text:
Preowned PATENT LEATHER SANDALS Givenchy iGHeNDb0Q
-based designer Mariano Fortuny y Madrazo, was a curious figure, with very few parallels in any age. For his dress designs he conceived a special pleating process and new dyeing techniques. He gave the name Delphos to his long clinging sheath dresses that undulated with color. Each garment was made of a single piece of the finest silk, its unique color acquired by repeated immersions in dyes whose shades were suggestive of moonlight or of the watery reflections of the Venetian lagoon. Breton straw, Mexican cochineal, and indigo from the Far East were among the ingredients that Fortuny used. Among his many devotees were Eleonora Duse , Isadora Duncan , Cléo de Mérode , the Marchesa Casati , Womens CTAS Hi Fitness Shoes Dark Stucco White Black Converse VZXiJp
, and Liane de Pougy .
Changes in dress during World War I were dictated more by necessity than fashion. As more and more women were forced to work, they demanded clothes that were better suited to their new activities. Social events had to be postponed in favor of more pressing engagements and the need to mourn the increasing numbers of dead, visits to the wounded, and the general gravity of the time meant that darker colors became the norm. A new monochrome look emerged that was unfamiliar to young women in comfortable circumstances. By 1915 fashionable skirts had risen above the ankle and then later to mid-calf.
The period between the two World Wars, often considered to be the Golden Age of French fashion, was one of great change and reformation. Haute couture found new clients in the ranks of film actresses, American heiresses, and the wives and daughters of wealthy industrialists [ citation needed ] .
Soon after the First World War, a radical change came about in fashion.
31 Phillip Lim Woman Embroidered Cottonpoplin Mini Dress Black Size 8 31 Phillip Lim edSw1rkS
coiffures gave way to short , dresses with long trains gave way to above-the-knee pinafores. Corsets were abandoned and women borrowed their clothes from the male wardrobe and chose to dress like boys. Although, at first, many couturiers were reluctant to adopt the new androgynous style, they embraced them wholeheartedly from around 1925. A bustless, waistless silhouette emerged and aggressive dressing-down was mitigated by feather boas, embroidery, and showy accessories. The Unisex Adults Rata Vulc Sf Trainers Vans m9YLuoZ1
style (known to the French as the 'garçonne' look) became very popular among young women. The cloche hat was widely worn and sportswear became popular with both men and women during the decade, with designers like Jean Patou and Coco Chanel popularizing the sporty and athletic look.
Reading: MailChimp Begins Shutting Down Cryptocurrency and ICO-related Accounts
Ashour Iesho | Mar 31, 2018 | 00:00
Ashour Iesho | Mar 31, 2018 | 00:00
Popular email service MailChimp appears to be drinking the anti-crypto kool-aidand has reportingly begun shutting down cryptocurrency and ICO related accounts.
Despite the stomach-churning roller coaster ride that has been the cryptocurrency market of late, the number of Initial Coin Offerings (ICOs) continues to rise. It seems like we hear about a new blockchain project or ICO on a daily basis and those projects rely on social media platforms and other tools – including email marketing tools like MailChimp – in order to expand their user base and promote their services.
According to Gizmodo article, MailChimp – one of the top five email marketing platforms according to Inc.com –has begun shutting down the accounts of websites that use their service for cryptocurrency and ICO promotions. The decision has left these projects scrambling to find alternate service providers.
. @MailChimp I've spent thousands of dollars with you and sent hundreds of subscriber emails on crypto over the past five years.
I'm restarting my Daily Bit Monday. I don't shill ICOs. Don't fuck with me. pic.twitter.com/XHdWBUQGPF


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Christmas Ident Pack – 4 Christmas jingles ideal for your commercial projects.
The Main File Include (Wav-Mp3):
1. We Wish You A Merry Christmas Ident - 0:11
Christmas ident Track for winter holidays!
2. Christmas Wishes Jingle - 0:21
Happy and joyful jingle suitable for Christmas moments.
3. Christmas Greetings Jingle - 0:20
Perfect for your holiday commercial, product video.
4. Deck The Halls Jingle - 0:21
The traditional Christmas song adapted as a short jingle. Enjoy!
Each track can be purchased separately, or the whole package for half price!
Christmas Music And Jingles Collection!!!
Thanks for purchasing and rating!
Back to Front Page [click here]

subset: commoncrawl


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Track Description
A contemplative and emotionally touching piece of music with memorable violin solo and ethnic strings. The aspect of celebration is underlined by engaging bass and percussion play. This track works perfect for inspirational projects and touching cinematic scenes.
Similar Tracks
To VideoHive AuthorsWant to use our music in your next project? We would love to see this happen. You are more than welcome to use any of our preview tracks in your project(s). Just follow these simple steps:
- Download the watermarked preview file of the track you like.
- Incorporate the audio into your project: It would be nice, if you add credits in your project if that is possible. If it fits within your project and doesn't distract, just add "Music by dreamsonix" somewhere.
- Also please add a link to the music item in the description on your project page (like it's common with all marketplace items).
After you have released your project, please let us know about it! Perhaps we can help you promoting your project by placing an icon of your file on our profile and/or item page.


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Anti-gun campaign comes under more fire over alleged victims on listBy TIM BUCKLAND
New Hampshire Union Leader
June 20. 2013 4:09PM
CONCORD - The Mayors Against Illegal Guns campaign came under increased fire Thursday when it was learned that a Slate.com list it was using to read off names of "victims" of gun violence included criminals and murderers killed by police.
On Wednesday, the gun control group issued an apology after the New Hampshire Union Leader reported that the group read the name of Boston Marathon bombing suspect Tamerlan Tsarnaev during its "No More Names" rally in Concord. The organization said Tsarnaev, who was killed during a gunfight with police on April 19 while trying to escape in the aftermath of the April 15 bombing, was not a "victim" and his name shouldn't have been included.
The organization said it was relying on Slate.com's list of people killed by gunfire.
On Thursday, the New Hampshire Republican Party further criticized the organization, which was founded by New York City Mayor Michael Bloomberg, because the list it was using includes such people as Christopher Dorner, a former Los Angeles police officer who went on a killing spree in February, and Kevin Bailey, who was killed by police in Solon, Ohio, after opening fire on officers during a traffic stop.
"It is disgusting that Mayor Bloomberg's radical out-of-state gun control group came to New Hampshire and honored so many thugs, murderers and terrorists. Mayor Bloomberg owes every Granite Stater a personal apology for the outrageous conduct of his extremist organization." NHGOP Chairman Jennifer Horn said in a statement.
Slate.com, in an article published Wednesday, said its list never uses the word "victim" and that the names, provided through online crowdsourcing, "is a pure accounting of deaths, provided, as our original partner in the project @GunDeaths notes, 'regardless of cause and without comment.'"
Attempts to reach the Mayors Against Illegal Guns campaign today have not been successful.
Horn also criticized the New Hampshire Democrat Party and President Barack Obama's Organizing for Action NH, which she said "openly collaborated with Mayors Against Illegal Guns."
"Mayors Against Illegal Guns has been thoroughly discredited and disgraced. President Obama and New Hampshire Democrats need to sever ties with this shameful group and make it clear that they are not welcomed in the Granite State," she said.
Harrell Kirstein, spokesman for the NHDP, said federal elections law prohibits political committees like the NHDP from any in-kind coordination or collaboration with not-for-profit corporations like Mayors Against Illegal Guns.
He said the charge against the NHDP is "just another of Horn's pathetic attempts to distract from the avalanche of shamefully embarrassing Republican lawmakers" who have made embarrassing references or statements.
Meanwhile, Concord police Lt. Timothy O'Malley said Thursday that police continue to investigate the circumstances that led to Daniel Musso of Brentwood to be tasered and arrested.
Musso is shown on several video feeds loudly confronting John Cantin of Manchester, who was telling the group about his support for tighter gun control measures following the shooting death of his daughter, Missy Charbonneau, in 2009.
Musso could not be reached today for comment. He owns Musso's Mill Yard on Crawley Falls Road in Brentwood and an employee who answered the phone at the business said he is rarely there.
After Musso walked away, he was confronted by Concord police officers Sgt. Sean Ford, Robert Fallon and Eric Haglund. He is accused of assaulting Fallon - video of the event shows Musso lightly placing his hands on an officer, presumed to be Fallon.
Following a short struggle in which police repeatedly told Musso to put his hands behind his back and telling him not to resist, with Musso saying all the while that he wasn't resisting while keeping his hands in front of him, Haglund tasered Musso and the three officers wrestled him to the ground.
As of Thursday afternoon, 81 percent of more than 4,100 people who had taken an online poll at unionleader.com said they believed Concord police were not reasonable in arresting Musso.


