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Many attorneys accept that they will have to lose a lot of money, a lot of their free time, and even hours of sleep in order to have a successful business. In fact, you might assume that it's all part of the job, apologizing for missing your kid's baseball games and family dinners, all because it's the only way to improve your legal practice.
Attorney Ben Glass disagrees. He is not willing to sacrifice his family or his health in order to make a great business, and you don't have to, either. The key is building a business that works for you, instead of you working for your business.
Here are five things many lawyers compromise in the name of success:
- Time. The hours in your day are easily stolen from you, stolen from family, and taken out of your sleep schedule.
- Health. The stress of being constantly under the gun can take years off of your life.
- Family. You may tell yourself that you're doing all of this hard work for them, but think: what are they going to remember? Will they think about all the things you missed?
- Sanity. How many hours a day do you spend responding to emails and returning cell phone calls? Do you ever ignore them, or do you respond immediately? Giving your clients easy access to you 24/7 is a good way to lose your mind—and fast.
- Success itself. It's counterintuitive, but it's true. The more you overstretch yourself to cover all the bases, the poorer your performance in any area. In order to protect your law firm's reputation, you have to step back from micromanaging and become more of a "big picture" guy.
Remember: Nobody can take these things from you—they have to be given willingly. It is your right to protect your health and sanity just as fiercely as you protect your money and property.
To learn how to build a legal web marketing campaign that can give you your life back, call 888-791-2150 today or download a free sample chapter of our Great Legal Marketing book.


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Remembrance Sunday
Children and staff assembled this morning under the big plane tree at the front of the school to commemorate and remember the thousands of servicemen and women who sacrificed their lives over the years in order to defend the rights and freedom of others. Mrs Ciftci reminded the children to keep faith in mankind and to never forget the futility of war. Head Girl Skye and Head Boy Rubin read two poems to help us to reflect, and then a representative from each class presented their cross to Mr Young to fix to the tree. Lawrencia and Rubin played 'Abide with me' and we all felt very emotional as we listened. Mrs Ciftci led a two minute silence and then 'The Last Post' was played. It was a beautiful but most poignant service held on the most perfect of autumn mornings.
Published on: 11th November 2016

subset: commoncrawl


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Quiet Please was an old-time radio horror/fantasy drama which ran from June 8, 1947 to June 20, 1949. It is considered by many (including myself) to be one of the most uniquely creative radio dramas in history. The show's creator, Wyllis Cooper, is also known for creating one of radio's most famous macabre masterpiece shows Lights Out. Ernest Chappell was the show's announcer and lead actor. Chappell played a different role each week, usually in a deadpanning manner which was brilliant for the shows constant sense of foreboding. That it was the same actor playing a different role each week is the kind of acting is akin to vaudevillian drama. American Horror Story does something similar.
I'm an old-time radio junkie, but you don't have to be one to appreciate this show and the particular episode I've selected for you below. "The Thing on the Fourble Board" is an episode in which an oil rig worker discovers an invisible creature of unknown origins living beneath the depths of the earth. What happens to this man is horrific, and the ending is absolutely brilliant. If you're alone, turn the lights down low and listen. It will help get you into a Halloween mood.
Quiet please… Quiet please.


text: Its all a bit fuzzy, and a long time ago but my first recollection of Chris was A Necropolis BZ gig at Padgate Studio. Cool gig too, Big Daz with his Batman Costume, and Andy's blonde hair bobbing up and down all over the place (probably a little too "refreshed" to realise it wasn't a Tansads gig). The Cypress Hill cover, with Chris and Bob as B -real and Senn Dog was hilarious! A while after the gig, we all went to the Barley Mow and I bought Chris (who was about 3 stone wet through at the time) a Guinness, which he proceeded to neck in one go!


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Designed by Heinz Meister
I think the reason why I first tried this game was purely because of the title. I love puns, and the title fits the theme and play of the game so well. (If you are having trouble coming up with the pun, think poker). Three of a Crime is a simple deduction game where players take turns being the detective and out of 7 suspects they have to figure out which trio was truly guilty for that round. The player representing the thief draws a card from the shuffled deck. This card represents the 3 people who are guilty. The detective draws a card from the top of the deck and places it face up on the table. Each card has some sort of combination of the 7 suspects. The thief then assigns a little number token to that card stating if the card has 0,1, or 2 thieves correct. As more cards are flipped over, the easier it will be to deduct who the 3 guilty criminals are for the round. If you are playing with more than 2 players, there are multiple detectives, and the one that correctly guesses first wins the card. In a 2 player version, you can both play each role simultaneously, and whoever gets 3 cards first wins. The game is a fantastic game for young kids to introduce them to deductive reasoning, which in my opinion is a very important trait. Since The Wife and I are deductive reasoning masters, this game isn't really much of a challenge for either one of us, and we usually tie (not today thankfully, mark another win for Lou on the scoreboard). The Wife and I can remember characters that are not even on the cards and would probably frustrate others if we played with them because we pretty much could play this game in our sleep (a little too simple for must adults I would say). The game is very well done though, love the the theme, again the quality of the cards and number tokens are great. Get this game for your kids and I think they will enjoy it while mastering deductive reasoning and that is How Lou Sees It.
The Screwtape Letters by C.S. Lewis
My rating: 4 of 5 stars
Amazing book! Favorite letter was #15 from which I post this quote: "For the Present is the point at which time touches eternity." View all my 'goodreads' reviews


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Existing Guardianships
Existing Guardianships Matters
Once a guardian is appointed the Court continues to have jurisdiction over the guardian and the subject individual. This judicial oversight includes an ongoing obligation requiring the guardian to periodically provide the Court with reports of their activities relating to the personal needs of the subject individual and as to the guardian's management of the property of the individual. This is typically true for Article 81 Guardians and property management guardians appointed pursuant to the SCPA.
Following the appointment of a guardian by the Court it may be necessary for the guardian to fulfill certain requirements as directed by the judge. These may include: 1) the posting of a bond to protect the assets of the subject individual; 2) the filing of an oath & designation; and 3) obtaining a certified commission or decree confirming the appointment
During the initial guardianship period, a guardian may be required to attend training and file an initial report with the Court and an annual report each year thereafter. A guardian may also be required to file a final account upon the death of the subject individual, when the guardianship is no longer required or if the guardian is removed or resigns.
Failure to qualify as a guardian and submit appropriate reports to the Court can result in the removal of the guardian and, in some instances, sanctions can be imposed. Property management guardians must account for all monies and property received as well as for each expense paid on behalf of the individual.
The qualifying and ongoing reporting requirements can seem difficult, and even overwhelming. We can help. The Law Offices of David Smoren, PLLC, assists hundreds of guardians each year qualify and comply with their mandated reporting requirements. In most cases there is no charge to the guardian for our services.
Call us today at 718 225-6700 for a free phone consultation or to arrange for a comprehensive home or office consultation or simply post a comment or question on the contact form.


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Defense Refresh Setting Mist 1 oz
Click below and we will let you know when this item is back in stock.
Practice safe sun at all times with Supergoop Defense Refresh Setting Mist. This ultra fine 3-in-1 mist sets makeup into place, helps control oil and shine, and refreshes your sun protection throughout the day for added defense against UV damage. Antioxidant rich rosemary and mint improve the complexion while delivering a soothing and invigorating pick-me-up.
The Details
- Optical diffusing silica silylate controls oil and scatters light to reduce shine and provide a matte finish
- All Supergoop products have been clinically tested and determined to deliver broad spectrum UVA and UVB protection
- Free of parabens, sulfates, phthalates, and synthetic fragrances
- 1 fl oz
- This item is not available to ship to Canada, China
- Revolve Style No. SOOR-WU25
- Manufacturer Style No. 5053
- Actual packaging and materials may vary. Please read labels, warnings, and directions before use.
How to Use
- Shake to ensure the UV protective emulsion is evenly distributed, then close your eyes and spray 4-5 mists in a circle around the entire face
- Reapply consistently throughout the day
Active Ingredients: Avobenzone 3.0%, Homosalate 4.0%, Octinoxate 6.0%, Octisalate 3.0%
Inactive Ingredients: Alcohol Denat., Butyloctyl Salicylate, Isododecane, Dicaprylyl Carbonate, Silica Silylate, Water, PVP, Caprylic/Capric Triglyceride, Mentha Piperita (Peppermint) Stem/Leaf Oil, Mentha Viridis (Spearmint) Leaf Oil, Rosmarinus Officinalis (Rosemary) Leaf Oil
If an item you would like to purchase is out of stock, you can place a Special Order Inquiry. REVOLVE will then check the availability and obtain an approximate arrival date for the item, if available. Typically, it takes up to 3-4 weeks to verify this information.
Placing a Special Order Inquiry is absolutely free and there is no obligation to follow through with a purchase.
- You will be notified by email once we receive the item.
- You may cancel at any time without penalty
- Your card will ONLY be charged when your order is shipped.
- Availability is not guaranteed.


