every week during the campaign, I saw a news story about how exercisers at a fitness facility in yet another campaign-stop town unexpectedly found themselves working out next to Obama.
Obama isn't the first president who has taken fitness seriously, but could the publicity about his devotion to exercise help inspire more Americans to live healthier lives? And shouldn't the fitness industry jump on this coverage to further our mission to get people to exercise?
Some fitness facilities have already started fitness efforts in their communities. Clubs, schools and certifying agencies participate in programs created by the President's Council on Physical Fitness. The International Health, Racquet and Sportsclub Association (IHRSA) has its own activity campaigns and lobbies for legislation that promotes exercise. Norm Cates, publisher of Club Insider, started an effort called the International Alliance for Life to promote the need for people to change their lifestyles.
Even organizations outside the fitness industry are promoting exercise. Several of the professional sports leagues have activity campaigns aimed at children. The National Football League's Play 60 campaign encourages children to be active for at least 60 minutes a day. Many insurance companies offer incentives to exercise, and they run advertising campaigns that promote physical activity.
However, shouldn't these groups be working together in one broad effort, similar to the Got Milk? campaign that the National Milk Processor Board uses to promote drinking milk? The Got Milk? campaign has its own Web site (www.gotmilk.com) devoted to all things related to milk — research about the benefits of milk, recipes using milk and links to other dairy-related organizations. It also includes a link to www.bodybymilk.com, which profiles celebrities who drink milk, allows people to star in their own milk ads and encourages them to join Club Milk. Most importantly, the groups associated with this campaign pay for print and TV ads to promote their messages and Web sites.
What if IHRSA, the YMCA of the USA, insurance companies, professional sports organizations, the American Heart Association and other groups concerned about the obesity crisis worked together to create one Web site that was a clearinghouse for exercise research, offered advice about how to start exercising, featured videos demonstrating exercises, listed fitness centers and personal trainers by state, and provided links to other helpful Web sites? Of course, this Web site would mean nothing without the cash to promote the fitness campaign — which would, obviously, need a catchy slogan — through billboards, print ads and ads on radio, TV and the Internet.
Perhaps our biggest partner in this effort could be corporations. The Wall Street Journal recently asked CEOs and policy makers what the top priority for Obama's administration should be, and the consensus was fighting obesity. The group said that the cost of the obesity crisis, especially its future cost, has not fully been calculated. Prevention, education and offering physical activity in schools was very important to the group. Most businesses have seen health insurance costs rise along with the obesity rate. Big business should be more than happy to pitch in on a cooperative effort.
Let's not let this momentum go to waste. It's time to work together, even with groups you might not have considered working with before. So who's ready to start?


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Map/Chart > New England & Maine
Plan of the Town of Newport (uncolored)
A beautiful print, from the original copper plate of Des Barres' 1781 Chart of the Town of Newport, Rhode Island, as published in the Atlantic Neptune.
|Chart Information
|1st November 1781
|J.F.W. Des Barres & Charles Blaskowitz
|Size Of Original:
|w 21" x h 30"
|Paper Type
|Hahnemuhle German Etching 310gsm
Further Information
Identical in detail to the hand-coloured state of the chart (see Heritage Charts A103b), the original copy of this chart is in pristine condition, printed from the original copper, and was never hand-coloured. It includes page number '14*' engraved on the top right corner and was published by J.F.W Des Barres in 1781 as part of the Atlantic Neptune folio.
It is a recurring theme of many published charts of this time to depict, through the use of shadows, the Sun's position as being approximately South East. The land on this chart is hatched to show contours and includes shade on the ground under the trees with the sun in that position. An off-set border is drawn around the key to the Wharfs, Buildings and Streets of the town. Features of the town at that time are depicted here and it is worth noting the rope walks (a long straight narrow lane, or a covered pathway, where long strands of material were laid before being twisted into rope), the gardens (note the trend at the time for gardens laid-out in the shape of what may be taken to be a Union flag), the number of Churches including 3 Baptist Chapels reflective of the time when approximately 58% of the Narragansett and Rhode Island church-going population was Baptist, and finally the number of Windmills.


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In Memory of Puppy Doe,
I am making a plea to change the law on animal cruelty that animal abusers are punished to the full extent of the law. We need national anti- cruelty laws that are tough on the first offense. Please sign and share let's send a message to law- makers to push for tougher anti-cruelty laws.
In memory of all Puppy Doe's
The Puppy Doe Law
Suzan Acosta
This petition closed over 3 years ago
To bring awareness and legislate for tough anti- cruelty laws.


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Thank you for wishing to bank with HSBC. To apply for this product simply click Apply Now to fill out your details and let one of our experienced HSBC representatives call you back. Alternatively you can call us on the number below, whatever is more convenient for you.


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Latest News
New pics of the Socom Gear M82 (2009-05-29)
We've got some exclusive new pics of the Socom Gear M82. We are very lucky to be the first ones to get a hold of a pre-production model of the Socom Gear M82 and we can say that it is an impressive beast of a gun. What can we say? Well, we can't wait until it comes out - stay tuned for more pics & info.
Watch the video here
Learn more about the product here


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You may not realize it, but printer ink is one of the most expensive liquids you can buy.
In fact, ounce for ounce, it can cost more than fine champagne! So when Consumer Reports' readers complained that their printer ink seemed to be disappearing, testers investigated.
Ink is used as the printer prepares to print after not being used for a while. So if you print infrequently, that could mean more ink used for maintenance chores such as cleaning the print heads.
Consumer Reports designed a special test to see how much ink was actually making it onto paper. Testers printed 30 pages of text or color graphics intermittently over a three-week period. Some printers were much less efficient with ink. The worst offenders used much as $120 a year in ink that never gets used to print anything! They are the HP Officejet Pro 8600 and the Lexmark OfficeEdge Pro 4000.
Test data also showed most brands had printers that used a lot of ink for maintenance as well as ones that were easy on ink. If they can keep ink usage down for some, they should be able to keep it down for all their printers.
The Brother brand stood out. All three of the Brother printers tested were frugal with ink at start-up. A Consumer Reports Best Buy is the Brother DCP-J140W, at $80.
You can save on ink no matter which printer you own by following this advice from Consumer Reports. First of all, try to print all at once rather than every few days. Also, leave your printer on between jobs. The tiny amount of standby power used will cost much less than the ink used up when the printer turns on.
Complete Ratings and recommendations on all kinds of products, including appliances, cars & trucks, and electronic gear, are available on Consumer Reports' website.


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Tee-shirt sérigraphié Blanc (On Sale)
Tee-shirt sérigraphié Blanc
Product Description:
Product Description:
Tee-shirt sérigraphié pour femme. Manches courtes maille lurex. Sérigraphie Midnight Flowers. Hauteur dos: 61 cm.
Composition : 100% Coton
T1: Chest 86cm, Shoulder 34cm, Length 53cm
T2: Chest 90cm, Shoulder 35cm, Length 54cm
T3: Chest 94cm, Shoulder 36cm, Length 55cm
Back To Top
Designer Styled Items are all on sale up to 80% off
Custom Search
1. FINAL SALES: All sales of gift cards, e-gift certificates, cosmetics, jewelry and items marked as "Sale" are final. FINAL SALE items cannot be returned for exchange, credit, or refunds.
2. Shipping charges are none refundable.
3. We ship worldwide. However, we only use regular shipping, NO overnight shipment.
4. To prevent fraud, your billing address must match the address to which your monthly credit card statement is sent.
5. All price are in US$
6. Shipping charges are non-refundable.
If the received goods does not show exactly the same figure on the web, just because the causes of lighting differences, we are not offer exchange or return. Most of our products are in size US2-US8, Karen Millen dresses are in UK8-UK16, make sure the size before you purchase them. We won't make exchange or return if the size is not right. However, if you are willing to pay the resent shipping fee, we'll make the exchange.
Still notice that we do not use UPS or DHL shipping, and do not send urgent package. Also we don't accept UPS or DHL returned package.