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Thirsties is proud to introduce a Pocket All-In-One (AIO) cloth diaper that marries the colorful and breathable waterproof outer layer with an absorbent core soaker so your baby's cloth diaper is complete in one simple step. Thirsties Pocket All-In-Ones wrap around your baby and fasten with sturdy velcro for a perfect fit at every diaper change. The built-in absorbent core is made from Thirsties special microfiber terry which absorbs up to seven times its weight in liquid! What do you get with a Thirsties AIO? A very absorbent diaper, without the added bulk.
New & Improved! The Thirsties Pocket All-In-One diaper has recently evolved a tad. In the new V2 version, you will find that the fleece has been removed from the leg gussets to help prevent wicking in a saturated diaper. In addition, the soaker has been widened just a bit to add extra built-in absorbency. Simultaneously, Thirsties Hemp Inserts have been introduced to be stuffed in the pocket of a Thirsties Pocket All-In-One. The two products paired together will meet the needs of the heaviest of wetters, yet the combo is still very trim fitting. Hemp inserts can be purchased separately.
Perhaps the most beloved feature of Thirsties Pocket All-In-Ones are the leg gussets. The leg gusset attribute allows for the same excellent leak-proof protection no matter the shape of your baby. Whether you have a chunky baby, or a tall and lean baby, the leg gussets provide the protection you need by gently and completely sealing the leg openings. The pliable leg gussets flex and move with your baby, offering a comfortable and superior safeguard against leaks whether you have a developing and kicking newborn or a curious and energetic toddler who is constantly on the go. Thirsties Pocket All-In-Ones will keep your baby covered!
The unique pocket opening on a Thirsties Pocket All-In-One cloth diaper allows for the addition of extra absorbency during extended wear. If you find you need to adapt the absorbency of the diaper, we recommend stuffing the pocket with a stable absorbency layer.
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The new Hitman trailer has dropped but Trey questions the content. Is this level of violence and sexualisation what gamers really want? Even more important, is this what game marketers THINK we want?
Nice little read, but the game market thinks we want cloud gaming and freemium!
I love that trailer cause it clearly gives out the classy and agressive side of the hitman series.
I thank Square Enix for not toning it down instead.
Almost looks like a rammstein music clip btw.
Totally despite violence, even fictional, on women.
This trailer totally set me off.
Didn't like it. Hitman was about giving you a problem and letting you solve it. The joy was in perfect executions and if not then at least a half arsed sense of winging it. What I never felt about hitman was violence, explosions and sex. It tells me they don't know their target audience and that's concerning.
Not as concerning as the fact that they might be right. People respond to this crap and that's scary enough. Does anyone remember "beautifully executed"? That's a controversial advert that also captured the essence of hitman. See that's the difference between then and now - single bullet through a pillow vs. exploding hotels, sexy nuns, machine guns and violent headbutts. I'm not saying I don't like violence I'm just saying hitman already had a thing going on and it was not this whole revenge story crap with violent hand to hand combat. The movie had that and does anyone else remember how well that turned out?
God damn it hitman to me means poisoning donuts. Far removed from stormy angsty nights with rpgs and uzis.


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[image id='f238ebd2-7da5-480f-adc5-42c105bd4fdd' mediaId='5205671e-4956-4cd5-a241-14b83aa1dd2f' loc='C'][/image]When Damian Bellino went to his prom in Lansdale, Pennsylvania, back in 2002, he didn't get lucky. He and his girlfriend danced to "Stairway to Heaven," then said good night. That's because Bellino liked boys, although he hadn't figured that out yet. Today, he runs the website My High School Boyfriend Was Gay (myhsboyfriendwasgay.com), inviting people to send in photos and stories of their own teenage mismatches.
Bellino, 27, an actor in New York, says he launched the site because his friends thought it was hilarious that he used to have a girlfriend. "I guess I seem like the most homosexual person in the world," he says. Does he worry about outing people? "I make the screening process as thorough as possible," he says. "I encourage people not to be dicks and ruin the fun."