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The New York-based company, the Five O'Clock Club, offers a few tips for navigating this event.
» Don't drink excessively. You'll most likely regret it.
» Be aware that others, especially your bosses, are watching.
» Don't skip it. Being a team player means attending, in good cheer.
» Be friendly to all. No curt introductions, or exasperation. Instead of just telling people your name or what you do, explain what your team does, suggests Richard Bayer, the company's chief operating officer.
"People think they're at the party to have fun and let it all hang out," Bayer said. "But a company party is a business event and can help advance or can decimate your career. Though a holiday party may not feel like a business meeting, treat it as one."
A new study by brokerage A.G. Edwards & Sons Inc. offers some insight into areas where people are having better luck at building nest eggs. Not surprisingly, most of the areas had concentrated pockets of high-wage workers.
Topping the list was San Jose, Calif., the heart of Silicon Valley and high-tech entrepreneurial fortunes. No. 2 was Long Island's Nassau-Suffolk counties, just east of New York City.
The "Nest Egg Index" was compiled from savings propensity, 401(k) retirement plan penetration, non-401(k) retirement plans, investing propensity, net worth, owner-occupied housing value, first mortgage balance, personal debt level, home ownership, household income, cost of living and local employment rate. It covers the largest 200 U.S. cities and 318 metro areas.
If not, you're hardly alone. Nearly half the workers (48 percent) surveyed in a poll on corporate gifts said they didn't like what they'd gotten. The most common complaint cited was that the gifts received weren't useful, by 32 percent. Nearly a fourth, 24 percent, said the gift was "cheaply made."
The survey for San Francisco-based retailer Gap Inc. involved 1,327 adult workers, with 402 who said they had gotten a corporate gift.
What's the worst? Paper weights and calendars ranked high on the most horrid list, with coffee mugs, stuffed animals, pens, hams and fruitcakes also mentioned.
Who is this magnanimous executive? Ethan Berman, founder and chief executive of RiskMetrics, a private company that was formed at J.P. Morgan Chase and spun out to private investors in 1998. RiskMetrics, based in Manhattan, helps institutions and corporations assess risk in their investments; it is owned by its employees and three private equity firms. It will generate revenue of $100 million this year.


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GSI Inc. Knives carry a limited warranty for the lifetime of the original owner, except when stated otherwise. We guarantee our knives against manufacturing defects in material, construction and to performance as advertised when properly used and maintained. The limited Warranty is non- transferable and does not extend to normal signs of wear, rust, damage or breakage due to improper use, improper maintenance, accidents, loss or theft. Any product we determine defective will be repaired or repaired or replaced solely at our discretion. To receive warranty repair or replacement the owner must send the product to be evaluated by the GSI Warranty Service Department. Please ship to the address below along with a $10 shipping and handling fee.
Attn: GSI Inc. Knife Warranty Service Dept.
595 Park Ave, Suite 300
San Jose, CA 95110
In addition to the provision of this warranty, the owner may also have the other rights that can vary state to state. No other warranties are implied or expressed other than what is specifically stated herein.


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Worcestershire have received a massive boost with the news that their C&G Trophy hero Andrew Hall will be available to face Gloucestershire in the final at Lord's on August 30.
The South African Cricket Board allowed Hall to play in the semi-final against Lancashire in which he bowled the last over and came up with a double wicket maiden to earn Worcestershire a dramatic six-run win.
The board have now also given the thumbs-up for Hall to take part in the final which is being held between the fourth and fifth Tests of the series with England.
Worcestershire director of cricket Tom Moody said: "I have spoken to the South African management and they have indicated that all being well injury-wise they would look upon it sympathetically for Andrew to be released for the final.
"It will be great for us to have him back on board - and hopefully he plays as well as he did today!
"The great thing about Hally was that it was not only me and the club wanting him to play. He made it clear he really wanted
to play in this match. It just shows the attitude of the guy - and they are without question the type of guys you want in your side."
Hall thrashed 26 off 20 balls and finished with figures of four for 36 as the Pears reached their first final in nine years.
Lancashire had looked to be set for victory when they began the last over - needing just seven for victory at 248 for six.
But Hall had other ideas and the first delivery of the over bowled Warren Hegg.
A dot ball followed and then Peter Martin also had his stumps shattered without troubling the scorers.
New batsman John Wood failed to score off the fourth ball and off the next he sacrificed himself to allow centurion Mal Loye the strike.
But Loye failed to add to his unbeaten 116 and it was the cue for wild celebrations with Hall mobbed in the middle of the pitch by spectators.
Hall said: "I am ecstatic at the moment with the way we played and getting through to the final at Lord's.
"It was a great team effort. We batted well and all the bowlers stuck to their guns. You can't leave anyone out because all the guys did tremendously well.
"Before the last over I said to Kabir Ali that if you leave me five to seven runs to play with then we are going to win.
"It might not always come off but I feel
comfortable I can hit that right area of the pitch six balls out of six at the moment.
"I have got the green light from the South African board and their management to play in the final and I am really looking forward to it.
"I've been lucky enough now to play there two times already this summer for my country and to be involved in a major county final as well will also be special."
Worcestershire's total of 254 for five from 50 overs had been built around a commanding innings of 97 from Graeme Hick, in his first substantial contribution since returning from nearly two months out of action with a broken bone in his hand.
Hick came to the wicket in the second over with Worcestershire 4-1 after England one-day opener Vikram Solanki (2) had top-edged a pull at James Anderson and skied a catch to wicket-keeper Warren Hegg.
Hick shared in a second wicket stand of 155 in 32 overs with Anurag Singh who justified his selection by Moody ahead of Stephen Peters.
Hick was not quite back to his best but still reeled off a string of impressive boundaries although he was fortunate to edge Chapple for the boundary which brought up his half-century off 57 balls.
The 100 stand spanned 21 overs and Singh went to his half-century from 80 deliveries with six boundaries.
Hick took a liking to Anderson when he
returned to the attack and he collected three successive boundaries at the expense of the England paceman.
The partnership was finally broken when Singh on 67 slashed Flintoff straight to Schofield at backward point
A superb back foot cover drive off Hooper took Hick into the 90s but he fell just three runs short of his century.
Chapple induced a leading edge from Hick who only succeeded in providing Hooper with a comfortable catch at extra cover. Hick faced 112 balls in total and struck 16 fours.
Lancashire were left to reflect on snatching defeat from the jaws of victory as a magnificent century from Mal Loye proved to have been in vain.
Skipper Warren Hegg had no regrets about putting Worcestershire in despite the outcome and said: "With the likes of Carl Hooper, Stuart Law and Mal Loye, who is in great form at the moment, we were happy to chase.
"Half-way through our innings I wondered if I had made the right choice but I will stand by it and I'd do it again.
"We've had problems of late with semi-finals. We've been on the wrong end of the last four or five but we put up a good fight today and I'm very proud of the boys."


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Bug Tracking and Prediction
Paper Topic :
Data Mining
Author Name :
Komal Anil Patel
Abstract :
A software bug is an error, fault, failure or flaw in a computer program or system that causes it to produce an incorrect result, or to behave in unintended ways. Bug Severity is a classification of software bug to indicate the degree of negative impact on the quality of software. Some bugs are critical and need to be fixed right away, whereas others are minor bugs and their fixes could be postponed. In this paper, a software bug classification algorithm, CLUBAS (Classification of Software Bugs Using Bug Attribute Similarity) is used to categorize the bugs and based on its phase and cost the severity will be assigned. We will verify the given severity with an already established prediction model named as Information Retrieval Based Nearest Neighbour Classification. One special type of severe bugs are blocking bugs that prevent other bugs from being fixed. These bugs may increase maintenance costs, reduce overall quality and delay the release of the software systems. In this paper based on factors like description of bugs, priority, severity, no. of people involved etc. we build a decision trees to predict whether a bug will be a blocking bug or not.