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Russian Hacker Pleads Guilty to Ebury Botnet Role
A Russian hacker has pleaded guilty to playing a major role in building the infamous Ebury botnet, which helped to fraudulently generate millions of dollars.
Maxim Senakh, 41, of Velikii Novgorod, pleaded guilty on Tuesday to conspiracy to violate the Computer Fraud and Abuse Act and to commit wire fraud.
Along with co-conspirators, Senakh is said to have helped develop the Ebury malware, which targeted the log-ins of servers running Solaris, Linux and similar Unix-like operating systems.
It's a rootkit/backdoor Trojan designed to steal SSH log-in credentials from incoming and outgoing SSH connections.
They then combined these remotely controlled servers into a botnet, monetizing it via click fraud and spam campaigns, according to the Department of Justice.
The scams apparently compromised tens of thousands of servers around the world and earned Senakh and his co-conspirators millions of dollars in the process.
"As part of the plea, Senakh admitted that he supported the criminal enterprise by creating accounts with domain registrars which helped build the Ebury botnet infrastructure and personally profited from traffic generated by the Ebury botnet," noted the DoJ.
The Ebury malware leaped to notoriety in 2011 when it was used to hack the Linux Kernel...
Read the Full Article: https://www.infosecurity-magazine.com/news/russian-hacker-pleads-guilty-to/
FBI Warns on FTP Attacks to Access Medical, Dental Info
The FBI is warning of an concerted effort on the part of cyber-criminals to target medical and dental facilities via their File Transfer Protocol (FTP) servers.
Criminals are accessing protected health information (PHI) and personally identifiable information (PII) in order to intimidate, harass and blackmail business owners. The Feds said that the Bureau is aware of criminal actors who are actively targeting such facilities via insecure FTPs that are operating in "anonymous" mode.
"Research conducted by the University of Michigan in 2015 titled, 'FTP: The Forgotten Cloud,' indicated over 1 million FTP servers were configured to allow anonymous access, potentially exposing sensitive data stored on the servers," the FBI said in its alert. "The anonymous extension of FTP allows a user to authenticate to the FTP server with a common username such as 'anonymous' or 'ftp' without submitting a password or by submitting a generic password or email address."
While computer security researchers are actively seeking FTP servers in anonymous mode to conduct legitimate research, cyber-criminals could also use an FTP server in anonymous mode and configured to allow "write" access to store malicious tools or launch targeted cyberattacks.
"In general, any misconfigured or unsecured server operating on a business network on which sensitive data is stored or processed exposes the business to data theft...
Read the Full Article: https://www.infosecurity-magazine.com/news/fbi-warns-on-ftp-attacks/
Сообщение было изменено Mr.Pr: 29 Март 2017 - 16:14


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Matt, I'm glad that you're around to defend Walt for craving a little credit for his successful pursuit of excellence. He makes the best damned meth in Albuquerque, and he has the purity rating and the cash flow projections to prove it. I know that I'm hard on Walt. He pushes my buttons like no other TV character (except maybe some of the reality competition egotards I've loved to hate). At this point, my desire to see Walt get his comeuppance is mostly about needing to see his monstrous ego get slapped down and only a tiny bit about wanting him to pay for all the bodies he's dropped and all the souls he's destroyed with his meth.
It's Walt's always-bubbling-under-the-surface disdain that sets me off. When his attempts at sweet-talking Jesse back into their partnership failed, he immediately shifted into an angry, condescending tone to declare that Jesse has nothing in his life "except videogames and go-karts." He treated Jesse like he used to treat Skyler—holding back information, making assumptions without consulting him—and Jesse's decision to walk away, even without the millions of dollars that he's owed, reminded me of the way Skyler simply got up and left the table when Walt started talking to her about his new work colleague. Walking away doesn't solve the problem, but at least it reduces the irritation.
I can't stop thinking about how it was Walt's "You're welcome" that got in the way of Mike being able to walk away from his post-Gus adventure. What is it about that phrase that feels so insulting when it's uttered sarcastically? The folks at MTV's Awkward. certainly know its power. They made it the catchphrase of Sadie Saxton, the show's queen bitch. Check her out. You're welcome.
I also wonder about the wisdom of stashing the methylamine at the car wash. Obviously, it's a tricky thing to hide (oh, how I wish the laws of chemistry made the White family swimming pool, which has seen so much over the course of the show, a suitable resting place), but putting it there requires the Whites to close down their only apparent source of income. Won't a prolonged closure have Hank and Marie asking questions?
Miriam, parting thoughts, of which I have two: I have no idea why Declan would go along with Walt's plan. And what could Walt do to enforce Declan's obedience? Walt has no enforcers and no organization to back him up. Declan knows that Walt has only one tangible asset: his stash of methylamine. Sure, Walt killed Gus, but does he even know where Declan lives? Could he get past Declan's bodyguards? If I were Declan, I wouldn't exactly be losing sleep about Heisenberg.
Daniel Wachsberger wasn't Mike's lawyer. Hank said, "He represents every one of these douchebags [the 'legacy costs' crew] except for Ehrmantraut." Hank told Gomez to follow Wachsberger, but we don't know how the DEA justified busting in on the epicurean attorney while he was going about his business in the safety deposit room. We know that he was distributing the proceeds of illicit activity, but did the DEA have enough proof to justify storming in on that very private transaction? Like the bathroom, it's a place where you have a right to expect a bit of alone time. (Perhaps they looked at the sign-in sheets from when Wachsberger visited his clients in jail and noticed that he was sometimes accompanied by a paralegal called Michael Ehrmantraut. Still, I want to see how they got from Hank ordering a tail on the attorney to the scene at the bank.)
And speaking of Mike's jailhouse visits, the "next week on Breaking Bad" epilogue gave off a very Oz vibe. There was Dennis Markowski, the member of the Gang of Nine that we saw him visit in Episode 503, resplendent in prison orange, appearing to make a deal with Hank. (More ominously, was that a shiv clattering down to a jailhouse floor drain in the final image? Does that mean Todd's uncle is joining Team Heisenberg?) A sound clip would have us believe that Walt is going to reject Jesse's plea for help and instead turn to Lydia. No matter how smart they are, or how strong their will to live, I don't see how inexperienced brainiacs like Walt and Lydia can beat a bunch of cold-hearted gangsters. But I bet the major players will all survive next Sunday's "midseason finale." Comeuppance will wait until 2013.
Cake pops—they're balls of cake on a stick,


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Warranty: 5 Years
Watch Video


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As New York and New England have been digging out from epic snow (and tell this Minnesota mom about snow!), I happened to remember the pictures I had seen on the Internet: Those were the pictures of South Korean delivery men taken in the midst of heavy snowfall.
As I mentioned in one of my May posts, South Korea delivers against all odds. Basically, South Korea is heaven for all the lazy souls who crave midnight snacks or on a bad weather day or any day. (Click to learn more about South Korea's incredibly customer-friendly delivery service.) Unlike the U.S., most South Korean delivery guys are on motorcycles, especially in big cities to maneuver through notorious traffic congestion, as the lightning fast delivery is a key to maintain the quality of food they deliver.
But, alas, every rose has its thorn and of course, there are downsides to this seemingly heavenly delivery service. Even though motorcycles are considered more efficient and faster to reach planned delivery destinations, riding a motorcycle is riskier and more dangerous than driving a car. And even riskier and more dangerous in snow or rain. So the pictures of seemingly invincible South Korea delivery men on motorbikes always give me mixed feelings.


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Results 1 to 2 of 2
Thread: THC Smart Key and Store alarms
Hybrid View
- Join Date
- Mar 2008
- Posts
- 0
THC Smart Key and Store alarms
This I must say is a new one to me. I have a 2008 THC with the smart key. Well, just about every store I go into that has a alarm system at the front door it sets off the alarm. It gets pretty annoying and somewhat embarrassing to have happen just about all the tine. The strange thing is that it just recently started.Any suggestions would be appreciated.


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Hours: Tues-Sat 9AM to 4:30PM, Sun 11:30AM to 4PM
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Controlled Pressure Compensating Type with Unloading Device, Duel Pressure, Duel & Remote Pressure, Two Flow & Two. Pressure p.c. by Solenoid Operated Valve, Two Flow & Two
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Pressure Ranges:
1 = 8 - 70 Bar
2 = 15 - 140 Bar
3 = 20 - 210 Bar
4 = 20 - 250 Bar
Prices are for Manual Compensators, please contact sales for other variations
Pumps supplied with parallel shaft, SAE 'A', 'B' & 'C' MTG flange and flanged ports.
Side or axial ports available. Splined shaft optional.
All orders placed before 4pm will be dispatched that same day.
Who do we use?
We use some of the top carrier companies in the world, although you can use your own carrier to collect the order. Below are our main carrier companies.
For all other International shipments, costs are clearly marked on the item listing.
Please make sure the ship to address you type during checkout is correct.
We are not responsible for any wrong or undeliverable addresses.
All shipments for UK Delivery over 1.7kg are despatched by Fed Ex, TNT, DPD.
All shipments for delivery within the EU will arrive on a 2-5 delivery service depending on Country location, please check for accurate delivery times within the EU with the Flowfit sales department.
All shipments outside the EU will arrive on a 3-7 day delivery service depending on Country location, please check for accurate delivery times with the Flowfit sales department.
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Orders are generally shipped on the day of full payment or latest next day depending on when payment is received; all deliveries require a signature on delivery.
Click here to download our technical information