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A city man serving a life sentence for the brutal slaying of a 28-year-old woman in her Worcester home back in 1974 has been denied parole again, according to a decision released by the state Parole Board recently.
This would be the seventh time Daniel J. Redmond, now 59, has been denied parole.
He pleaded guilty to second-degree murder in February 1977 after his first-degree murder conviction was overturned a year earlier. Then 20, Mr. Redmond stabbed 28-year-old Pamela Hurlburt almost 50 times inside her family's St. Paul Drive home during what authorities called a robbery attempt.
Mr. Redmond had a review hearing on Dec. 11 and the decision was filed in late February although just released recently. The Parole Board unanimously denied Mr. Redmond's parole and said a review will be scheduled in five years.
Ms. Hurlburt, described as a developmentally disabled woman in the Parole Board's decision, was found dead in her bedroom Feb. 23, 1974. The home had been burglarized.
The night before the killing Mr. Redmond was at a party in the city where he was drinking alcohol and took some phencyclidine, the hallucinogenic drug known as PCP. He left the party and saw a light on in a nearby home, the home of Ms. Hurlburt.
After breaking into a cellar window, Mr. Redmond stabbed the family dog with a paring knife, records show.
"He went upstairs and saw the victim, who startled him," the Parole Board record states. "He proceeded to stab her multiple times, killing her."
The wounds were to Ms. Hurlburt's face, stomach, chest, arms and legs. He also sliced off pieces of her body and sexually assaulted her, reports state. A neighbor called police after seeing suspicious activity in the home. Mr. Redmond was arrested hours after Ms. Hurlburt was found.
Stolen items from the house were found with Mr. Redmond.
Mr. Redmond received a life sentence after pleading guilty to second-degree murder and a concurrent 20 to 30 year sentence on burglary and armed robbery charges. He had been on parole at the time of the murder.
The Parole Board detailed Mr. Redmond's long history of disciplinary reports since his incarceration. He had 24 disciplinary reports in between his 2007 and 2012 parole hearings. Mr. Redmond stabbed another inmate while imprisoned, set a fire, attempted to escape, brought heroin into the facility, sent sexual messages to a staff member and committed a sexual assault against a staff member, the Parole Board reports.
He has also been placed in Bridgewater State Hospital six times after he mutilated himself and had thoughts of suicide. The Parole Board called Mr. Redmond of "management problem" for the state Department of Correction.
The most recent disciplinary report against Mr. Redmond came on Sept. 4, 2011 when he left a bent razor blade on top of a light fixture in his cell. Authorities said he planned to hurt corrections officers with the razor blade as they searched his cell.
Parole Board members questioned Mr. Redmond about the brutal killing and his sexually deviant behavior.
He attributed his behavior to being on PCP, the board stated. He also told the board the disciplinary reports filed against him weren't warranted.
The board believes Mr. Redmond took no responsibility for his disciplinary issues and offered evasive questions with little remorse for the ramifications surrounding the murder.
Mr. Redmond remains a high risk to public safety and is likely to re-offend, the board stated.
Contact Scott J. Croteau at email@example.com. Follow him @ScottCroteauTG


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Sometimes, not often, a good cook can create a symphony of taste and texture that you'll treasure for the rest of your life. It's not uncommon, if you're lucky, to remember a truly exceptional meal with the rapture normally reserved for love.
Just think of the French writer Marcel Proust. Biting into a humble Madeline once gave him such a blast of sensual nostalgia that he conceived the whole of his masterpiece "In Search Of Lost Time" in an instant.
We can't promise that these utterly delicious cupcakes will win you a chair of honor from the Académie Française, but they'll certainly make you a hit with your loved ones.
Combining Jameson's Irish Whiskey, Bailey's Cream Liquor and Guinness, could there be a more authentic or tempting dessert from Ireland? These indulgent little beauties will knock your socks off, we can promise you that.
1 cup Guinness
1 stick and 1 tablespoon of unsalted butter
2 cups dark brown sugar
3/4 cup sour cream
2 eggs
3/4 cup unsweetened cocoa
1 teaspoon vanilla extract
2 cups of flour
2 1/2 teaspoons of baking soda
Frosting ingredients
1 stick of unsalted butter at room temperature
3 cups confectioners' sugar
Bailey's Irish Cream
Jameson's Irish Whiskey
Frosting directions
1. Put the stick of room-temperature butter in a large mixing bowl and beat at medium-to-high speed for a few minutes.
2. Add a few short glugs of Bailey's and a tiny bit of Jameson's and mix at a low speed.
3. Gradually spoon the confectioners' sugar into the bowl, mixing on a low speed.
1. Preheat the oven to 350 and line a muffin tin with cupcake liners.
2. Combine the Guinness and the butter, chopped into one-inch chunks, in a large saucepan and heat to melt the butter.
3. Remove from heat and whisk in the cocoa and sugar.
4. In a bowl, whisk the sour cream and the eggs and vanilla then add to the beer mixture.
5. Sift together the flour and baking soda, and fold in the batter.
6. Pour into muffin molds and bake or 25 minutes or until inserted cake tester comes out clean. Let stand for 10 minutes, remove them from the muffin tin and let them cool completely on a rack.
Love Irish recipes? Visit our recipes page or like IrishCentral's Recipes Facebook page and never miss a recipe again!


text:
Doctor Who: Complete History #73
No reviews yet. Be the first to review this. | See similar products
Contents TBC.
- More Below…
Product Description
- Binding
- Hardback
- Cat No.
- 3826072
- 977205760402973
- Genres
- Film & TV
- Science Fiction
- 977205760402973
- Publisher
- Panini
- Series
- Doctor Who
- Type
- Magazines
- Universe
- Doctor Who
Contents TBC.
DOCTOR WHO - THE COMPLETE HISTORY goes behind the TV cameras to document the making of the world's longest running science fiction series from 1963 to the present day.
Scripts, casting, film locations, studio recordings, broadcast, ratings and merchandise are all covered in detail for each and every adventure, along with full story details and profiles of the cast and crew, all illustrated by a wealth of colour and black and white photographs.
Customer Reviews
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text:
This chapter describes issues associated with Oracle Universal Records Management. It includes the following topics:
In addition to the information discussed here, see the chapter in this release note documentation concerning Oracle Universal Content Management. Issues which affect Oracle UCM may also affect Oracle Universal Records Management.
This section describes general issues and workarounds. It contains the following sections:
Section 38.1.1, "Role Report Output is Dependent on User Generating the Report"
Section 38.1.3, "Oracle Text Search and Report Configuration Options"
Section 38.1.4, "Upgrade from 10g Audit Trail Periods Missing"
Section 38.1.6, "Sorting and Listing Retention Category Content"
A role report can be generated by choosing Records then Reports then Role from the Main menu. Note that the output of the report may not show all data for all roles. The output is dependent on the user who is generating the report and the permissions given to that user.
It should be noted that screening is a retention feature that only returns content items with a life cycle or items that are frozen.
When using Oracle Text Search, an incompatibility existed with the options to exclude report templates and reports in search results. These options appear on the Configure Report Settings Page.
It is now possible to exclude reports in search results by selecting the Exclude Reports in Search Results checkbox. However, if the Exclude Report Template in Search Results checkbox is selected, templates are still included in searches. Oracle is aware of this issue and is working to fix it in a future release.
When upgrading Oracle URM from release version 10g to release version 11g, the complete audit trail dates are not available. The audit periods from 2001 to 2010 should be present after upgrading, but only periods between 2001 to 2006 are present. The missing years can be added manually. Oracle is aware of this issue and is working to fix it in a future release.
Due to the size of the database used with the Freedom of Information Act/Privacy Act (FOIA/PA) functionality, the FOIA/PA option is not supported for those sites using DB2 for their database.
When retention categories are sorted then listed, they are listed on a per-source basis. For example, if three sources are used (Source1, Source2, Source3), all items from Source1 are sorted as a separate group, items from Source2 are sorted as a separate group, and items from Source3 are sorted as a separate group. Then items from each source are displayed in a "round robin" style with the first item of Source1, the first item from Source2, and the first item from Source3, followed by the second item of each source.
This section describes configuration issues and workarounds. It contains the following sections:
Section 38.2.2, "Restart Required: Performance Monitoring and Reports"
Section 38.2.3, "Audit Trail Sorting Results and Database Fulltext Search"
Section 38.2.4, "Prefix Size Limitation When Using Offsite Storage"
Section 38.2.7, "Configuring 10g Adapters for 11g Oracle URM"
Importing the Freedom of Information Act (FOIA) archive from the Setup Checklist page may display a spurious error message stating Archiver is already running, please try again later.
This error may be safely ignored. It is generated because the click to initiate the archive is registered twice. Ignore the warning, wait fifteen minutes and then see if the alert notification for that task is removed. The import of the archive can also be confirmed by opening the Archiver and verifying that the FOIAPrivacyAct archive is present.
After performance monitoring is selected and enabled, the content server must be restarted in order for monitoring to commence. Note that a restart is also required after configuration of Oracle URM in order for all report options to appear on the appropriate menus.
When sorting the audit trail using Oracle DB, the output depends on the type of sort being performed.
When sorting with Database Fulltext Search, sorting is case-sensitive, meaning that upper case items will always appear first in a list. When sorting with Oracle Text Search, a case-insensitive search is performed.
If offsite storage functionality is enabled on the system, the total size allowed for the content ID for a physical item is 11 characters. When setting up offsite storage, verify if automatic assignment of IDs is enabled and if so, make sure the content prefix is set to 5 characters or less.
If the EmailMetadata component is installed for use with Oracle Universal Content Management, a configuration variable must be set in order for the user interface to be made available in Oracle Universal Records Management.
Set the
ShowEmailMetadataMenu variable to TRUE in the emailmetadata_environment.cfg file in the /components/EmailMetadata directory.
Restart Oracle Content Server after setting the variable then refresh or reload the browser. Options become available to map email fields to metadata fields. To use those options, choose Administration then Configure Email Metadata from the Main menu.
When upgrading Oracle URM from the 10g version, the
HttpRelativeWebRoot configuration parameter must be changed in the config.cfg file to the following:
It is critical to change the parameter exactly as shown.
A connection address must be changed to enable 10g adapters to work with Oracle URM 11g.
Previous connection strings were similar to the following example:
The new connection string should be similar to the following example:
The addition of the
_dav string is all that changes.
This section describes changes in the documentation. It contains the following section:
The External Performance Monitoring menu listed in documentation should be changed to Performance Monitoring. This is accessed by choosing Records then Audit then Performance Monitoring from the Top menu.