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You know how much we adore arts and crafts parties! (Remember our recent one here) so I am so excited to share this Rainbow + Chevron Arts and Crafts Party by Ellen Bessette Events! Ellen reached out to us about designing printables and we love how her party turned out!
The birthday girl's friends got to make a splatter at her 7th birthday party decked out in chevron and full of arts and crafts stations. The contrast of the bright rainbow colors on a white backdrop makes me want to jump right in and start painting!
Some of my favorite details included the Giant canvases for masterpiece painting, the rainbow crepe paper streamer chair back decorations, rainbow place settings with coordinating flower centerpieces and the adorable cookie painter's palette display!
Read on for all of the gorgeous photos and party details!
Guests were invited to the party with this printable invitation from our shop….
Here are the party details as told by Ellen Bessette…
The birthday girl picked her own theme of arts and crafts since she loves to paint and loves to do crafts with her friends. I came across Anders Ruff's rainbow chevron printables and loved the package. I love the modern, colorful designs and knew I had to use it for her party.
Upon arrival, the girls found their personalized aprons hanging near the art table which also doubled as their party favor. We had an art table that consisted of a place setting for each girl with their own canvas and painting supplies. I created place cards using the printables and made them into mini-canvases on an easel. The girls loved finding their own seats. I made place mats using the coordinating papers in the package and continued with the rainbow theme down the table. Along with that, I sewed rainbow streamers onto ribbon to tie to the back of the chairs. I decorated the flower blume boxes with ribbon and matching printables and hung paper lanterns directly over the table.
After the girls finished their masterpieces, we broke up into groups and rotated to the different craft tables. The birthday girl picked out all the crafts herself and consisted of a drawing station, assembling candy necklaces, decorating canvas bags and designing fun tiaras. And last but not least, the girls were able to make a giant masterpiece. I built two 6×9 foot frames and wrapped them with canvas drop cloths. I placed paint buckets, brushes and white t-shirts nearby and told them to go to town. They went crazy and had lots of fun giggling and painting like maniacs.
The dessert table is always one of my favorites. I wanted to keep it girly and made a ruffled table skirt and backdrop. I loved the tassel garland since it reminded me of paint brushes and the colors popped to tie in the rainbow theme. I wanted to implement the art theme by using an art palette to hold the cookies that resembled paint. The birthday girl wanted rainbow cake pops and a rainbow cake. My baker (Everything Cake) did a great job matching the cake to the printables. I was stunned when I first saw the cake! I used the chevron paper in the package to make a last minute bunting banner on top of the cake and the 'cake stand' was a paint bucket from home depot along with the paint buckets holding the cake pops. The rice crispy paint brushes with chevron wooden sticks were a hit along with the pink lemonade with rainbow sprinkled rims. The girls' sweet tooth's were all satisfied!
GREAT job, Ellen! I am so super impressed by everything you did and I know your daughter must have had the best day ever! Thanks for sharing….
Find the printable invitation and coordinating party printables in our shop here.
Credits & Resources:
– Event Planning: Ellen Bessette Events
– Chevron Art Party Printables: Anders Ruff
– Photography: Rebecca Dollar Photography
– Cake: Everything Cake
– Cake Pops: Cake pops by Maggie
– Chevron bags, Straws, Polka Dot Cups: Polka Dot Market
– Cookies: Cookie Cousins
– Flower Vases: Blumebox
– Wall Canvas Inspiration: Lil blue boo
– Tassel Garland: The Flair Exchange
– Paper Lanterns: Luna Bazaar


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Use actual in a sentence
" I did not understand what the actual answer was and decided to go ask my friend, a mathematician, what it was. "
" When deciding on buying a house, you will want to determine in advance what your actual maximum price is going to be. "
" Our anticipated return on the investment will hopefully equal $200,000, but depending on the success of our stocks, the actual amount of the return may greatly vary in either direction. "


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UCC Opportunities in the Hospitality Space
Sep 15, 2016
I've just completed a new Market Insight entitled "UCC Opportunities in the Hospitality Space" taking a deep dive into the implementation of communications and collaboration technologies in this specific vertical, which is commonly perceived as a laggard in terms of UCC adoption.
Here follow key highlights of our findings:
- As organizations around the world embrace digital transformation, the hospitality industry is following suit, adopting advanced communications and collaboration technologies to gain operational efficiencies and improve the customer experience.
- Businesses in the hospitality vertical market have been slower to adopt Internet protocol (IP)-based unified communications and collaboration (UCC) solutions than other verticals, mainly due to infrastructure challenges. However, the market offers considerable growth opportunities as aging infrastructures are upgraded to accommodate new market requirements and dynamics.
- The need to optimize hotel daily workflows, the desire to connect a highly mobile industry, and the need to provide a memorable guest experience have been identified as the main drivers for the deployment of advanced communications and collaboration tools.
- There are around 200,000 hotels offering approximately 17.5 million guest rooms around the world with Europe being the largest market, followed by North America, Asia Pacific (APAC), Latin America (LATAM), and Middle East and Africa (MEA).
- Out of the 200,000 hotels approximately 55.0 percent belong to the budget/economy category (1 to 2 stars), 35.0 percent to the mid-scale category (3 to 4 stars) and 10.0 percent to the upper-scale/luxury category (5 stars and above).
- Frost & Sullivan estimates that 25.0 percent of the hotels in the world have already moved to IP-enabled systems, as either upgrades from legacy systems or greenfield investments in new builds.
- The move towards IP communications within the hotel environment has been driven by both the need to upgrade obsolete TDM PBX infrastructure and the desire to enable advanced communications and collaboration services for internal users and guests.
- The high-end hotel market segment has adopted new IP communications and UCC services more extensively, due to the greater need to improve the guest experience. Mid-scale hotels as well as budget/economy guesthouses are only now considering the move to newer communications infrastructure, as more cost-effective UCC options and hosted/ cloud-based communications solutions become available.
- Major trends affecting the market include: the evolution of cloud communications deployments; the proliferation of hospitality-geared mobile solutions; the embedding of UCC tools into hotel workflows; the growth of all-in-one IP media phones within upper-scale/luxury hotels; the usage of biometrics for crime prevention and guest identification; the growth of audio-visual technologies within meeting spaces; the usage of near-field communications (NFC) for guest value-added services; and the need for a social customer service strategy.
- All major enterprise communications vendors target the hospitality vertical with various telephony and UCC solutions. Six vendors—Alcatel-Lucent Enterprise, Avaya, BroadSoft, Huawei, Mitel, and NEC—offer particularly compelling hospitality solutions.
- Frost & Sullivan research shows that Alcatel-Lucent Enterprise is the leading vendor in Europe, followed by Mitel. Mitel is the leading vendor in North America, followed by Avaya. NEC is the leading vendor in Asia, followed by Avaya and Huawei. Avaya is the leading vendor in Latin America, followed by NEC. Alcatel-Lucent Enterprise is the leading vendor in Middle East, followed by Avaya and NEC. NEC is the leading vendor in Australia.
- While still new in the market when compared with the other enterprise communications vendors, BroadSoft has been growing its hospitality customer base around the world mainly due to the increasing appeal of hosted/ cloud-based communications among hotel facilities; its acquisition of SDD, one of the leading hospitality software and application providers; the launch of UC-One Hospitality, its hosted UCC offering specifically geared towards the hospitality vertical; and its growing channel partner ecosystem.
A growing number of hotels around the world are implementing advanced communications and collaboration technologies. New communications and collaboration solutions are not only providing value, convenience and personalization for guests, but are also enabling efficient interactions among staff members and creating potential revenue streams for hotel owners.
Mohamed Alaa Saayed
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Holiday Inn Express & Suites Dieppe Airport
City Centre, 3.56 mi
425 Adelard Savoie Blvd
Dieppe, NB E1A 7E6
Holiday Inn Express & Suites Moncton
City Centre, 3.98 mi
777 Mapleton Road
Moncton, NB E1G 2K5
City Centre, 0.25 mi
1005 Main Street
Moncton, NB E1C 1G9
Visit our groups and meetings page to find the perfect hotel for your upcoming meeting, event or group of 10 or more rooms. Ready to book 10 or more rooms now? Call 1-800-MEETING (Outside the US? Click here).


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Written for Trifecta.
He quaffed every word they spoke like soda pop. Their wrath as toxic as pesticides, their approval sweeter than the gooey center of a roasted marshmallow.
Mother, where are you? The sky is falling and you must prop it up with your elbows.
A tree quivered as flames licked his eyeballs and charred flesh nestled into smoke. The wall, where he'd kept score of the tears in his heart, blackened.
Without his sorrows, now erased by the combustion of hell, the shackles of fear melted away, and he knew that the screams came not from him but through him.
And so he closed his lips and all was still save the echo of crackling decay. The pain, not his to bear, belonged to the underworld, out of which he rose like the phoenix from the ashes.
Time collapsed, past into future and loss into gain. A miracle. The sky didn't fall, it opened, and a mystical siphon swallowed the inferno like a child drinking through a straw.
A spiral staircase unfolded, and as he climbed, he shed his smoldering skin. He flew in a pearl chariot between the galaxies. He danced like a nymph among the clouds. He journeyed to the center of the sun and feasted upon grace.
Until the moon whispered to him in the language of light, and blew him back to this planet. He returned as new as a raindrop, as free as the wind, as corporeal as the earth. His soul wiped clean, his old life nothing but a visitor on tempestuous nights.


text:
Lunch is refueling time on the trail. For kids, it is often time to enjoy good tasting food while taking a break from the trail.
Here are some ideas for lunch with kids:
- Peanut Butter and Honey (or jelly) tortilla rolls
- Salami / Extra Sharp Cheddar sandwiches (bread or english muffins)
- Tuna and Seed Crackers
- Peanut Butter & Banana Sandwich
- Wild Garden Hummus To Go / Peppers tortilla roll
- Bagel Sandwiches with Raw Honey and Justines
- https://www.backpacker.com/skills/recipe-sierra-szechwan-chicken-salad
- https://www.backpacker.com/skills/no-cook-trail-tapas
Great Backpacking Food Recipe websites:


text:
Not all types of rubber are alike and the same applies to different types of plastic - the right material should be used for each application.
The following list of standard materials that are workable by the SPÄH group should give you an initial overview of our non-metallic material diversity. In addition, we also process your materials in commission after examination.
We are happy to assist you with the optimal material selection. Apart from the technical customer service on site, our free sample folder or extensive materials folder with all important parameters will provide you with the required orientation. In addition, comprehensive data sheets for each material are available on request. Ask us if you need something!
one side graphitated, bothe sides graphitated, antisticking
Please feel free to contact us using our form or contact our sales representatives directly:
> go to contact persons