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AM (22-52) is known as an adrenomedullin receptor antagonist and a cardiac depressant factor, although there is some discrepancy in the literature regarding the selectivity of ADM 22-52 as adrenomedullin receptor antagonist.
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News Release
Texas Firm Recalls Canned Pasta Due to Misbranding and Undeclared Allergen
Congressional and Public Affairs
Stacy Kish
(202) 720-9113
WASHINGTON, August 30, 2013 – Campbell's Soup Supply Company LLC, a Paris, TX establishment, is recalling 1,920 cans (approximately 1,740 pounds) of SpaghettiOs with Meatballs due to misbranding and undeclared allergens. The SpaghettiOs product is formulated with wheat, soy, and milk, known allergens. However, the product was released with a Swanson 100% Natural Chicken Broth label, which does not declare the allergens.
The products subject to recall bear the label: [labels]
- 14.5-oz. Campbell's "Swanson 100% Natural Chicken Broth." The establishment number "EST. 4K, P-13" is located on the bottom of the can along with the use-by date of Jan. 23, 2015.
The products were produced on July 24, 2013 and were sold in Texas, Oklahoma, Arkansas, Louisiana, and Mississippi. The product was sold at retail only.
The problem was discovered after the company received two consumer complaints of incorrectly labeled product. FSIS and the company have received no reports of adverse reactions due to consumption of these products. Anyone concerned about a reaction should contact a healthcare provider.
FSIS routinely conducts recall effectiveness checks to ensure that steps are taken to make certain that the product is no longer available to consumers. The retail distribution list(s) will be posted on the FSIS website at: www.fsis.usda.gov/recalls.
Consumers with questions about the recall should contact the Campbell Consumer Hotline at 866-495-3774 . Media with questions about the recall should contact Carla Burigatto, a company media contact, at 856-342-3737 or firstname.lastname@example.com.
Consumers with food safety questions can "Ask Karen," the FSIS virtual representative available 24 hours a day at AskKaren.gov or via smartphone at m.askkaren.gov. "Ask Karen" live chat services are available Monday through Friday from 10 a.m. to 4 p.m. ET. The toll-free USDA Meat and Poultry Hotline 1-888-MPHotline (1-888-674-6854) is available in English and Spanish and can be reached from l0 a.m. to 4 p.m. (Eastern Time) Monday through Friday. Recorded food safety messages are available 24 hours a day. The online Electronic Consumer Complaint Monitoring System can be accessed 24 hours a day at: http://www.fsis.usda.gov/reportproblem.
|USDA Recall Classifications
|Class I
|This is a health hazard situation where there is a reasonable probability that the use of the product will cause serious, adverse health consequences or death.
|Class II
|This is a health hazard situation where there is a remote probability of adverse health consequences from the use of the product.
|Class III
|This is a situation where the use of the product will not cause adverse health consequences.


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A campfire in your pipe
I smoked this when a lucky bout of insomnia made the perfect conditions for finding out whether Nightcap would indeed prove to be the sleepy-time tea of the tobacco world. The tin was new, not aged. Opening it, the colors were fairly dark, with amber, chocolate, and black predominating. Stare a minute into the tin: it's like looking through a seeing glass at a snug fire in an autumn wood. The ribbons were springy rather than clumpy or dusty to the touch, and burned with perfect ease through the smoke.
The tin aroma was dominated by a charred log campfire smell combined with farmyards scents like damp straw or new mowed hay, and the odd breath of chocolate and even rum. On first light, the woody and smoky features of Nightcap were musty or husky. The aroma wasn't that of a newly-lit fire with young or green wood in it, or perfumed woods like cedar, apple, or even pine. It was that of old, damp oak logs burned black. So strong was this musty smokiness that my ordinarily tough J & B Scotch tasted like a light fruit wine in comparison. I think only an Islay single malt could keep up with Nightcap, and not, in effect, get out-Scotched by the tobacco.
There was a very dry mouth-feel but a moist, earthy vaporousness to the smoke itself. The surprise wasn't that during the first half-bowl the flavors were musty almost ' but never quite -to the point of being boggy or peaty. The real surprise was the pin-prick of spiciness which, along with spaced out hints of chocolate, rum, and damp hay made sure that Nightcap's smoky and bosky side evened out into a perfect balance. It never threatened to just become a swampy campfire in your pipe.
Towards the end the rum notes didn't just act as a counter-point to the husky smokiness; the two actually seemed to fuse perfectly, so that at end-bowl, there was a distinct flavor of smoky, earthy rum. It was like the two sides of the blend had stopped alternating solos and agreed upon a duet.
Nightcap is a strong blend. The nicotine buzz is pleasantly groggy; of the sort that makes the insomniac want to crawl back into bed ' or smoke another bowl. The blend thus passes the test of its own title, being perfect as a Nightcap. Smoke it, and the next campfire you pass may make you think: 'No, that's not quite right; Nightcap does that better.'
Not just a bed-time smoke!
Review based on Orlik offering - 2010/2011.The tobacco is presented in the familiar Dunhill ribbon cut, with a mix of chocolate and golden browns, blacks, and just a hint of red and orange leaf. The consistency is fairly uniform, and the tobacco is slightly damp out of the tin - requires 15min - 30min breathing time.Packs and takes a flame easily, with minimal fussing.The tin aroma is overwhelmingly peaty, with hints of burnt cedar, leather, musk, and an underlying dank earthlyness which brings to my mind fresh mushrooms.The initial light reveals this blend to be a true Latakia bomb - peat, camphor and burning rubber all dominate. However, this tobacco can not be called one dimensional. Hiding just under the rich Latakia flavours, one can find hints of honey, coffee grounds and cocoa nibs, with an underlying mustyness that I can only describe as "root cellar"...a mixture of mushrooms, mildew, wet earth and wet wood. The perique in the blend doesn't seem to impart any sweetness, but rather leaves a gentle peppery tingle on the tongue...definitely applied with a light hand.As the bowl progresses, the strong flavours of the Latakia leaf continue to dominate, but the "supporting cast" of flavours matures, with the honey-like notes becoming more forward. As you continue to progress through the bottom of the bowl, the sweet notes finally become something of a copacetic magic with the heavy Latakia smoke, providing a truely unique flavour...something that I think many so-called "English Blends" try to capture or recreate, but oft fall short of. The Perique, while certainly there providing it's unique hint of peppery-sweetness, never really comes to the forefront of this blend; but rather stays hidden in the wings.The nicotine level in this blend is on the high-side of the spectrum, and although it won't floor you like dark-fired burley flake, this blend deserves respect, and should not be smoked on an empty stomach.The room note on this blend is pleasant to my olfactory senses, but it is a true Latakia bomb, and as such, won't please most.All in all, a wonderful blend; perfect for the evening, morning, or afternoon.
Dunhill Nightcap
I simply love this smoke. It can't be considered simple, it has a delightful complexity that tips and turns as you smoke. The tangy spice flavor dominates throughout the smoke. The Latakia is there, but it is not overwhelming, with several other flavors, which I sense a bit of rum, and Perique.
"are the stars out tonight".........
There are scores of good pipe tobaccos out there and some are even as good as advertised [for a particular time of day], but few are stars. Nightcap's star burns brightest. The competition's not even close. Of all the blends in my day this is the one I'd never do without! Yes Virginia; it's THAT good.
As a regular smoker of MM965 and having smoked the London Mixture, I'm familiar with the quality of Dunhill tobaccos. Made for Dunhill by Orlik of Denmark, it is a ribbon cut blend of Virginia, Latakia, Perique, and Turkish leaves. Being a fan of English blends, I had some idea of what to expect and was not disappointed by this blend...in fact, I was quite surprised. The tin note is familiar: earthy, musty, and fresh. The ribbon cut is ready to smoke, but some may find it a bit on the moist side, packing is straightforward, takes a match readily, and produces a room note that is woodsy with a slightly nutty aroma as well. After a full light, the blend struck me as being an honest, full-bodied English, but not in a predictable way. While the Latakia can't be mistaken, it combines so well with the Turkish and Virgina as to provide a smooth smoke that is full bodied without being heavy...a welcome quality. Every tobacco has to be smoked on its own terms and this one is no exception. Although the Perique is added to compliment the overall blend, the tobacco cannot be pushed. Although Nightcap has a wider smoking temperature range than other English types, the Perique can begin to come forward as an aftertaste that will accumulate on the tongue. When smoked within its own range, the peppery spice of the Perique can be detected when exhaled through the nostrils but is no more than a component in the blend and does not try to steal the show by any means. The flavor remains balanced throughout the bowl with an enjoyable flavor complexity that stays close to the end. One suggestion is to make sure that it isn't overheated when working on the last second half of the bowl because it will lose its balance and become harsh and ashen in flavor with the Perique coming on too strongly. This is a highly rated, well respected mixture that I find unique, well-crafted, and that delivers on the quality that Dunhill is known for.
Return to Latakia / English Tobacco Reviews


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Working with Make Music Day
Make Music Day - 21 June - is a national and international celebration of music-making. Make Music Day UK is led by Making Music, and ABRSM contributes to the steering group. We've also organised fun events to add to the celebrations each year: the Big City Sing (2017) in partnership with Music In Offices, and the Piano Medley Relay (2018).