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JetBlue is an Electronic Ticketing carrier and travel agents must ticket their GDS PNRs without JetBlue's assistance. JetBlue requires that all agencies set their system's default setting to E-Ticketing whenever plating on 279 or issuing a B6 flight, and to advise their agents of this ticketing instruction.
Bulk fare tickets issued through third party websites or travel agencies are not eligible for any changes. JetBlue will not exchange or refund a bulk fare ticket at any time. Agencies with approval to issue bulk fare tickets on JetBlue are required to service them completely. Car seats and infants are not allowed in certain seats for safety reasons. This includes all Mint seats.
Infant tickets are required for all international flights. For U.S. domestic flights, infants do not require tickets unless they are occupying their own seat. Lap children under the age of 2 years old at time of departure on U.S. domestic flights do not need to be ticketed. JetBlue files $0 infant fares in the GDS and expects all agencies to ticket their own international infants.
PNRs with infants traveling as a lap child or in their own seat need to show the following:
Due to FAA safety regulations an adult customer can only carry one infant. If an adult customer is traveling with two infants, a seat must be purchased for any additional infant. For safety, only one infant is allowed per row on each side of the aisle (seats A-C or D-F on the Airbus 320, and seats A-B or C-D on the Embraer 190) unless an additional seat in that row is purchased for the infant. Car seats and infants are not allowed in certain seats for safety reasons. This includes all Mint seats.
Infants under 3 days old are not allowed to fly on JetBlue Airways.
Domestic Travel
International Travel: B6-only
International Travel: Interline
NOTE: Once a child has their second birthday, they are no longer considered a lap child and a seat must be purchased in order for them to travel. If the child has their second birthday between the outbound and return flight, a seat will need to be purchased for the return flight on a separate PNR.
JetBlue has several interline partnerships and is continuing to grow. Go to www.jetblue.com/airline-partners for a full list of our airline partners. There you will find information about our interline and codeshare partnerships, baggage allowances, and points of contact for each carrier.
Per the ARC Industry Agent Handbook, a separate ticket issued for the domestic portion of an international journey may not be taxed on the basis of an international trip provided that:
For clarity, in order for US domestic taxes to be exempt, the domestic ticket must show the following:
In the Endorsements field, include this information using the format highlighted below. Do not remove the required populated Endorsements field fare rules.
Example: NONREF - FEE FOR CHG/CXL - BA175 LHRJFK 1259876543210
If this information is not included on the JetBlue domestic ticket, and US taxes are excluded, a debit memo will be issued to collect the missing taxes and will include a Service Charge.
The following ticketing time limits apply on itineraries containing only JetBlue segments:
Fares are subject to change until ticketed, and creating a PNR only holds a seat on the aircraft for the customer in the fare class booked and not the actual fare that will be used for ticketing. JetBlue recommends holding the seat in the fare class intended for ticketing to avoid that class from selling out later in the day or overnight. Certain sale fares may expire prior to the TTL or advance purchase requirements may no longer be valid at the time of ticketing. If that happens, the itinerary should be re-priced in the originally held class of service (if there is still a fare that's valid). If the original class does not have a valid fare then please re-price lowest. It is the responsibility of the travel agent to make sure the fare being ticketed is still valid. Reservations held in Y class will be subject to the lowest selling fare at time of ticketing.
Additionally JetBlue has a churning policy that will impose an instant ticketing requirement for all segments after the first TTL expires.
In order to impose our ticketing time limits JetBlue uses an automated Revenue Integrity system to manage our flight firming process and any agency booking that has not been ticketed by the appropriate time limit will be cancelled.
An Advise Ticketing SSR will be sent at the time of PNR creation and it will include the date and time in which the PNR must be ticketed by in order to avoid cancellation.
Example: PLS TICKET OR CANCEL ABCDEF BY 14APR12 2359USNY
If the segments are later cancelled by Revenue Integrity an additional SSR will be sent advising as such.
Example: CANX BY B6REVINT DUE TO EXPIRED TTL GDS MIDNIGHT NEXT DAY
All fare classes will be processed. JetBlue does not exempt Y class from our flight firming policy.
Children between the ages of 5 years and under 14 years traveling alone are considered unaccompanied minors. The child traveling unaccompanied must have reached their fifth birthday by the date of travel on JetBlue. A child who has reached their fourteenth birthday and is traveling alone is no longer considered an unaccompanied minor.
Unaccompanied minors can travel on nonstop JetBlue operated flights only. JetBlue allows up to three unaccompanied minors per nonstop flight.
Travel agents cannot book unaccompanied minors via the GDS and will need to contact JetBlue (1.800.JETBLUE) to book. For more information, please click here.
There is a $100 per person fee, each way for unaccompanied minors which will be assessed at the time you call JetBlue. You will be asked to supply the following information for both the person dropping off and picking up the child.