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Comline e-catalogue
|Steering & Suspension PDF Catalogue
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|Filters PDF Catalogue
|Cooling PDF Catalogue
|Hub Assemblies & CV Joints PDF Catalogue
Catalogues updated DAILY!
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Earlier in the spring I was blessed with two nests of cardinals in my yard. Cardinals are very territorial birds but for some reason these two families shared the space congenially. The two nests of fledglings gave way to a small flock darting about the Locust tree and flowering shrubs.
One late-summer morning a flash of red streaked close to the upstairs window. My prayers sputtered to a stop as my morning gaze was suddenly altered from a distant sky to the male cardinal that had rocketed across my view. He landed on the apple tree branch nearest the house.
I watched the cardinal as his tail ticked nervously. He hopped within a cluster of branches, turning himself to get a better look at the reflection coming from the glass. What he saw did not register as his own image. Agitated he dove at the window, pecking and flapping his wings, angry at the uninvited intruder disrupting his peace. "Cht, cht, cht" he spat as he banged against the dark reflection of himself. I was troubled by the sound as he struck the window with force…it had to hurt.
Finally he stopped and crouched on the sill. He appeared dazed or maybe tired of assaulting the bird-in-the-glass that wouldn't surrender. Seconds later he darted into flight.
I settled back to restart my prayers when I saw him land on the dwarf pear tree further back in the yard. Once more he leapt among the branches with short harsh chirps matched to his tail's nervous flicking. He slowed his frenetic movements and finally came to rest on an upper branch.
Exposed against the crisp blue sky he began to sing the signature song of a cardinal. Tentatively he released a partial high-low call—chipika, chipika, chipika. Fluffing his wings he shook his head and let out a few more notes, then a trill. From a distant tree I heard another male cardinal answer back. He, hearing the response from the neighboring yard, began singing more boldly. The call-and-response song between the two male birds restored the morning's peace previously lost to the war-at-the-window.
It didn't take long until a female cardinal appeared, and landing on a lower limb of the pear tree, hopped closer to the singer. The other male cardinal had also come into the yard and bobbed about in the airy Honeylocust. The three of them appeared delighted with each other's company as they flitted from limbs to fence to clothes line.
The cardinal who was alone only a moment ago was now less interested in attacking the image of himself—an imaginary foe. In the company of others his true self was evident.
I recognize a grain of truth in this early morning drama. That who I think I am is not what I imagine mirrored back to me in my solitude. My true self—my song—is brought to life with others.
Image by Anthroputer at pixabay.com.


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Wine List
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North-bound Highway 101
: Drive North-bound 101 and exit on Woodside Rd. Make a right turn on to Broadway St. Drive into downtown and we will be on your right hand side. Our restaurant is in between Main St. and Jefferson. Public parking is conveniently located behind our restaurant.
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: Drive South-bound 101 and exit Whipple Ave. on to Veterans Blvd. Turn right onto Jefferson Ave. and a left on Broadway St. To park behind our restaurant in Marshall public parking garage, make a left in Redwood Crossing.
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Coronavirus Update: We are open for business as usual. We are hiring now: Check "Careers" link.
GMP, GAMP® & Validation
Training > GMP Training > GMP
Fast Track Freshers Training Programme 1
The GMP Fast Track Freshers Training Programme can be delivered in a hotel, one of our offices, your premises or online via a virtual classroom. The course content can be tailored to meet your requirements. Request a quote for an onsite or online virtual course for an agreed number of delegates from your site.
The GMP Fast Track Freshers Training Programme is a useful training course for individuals either new to a healthcare manufacturing company or moving departments, to learn and understand more about Good Manufacturing Practice (GMP) and its application.
The first day of the programme is the Introducing GMP Training (1 Day) Course, building an understanding of GMP and its application.
The second day progresses to investigate electronic records and signature requirements for America and the EU. Important consideration is given in the use of best practice SOPs, and corresponding training and evaluation. An overview of the validation process and how it is implemented is described and explained.
The course enables learners to investigate the regulatory drive for implementing risk management (review of Q9 Guidance), including the FMEA risk assessment method and the importance of change control including related issues. Learners also apply their learning by reviewing real case studies where GMP non-compliance could occur, determining potential solutions to such situations.
ISPE owns the GAMP® trademark http://www.ispe.org/
GROUP BOOKING DISCOUNT - Book more than
one place on an open course and receive the following discounts:
Group booking discounts cannot be used in conjunction with any other offer.
Cost includes tuition, lunch and training materials. Download a printable version
of the
Booking Form and Terms and Conditions.
This course can be delivered to a group of up to 12 delegates at your premises or as an online virtual classroom course for an agreed number of delegates from your site. Request a quote.
"Very organised and well presented. The tutor gave me individual attention...Good venue and excellent food."
Bob Martin
"Relaxed, informative trainer, ready to answer questions."
Synergy Health Sterilisation UK Ltd
"Good information and working in different teams was good."
Colorcon Ltd
"I would recommend ITS, as the venue was great, and the course was very interactive"
Bristol-Myers Squibb Pharmaceuticals Limited
"Yes, I believe it would be of great benefit to them"
Almac Group Ltd
ITS' Regulatory Compliance Services' Manager, Elizabeth Vaughan, has developed extensive knowledge of this specialist area from over 30 years' industry experience working with Sanofi, Bristol Myers Squibb, Diomed Developments and Vifor Pharma UK. Elizabeth has worked in quality roles within the laboratory and pharmaceutical industry, and gained extensive experience in global quality systems and regulatory affairs, as well as ISO 13485, ISO 9001 and cGMP compliance. Throughout her career, she has been responsible for sharing her knowledge through the design and delivery of a range of training courses for production personnel including Good Manufacturing Practice, Change Control, Deviation Management, Electronic Record Compliance, Validation and Management of API Suppliers/Manufacturers. Elizabeth also has extensive experience in providing quality and GMP training to improve the performance of site quality managers.
Contact our team today
For further information, please contact
our team on +44 (0)1642 222232 or
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|Complete series cast summary:
|Rob Stewart
|Nick Slaughter 66 episodes, 1991-1993
|Carolyn Dunn
|Sylvie Girard 66 episodes, 1991-1993
|Ian Tracey
|Spider Garvin 44 episodes, 1992-1993
|Ari Sorko-Ram
|Sgt. Gregory 41 episodes, 1992-1993
|Pedro Armendáriz Jr.
|Lt. Carillo 29 episodes, 1991-1992
|Alon Nashman
|Rollie / ... 29 episodes, 1992-1993
Nick Slaughter, an ex-RCMP and DEA agent, who had dropped out of society after being fired from his job, relocates to the Florida town of Key Mariah to start a detective service. In the process he meets Sylvie Gerard, a local travel agent. Together they form a strong partnership and quite the detective team. However, the local police squad never made it easy so they often require help from their friends: Ian, Spider (owners of the Tropical Heat Bar at different times) and Rollie (local police mortician). The Town of Key Mariah will never be the same again thanks to Nick Slaughter and company. Written by Janet Worth <email@example.com>
Looking for some great streaming picks? Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist.


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Hundreds of Canadian woman joined a topless protest march after three sisters were allegedly stopped by police for cycling without shirts.
Saturday's "Bare with us" march took place in Waterloo, Ontario. The women say that police told them to cover up whilst cycling in the neighbouring town of Kitchener last month.
They have filed a formal complaint with the police.
It is legal for women to be topless in Ontario after a court ruling in 1996.
Protestors held signs that included the slogans "They are boobs not bombs, chill out" and "Nudity isn't sexual."
The three sisters, Tameera, Nadia and Alysha Mohamed, say that they took their shirts off because it was a hot summer day.
However, they allege that a police officer approached them and told them to cover up. But when they challenged this, the officer said he was stopping them for bike safety reasons.
One of the sisters is an award nominated Canadian singer under her stage name Alysha Brilla.
"I had no idea how polarizing the issue would be. I thought people wouldn't be so disturbed by the female breast," she told CBC news.
"We just want to advocate and let people know that they do have this right," the singer added.
Ontario passed legislation confirming the right of women to go topless in 1996, after the Ontario Court of Appeal overturned a woman's conviction for removing her shirt.
Gwen Jacobs had been fined in 1991, but on appeal the court found that there was "nothing degrading or dehumanising" about her going topless in public.