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Maturational Studies of the Hypophyseal-adrenal Axis in Rat
Graduate Division Special Programs, Psychophysiology, Stanford University., 1968 - Endocrinology - 214 pages
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12 days 21 days 3-day-old animals adrenal ascorbic acid adrenal atrophy adrenal cortex adrenal corticosterone content adrenal gland adrenalectomy adrenocortical Analysis of Variance ascorbic acid depletion assay atrophy basal levels blood samples body weight Cholesterol Implanted Female cholesterol implanted mothers cholesterol offspring circulating ACTH CM CM content of ACTH corticotropin cross fostering crystalline hydrocortisone day of pregnancy days of age decapitated decrease in adrenal detectable Doctor of Philosophy electric shock elevation of plasma epinephrine F offspring fetus following stress function glucocorticoids hydrocortisone acetate hydrocortisone implanted hypophysectomy hypothalamus implantation of crystalline Implanted and Cholesterol infant rats injection levels of circulating levels of plasma Levine median eminence mice mouse neonatal neuroendocrine newborn rats offspring of hydrocortisone pituitary ACTH content pituitary and adrenal pituitary content pituitary gland plasma ACTH plasma corticosterone concentration plasma steroid postnatal postnatal development prenatal development release response to stress significantly stress-induced elevation tube values various age groups


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Double-stop licks can also be used in "train beat" or country tunes with faster tempos too. Having some of these licks in your arsenal can be helpful when you really want something percussive that nails the changes. Also, if you want something that sounds a lot bigger than single-note solos, Fig. 4 works perfectly as well. The notes on the 2nd and 3rd strings will be picked with your middle and ring fingers. On your fretting hand, your first finger will lie across the 2nd and 3rd strings at the 7th fret, and you'll do the pull-off with your first finger. Notice these licks nail the I (D), IV (G), and V (A) in the key of D. You're nailing chord tones and the pull-offs help make it easier to play at quick tempos. Try to make them sound percussive. Make sure to start practicing this with a metronome at a slow tempo, then gradually increase to warp speed.
Fig. 5 is another variation on the previous lick. This time, we are concentrating on the first three strings. Again, we're outlining the I, IV, and, V chords. For the V chord, just slide up two frets and play the same lick and then move back to the I chord. Make sure to get that 2nd string to pull off with your second finger. Again, play this with a metronome. Start out slow and gradually increase your tempo. Push it just a little faster than what you are comfortable with and make it your goal to get it clean at that tempo before you move on.
Erik Halbig
Erik Halbig is currently touring with Thompson Square and has previously performed with Sara Evans, Blackhawk, Tanya Tucker, Wynonna, and many more. Halbig graduated from USC with a degree in Studio/Jazz Guitar and has taught clinics and seminars all over the country. He has had several books published by Alfred and Hal Leonard, and currently resides in Nashville.


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This service shows you ATMs in Samoa on an interactive map. Cluster markers of varying colors signify different site densities. Simply browse with your mouse through all regions, or swiftly use the search function or the list view with the 0 states of Samoa. Of course you can search for the nearest Cashpoint as well. Please press the 'localize' symbol in order to do this.
In addition, you can choose from a variety of filters, which can be used to search for a service network or a bank branch where you are a customer to withdraw cash free of charge. Stop the annoying search for an ATM. At home, on the road or on holiday: Nearest! Cash works worldwide.
We are not the owner of the data, but merely provide the locator software in order to enable users to quickly and easily access this data. You can find further information here. Location data © OpenStreetMap contributors. Map data © OpenStreetMap contributors.
This site is powered by Nearest! - a full-featured locator solution for store, brand and real-time locators.


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Ferrari 312T4 – Amalgam 1:8 Scale Model
A fine 1:8 large-scale collector's model of the Ferrari 312T4 as raced to the Championship in 1979 by Gilles Villeneuve and Jody Scheckter.
Ferrari's legendary pairing, Jody Scheckter and Gilles Villeneuve drove the 312 T4s to both of the world titles. Scheckter won three races and assiduously collected all the points he could to secure the championship. Villeneuve also scored three wins and drove in a manner that established a daredevil driver image that endures to this day.
This model has been hand-crafted utilising Amalgam's own CAD data created by scanning the original car in every detail. The resulting prototype has undergone strict scrutiny by Ferrari to ensure complete accuracy. This model is also available in a Jody Scheckter version.
The 312t4 has taken approximately 2500 hours to develop and each model has taken around 220 hours to hand-craft.
Measures 60cmL and comes beautifully packaged in an Amalgam Collection box - complete with certificate of authenticity.
Polyurethane prototyping resin, Original manufacturer's specified paints, Carbon fibre, Stainless steel, Metal (pewter) components
Ferrari race livery


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About the job market
Are you looking for information to help you map out your future (academic) career? Want to learn more about the job market in general or for your particular field? It's important to stay up to date on the latest job market research and background information.
What is the current job market situation? What can you expect in terms of your future career? It's important to stay up to date on the latest developments in the job market. What are the requirements for the positions you might be interested in? Do you meet these requirements or is there room for improvement?
The Career Service monitors developments in the job market. Via the LU Career Zone you can access the latest job market research and websites for graduate job-seekers.


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Satnews Daily
October 25th, 2011
Here's Looking @ Earth... Rina Rampage (Imagery)
Rina is now a category 2 hurricane on the Saffir-Simpson hurricane scale. The Mexican government issued a hurricane warning for the east coast of the Yucatan Peninsula from north of Punta Gruesa to Cancun. From Chetumal to Punta Gruesa a tropical storm warning is in effect. As NASA's Terra satellite passed over Hurricane Rina on October 24 at 12:15 p.m. EDT (16:15 UTC) the Moderate Resolution Imaging Spectroradiometer (MODIS) instrument took a visible image of the storm as it nears the Yucatan. The strongest thunderstorms around the center are casting shadows on the surrounding lower clouds. Rina's southwestern edge was over Honduras at this time.
On October 25, when NASA's Aqua satellite passed overhead, it collected valuable data about Rina's cloud top temperatures. High, cold cloud top temperatures indicate a lot of power in the storm, as strong uplift pushes cloud tops higher in the troposphere, where temperatures drop. The higher and colder the thunderstorms within a hurricane, the stronger they are, and the heavier the rainfall within.
Infrared imagery is color coded at NASA. It is created at the NASA Jet Propulsion Laboratory in Pasadena, Calif. In the image from earlier today, the strongest, coldest, highest cloud tops that surrounded the center of Rina (the eye) were colder than -63 Fahrenheit (-52 Celsius). The eye showed warmer temperatures, indicating that it may be seen on visible satellite data.
On October 25 at 11 a.m. EDT, Rina continues to strengthen, as is evident from the AIRS infrared imagery showing powerful convection surrounding the eye of the storm. Rina's maximum sustained winds are now up to 105 mph (165 kmh). Hurricane Rina is closing in on Mexico's Yucatan Peninsula. It is now centered near 17.4 North and 83.9 West, about 300 miles (480 km) east-southeast of Chetumal, Mexico and 305 miles (490 km) southeast of Tulum, Mexico. That's not too far away when you consider that the tropical storm-force winds extend out 115 miles (185 km) from the center. The hurricane-force winds, however are confined to a much smaller area at this time- outward 15 miles (30 km) from the center.
The National Hurricane Center (NHC) noted that Rina is crawling to the west-northwest near 3 mph (6 kmh) and is expected to turn to the northwest and speed up a little over the next two days. Rina's center is expected to approach the Mexican coastline in the hurricane warning area by Wednesday night or early Thursday. Tropical storm-force winds are expected in the warning area tomorrow (Oct. 26) afternoon, followed by hurricane-strength winds. Heavy rainfall as seen in NASA AIRS infrared imagery is going to accompany those winds. The NHC is expecting Rina to produce between 8 and 16 inches of rainfall over the eastern Yucatan late Wednesday and early Thursday, as dangerous storm surge hits coastal areas. Storm surge is expected to be as much as 5 to 7 feet above normal tide levels near the track of the storm's center and right of center. NASA AIRS infrared data also shows that Rina is in an area of very warm ocean temperatures, over the 80 degree Fahrenheit (26.6 C) minimum to maintain a tropical cyclone, which will help Rina strengthen over the next day or two.