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Steven Spielberg tends to have a distinct pattern in his moviemaking--He'll take a hiatus of as much as two years, then come back with a few movies in quick succession.
Early last decade he didn't have a movie for a couple years when "The Terminal," "War of the Worlds" and "Munich" all hit within 18 months of each other. He didn't have a movie for three years after "Indiana Jones and the Kingdom of Crystal Skull" in 2008--then had "War Horse," "The Adventures of Tintin" and "Lincoln" all come out within a year.
That trend is repeating itself with his next crop. Spielberg has been very deliberative since finishing "Lincoln" two years ago," as projects as diverse as "Robopocalypse" and "American Sniper" looked to be up next before going by the boards.
But starting next year we'll get a new dose of Spielberg, and then some: The director's DreamWorks announced Monday that he's going into production on his untitled Cold War thriller with Tom Hanks and will have it ready for release in October 2015. He'll follow that up with a new adaptation of Roald Dahl's "BFG" coming in July, 10 months after that. That means he'll do what he's done before — prep, shoot and wrap, then work on post while he's doing that simultaneously for the second film.
Unlike some of these other bursts of productivity, which switch off between the upscale and the commercial, these both have the ring of mainstream entertainment, though it's possible the Cold War picture will harbor some award ambitions as well.
That film centers on an attorney sent by the CIA to negotiate the return of an American pilot at the height of the Cold War. The second is a live-action take (there had previously been an animated one) on Dahl's 1982 book about the titular gentle giant and his banding up with a young heroine to slay some evil giants. (Given the kid-centric point-of-view, it's no surprise the script it written by the scribe of "E.T.")
However you slice it, Spielberg continues to be prolific. In addition to his producing activities on film and TV, these new movies would, by a quick count, put him over 15 features in his post-"Schindler's List" phase alone. A lot of that productivity just happens to come in bunches.
Follow me at @ZeitchikLAT for movie news and various detritus I find interesting


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William Davila/Startraks
We like Reese Witherspoon's sweet style, but we love when she goes sexy, and she did just that at the Golden Globes Sunday night in custom Calvin Klein Collection and $3.7 million worth of Harry Winston jewelry. Her stylists gave PEOPLE the rundown from start to finish.
THE DRESS. Stylist Leslie Fremar came up with the color for Witherspoon's gown in a dream, then tasked Calvin Klein with making it happen — and it certainly didn't come together overnight. The collaboration began about a month ago and ended with one final fitting Sunday morning, culminating in a result Fremar was thrilled with. "I love the color. I love the fit. I felt like it was very modern. It was moving forward for her in terms of fashion," Fremar tells PEOPLE. "I feel like it all came together like I wanted it to."
Witherspoon herself contributed some design elements, like the striking racerback, and loved the dress enough to share a sketch on Instagram (below). "You could see it in her face, that she just felt really good in it," Fremar says. "It was a collaboration and it really came together. Everyone was happy."
One more fun element Fremar shared: The shoes were custom Christian Louboutins dyed perfectly to match. "I had them dyed the color of her dress, because I didn't want any break in color," Fremar says. "I sent them [a swatch] and they made the shoes to match." Now that's service.
RELATED PHOTOS: See more stunning Golden Globes gowns from all angles!
THE MAKEUP. Mai Quynh chose warmer colors to play off Witherspoon's tan skin and ocean-hued gown. She used Laura Mercier's eyeshadows in "Earth Glow" and "Fire Glow" plus liner in "Brown Copper" for a golden look. "A lot of people asked me, 'Why didn't you do a dark smoky eye?'" Quynh tells PEOPLE. "I just thought that would take away from everything and not be as fresh and modern. I wanted a brighter eye."
And Witherspoon is happy to put herself in Quynh's hands for the best beauty results. "She's so great, she trusts you. And she'll ask questions, like 'What's this?' She's so interested," the makeup artist says. "So I'm kind of giving her a lesson while we're doing it! And at the end she was like, 'Great, I love it, thanks!'" Can you blame her?
THE HAIR. Stylist Renato Campora saw the dress the day before to come up with the look he calls "simple, sophisticated, modern, quite Calvin Klein." He used L'Oréal hair products to create a graphic, defined bob for her that was a little angular, finishing it with the brand's Advanced Hairstyle Sleek It Strand-Smoother Serum Spray to make sure the very clean look stayed that way all night.
"There are so many elements, [like] the earrings, you work around what is there. We wanted to open up her face to show the neck which is beautiful," he tells PEOPLE. And while he's open to Witherspoon's suggestions, she trusts his vision, just like she does Quynh. And in the end, "Reese was very, very happy. She felt beautiful. For me, when you create a hairstyle, it's important that you combine the personality of who it is" with the style itself, he says. And it shows in her the way Witherspoon worked that red carpet all night!
What did you think of her whole look? Is it fun to see the sketch and the finished product? Weigh in below!
–Alex Apatoff, reporting by Pamela Edwards-Christiani and Jackie Fields


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Michael Medved Show – 10/10/2018 – H1
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Image Sensors World Go to the original article...SeekingAlpha: TowerJazz Q1 2017 report says that CIS business is one of the main drivers of the company growth:
"With regard to the CIS business units, in the first quarter we continued to grow our business mainly in the industrial sensor and medical X-Ray sensor markets. We saw and continue to see a growth in customers demand. This is in combination of our customer market share growth combined with the growth of the total market.
In the industrial market, we already announced the release of the 2.8 micron state of the art global shutter pixel. This pixel is being used by our lead customers of which each of the announced release of their end family of high resolution global shutter sensors. The technology is available in our RI 110 nanometer Fab in Japan and will become available in Mid Atlantic [ph] as well in 2018.
This allows us to support large format high resolution state of the art global shutter sensors. In parallel we developed a near IR version for this technology mainly to support sensitivity and low light conditions as well as to support the 3D and just direct condition market. The main growth of our global shutter technology is another 8-inch Fab namely RI in Japan and Fab 2 in Israel. However we're now transferring this technology to our Uozu 12-inch 65 nanometer line to support other high volume applications.
We continue to grow our high end photography market share both in still sensors or DSOR and mirror less cameras and in video, namely in the cinematography and broadcasting video segments. The main growth activity in these areas are in our 12-inch line. The automotive market growth is a major focus for CIS business namely in the LiDAR, light based radars that is a key component for the autonomous driving vehicles.
This requires high sensitivity, accurate and low cost LiDAR which requirement can be met with our Avalanche photodiode technology. We expect to see steady growth in the CIS business unit throughout 2017 driven by the industrial, medical security and high end photography market segments or getting more design wins in the automotive and augmented and virtual reality segments, which both segments are contend on our 3D time applied or structure light disk based technology. We believe that these sectors will continue to drive our growth over multiple years."
The Q&A session talks about the foundry business in 3D imaging:
Q: "Related image sensor business, you talked about time light structure, light sensor for 3D sensing, can you just get your sense of when that market starts to take for your and any comments you can make about the breadth of your customer base?"
Russell Ellwanger, CEO: "So we've press released on that in the past. We have several customers that we deal with 3D, with gesture control, the market I think is taking off, it's not the biggest portion of our revenue from CIS, but it is a market that's growing. We have several new customers that are not in volume production at this point, would promise to be extremely powerful growth drivers for our market probably within one to two year time period, but again they're not press released."