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Hello there!
Welcome to the ID blog, thanks for stopping by! I'm Luke and I'll be your guide. Now, those of you that know me will know that I love a good chat, so that's why you're reading this now.
The idea of the blog is just to have a casual chat about what's going on. It could be about the local church, an encouraging thought, or anything else that comes up!
So stay tuned! There's lots to talk about, and I'd love to hear your feedback or suggestions of future topics.
Until next time,


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On Cramer's Back to School Tour at Penn State University, he had a chance to speak with some of the best and brightest at the Smeal College of Business – members of the Nittany Lion Fund, a group of student investors that manage about $4.5 million and have outperformed the S&P 500 every year since the fund's inception in 2005. Unlike a lot of student investment clubs, the Nittany Lions don't get their money from the school's endowment. Instead, the students seek out and pitch individual investors. But do they have what it takes to pitch Cramer?
Morgan from New Jersey wanted to know what Cramer thought about Nike . It's got great international exposure, it's good in a weak retail market and there are still near-term market catalysts that could drive the stock higher, she said. And Cramer agreed. He might take a little off the table, but in the end Nike is a winner even if the market isn't.
Blaine from Philadelphia was next up, pitching the utility company Exelon . With a push toward clean energy and exposure to nuclear power, a great dividend and some new efficiency initiatives, Blaine thinks EXC could be a stable growth play even in a recession. Cramer offered up Duke or Con Edison , but was bullish on Exelon as well.
Rebecca from New York asked Cramer about Allergan . The maker of Botox and the Lap-Band has a diversified product portfolio and is exposed to growing markets, she said. And she believes people are finally putting money back into consumer discretionary, which should benefit AGN. But Cramer wasn't so sure. He had recommended the company in the past but it hasn't worked, and he thinks it could be due to the terrible performance of the healthcare sector. He said he's on the fence – Allergan has a great product line but he wouldn't pull the trigger until speaking to the CEO and seeing the next quarter's results.
Finally, Lee from Philadephia pitched defense contractor Raytheon . Whether a Republican or Democrat takes the White House, defense spending is likely to increase, he said. And Raytheon has a trump card – around 20% off its 2007 revenues came from abroad. Add that to a strong balance sheet and a nice buyback, and Lee doesn't think RTN can be beat. Neither does Cramer. While also a fan of General Dynamics , he sanctioned Raytheon a strong buy for just the reasons Lee mentioned.
Jim's charitable trust owns Raytheon.
Questions for Cramer?
Questions, comments, suggestions for the Mad Money website? email@example.com


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Cool Pope Francis probably regrets calling upon Diego Maradona to suit up for a charity match of the stars in Rome yesterday, after the soccer legend started a fight with compatriot Juan Sebastián Verón in the middle of a match meant to spread a message of peace and togetherness:
The incident appears to have stemmed from what Maradona perceived as overly aggressive play from Verón. You can see the tackle that immediately precipitated the spat here:
On one hand, Maradona probably overreacted to what looked like a minor and unintentional little trip—and it's not clear how much Verón even touched him. On the other, knocking the bloated-bellied Maradona down is something close to flipping a turtle on its back. You can see how much of a struggle it is for him just to waddle around out there. Having to hoist himself off the ground is almost life-threatening.
Despite Maradona's laudable fearlessness in the face of the much younger and bigger—well, taller—man he confronts, if we're scoring at home, Verón still wins with his utterly dismissive response to the very large and angry pear yapping at him.


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Why Choose Cloud?
There are several reasons why customers choose a VersAccounts solution. Price is one of them. Functionality is another. Service is a reason they stick with VersAccounts.
Ask longtime VersAccounts customers why they selected VersAccounts and why they have continued working with the VersAccounts system and you will hear a variety of additional reasons. Here are some of them
Most traditional ERP systems were built in the 1980s using technologies and approaches that were current then. This included Client-Server, non-SQL Databases, Proprietary vendor specific Languages and Tools, and the Waterfall Process for product development.
Over time, as these technologies and approaches have aged and built decades of technical debt, the cost of maintaining and updating products built in that era has grown exponentially. The result has been fewer new capabilities in each release, longer response times to meeting customer needs, and higher prices. On the other hand, unlike its legacy ERP competitors, VersAccounts was built within the last 5 years using the latest technologies, tools, and product development techniques available today. These included Cloud Computing, Open Source, Agile, Test Driven Development, Continuous Integrations and a whole lot more.
This has made the VersAccounts ERP product much easier to develop than its legacy competitors, as well as faster and cheaper to enhance, while at the same time delivering capabilities that are much more advanced.
Making it possible to deliver a modern full function ERP system at the price of entry-level Accounting.
Predictable Costs
Early customers told VersAccounts that knowing what their IT costs were going to be every month, month after month was important to them. So VersAccounts charges a nominal fixed monthly subscription fee that does not change with usage.
Unlimited Users and Modules
Some ERP vendors charge by the user. Others charge depending on the modules you use. Some charge for both. Tomato/Tomato. Any way you look at it you are penalized for growing your business. Not with VersAccounts.
The VersAccounts Unlimited User Plans offer customers freedom from the traditional "growth tax" that legacy ERP vendors have imposed on customers for decades. With VersAccounts ERP use whatever modules you want. Add any number of users. There is never an extra charge.
Fixed Price Implementation
Not only will VersAccounts ERP liberate you from the tyranny of the traditional legacy ERP vendors "growth tax", it will also save you from those time and materials based project implementation fees that seem to grow and grow and grow. Instead with VersAccounts ERP, implementation is included as part of a fixed Initial fee that you pay when you start your subscription. And that is all there is to it.
24x7x365 Support
No other ERP vendor offers 24x7x365 support at any price. Not only does VersAccounts offer 24x7x365 support, there is no additional charge for it.
100% Mobile
Because VersAccounts represents a new generation of ERP, developed in this century, using modern tools and technologies, 100% of its functionality is accessible on any device including mobile tablets, and smartphones, anytime and anywhere.
Open Standards based REST API
Extensibility and openness have been key goals of VersAccounts designers. So VersAccounts has been created with a robust REST interface that allows real-time access and integration with other applications, whether these applications are third party offerings like Avalara, Concur or Salesforce, or a custom web or mobile application that you or a VersAccounts Partner has developed.
REST is another example of how VersAccounts is different from the legacy applications that traditional ERP vendors are selling today. Legacy applications use proprietary interfaces and outdated Software Development Kits (SDK) that are hard to use and offer limited functionality.
The SDK approach is 30 years old. Today REST is the only way to go. It is a global standard and it is "open" allowing any application to be easily interfaced with VersAccounts, without requiring VersAccounts' help or permission.
Full Database Access
This is another area where VersAccounts ERP differentiates itself. Unlike other ERP vendors, VersAccounts provides full read/write access to most database tables. But providing this access is not enough. The database must be documented and the documentation must be easily available to customers and partners. With VersAccounts it is.
So customers and partners alike can create sophisticated applications and reports that can be used in conjunction with the core VersAccounts system to help you run your business.
Full Database Export
Other Cloud ERP vendors just provide a .CSV export of customer data. Under most conditions this is of little or no use as the relationships between data elements is lost. Further, there is usually no documentation as to what most of the exported fields are. So, VersAccounts provides customers with the option of receiving a copy of their entire SQL database on a periodic basis. Because the database structure is well documented the database copy can serve as a local backup of data as well as local data warehouse against which reports and analytics can be executed locally.
Iceberg Option (Eliminates Vendor Lock-In)
Vendor lock-in is one of the biggest concerns a customer has when adopting a cloud solution. To address this concern VersAccounts offers two solutions.
As previously mentioned, the first facility is the ability of customers to export their all their data to a well documented SQL database. This allows the customer to walk away from VersAccounts at any time with a complete and usable copy of their data.
The second facility is the Iceberg Option. Besides exporting their data and taking it with them, the Iceberg Option allows customers, who terminate their regular subscription service with VersAccounts, to leave their account in a frozen or dormant state with read only access to the account for as long as they wish.
Simple & Powerful at the Same Time
VersAccounts provides its customers with the kind of deep functionality that they should expect from a sophisticated mid-tier ERP solution. Yet the system is easy to learn and easy to use.
That is because unlike traditional legacy products that were created in the early and mid- 1980's VersAccounts was created in the 21st century. Within the last decade. As a result it incorporates the latest research, and technologies on how business systems should be built, capabilities that they should include, as well as how human computer interaction should be supported by the system.
The result is a full-featured ERP system that is powerful enough to be used by large global companies, yet easy and affordable enough for local and regional businesses to learn, implement, and use as well.
Room to Grow
In the past businesses started with entry-level accounting solutions. They usually outgrew these solutions in a few years. Typically when they needed more than 5-10 users on the system. These solutions cost $500-$1500 per year.
The next step up was the Quantum or Enterprise versions of these products. These supported 10-20 users and even 30 at a stretch. They cost between $8,000-$10,000 a year. Besides supporting more users these systems also had some more functionality like rudimentary Inventory Management etc. That was when companies usually hit a roadblock.
If a customer needed an accounting system that supported more than 25-30 users or more functionality, the only option was mid-tier ERP. But these systems cost $50,000 – $100,00+ per year, something most small businesses could not afford. So they made do with what they had – entry level accounting solutions, spreadsheets and email.
This is the problem VersAccounts was designed to address. Once a customer implements VersAccounts, they will have the functionality they need to grow their business for years. With no limits on how many users they can add or the functionality they can use they will never ever need to migrate to another system.
Open Standards Based Customization
Unlike legacy ERP solutions that provide proprietary tools and limited means of customizing forms and reports, VersAccounts customization is based on HTML which affords the maximum possible flexibility in terms of the kinds of customizations that can be achieved
Use any design tool you like to design a form or report, then use it in VersAccounts. It is that simple.
There are no limits. Your forms and reports can include anything that can be included in a regular HTML based document, including graphics and rich media.
Want to make the reports and forms "Responsive" so that they can be viewed on a tablet or smartphone. No problem. With VersAccounts that is automatic.
By adopting VersAccounts, customers can finally be freed from the constraints of 30 year old legacy technology and limitations they impose on what businesses can do, finally allowing them to leverage the power that the openness and flexibility of a modern ERP system like VersAccounts affords.
Request "12 Small Business Cloud ERP & Accounting Software Buying Traps & How To Avoid Them" Here