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Farmingdale State - 65 , NYU-Poly - 50
Farmingdale, N.Y. - The Farmingdale State women's basketball team earned a 65-50 victory over NYU-Poly on senior night this evening in Farmingdale, N.Y. Two seniors, Siohban Purvis (Amityville, N.Y.) and Nikita Green (Roosevelt, N.Y.), were honored as they played in their final regular season home game.
Leading 19-13 in the first half, a 6-0 Farmingdale State (10-11, 8-5) run extended the Rams lead to 25-13 with 6:17 remaining. Farmingdale State increased the lead to 33-20 with under two minutes left in the half, before the Fighting Blue Jays (6-18, 2-11) scored the final four points to go into the break trailing 33-24. Junior guard Nicky Young (Queens, N.Y.) led the Rams with 10 points and five steals.
Farmingdale State opened up the second half on a 13-5 run to extend the lead to 17, 46-29. NYU-Poly would close within 11 at the 10:00 mark, but a Green 3-pointer and Lushanta Savadel (Bellport, N.Y.) layup and free-throw gave the Rams a 66-40 lead with 4:41 left to play. Farmingdale State held a double-digit lead throughout the remainder of the game to earn the Skyline win on senior night.
Young led Farmingdale State with 15 points, seven boards and seven steals, while sophomore guard Christina Merrill (Levittown, N.Y.) and Savadel each added 11 points. Green scored eight points and had a game-high nine assists and Purvis tallied 11 points and six rebounds.
Senior guard Shelby Bruns (Elko, Nev.) recorded a double-double with a game-high 17 points and 10 rebounds. Bruns is three points shy of 1,000 for her career at NYU-Poly.
Purvis is a 4-year player for the Rams with a career average of 3.1 points and 2.8 rebounds a game. She will be graduating in May with a degree in Criminal Justice after compiling an impressive 3.00 cumulative grade point average. Green, a 4-year player and All-Conference selection for Farmingdale State, has a career total of 298 assists and 241 steals.
Farmingdale State will close out the regular season as they travel to Mount Saint Mary on Saturday, February 16th at 1:00 p.m.


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Final Fantasy XIV's launch was so terrible that Square Enix had to pull the game and promise to not bring it back until it was fixed. I don't know if its gameplay tweaks have had any effect, but I do know the game is at least looking a lot nicer.
Stay tuned for a bunch of new concept art from the game as well later today.


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Consumer campaign: Buying glasses online may be no bargain
Online shopping touts savings and convenience, but when it comes to making an investment in one's health, should consumers leave their eyesight up to a few hasty mouse clicks?
". . . it is important for the consumer to be fully informed regarding the potential pitfalls. . ."
A new public relations campaign recently launched by the AOA to hundreds of major media outlets nationwide encourages consumers to be wary of ordering prescription eyeglasses online, and reinforces the AOA's recommendation to purchase eyeglasses from a local optometrist.
However, if consumers do choose to head online for eyeglasses, the campaign advises them to take into consideration all the factors that go beyond simple price and stylish look—and there are a lot.
Who manufactures the lenses? Do they meet federal standards for impact resistance? Are the frames genuine or counterfeit? Will they fit and be comfortable? Is the website genuine or a front for churning out inferior products—all important questions, says AOA Board member Samuel D. Pierce, O.D.
"The most important thing a consumer can do is make sure their eyes are healthy by seeing their local optometrist," Dr. Pierce says. "If a consumer believes that ordering a pair of glasses online is in their best interest, it is important for the consumer to be fully informed regarding the potential pitfalls of doing so."
'Caveat emptor' and de facto stats
AOA members can access complimentary patient education brochures online to better inform their patients, and others in the community, about purchasing prescription eyeglasses online. "Let the Buyer Beware" brochures provide a word of warning with statistics from an AOA study published in 2011 with the Optical Laboratories Association and The Vision Council that reinforces the snares of online orders.
According to the study, researchers asked 10 individuals to purchase two pairs of eyeglasses, including pairs for both adults and children, from 10 of the most popular online optical vendors. Of the 200 pairs ordered, only 154 pairs were received, and several of those were delivered incorrectly, e.g., single vision instead of bifocals or with/without selected lens treatments.
But of those eyeglasses received, the study reported:
- 44.8 percent had incorrect prescriptions or safety issues;
- 29 percent had at least one lens fail to meet required prescription;
- 19 percent of adult lenses failed impact resistance testing; and,
- 25 percent of children's lenses failed impact resistance testing.
"The peer-reviewed study revealed that nearly half of all glasses ordered online had either prescription errors or failed to meet minimum safety standards. Personally, I find that very scary," Dr. Pierce says. "My patients deserve better than that."
Optometrists already provide a crisp, clear view of the world, so make sure patients are seeing the full picture if they do decide to go it alone on the Internet.