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Sandi wrote:Anyone else peeved by the increasingly untoward use of "literally"?
How about the "increasingly untoward use of violence" to make a point? I am a bit more peeved about that.
No. Perhaps if someone were literally killed, the madness would stop.
Conservatives have shown they are completely unwilling or incapable of responding to persuasive tools such as data, logic, reason, public opinion or majority rule. It's getting to the point where "violence" will soon be the only tool left with which to work.


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Olivia Munn & Pete Wentz: Art Mère/Art Père Benefit!
Olivia Munn steps out in a Satine dress for the Art Mère/Art Père event benefiting the Livestrong Foundation on Thursday (October 6) at Smashbox Studios in Hollywood.
The 31-year-old actress finished off her look with Christian Louboutin heels, and a clutch, ring, and earrings all by Bulgari.
Guests at the event – which included Pete Wentz, Aziz Ansari, Victor Webster, and Colin Hanks – enjoyed an evening of cocktails, a live performance, and a live and silent art auction to raise funds for cancer research.
10+ pictures inside of Olivia Munn, Pete Wentz, and more at the Art Mère/Art Père event…


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Research & Collections
Beyond the Museum's exhibitions lies a labyrinth of hallways, vast storage rooms and busy offices, all filled with the sights and sounds of discovery.
Eminent scientists, specimens, books and papers microscopes, and sophisticated computer systems: Welcome to the realm of NMNH Research and Collections. In this university-like atmosphere, scientists delve deep into the history of our planet and the processes and peoples that shape it today.
Their enduring curiosity has led these Museum explorers to the four corners of the earth. They travel to ocean depths, the peaks of the Andes, Africa's Rift Valley, the rainforests of South America, and the deserts of Central Asia. Perhaps even to a field site or research institution in your own state, territory or country.
In each area, researchers collect specimens: fossils, minerals, and rocks, plants and animals, tools and artworks. Collections care professionals have meticulously preserved, labeled, catalogued, and organized items of this kind for more than 150 years.
Taken together, the NMNH collections form the largest, most comprehensive natural history collection in the world. By comparing items gathered in different eras and regions, scientists learn how our world has varied across time and space.
Such collections-based research then provides the essential building blocks for answering broader questions about our future. NMNH scientists and their colleagues worldwide seek the puzzle pieces that will form detailed pictures of vital topics such as evolutionary relationships of organisms, biodiversity loss and global climate change.
The Museum's location in the heart of the nation's capital promotes sharing these research findings with key decisionmakers from around the world.
There are now over 126 million items in the ever-growing NMNH collections, ranging from fossilized pollen to bones of Tyrannosaurus rex, algal samples to a slab of a giant sequoia tree, tiny crustaceans to giant squid, DNA samples to whale skulls, ancient spear points to Chinese shoes, and the Hope Diamond to Moon rocks.
Museum visitors sometimes wonder aloud whether we need to keep adding "stuff" to the NMNH collections. In fact, we have literally only skimmed the surface when it comes to understanding the natural world and humanity's place in it.
We could no more finish adding specimens to the National Collections of the Smithsonian Institution than we could stop adding books to the Library of Congress or historic documents to the National Archives! Together, these are among our nation's greatest treasures.


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The Phillies announced that they have signed Delmon Young to a one-year, $750,000 contract.
Here's why the move makes some sense for the Phillies.
1) He is a career .307/.341/.483 hitter against left-handed pitching, including .308/.333/.500 last year.
2) He is better against righties than John Mayberry Jr. (.232/.302/.379 career line for Mayberry, .275/.307/.401 career line for Young).
3) While he is three years removed from his best campaign as a big leaguer, when he hit .298/.333/.493 with 21 home runs for the Twins in 2010, he will be just 27 years old this season.
4) The Phillies sure could use more right-handed power, and Young would provide an option, presumably at a cheap price.
That being said, Young is obviously an imperfect solution to an imperfect situation. He has had two straight below-major-league-average seasons, posting a .707 OPS and 89 OPS+ in 2012 and a .695 OPS and 90 OPS+ in 2011. He has played exclusively in left field since 2008, and we use the word "played" loosely, because Young is a notoriously bad defender. Which, of course, means that the Phillies could enter the season with three corner outfielders who have serious question marks on defense in Darin Ruf, Domonic Brown and Youg. It also gives the Phillies two right-handed bats in left field, and John Mayberry Jr. as the likely right-handed counterpart to balance out Domonic Brown in right field and back-up center fielder Ben Revere.
I haven't thought this through too deeply, but my initial thought is that this means Freddy Galvis likely starts the season in the minors, since Kevin Frandsen would fill the utility role, joining Mayberry, Young, Laynce Nix and Erik Kratz on the bench.


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Last general membership meeting of the fall semester! We will be going over information about the remaining events of the fall semester, including any questions about accessing the outline bank, as well as plans for the spring semester, specifically WIL's production of the Vagina Monologues.
This meeting is also open to any Kent student looking to be involved in the Monologues. If you cannot make the meeting but want to be involved or have any questions, please email Rachel Mercer at firstname.lastname@example.com. No experience is required and this is a great opportunity to meet others and discover talents you never knew you had! So come and enjoy some pizza and we'll see you there!
When: Wednesday Nov. 4th, 3:00 - 4:00
Where: Room 581
Please mark your calendar and plan on attending Kick-off Event on November 5 from 5:30 to 7:30 in the lobby of the law school at 565 W. Adams. Drinks and light snacks will be provided. This will be a great start to the program and provide an opportunity for mentors and mentees to meet. We need a strong showing of students at this event, so please plan on attending!
Please contact your mentor before the event and let her know if you are coming to the event. You may have to arrange an alternate time for your first meeting with your mentor.
Also, please RSVP to the event by Friday, October 30 by sending an email to firstname.lastname@example.com. Thanks!
We still have a few spots open for registration fee waivers!! If interested, please email firstname.lastname@example.com. See below for more details about this networking event.
From Friday, November 20, to Saturday, November 21, at Northwestern Law School, the Ms. JD conference will highlight different career paths available in the legal profession, the changing definitions of success, and the personal and professional infrastructure that best promotes retention and advancement of female attorneys.
And once again THANK YOU for everyone's hard work in our Breast Cancer Awareness Bake Sale. We raised over $200 that will be donatd to the Susan G. Komen For the Cure.
..... Lastly, an email will be sent out shortly with all the information you will need to access the WIL Outline Bank. Good luck on exams!
.: Main Chicago-Kent event calendar
.: Academic calendar
.: CLE calendar
.: Alumni event calendar
.: Admissions calendar