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In Celebration of the Human Voice - The Essential Musical Instrument
Home | Doo Wop | Barbershop | World | Contemporary | Christian | Vocal Jazz | Choral | Christmas | Instructional | Arrangements
Although Medieval Christmas celebrations primarily consisted of over-eating, flirtation, hunting and drinking, each day began with a mass. Sacred and secular traditions and customs were often intertwined as part of a season of celebration which culminated with the feast of the Epiphany. On this new CD, the Orlando Consort offers an unusual & wide-ranging collection of secular and liturgical music from England, France and the Low Countries. To read the texts of these pieces is to un-knot the various traditions that are otherwise confused by today's pick-and-mix carol concerts. While not strictly chronological, the disc is divided into five sections - Prophecy, New Year's Day, The Carol, Narrative Motets and Noel - which illustrate key themes of the music of this period.
|Item code: 8446C | 1 CD | $18.98
|Early Music | A Cappella | Male | England
Related: Early Music Christmas CDs


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Rhino3d Video Tutorials Transcripts - To further support you as you learn and progress with Rhino we've transcribed each of our video tutorials.
Return to Rhino3d - Engine Cover, Adding Detail Video
Hi I'm Phil from Simply Rhino and in this video I'm going to continue with our engine cover model.
First I'm going to take a look at creating this scoop on the main engine surface.
There are two main considerations here. First we need to maintain a seamless continuity between the main surface and the lead in to the duct. Second, we need to control these edge blends so that they transition from a relatively straightforward edge blend condition and then run into the main engine cover surface. These are both fairly common problems in 3D modelling, even though the specific context might be different. Once we have the scoop completed, we'll then take a look at mirroring the two halves of the engine cover and then creating the final centre blend. Finally, we'll make sure that everything is ready to export into SOLIDWORKS.
This is the result we obtained from the modelling we covered in the last video exercise. Now to start to add the duct detail into this top surface, first of all I'm going to extract the top surface, the main top surface here and I'm going to hide the rest of the geometry. I then need to add some curves to describe the sharp boundary of the duct area. These can be either curves that you draw and then project onto the surface, or in this case they are actually created from isocurves. The advantage in this case of using isocurves to create the boundary shape of the duct, is that the shape that's created will be very close to the overall shape of the surface.
So to create these curves, I went to curve, curve from object and extract isocurve and toggle to produce curves in the other direction. Then once I have these curves, I can trim them up with each other and join them. We need to make sure by just checking in object properties that the curves when they're joined, produce a closed curve. Once we know that's the case, we can then go ahead and split our main surface with this closed curve and I'm just going to hide the curve now.
Now of course, because these two surfaces are essentially derived from the same parent surface, then if we go to our analyse and surface and Zebra tools, then of course, the area that we've trimmed out will be completely curvature continuous with the surrounding area. And the idea here is that we're going to leave the front edge of this surface as it is and adjust the rear edge of the surface to create the scoop and the fact that we don't change the front of the surface means of course, that it's going to be curvature continuous with our existing surface.
Now the first thing that we need to consider here is that if we look at the control points for our small trimmed surface, they actually describe the overall larger surface, because when you trim a surface you don't actually change the control point structure. What we can do to make our control points here more manageable and relate more closely to our trimmed surface, is to select the surface and run a command from surface, surface edit tools, called shrink trimmed surface. What this command does is that it re-approximates a new surface that has the same shape in UNV. It has the same number of control points and the same degree in UNV. The idea being that now our control points are relative to our smaller surface, but when we analyse the curvature of this with our Zebra tools, we'll see that our surface hasn't changed in terms of its shape and so our two surfaces are still completely curvature continuous.
If we take a look at the control points on our newly shrunk surface, what we know is that these first three rows of control points need to remain exactly where they are in order for us to maintain the continuity at the leading edge of the scoop or duct. So it's only these three rows of control points that we can move.
Now before we go on to really look in more detail at the shape of the scoop, let's have a look at the principle behind this. So the principle is that we don't move the first three rows of points, we leave those exactly where they are and the subsequent points we can move. Now a good way of moving these is to use the move UVN tool which is situated in the transform menu. What the move UVN tool does is move control points, either in the U direction, the V direction or the N direction (the normal direction) relative to a surface. Now normal means locally perpendicular. So each one of these control points will move locally perpendicular to the surface, so this is an ideal tool for either adding a recess or a protrusion to an existing surface. The value that we put into this box here, in to the scale box, is a real world value and if I move a slider from the mid-point to either end of the slider here, I'll move the control points by 12mm in a normal direction to the surface.
So if I grab these three rows of points here, and move them, you can see that I can start to create a dip in the surface. And very quickly, just to show the principle, I'm now going to grab the last two rows of points and move those downwards and then finally the last row of points and move those downwards again. So you can see now I've started to create a surface which of course now changes from our original surface and starts to create the scoop.
Now because we haven't moved these front three rows of control points, when we look at this tool with Zebra's, you will see that we have perfect curvature continuity between our existing surface and our new surface at this leading edge and so the principle really is that we don't need to worry about matching this surface to our existing surface because we know that our control points are already doing this for us.
Now the one downside here of this method, is that we don't have very many control points to play with here and there's a large area of this surface that we can't move. So what we could really do with introducing here are more rows of control points so that we can put a little more shape in to our scoop and that we can have the scoop starting to change direction, a little closer to this leading edge.
So if I just undo my move UVN operations, and get back to where we were a few steps ago, I'm going to look now at introducing some control points into this surface. Now the way that we do this is important. If we just add control points into the surface we are going to change the shape of the surface which of course is then going to change our matching. Likewise, if we rebuild the surface. So what we really need to do here, is to insert knots into the surface which will add control points by implication. So I'm going to go to my edit tools, control points and insert knot. I'm going to pick this surface here and I'm going to add a knot line just behind this first three rows of points and then I'm going to add a knot line just behind the what is now the fourth row of control points. And this is the result that I'll get now. I'll get my three control points which are still controlling the matching, have now effectively moved much further forward. So now I can move all of these points and get more shape going on in the scoop.
So again, I'm going to do something similar here. I'm going to go to transform, move UVN, maybe adjust this distance slightly and I'm going to move all of these control points down. The nice thing about this tool is that being slider based, is that you know you can push this back and get back to your original position and I can then change the value here and it's a nice tool to actually interact with.
So I'm gradually going to push this shape down. Now what I've decided to do here is I'm actually going to move these last three rows of control points together. So I introduce a kind of S-Shape into my duct surface here. And the idea about using move UVN here is that the surface that I've now created still has a lot in common with the top surface, so that this edge is going to be fairly common to this edge and the fall off as it goes from left to right here, is going to be fairly consistent with this surface. So again, let's take a look at the continuity here. So that front edge looks okay. Let's also take a look at this with an environment map. Okay, and that looks quite nice. So you can see that we've got a seamless transition here between our two surfaces.
So the Zebra stripes that we use here, really only give us an indication of whether we have curvature continuity across our two surfaces. So to check with more accuracy, we can either go to analyse, curve and turn on the curvature graph for both of these surfaces, or sometimes where we've got a simple proposition like just one single edge here, we can go to curve and curve from objects and we can extract an isocurve from both surfaces and make sure these isocurves are coincident. Then we can go to analyse and curve, and geometric continuity and we can test the continuity across those two curved ends. Here we will see that Rhino is reporting these are G2 which are curvature continuous and we could check this in a number of positions along this edge. So once again here, technically what's doing this for us is that these five control points here, the middle one of which is a coincident point are required for a G2 curvature match. If we wanted to match beyond G2, then it's the next pair of points that would be required to be involved in the match for a G3 match. But in this sort of situation here, G2 curvature and continuity is fine.
Let's now take a look at making the side surfaces for the duct. First of all I'm just going to check my distance between this point and this point, which is 36mm and I'm going to have some fairly simple linear sides to the duct but I want to put a ten degree taper on all three sides of the duct.
So how I'm going to look at doing this, is first of all to draw a line. This line I'm going to make slightly longer than my depth of the duct. So let's make this 50mm long and I'm going to put a point on the top of the line and then I'm going to rotate this about the minus ten degrees that we need here. This is drawn in top view and we're working in our world top C-Plane which is also shared here by our perspective view. The idea now is I'm going to orientate this curve on to these three edges, doing this in three separate operations and to do this, I'm going to use transform, orient, perpendicular to curve.
So this is the object I want to orient and this is the base point and let's start first of all with this rear edge and you can see I can orient this on to this edge and make sure the copy option in my command is turned on and I'll snap this to one end of the rear edge. Okay, and then I'll repeat this process for the sides. So transform, orient, perpendicular to curve, object to orient, base point and edge. It helps if you can look down the curve when you use this command, just to make sure that your ten degree angle in using this example is facing the correct way. So once more, transform, orient, perpendicular to curve, object to orient, enter, base point and then pick the orientation curve.
Here I need to flip the orientation in X to make this taper inwards and then snap to the end of the edge. Once we've achieved the orientation, we can then use a one rail sweep to create the various surfaces. So surface, sweep one rail, do the sides first. This is the rail and this is the cross-section curve. When I use this command, I can use the simple sweep option here to give me some simplified geometry and a cleaner result. Repeat the process over here, rail, cross-section, simple sweep and then do this for the rear.
So next we need to trim these surfaces with each other. So I'll just remove these curves and to trim these surfaces, I'm going to generate an intersection curve between the surfaces in question to start off with. You'll see that the surface edges don't actually run into each other exactly here. So the process that I'm going to use here is something like this. I'm going to go to curve, curve from objects and intersection, generate an intersection between this side and our scoop surface. That gives me a nice intersection curve and then just to check that this curve is running all the way along both surfaces, I'm going to go to curve and extend curve, curve on surface. And then I can trim these portions here.
I can do the same on the other side, so curve, curve from object, intersection and then curve, extend curve, curve on surface and then I can trim and then finally this one here as well. Okay and then we should be able to trim these surfaces now with each other.
So I can select my curves, delete the curves, select everything and join everything together and then I want to check to see if all these edges are closed. So select the polysurface, go to my analysis tools, run show edges. Make sure that only naked edges are selected in here, use a nice bright colour and you can see that all of this is closed up nicely in here.
So we've now got our kind of sharp version of our scoop or duct. So now I can start to add in the blends. So first of all I'm going to put in two larger corner blends. So I'm going to go to solid, fillet edge and blend edge. I'm going to use a radius here of 50mm and I'm going to pick this edge and this edge and then enter to get into the preview and the rail type that I'm going to use here is distance between rails. So this takes a perpendicular measurement across these two edges here, and then I'm going to enter and let that build. Again, you can check this page with the environment map just to make sure everything looks okay and then now for the more difficult part.
So as previous, I'm going to use the solid blend edge tool for this top rail and this lower rail here and as in the previous video, the blend will build correctly up to the point where the edges of the blend run into each other and then they will cross into each other. That's fine because it means that the rear part of this blend will build correctly and the difficult part we have for manual control over.