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Rick Remender is one writer who doesn't hold back — in either his stories, or his interviews.
Chatting with the writer of Uncanny X-Force, Fear Agent and The Punisher about the course of his career, you realize that he's got just as much to say about marketing yourself as he does about the nuts and bolts of the writing craft. Spending a decade chipping away for a shot at writing for the Big Two, Remender has been unflinching in his successes and his struggles, talking candidly about the balance of risk versus reward, the value of tenacity and the pursuit of artistic independence.
For the ninth edition of Writer's Workshop, we sat down with Remender to discuss his process as a writer, discussing high concept, dialogue, and looking at books such as Uncanny X-Force and The Punisher as case studies, as well as looking at his dedicated, sometimes-harrowing journey of breaking into the big leagues.
Newsarama: Rick, just to start off with — how did you wind up deciding that comics was your dream gig? I know you have a background in animation — how did you end up making that shift into comics? What did the animation industry teach you that you brought to the industry? Can you just walk us through how you got from Point A to Point B?
Rick Remender: I'm a lifelong comic fan. My misspent youth collecting and reading lead me to a career in comic book retail, where I worked during college. While I worked at the comic shop I sat drawing and writing story ideas down, studying creators I respect. The owner of the shop, Blake Shira, taught me all about EC, Crumb and the Zap crew, Clowes, the greats of the Silver Age and Grant Morrison's Animal Man and Doom Patrol, just all the nonmainstream stuff I'd missed that informs my writing now. I wanted to be like Frank Miller, Mark Schultz, Grant Morrison, BWS, Wally Wood, Evan Dorkin or Jack Davis — I wanted to write and draw and really unique stuff, and dig into to the craft. So, yeah, my initial goal was to do both. The idea of solely writing seemed very unlikely to me starting off, and remember, this is before independent guys really moved to mainstream — it wasn't really the way it worked then. So I wanted to write and draw my own creations. My goal was to do something like Xenozoic Tales, Rocketeer, Sin City… high adventure with an art house slant.I recall — when I was 21, after a couple of years focusing on writing and art, I decided I was going to focus on the art. So I went to the Joe Kubert School. Once I got there, I didn't love being away from home, I had a girlfriend and missed her, I'd worked my ass off to save the tuition and decided I didn't need to spend all this money, classic 21-year-old stuff. I'd already been through three years of college in Arizona and didn't really want to spend three more years in school. So I figured that I'd go back to Arizona and continue art classes there while I just made comics. The idea was to do so many comics I'd eventually get good. So, yeah, I moved back to Phoenix after just three weeks at the Kubert School.
Within a month of getting back news came out that 20th Century Fox and Don Bluth were going to open an animation studio in Phoenix. I was just a 21-year-old kid with a portfolio, I figured there was no hope, but folks insisted I try out. So I said, well, what's it going to hurt? I sent the portfolio in, and I got hired. I got hired as a special effects animation assistant. The door opened up pretty quickly for me in terms of the art world, and I dropped out of college, as one is wont to do when you have a job opportunity and you're 21.I spent about three years at Fox animating, I found it to be — especially in the capacity that I was serving — I found it... it wasn't rewarding to me. I would sit there, animating, and character and story ideas would keep popping into my head. One idea after another, and I would have to sit there and jot them all down as I flipped paper, flipped paper, and flipped paper. I'd spend every lunch break and write stories, draw, come up with characters. I remember, at the time, that what I really wanted to do was more satirical humor stuff in comics like Dorkin, Barta, Bill Wray, Will Elder. I was working with a few other animators, Harper Jaten and Rory Hensley, and we would spend lunch doing comic books to clear our heads after spending all day animating Anastasia SFX, and her puppy dog, and her necklace, and all of these minute detail things, just slowly moving these lines closer and closer to the grave. So by lunchtime, we would all be very excited to come together and come up with these asinine, ridiculous stories. During the course of this, one of the characters that we came up with was Captain Dingleberry. For the uninformed, he had a dimensional gateway in his asshole that led to a Turdworld, which is where he stored villains — a-doy. After a few months we just decided to make the comic. We created Captain Dingleberry and about 15 or 20 characters for his world — there was a guy called "Nipples the Size of Pancakes," there was "Sir Richard Pumpaloaf," a dude based on a Frank Zappa song who has a penchant for fucking French loaf and, as fate would have it, he had a machine that could turn folks into gingerbread man. So he would basically capture you and turn you into a gingerbread man, and then molest you. (Somehow Hollywood did not knock down our door when Captain Dingleberry saw print.)
Lunch after lunch, we would sit there and come up with these stupid, over-the-top things that made us laugh. I'd come up with an idea, and everybody would end up drawing the character in different ways. There was Sack Warrior of Choad, who had an elastic scrotum and balls made of iron that he would swing around like Thor's hammer. We were all fans of the original Tick series, and I think we were trying to invoke that a little bit, but go more juvenile and blue with it. We had this creative itch to do something weird, it was like a Frank Zappa tribute comic.
We wanted to do something that had great production value and was drawn to the best of our abilities. At that point, we were professional animators in the industry for two years, three years, and so we had decent chops. We made up our minds to self-publish Captain Dingleberry. I would pencil up the covers, and we got Eric Simmons, who was a background painter at Fox, to paint them to look like high-quality feature film animation-quality background paintings, but focused on a guy with flying poop critters coming out of his keister. It was an exercise in, other than futility, how much love and care we could give to an idea that was just completely and utterly ridiculous. It deserved none of the love we gave it, which is why we thought it was beautiful. Wrong in all the right ways. I fell in love with making comics.
We did seven issues of Captain Dingleberry, and it actually sold pretty damn well. We moved over to Slave Labor Graphics with it before wrapping it at Issue 7. The series also included work from Kieron Dwyer, and Johnny Ryan did some stuff in there — it was just a smorgasboard. For me, it fulfilled the creative need in a way that animation didn't — and it did pretty well. It really skewed my perception - I thought, if I did a comic that was a bit more accessible, and maybe didn't involve scat humor on the cover, who knows what I could do? Because it was so fulfilling to do the book, I made my mind up that I was going to make a go of it. So I quit my job at Fox — and spiraled into desperate poverty. (Laughs)
It was tough. It went against what my family wanted, it went against what everybody I knew at time wanted me to do, everybody thought it was stupid — nobody understood how I had gotten it into my head that because I had made a couple of issues of this fecal superhero book that I should go out and quit my dream job and make comics. But that's what I did. Yeah. So that was how one transitioned into the other. And at that point, to make the books, I was writing them, co-writing them, drawing them — I would draw some pages, my buddies would ink them; my buddies would draw some pages, I would ink them — so doing Captain Dingleberry, I wrote my first seven comics, I penciled my first seven comics, I inked my first seven comics, and I self-published my first seven comics. Which taught me all of the very basics I would need to sort of move forward — and it got me quite addicted to doing all those things, which I would later benefit from, and would help me survive.
Nrama: You know, I know Captain Dingleberry isn't the only crazy high-concept you've come up with. You made a lot of press recently, too, with another character you put your spin on: Franken-Castle. I wanted to ask, when you are approaching these sorts of so-crazy-it-might-just-work concepts, what are your goals? And once you figure out what you want the effect to be, how do you settle on execution?
Remender: Once I have the high concept, I beat out story foundation. What I try to do is work it out well in advance, build on a three-act structure, something that has big emotional beats, gripping character arc, make sure the characters are growing and learning something or progressing.
That's one of the big problems that I had with Franken-Castle to begin with — a lot of people are fine with Frank just being a force of nature, going through the world murdering people. But if there's no character arc, if the character isn't building or being denigrated or learning something, then I tend to lose interest very quickly — the character, at that point, is naked, totally visible with no surprises to offer and frozen in place. And if there's no character development, no change, it's just an exercise... it's almost like torture porn, watching Frank Castle go out and murder gangsters. How much of that can I possibly want to see?So in terms of execution of a crazy idea, it's imporant to make sure that you've got a strong story that has exciting moments, a beginning, middle and most importantly a strong ending with a point, one that maybe even has a philosophical point of view. I try to show a side of the character that hasn't been seen — which I think we've accomplished with the Punisher work we've done, with Franken-Castle being a big part of that.
As far as big, wild high concepts and deciding if they'll work — comic books are the last place where we can do these types of things. As movies become more and more homogenized and predictable — as the people in charge of greenlighting these movies are more and more motivated to making sure that their movie is accessible to the largest amount of people — the cost is a unique personal story. Movies... I'm just disinterested. There's maybe one movie every six months that even motivates me to get out of my house and go see it anymore. Whereas television is starting to take off now, and you're seeing smart, unexpected, serialized shows like Mad Men and Breaking Bad, actually breaking down, and building off of the Twin Peaks/Sopranos model, serialized stories that are smart, captivating and unexpected.So when I'm coming up with these ideas, it's more than just dipping chocolate into peanut butter and simply going "that's crazy, we'll figure it out!" It's a matter of finding a big AND naturally occurring idea. Then you vet it. Then you spend weeks/months working it out with editors, and talking it through, and everyone stays excited, like we did with Franken-Castle, you just hope the readers will be excited as well. I was talking a lot with Tony Moore and with Axel [Alonso] and Sebastian [Girner], my editors on that book, the more we talked and the more we tore it open, everybody... you know it's either a good thing or a bad thing when everybody's interrupting each other, and in this case it was good, and over the course of the conversation a lot of ideas were being thrown around. Everybody was enthusiastic about the process, and that's normally the kind of sign you're looking for when you're developing.
Nrama: You were talking about rules and the like, and I wanted to ask about how you go about setting up the rules for your particular story. Is it a matter of looking at past continuity, or sort of making up your own rules — how do you balance the two impulses out, if at all?
Remender: I think that it's important... as a comic nerd, I appreciate continuity, but I also appreciate that there's been a trillion Marvel comic books. If I had to read every single one of those, and adhere to every single thing every other writer has ever cooked up, I would be basically writing stories in a closet. There would be no room to do anything. "Well, in Spider-Man #214 they established that he doesn't like green beans!" It would just be insanity. I think that you have to adhere to who the character is and what they've been through but not be slavish. I like to use the big beats of a characters back story as I would a brand new character's back story, I pepper it throughout and allude to it to develop them further or remind the reader who they are.Like a character like Fantomex — I made sure I re-read all of his appearances, and got a good idea of what he's been through and what's been examined with him, and then made notes about what hasn't been examined, and what holes in this character have been left open, as well as what the major beats in his life that defined him that we've seen so far. And once I have those beats written down, I make sure to reincorporate them into X-Force. In the first five issues — because Fantomex is a new character, so there are many people reading the book who might be unfamiliar with him — it's my job to make sure that all of the major beats and all of the relevant points in his life and all of the interesting things that have happened to him are conveyed to the reader, so they don't have to go back and reread all those old issues. I don't want to build my story on top of the expectation they've read every comic the character showed up in — that seems lazy.
But it's also important to discount certain things that were unimportant, or are maybe side notes that derail the character and don't work towards what I feel is for the betterment of the character's development. Once I have that foundation built, I literally am writing an issue right now where I have a list of things that were unexplored with Fantomex, and I'm exploring them and refining the character and getting optics on what makes the character. After I define who he is based on what other people have done, I start adding my own touch, and moving the character forward in a natural, and hopefully exciting, way.
Nrama: Talking about the characterization — for you, what do you think are the important things you need to know, or what is the most helpful for calibrating yourself as far as getting into a character's head?
Remender: You know, I let myself — the only way I can do that is to let myself write a bunch of pages that I know I'm probably going to delete. I'll sometimes write two characters in a room, talking. You start to better know the core of the characters, and what makes them distinct, like colloquialisms, cadence, patterns. You let yourself freely write; knowing you'll likely erase it and it liberates you. It's similar in art — I taught at the Academy of Art University in San Francisco for a number of years — I would always tell people to draw with a dry-erase board and a marker, because it's not permanent, and you'll get more fluid with your form, you'll move freer.
It's the same with a Wacom tablet for your computer. There's something about paper, when you know that it is the paper you'll be working on, that freezes you up. I find that when I'm writing and I have a document open, and that document is X-Force #5, or X-Force #1... it's like, "write X-Force #1 — go." It'll freeze me up. So in order to inhabit the characters, I'll just open up a file in Final Draft and just write a fake document screenplay that I'll usually erase, or take a few gems out of. I'll write seven, eight, nine pages of the characters talking back and forth, and after doing that, in my head, I can hear how they interact, I can hear the voices — I'm like, "no, Deadpool would be a little bit more dry, a little more vulnerable here," or "Fantomex would be a little bit more arrogant here, masking vulnerability" — whatever the things that come out of it, based on what I know about the character, I find the process of doing it that way helps liberate me from "YOU'RE WRITING X-FORCE #1, IT HAS TO BE GOOD."
Nrama: Since you've been doing these sorts of prelimary conversations between your characters, what do you think has been the most enlightening thing you've learned putting two characters in a room together, even if it might not have seen the light of day?
Remender: I think that for me, I learned how I was going to handle Deadpool. I like the idea that Fantomex is putting on airs of his own, but Deadpool's constant joking, that's always sort of a need for acceptance, you know? There's something about that. So I think I discovered something about that character — in my mind, Deadpool, in his constant goofing around, gets on some people's nerves, some people ignore it, and then there are people like Fantomex who might have a similar situation in his own mind, he'll kind of attack that a little bit. For me, it was fun writing a vulnerable Deadpool, where he gets psychoanalyzed a little bit by Fantomex and maybe torn down. It's all about in how you handle his reactions to see whether it got through to him.