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Nigeria's Catholic bishops expressed concern that anger and hatred are growing among Christian and Muslim communities and have reached a dangerous level following a spate of church bombings believed to be carried out by a fundamentalist Islamic sect.
"These are sad days for Nigeria and for all Nigerians," the bishops said in a June 26 statement released in Abuja. "We feel greatly pained by the violent events which have become almost daily occurrences."
The statement, signed by Archbishop Ignatius Kaigama of Jos, president of the Catholic Bishops' Conference of Nigeria, and Archbishop Alfred Adewale Martins of Lagos, lamented the lack of security for Christians despite mounting attacks.
Calling upon all Nigerians to defuse the rising tensions, the bishops also urged the government to step up its actions to protect all people from violence.
The bishops also condemned reprisal attacks on Muslim communities. The most recent incidents occurred June 17 when 45 people were reported killed after four churches in Zaria and Kaduna were bombed. Afterward, Christian mobs carried out reprisal attacks on Muslims.
The bombings were widely believed to be the work of Boko Haram, the Islamic sect. The bishops commended Muslim leaders for condemning the violence.
"But it is not enough to issue verbal condemnation of terrorist activities," the statement said. "There is need for concrete and pro-active action to call to order those responsible and to make them desist from causing any further havoc on our nation in the name of religion."
They also said the attacks on Christians in their places of worship would further stress the already fragile relations between the Christian and Muslim communities.
The bishops added that they found security had worsened over time "as terrorists strike almost at will against innocent citizens all across the northern parts of Nigeria."
"Much more needs to be done in the area of intelligence-gathering, analyzing, interpreting and security equipment procurement. The terrorists must be identified, engaged and disarmed,' the statement said.


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The parables of Jesus provide some of the most memorable images in the Synoptic Gospels. The parables unique to Luke are no exception. Depending on the criteria used to count them, there are some 18 parables unique to Luke's Gospel. They not only teach us about ethics and moral behavior, but more importantly they provide a glimpse of the kingdom of God. They also provide the astute preacher with a treasure trove of ways to provoke more profound reflection upon God's viewpoint made evident through Jesus' teaching.
The Tradition of Parables
Before exploring some of these Lukan parables, we should remember some basic information about the parables in the New Testament. First, it is well known that Jesus spoke in parables as a way of enticing his audience to reflect more deeply on God's perspective and, at the same time, to persuade them to making good ethical decisions in conformity to God's commands.
A second point is to recall the diversity found in Jesus' parables. There are two basic types of parables in the Gospel tradition, aphoristic and narrative. The aphoristic parables teach ethical perspectives that are meant to guide the audience to careful decision-making. The narrative parables, on the other hand, which are the most striking, do not necessarily invite consideration of an ethical stance as much as they invite the hearers to view reality differently than they normally would. In fact, narrative parables are sometimes jarring. They make us pause or ask ourselves questions about their meaning. The problem is that we modern, urbanized people do not always easily identify with images rooted in the more rural, agricultural context out of which Jesus came. So, some of the original "flavor" of the parables can be lost on us.
Finally, the biggest mistake modern interpreters make concerning parables is a tendency to reduce them to moral lessons. Since the basis of parables is a metaphor or simile, a way to compare usually two unrelated images, they normally should make us pause and reflect. To reduce the parables to moral lessons is to miss the point. Rather, they are meant to provoke questions in us, and they offer a glimpse of how different the kingdom of God really is in comparison to our worldview.
God's Lost and Found Department
To illustrate some of the power of Luke's parables, we begin with one of his favorite themes: the kingdom of God is all about seeking out the lost. I like to think of it as God's "lost-and-found department" because there is a series of special Lukan parables that reflect this theme.
The entire chapter 15 of Luke is the prime location for this theme. It begins with the parable of the lost sheep, which in fact is also found in Matthew in a different context (18:12-14). The jarring image is of a shepherd who leaves 99 sheep at the mercy of fate to go seek out one little lost sheep! What kind of shepherd would do this? Logically, would not a shepherd "cut his losses" and save what he still has? But no, in God's way of doing things, the one lost sheep is more important and worth seeking out.
The two remaining parables hammer away at the same theme, climaxing in the wonderful parable of the "lost (prodigal) son," which just as rightfully could be called the parable of the overly generous (prodigal) father (15:11-32). First, however, is the parable of the lost coin (15:8-10). Here Jesus invokes the image of a woman who loses one of her 10 coins and turns the house upside down to find it. Then, out of joy at finding the lost coin (equivalent of a day's wage), she throws a party for her friends and neighbors. How sensible is this? The punch line, however, delivers the message: "Just so, I tell you, there is joy in the presence of the angels of God over one sinner who repents." The intertwining of joy, another favorite Lukan theme, with the finding of the lost coin gives us the orientation to understand the parable. Humans are forever losing things, including themselves, but in God's perspective, it is essential to remember that joy will result in being found again!
The climax comes in the extended parable we call "the prodigal son." It has inspired many artists to portray the poignant moment of the spendthrift younger son's humiliating return to his father, and his family, after he has squandered his inheritance on dissolute living. Hyperbole fills the story. The father's extremely generous reaction to welcoming his good-for-nothing, but repentant, son back (the running to greet, the embrace, the kiss, the ring, the sandals), the older son's self-righteous reaction and virtual indignation over his father's kind action, and the father's plea to him to welcome his brother back — these all point to the generosity of God's kingdom in dealing with wayward sinners. Of course, we might imagine the reaction of some of Jesus' audience. The boy should have been punished, not rewarded! Where is true discipline when you need it? Being overly forgiving is only going to encourage more irresponsible behavior!
How should we treat such a series of parables in our own context? The beauty of parables is that they have virtually limitless possibilities for interpretation precisely because they are not simplistic moral lessons. We can suggest, however, that in the context of a society where many people call for vengeance, for strict punishment, and even for the death penalty in some cases, the message of God reaching out and seeking the lost is not an easy one to accept.
Note the orientation of this way of viewing the parable. It is not about changing our behavior so much as it is about seeing that God is more generous than we can imagine. We are the lost sheep; we are the lost coin; we are the prodigal son! To call for just punishment would be to condemn ourselves. God, however, sees it differently. There is a call to repentance embedded in these parables, for sure, but more striking is the insistence that God actually operates a lost-and-found department, in which the lost can be assured they will be sought out and found.
Unsavory Characters and the Kingdom
Another aspect of Luke's parables is Jesus' use of rather unsavory characters to get his message across. One example is the dishonest steward (16:1-8). When his master calls him to account for squandering his master's property, the steward sets about reducing the amounts owed to the master by certain debtors. What must be remembered is that such stewards made a living by imposing a commission — a kind of surplus fee — on debtors. His quick action, in spite of his dismissal as the steward, however, is commended by the master! Why? God's generosity again. The steward's prudent action expresses a Gospel attitude when confronted by a crisis. Jesus' following explanation speaks of contrasting types of stewardship, with an emphasis on carefully taking care of true (spiritual) wealth rather than worldly resources.
Another unusual role model is the persistent (dare I say, nagging?) widow (18:1-8). She won't let the dishonest judge off the hook and persistently nags him about making a judgment in her favor. The judge acknowledges that he respects neither God nor human beings, but he decides to render judgment in the widow's favor because she keeps "bothering" him and he is fearful that she will attack him. Jesus uses the image to promote persistence in prayer. If such a dishonest judge will finally cave in to constant nagging, how much more will God, who is anything but an unjust judge, give in to our desires expressed through prayer.
Note that in such stories, the ultimate attention is not be drawn to the unsavory characters themselves, but to the surrounding actions. Jesus is not commending dishonesty but calling attention to deeper values. The seediness of the characters only highlights the paradoxes in these parables.
In these instances, of course, there is focus on human behavior, but the image of God is also in view. God knows we are not perfect. He knows we sometimes lack persistence in prayer or are not the best "stewards" of the gifts we have been given. We are nevertheless His creatures, and when we act prudently and persistently, He will hear and answer us.
The richness of Luke's parables cannot be summarized in such a brief article. We can, however, prepare to listen anew to these parables, for they come up periodically in the liturgical year and offer the attentive preacher an occasion to try to hear them on their own terms. Parables are, by their nature, intended to provoke a glimpse of God's kingdom that is far different than perhaps we imagined. TP
Sulpician Father Witherup, S.S. is Superior General of the Society of Saint Sulpice and frequent contributor to The Priest. He recently published Gold Tested in Fire: A New Pentecost for the Catholic Priesthood (Liturgical Press, 2012), and Saint Paul and the New Evangelization (Liturgical Press, 2013).
Copyright © 1996-2018 Our Sunday Visitor, Inc.