So let's build our starting blends. So solid, fillet edge, blend edge. I'm going to choose a radius of 10mm here and I'm going to pick the entire top edge, and then the entire lower edge. Enter, and look at the preview we get here. You can see that the outer edges of these rails possibly are not too wrong here, but Rhino isn't really able to trim up the interim part here, and this edge over on this side, again the outer edges are almost probably where they need to, but again, nothing is built in the middle here. But this is a fairly easy solution now for us to remedy manually, so I'll Enter to build the blend, and what we have here is a series of surfaces that have not trimmed my sharp sided poly surface at all. And what I need to do first of all, is to split these surfaces about the point at which they intersect each other. So, I'm going to go to Surface, surface edit tools, and split at iso curve and I'm going to just make sure I find the correct point here, turn shrink on here and split this piece of the blend and then split the upper part of the blend again with shrink on at the coincident position. Now I'm not going to throw away the front of the blend because I may need those later on, so I'll just hide these. And, I'm going to do a similar thing over the other side here. So surface, surface edit tools, split at iso curve, just zoom in, just make sure we drop right on that intersection, make sure we enable the shrink option and split, and then same with this surface, and then hide these front parts. OK, so, if I just extract these portions for a moment, we can then hide this part and let's just trim away the side surfaces now with these blend parts. So I'll run Trim, I'll type in CRV so I can only pick edges, and I'll start to trim away these sides. Ok, so each time I'm picking the curve option here, and just carefully trimming away these surfaces. And then the final piece here, ok and then we can join these together, and we can check that these parts are joined together correctly here, that looks good, and then just take a quick look at these surfaces, make sure everything looks alright there, that looks fine. Ok, so now let's show back in the rest of the poly surface that we need here. And let's look at what we can do with this front. What we need to avoid with these fillets as they come towards this front edge, is running them to a point. It's perfectly valid to have a fillet condition here to run into a point, but in this case the geometry is not going to look quite right for us, but more important than that, because we have essentially one or two three-sided surfaces that are going to converge to a point, that's going to give us a big problem when we offset to give us our B-surface when we shell this out. It's going to give us a condition that will fail, so we want to create here a condition that not only looks good, but is also going to have enough integrity to be able to shell later on.
Now, if we look at, for example, the one side of what Rhino actually built for us, you'll see that there is a fair amount of consistency about these rails here. And, if we continued this edge, the front edge of the scoop here, along here, you can see that we can get two four-sided surfaces here that start with the two blend shapes, and then, blend into the main engine cover surface at the front. So, we can actually use most of these edges that Rhino has built for us here. So let's just look at this side first of all. I'm going to just explode this surface so this part and this part are separate, and I'm going to extract and iso curve here from this main surface, and snap that to this leading edge. Remember we created this leading edge with an iso curve, so this is helpful to us now. Now let's bring in the other surfaces here as well, and you'll see we have a similar sort of situation here where the consistency of these outer edges of these fillets is actually quite good. So, I should now be able to run trim and again type in the curve filter so I can only select curves and edges, and I'm going to trim the scoop surface with those edge curves, and then I'm going to duplicate these two edge curves. Curve, curve from objects, duplicate edge, there. Ok, and now I'm going to hide these surface parts here, I won't delete them just yet in case I need to backtrack at any stage. This here can be trimmed up like so, and here this edge is a little short so I'll extend curve, curve on surface here, and then I can trim these parts up with each other. Now I should be able to trim this outer blend edge from my main surface. So this is a combination of curves and surface edges here. So I'm going to run, trim, use the curve filter and then pick these edges, and these front curves, ok and trim these out.
Having trimmed our top surface with the outer boundary curves, we can now join everything together and then select any remaining curves and delete those, and check using our edge analysis, that all our edges around here are joined up correctly, and also as we go along it's worth checking with an environment map and also Zebras as we go to make sure we're not storing up any problems. So, just want to look at the continuity here, need to zoom into these areas to see Zebra's, and we may need to adjust meshes as well.
When we created the corner of the main surface in the previous video, we introduced a blend curve from this point here to a midway point on this edge. And we created two four-sided surfaces and then matched to each other. We can do something similar here and before I do that I need to make sure that this short edge here and this short edge here is split about its midpoint. This should have been the case from when we trimmed, but just to make sure that indeed the case we can go to Surface, and edge tools and split edge, we can pick this edge here and split it about the midpoint, re run the tool and do the same over here. Ok, now if we were to the adjustable blend curve, we can either blend curves or edges, but we can't blend one of each, so because it would make more sense to use a curve for this position, what I'm actually going to do is to generate an iso curve here and here that snap to the split edge, So I'm going to go to Curve, curve from objects, extract iso curve and snap to the end here and the end there. So now we can look at creating the adjustable curve blend. So let's go first of all from this curve here to the lower edge of this top rail here. So let's go to my adjustable curve blend tool, pick this curve, and then this edge and we'll blend between there.
Now, because of the way that the geometry is working here, we're going to see a big difference in this curve between blending from this edge and this edge. So let's repeat the adjustable curve blend, and blend this front curve to this edge. And here we'll see that we generate two quite different looking curves, and probably what we want is somewhere that's between these two curves. And there is a method here that we can use that will give us that result. So, I'm going to delete these two curves and I'm going to create a curve that's an average of this edge here and this edge here. So to do that I'm going to go to Curve and tween curves, and I'm going to choose this edge and this edge, move my cursor to the left edge and click, and you'll see that I can generate a curve now which is an average of those two edges. And if I go back to my adjustable curve blend here, we might see that this gives us a slightly better looking result. Now, we need to look at this curve carefully and make sure, for example, that this curve isn't dipping below this scoop surface here. So, let's just take a look in right view here and confirm that and that looks ok for the moment.
Now, with this process there may be an element of iteration, so we may need to redo this process a few times, but for now I'll use the similar process on the second side so, tween curves, and then adjustable curve blend, and take a look at this curve as well and we'll accept that, and then we can start to build some surfaces. As previous we're going to start by using a sweep to rail here. So, rail, rail, cross-section, cross-section and I'm going to match curvature at point A. And I'm going to take a look at the result that we get here. So that looks OK with the environment map and let's have a look at this with the Zebra's, what we can see if we go in close to this front edge here is we're slightly out of continuity there, and let's have a look at this point here, and again, slightly out here.
So, before we start to get too worried about that little lack of continuity, one thing that will help the Zebra's is actually joining these two surfaces together. So let's do that and see what this front edge looks like now, and you'll see that looks a lot better. So, for the moment I'm going to leave the surfaces as they are, we should just actually check, I guess, that these are actually joined up properly, Ok that's fine, and let's build in our other surface here. And let's again use a sweep to rail. So, edge and edge as the two rails, and then these two edges as the two cross-sections. Match, curvature across both, let's join them, check first of all that they join up, that's ok, and now let's have a look at the analysis. Ok, so shape wise that doesn't look too bad there, and let's take a look at the Zebra's, just look right across that front edge, that looks ok. So, let's take a look at doing something similar on the other side. So, surface, sweep two rails, first rail, second rail, cross-section, cross-section, and let's match for curvature on that top edge. Take a look at this shape that we get here, ok, that looks ok, and take a look at the front edge with the Zebra's, just pull right into that edge, it's not too bad, and let's build another sweep in here. I want the edge here and not the curve, edge here, edge and edge, match for curvature, cross both of the rails, join, check the join and repeat the work with the environment map. Ok, so we should see that we should get a pretty good result here. Now, in some circumstances you may find that as we get towards the front here, that this edge becomes slightly problematic. So you might need to consider building a four-sided surface here, matching to three sides, splitting the edge of that surface and then, in other words, giving a little more room where this is one single surface, might help the shape of the front of the blend in some instances. So, once we have achieved this we can show in our other parts of the geometry, and join back together. Once we've joined the surfaces together, we just want to make sure that our result is a closed polysurface, and also we can just run the environment map again just to make sure that we're happy with the various blends that we've created.
Now it's time to look at adding any additional detail, and then to mirror the other half of the engine cover. So I'm going to extract this centre planar surface here, and delete that, and then just run the mirror tool. Here, the copy option, fairly obviously is on, and I'm just going to hit the y axis option here to mirror about a line of symmetry. I can then join the two halves together, and take a look at the result again with an environment map. Ok, so, for this centre blend here, I could use the solid blend edge tool, but there's possibly an easier way to do this. I just want to check the distance across the perpendicular here, 19.999 so it looks as though I used a 20mm blend across this edge. And I'm going to go for something similar across the middle here. Actually, I'll probably use something slightly sharper across the middle, and let's look at a pretty easy way that we can do this. Going to take a line here, with the both sides option, start the line at Zero and pull the line along the centre of our engine cover here. And then I'm going to offset this curve with the both sides option on, by a distance of 8mm. so I'll have a 16mm overall blend across the centre. And then I'm going to pick the two outside lines here and just trim away my engine cover. So, we've not got a gap here between the two halves of our engine cover and I'm going to use the blend surface tool to create a blend across these two front surfaces, and across the two top surfaces, and then this area here I'm going to blend separately, because I really need to control the shape of this blend correctly across here. And then, for the underside and the back, these are just fairly simple plainer surfaces.
Now, I want to make sure that I've got enough shape to the blend here. So, I don't want this blend to be too flat. So, I'm going to run the blend surface tool here, first of all across this edge here, and I'm going to lock the sliders, I'm just going to push up the blend a bit here. Just make a note of this blend factor that I'm using here, and let's just have a look at this with the environment map. I want to make sure that I can see a reasonably sharp blend across this centre, ok, that looks ok. And then I'm going to use a blend with the same factor on the front edge. So once again, lock the sliders, and use the same factor here, and then also take a look at this, ok, that looks ok. Now, you can see that this blend here is built slightly short and as a result, what I'm going to do is extend all of the edges of the blends just slightly here and then I'm going to trim them off. So let's extend this by a couple of Millimetres, and this one, this one and this back edge here. First of all let's do the easy parts here, let's just trim with a line this piece of blend here, and do the same at the front. OK, and then to get the shape of this little nose piece right here, I'm just going to use a technique that we've used before in this exercise, I'm going to use the adjustable curve blend, blend across here, with the curvature continue as blend, and do the same here, and then I'm going to take this and pull it back on to the blend surface and then trim away the blend with it, and then likewise do the same here.
Ok, if we blended this all in one go, so we blended this, this and this part here, then we wouldn't get this curved shape going across here, I think this is going to be important to explain the shape here when we see the final result. So now we need to look at just creating the surface that's going to fill in this little nose area here. Now, I could use a two rail sweep here, but the issue will be in actually getting this edge and this edge, which are the cross-section edges, to actually join into a watertight condition. So I'm going to look at using a network surface here.
Now, the disadvantage of the network surface, is that it's going to be slightly complex. But because my geometry is reasonably good here, and my boundary shapes all have a lot of similarity to each other then I think the result should be ok here. So, going to use curve network, pick the four boundary curves or edges, match for curvature on each edge and the important issue here is to make sure that this value here and the tolerance is the same as your absolute modelling tolerance that you're working to. So, here we're using the default small objects millimetres tolerance of .001 of a millimetre, and that's the value I need to set in here. If I slacken this value off then my surface will be less complicated, but there's less chances that my edges will actually join into a watertight condition.
So, I'll preview that surface, I'll ok this, I'll join this together, and now we can take a look at what this looks like. Ok, so, that looks ok, and let's take a look at this with the Zebra stripes. Let's firstly take a look, make sure that this is joined up into a watertight condition. Yep, that's ok, and let's take a look at the Zebra's across the edges here. OK, so that's pretty good, ok I can't see any disruption along these edges here. So, all we need to do now is to create our plainer surfaces to close off the volume. So, just draw a little line across here, and then use surface from planar curves, here join this together and I can just cap to finish off the lower part. Ok, so, we've got a closed polysurface now, so, just a few things now that we need to do to get the geometry ready for SOLIDWORKS. First thing is that, any co-planar surfaces like this are possible issues for solid work, so we can clean these up very easily. Pick the geometry, go to our solid tools, and right click on this tool here, and this merge all co-planar faces. And any coplanar faces here will be merged. Ok, so you can see that this face now is once face, as is this one here. The other tool that I need to run here is, Shrink trimmed surface. And I can run this on a poly surface here and it will shrink the individual surfaces. So, surface, surface edit tools, and shrink trimmed surface. Ok, and here it's going to shrink 75 surfaces and 44 are already shrunk. The solid modellers will work much better with trimmed surfaces, the disadvantage of shrinking is that if you need to un-trim and re-work any of the blends, then you may have reduced the size of your base untrimmed surface by too much to do this. So you would generally do this on a copy of the geometry.
So, one last thing that we should do now is to pick our geometry and run check, just to make sure our poly surface doesn't contain any bad surfaces, and, that's all fine, and so we're now pretty much ready to move downstream in this case to SOLIDWORKS. So I hope you found this video useful and thanks for watching.