But for me, it was a nice breakthrough where I said, "you know what, in some ways it seems like Deadpool is seeking acceptance," and he's genuinely schizophrenic and insane — that's the fun of the character, he's a really, really broken crazy person — but it helped me make him more human and three-dimensional, to help me get my head behind the curtain a little bit and it came from a conversation I wrote between him and Fantomex. He uses his humor for a number of different reasons, all of which go back to the fact that he's a cast out — he's a failure of the Weapon-Plus program, this is his first time ever being invited to a team, so he wants very badly to fit in and be accepted, and I really like pointing it out, because it humanizes him in a good way. It's a motivation that every single one of us can understand. So that was something that came out of the first batch that I did.
Nrama: When you're doing these dialogues, how do you make sure that it sounds real, that it doesn't come off as stilted as far as dialogue perspective?
Remender: I just hear dialogue — you can either write dialogue, or you can't. I think you can definitely refine whatever skills you have — at this point I've written 30 graphic novels or something, and two video games and a couple of screenplays, and in the last five years, I've been doing nothing but writing. They say that if you want to be good at something, you do it every day. I write everyday, and I've written everyday since about 2001.
Nrama: Wow.
Remender: And before that, I used to write a journal. When I was working full-time in animation and making my own comics, that still wasn't enough for me to get all the ideas out, so I would write these journals. Some of the ideas that I cooked up in those journals became comics, like The End League or other things. ...I just spaced out. What the fuck was I even talking about?
Nrama: I was just talking about how do you make your dialogue sound right?
Remender: Oh, right. I was saying, basically know your characters and practice. And I hear dialogue well when I know the character front and back. I can hear it in my head; when I really know the character. I attribute certain characteristics of people that I know to them to help — and I realize I did that subconsciously before I started doing that consciously — I would take someone I know and sort of take their personality and attribute it and tie into a fictional character that I was writing. And it really helped me get behind how they behaved, because I think we all sort of analyze one another subconsciously, or consciously.
We all have thoughts and opinions on why people do certain things, or their behavior, and so by taking people I had already analyzed and already knew, and associating them with characters I was writing, it took me a few steps ahead on knowing those characters.
I also have a character worksheet, which is like four pages long, with 1,000 questions. I'll go through, before writing a character, and fill that out, and by the end of that, I know them entirely. That helps write their dialogue, once you know who the person is and what their motives are.
Nrama: What are the sorts of questions you have on this sheet?
Remender: Oh, it's intense. It's like "responses to authority," "time in the military," "siblings," "response to siblings," "most traumatic childhood event," "most traumatic adult event," "political attitude," "attitude towards socialism" — and by the time you answer all those questions, one leads to the other, one feeds the other, you're not going to write a big right-wing guy who's a proponent of socialism. One answer will determine the other, but it all helps form a human being inside your mind.
Nrama: Regarding structure — when you are putting together a story, is it the metaphor that comes first, the character arc that comes first, the external conflict? I know some people say they have an image, and work off that — when you are putting a character through their paces, what typically comes first for you?
Remender: Well, I'll write out an arc — a lot of the time I know I want a character to go from one point to the other, what I want them to learn and what I want them to discover or overcome about themselves. A lot of the time that'll speak to a metaphor, I'll write out a line — well, I had been working on a lot of monster stuff in the Marvel Universe, and had a lot ideas for them, and I had written: "Frank Castle is a monster. Frank Castle is a monster who just killed his own family." That sort of helped me build Franken-Castle, the physical manifestation of Frank's soul.
Franken-Castle was an external representation of Frank. It only takes someone who smoked a little weed and took Philosophy in high school to be able to find the foibles in Frank's character and build a metaphor. It's not a frighteningly difficult thing to do. (Laughs) Finding a villain that was a parable of Frank was the thing that added the weight I think. Our villain, Hellsgaard, his family was killed by monsters, killed by werewolves, and so he had to kill his family, and now he hunts all things that resemble the killers, all things that look like monsters. Putting Frank face-to-face with somebody who's made similar decisions, putting that mirror to his face was a way to explore Frank for me.
Fortunately, Hellsgaard villainizes himself a little bit, because he's an extremist, and like all extremists, he's much easier to characterize as a villain. But I think a lot of what that was an examination of the hypocrisy that's inherent in Frank's mission and who he is. The difference is Frank is normally pretty good about killing just the people who deserve it — and that's not much of a redeeming factor, but that's the reason why Frank can have his own comic (laughs) and be a hero on some level. It's like, yeah, he's a bloodthirsty psychopath nutjob, but mostly he's killing people we're better off without.
Nrama: I feel like everybody has big successes and big lows in their careers. What do you think the smartest thing you've ever done in your career, and what do you think the biggest mistake you've ever made has been — and what did you learn from it?
Remender: I tell you the smartest thing I've done is to be tenacious — I've been doing comic books for 12 years now, and over those 12 years, a lot of that time I've spent with day jobs, storyboarding and writing over at Electronic Arts, or animating commercials, or teaching, and then doing my comic books at night. While the rest of my friends and everyone else were out having fun, I was tied down to an art table teaching myself how to draw and how to ink and how to write and how to storyboard.
I know that it's difficult, and no one wants to hear somebody gripe about the climb, but when I started, I came up with guys like Jim Mahfood. In '97, '98, I did a signing with Jim Mahfood and Judd Winick — I think he had just come off the Real World and started doing books. Within a year's time, I had watched both of those guys skyrocket. And I was like, "oh, cool, I'll be next!" And it wasn't necessarily going to go that way for me. When you enter into something at the same time as people your own age, your "class" and you watch them go off to be hugely successful while you don't, it can have a disparaging effect on you. I watched that happen over and over, year after year and just had to believe in myself and keep working harder and harder to make sure I was constantly improving.
I think that the upshot was that, on some level, seeing other people become more successful made me believe that it was possible.
Second smartest thing was to focus my attention on building relationships with astute and challenging editors like Axel Alonso and Stephen Wacker. I'm not just saying that because they keep me in baby food and electricity. You want people who push you until you want to strangle them. You want to learn to be great at this and having people who know the craft and take an interest in helping teach is the only way you'll ever consistently improve.As for my biggest mistake, it's oddly also one of the high points of my career — inking Kieron Dwyer on The Avengers. I'd done finishes over some of Dwyer's roughs in our book Black Heart Billy, so when Avengers came to him, he brought me on. Naturally, I was like, "sure." I'll ink this book I grew up loving while I continue to pitch for writing work and draw/write my creator-owned books.
Such a mistake.
The first big project I did — and by "big" I mean "seen by 60,000 people" — was inking The Avengers. So I pretty much kicked my hopes of being a writer in mainstream comics right in the dick. Now, I love inking, and I think the industry should be ashamed by the lack of respect that it gives to the craft, and I'm in no way diminishing inking, but it wasn't really what I was setting out to do. So I had written and/or drawn three creator-owned graphic novels at that point — I had really worked myself to death to make these books happen, to build my name as a writer — and now all of the sudden I was an inker. Period. I went to pitch various editors projects, and I was not taken seriously. I was like, "well, fuck you then, world, I'll just keep writing my own books, no one can stop me… but I'm probably not going to be able to make an adult living."
So I dug up some work penciling Teenage Mutant Ninja Turtles to counteract the inker label. At the time I was still in-house at Electronic Arts as a storyboard artist, so I was busy. Those TMNT samples, and good friend and mentor, Hilary Barta, helped me land a pencilling gig for him on Man with the Screaming Brain, a Bruce Campbell thing at Dark Horse. And I was inking stuff — I was inking Mike Hawthorne on Beckett books like The Terminator, all this stuff to pay the bills while I wrote my own stories at night. I just got my mind made up that this is where I was at in the industry, and no matter what I did at that point, no matter what kind of stories I pitched, it wouldn't matter, because the perception was going to be impossible to shed.
I had to, at that point, make my mind up, after dedicating all these years to this, that I was either going to give up — I had an amazing job offer from Electronic Arts in-house, where I could make a good living, again, and I could be a storyboard artist — or I could not do that, I could turn down another big job, another good, safe in-house position, and I could give this ridiculously painful comic book thing one last crack. At that point I had developed a slew of creator-owned books that were ready to go — Fear Agent, Night Mary, Strange Girl, Last Days of American Crime, Sorrow and Sea of Red — so I made my mind up that I was going to give being a writer one last shot. And that last burst of what I had was what it took — and it took a lot.
It took a lot to undo the perception of the people who have the power to give you work — I had to do about 22 creator-owned graphic novels on my own to establish myself, and it's a testament to how much I want to make comic books.
Nrama: Jeez, wow. What do you think was the thing that made that shift for you? Do you feel like there was anything about those later works that you think was really enough to change those perceptions?
Remender: Well, I think the books — well, I can't speak to the quality, I think I've made good comic books. But it wasn't just going to be some good comic books. I've always tried to maintain my own sensibility, I never wanted to pander or change who I am and what I like — I didn't fight this battle so I could get to a position where I was making a living doing what other people wanted, to pander to people whose opinions I don't respect, or pandering to ideas I don't want to embrace, or types of stories I don't want to tell. I feel good in that the kinds of things that I've done, sure there are a few books I wish I could erase, but the road got me to the point where I can write what I want to write and work with the artists I want to work with and the editors I want to work with. I'm very lucky.
Nrama: I wanted to ask, as someone who's taken pretty much every angle you can in this industry, everybody talks about visual storytelling, thinking visual, writing for comics rather than a screenplay. What's your thoughts on thinking visually, and what kind of advice would you give for people who are trying to think visually?
Remender: It's tremendously important — as an artist, I'm a visual thinker, which translates into my scripts. That has definitely helped me build relationships with quality artists. Because I know not overcomplicate panels, to have people doing stuff when you need a few pages of talking, to show not tell, and spend a lot of time cooking up visually interesting scenarios, things that are exciting to draw. I try to anyway.
Story is a better place to start than a visual in most cases. I think that if you start from a solid logline, if you start from "while investigating something, a detective finds out that there's a big plot to do something, and the man at the top of it all is his brother." I'm not saying that that's a good idea, but starting with a logline, starting with something that's a clean, interesting mission statement for a story, it tends to get better results. That's why a good high concept and a good logline is worth a million dollars, you know. "Vampires move into a city in Alaska where it's nighttime for 30 days." The title is 30 Days of Night. SHAZAM! A million dollars. It's done. A million dollar idea! And at that point, you can build the visuals out of a good high concept.
I think Night Mary is one of the better high concepts Kieron Dwyer and I cooked up, about a lucid dreamer who works at a sleep disorder clinic, helping her father's troubled patients. We did this before Inception and everything else — obviously we wanted to explore the psychological potential of a character walking through somebody else's dreams, but the potential for visuals was an equally huge draw. Night Mary is something that has that visual component built into the high concept.
But yeah, I think it's important to do both — if you fall in love with a visual, or you get too married to something, I feel that at that point you're going to be trying to build story off of something you've fallen in love with visually, and that's dangerous. You can build a lot of bullshit to prop that up. I did it once and learned.
Nrama: Just looking back at everything you've done, what do you feel the big "a-ha" moments have been for you over your career? What are some of the big lessons you've picked up that you think people should know? Or maybe, to try another tack: What should people know about this industry that they don't?
Remender: It's going to take a lot more work than you think it's going to — and by "a lot more," I mean years and years and years more than you think. From my experience anyway, and mileage may vary. For me, I don't think I had any idea how much work it was going to take for me to make a living having a career in doing this. And I grew up making comics, beginning with Captain Dingleberry, which is out there, which is like… it's like having your student project floating out in the public. When you grow up in an industry, which I've done, and everybody has watched you grow up, you also have to deal with the fact that it takes people a long time to recognize that you're not a kid anymore, and that you've put in your hours and learned your craft, and "oh my God, this shit's good." Because your perception of value might be, "well, that was that guy from 10 years ago who was doing that indie book about poop."Basically, the biggest lesson is... I don't know what the biggest lesson is. To make sure that this is what you want to do. You could put in a lot less time and make a lot more money doing a lot of other things. And that's not to say that there's not rewards for this — now I'm able to make money off of this and support my family — but the road it took to get here was a sacrifice of a decade of my life, learning to do all of these things, and to kill myself just to be good at it. And the lesson, I guess, is to do it because you want to do it, because the world might not give you back what you're hoping for.
But that all said, it's not just my "boo-hoo, look at me, look how long it took for me to break into comics." I think that what's more important is that people realize is that tenacity and follow-through is the most important thing in life. There's people who start things and finish them, and there's people who don't. As cliched as it is, the difference is that I didn't give up when nobody believed in me. You can do it. It'll seem like nobody gives a shit about you for a long, long time, but you work hard enough and you follow-through and focus on your voice and your craft, and do what you want to do… you'll accomplish it.
And then the NBC star flies overhead and says "The More You Know..." And I'm riding the star, naked, waving a cowboy hat over my head like Slim Pickens in Doctor Strangelove.What's your favorite work from Rick Remender?