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Vehicle Description
This 1959 Porsche 356 A 1600 Super Reutter cabriolet is number 219 out of the 944 produced for that year. It was first delivered to Southern California when new and has stayed in the Golden state its entire life. It is non numbers matching with the engine case believed to have been replaced in 1960.
Visit Hi Tec Automotive online at www.hitecauto.com to see more pictures of this vehicle or call us at 415-258-9619 today to schedule your test drive.
It had received a profeessional full bare metal body restoration approximately 10 years ago with no rust found. The body was straight and damage free with correct gaps throughout. An exterior color change was applied with a fresh coat of silver paint, that was correct for 1959, replacing the factory color of ivory. Currently the paint shows beautifully, with a clear finish and excellent depth. All body panels are ding and dent free with proper gaps throughout.
The interior was fully restored with keeping the factory original color of red in place. Everything in the cabin functions and performs properly including the original Blaupunkt radio.
In 2016 the current owner who is a well known Bay Area Porsche collector and long time member of the Porsche Club of America, participated in the California Mille and was also featured in Departures magazine. He is also a member of the Porsche 356 registry.
In 2017 Hi Tec Automotive removed and disassembled the engine and after a thorough inspection it was determined that a complete engine rebuild was needed from the crankshaft on up. It also included rebuilding the carburetors, fuel pump and generator. A new clutch and clutch cable were also installed with shifting now being smooth and consistent. The engine starts easily and effortlessly on the first crank with smooth and solid power. Compression is 160 @ # 1 cylinder, 165 @ #2 160 @ #3 and 160 @ #4. The engine compartment is solid, rust free and in excellent condition.
The entire car was inspected and any items that needed repairs was completed.
This fully restored 1959 356 A 1600 Super cabriolet is an incredible example that is ready to be driven whenever desired or compete in a concourse.
*** Pre-purchase inspection report available upon request.
*** Clean title.
*** Financing available for this Porsche.
Visit Hi Tec Automotive online at www.hitecauto.com to see more pictures of this vehicle or call us at 415-258-9619 today to schedule your test drive.


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The perfect gift or treat for summer feet, each LuLu & Charles ankle chain, is hand made to order.
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Engagement Rings That Won't Fade out of Style
Engagement Rings are like a piece of your relationship that can flourish until the end of time. The symbolism of a diamond ring is the eternity of it a diamond is timeless and depending on the setting, so is the ring. Most engagement rings are hot trends within the moment, but gently fade into a thing of the past. Here is a helpful reminder of what is considered a classy and unforgettable engagement look.
A solitaire ring with a smooth thin band is the most distinguished out of all the rings. It has no chance of going out of style due to the fact it has been acclaimed to be one of the oldest style of engagement rings created! Solitaire rings can be dolled up a bit, you can add a fancy cut diamond such as a marquise, oval, princess, asscher cut and so much more! The setting can also become iced up with diamonds! There are so many options for this ring that it would be impossible to become bored!
The Three Stone engagement ring is another timeless ring that won't disappear at the end of the decade! This ring symbolizes a diamond for your relationships past, present and of course the future. The most common diamond cut used in this traditional setting is a round diamond. If you are the type that completely hates round cut diamonds, don't worry the round diamond is not the only shape you have to get in this ring, the next type of cut used in a three stone engagement ring is the princess cut!
Split shank rings are an interesting setting that has been used for generations and is a beautiful setting that has been seen on Beyonce Knowles, Kendra Wilkinson and Blake Lively! The great things about this setting is it transforms your diamond into a one of a kind stone. The setting allows so much light in and a diamond has such a high refraction that it creates the illusion that the diamond is colorless. Depending on the thickness of the split shank setting determines how big of a stone you should have. If you have a thin split shank a huge rock is definitely a necessity.