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We have released OpenKM 6.3.3 Community with lots of improvements and new features ported from the Professional version:
* Added Oracle support.
* Updated styles for better look & feel.
* Changed login screen.
* Added cache L2 support.
* Added profiling support.
* Added hibernate stats support.
* Added UI Desktop button for splitter resizing.
* Added extra columns based in metadata in filebrowser view.
* Added Merge PDF feature.
* Added Convert feature.
* Added Stapling extension.
* Added Dashboard Messaging extension.
* Added Activity Log extension.
* Added Forum extension.
* Added Wiki extension.
* Added Workflow document info.
* Added HTML Editor 3 extension.
* Added Forward E-mail feature.
* Added Send Document Attachment feature.
We are working on a brand new installer which will help to install all needed dependencies so you can get some features just working like document preview.
The new documentation site is also available at https://docs.openkm.com/kcenter/view/okm-6.3-com/
OpenKM 6.3.3 released
News and other important event for the OpenKM community.
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1 post • Page 1 of 1


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The limitpriv property is used to specify a privilege mask other than the predefined default set. When a zone is booted, a default set of privileges is included in the brand configuration. These privileges are considered safe because they prevent a privileged process in the zone from affecting processes in other non-global zones on the system or in the global zone. You can use the limitpriv property to do the following:
Add to the default set of privileges, understanding that such changes might allow processes in one zone to affect processes in other zones by being able to control a global resource.
Remove from the default set of privileges, understanding that such changes might prevent some processes from operating correctly if they require those privileges to run.
There are a few privileges that cannot be removed from the zone's default privilege set, and there are also a few privileges that cannot be added to the set at this time.
For more information, see Privileges Defined in lx Branded Zones, Privileges in a Non-Global Zone and privileges(5).


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Over the last fifteen years the Sabre range of Salon Express motor yachts has reshaped the boating market. Unlike typical express cruisers which tend only to go out on those all-too rare 'perfect' days, owners of the Salon Express style can enjoy boating each and every day of the season tucked into the comfort and quiet of their yachts climate controlled interior.
For 2017, Sabre presents the 45 Salon Express. An all new design offering two staterooms with two full heads. But her most unique proposition is the utility space located between the engine room and the guest stateroom. This space is reserved for the installation of optional accessories like a gyro stabilizer, washer/drier, additional freezers or wine chillers. By creating this working space, all storage areas within the vessel have been retained for their designed purpose.


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