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'Scratch' film hits snag
GERMAN film-maker Volker Schaner is seeking additional funding to complete his documentary on legendary Jamaican music producer Lee 'Scratch' Perry.
Schaner, 45, placed Vision Of Paradise (the name of the project) on the kickstarter.com website — an online platform for funding creative projects — hoping to attract investors.
To date, the director says he has achieved a quarter of his US$20,000 target.
"We are very close to the finale, there are a lot of cool people supporting it. There is no way that anybody or anything can prevent us from finishing it. It's a must," Schaner told the Jamaica Observer.
According to the 45-year-old Schaner, the concept for the film came 13 years ago.
"The first time I heard Lee Perry's music I felt there was a bigger secret behind him. A secret that I had to explore and understand," he explained.
"The movie can be seen as a guide how to change the world with music," he added.
Perry, now 76, is arguably reggae's greatest producer. He is responsible for directing the music's top artistes on some of their biggest hit songs.
They include The Wailers (Mr Brown, Small Axe), Junior Murvin (Police And Thieves), Max Romeo (War Ina Babylon) and Junior Byles (Curly Locks, Beat Down Babylon).
He also worked with a number of European and American bands including The Clash and the Beastie Boys.
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Tlusty, Eric Staal lead Hurricanes past Pens 4-1
RALEIGH, N.C. (AP) — Eric Staal wasn't going to let his little brother lose on this special night.
The older Staal centered a line that produced three goals in the Carolina Hurricanes' 4-1 victory over Pittsburgh on Thursday night in ex-Penguin Jordan Staal's first game against his old teammates.
This was a week of reunions for the Hurricanes' two big offseason acquisitions. They came up empty two nights earlier in Washington in Alexander Semin's first game against the Capitals, and they weren't going to let it happen again to their other notable new face.
"We missed out for Alex on Tuesday so we wanted to make sure we got it for Jordy," Staal said. "Big week for us, and obviously just a big game for us. The division's tightening up, and we want to stay ahead. We want to get ahead of the group, we want to separate ourselves and you've got to win games."
Big brother's line did much of the damage: Jiri Tlusty had two goals and an assist, Eric Staal had a goal and two assists and Semin had two assists.
"I'm just enjoying my time and building the confidence and playing with two of the best players in the NHL," Tlusty said. "What can you say? It's enjoyable every single day, every single shift out there ... and you just go out there and enjoy it. That's what hockey is about, right?"
Jeff Skinner scored a goal in his first game back from a concussion and Cam Ward made 26 saves for the Southeast Division co-leaders, who erased an early 1-0 deficit by scoring three goals in a span of 6 minutes, 14 seconds.
Chris Kunitz scored for the Penguins, who entered leading the Atlantic Division but were held without a power-play goal for the first time since Feb. 2.
Marc-Andre Fleury stopped 25 shots for the Penguins, who have lost the first two games of a three-game road swing.
"We're a good team, but we're a good team when we work hard as a group," captain Sidney Crosby said. "We can't expect to show up in teams' buildings on the road and just put our gear on and expect to win."
All the pregame attention was on Jordan Staal's first meeting with his former teammates since the blockbuster trade on draft night that sent him to his brother's team for Brandon Sutter and others.
"It's fun when you're playing against your former team. It makes for a special challenge," Jordan Staal said. "It was a little weird playing against those guys but it turned out to be a good night for us."
All of Carolina's goals came from close range, prompting Penguins coach Dan Bylsma to suggest his team hung Fleury "out to dry."
"You could throw a blanket over the area they scored four goals tonight," Penguins defenseman Brooks Orpik said.
The Hurricanes started their scoring binge in the final minute of the first period, tying it at 1 with 24.1 seconds left when Eric Staal redirected Semin's spinning shot.
Tlusty then made it 2-1 by stuffing in the rebound of Eric Staal's close-range shot 4:03 into the second.
Skinner pushed the lead to 3-1 just 1:46 later when he scored off a pretty backhand pass from Patrick Dwyer. And Tlusty capped Carolina's three-goal second period and made it a three-goal game with 10.1 seconds left.
"Scoring in the last minute of any period is huge and those were big," Eric Staal said. "They kind of got the momentum on our side, and we followed through with that."
That had the Hurricanes on their way to yet another victory over a non-Southeast Division team. They are 0-5 against the other four teams in their division — and 10-3-1 against everybody else.
This one started just as the stat sheet suggested it would — with the Penguins scoring first.
Crosby delivered a pretty cross-ice pass to Kunitz, who fired a one-timer past Ward to make it 1-0 with 6:46 left. The Penguins entered outscoring their opponents 23-9 in the first period, while Carolina had been outscored 21-7 in the opening 20 minutes.
And for more than 19 minutes of the period, it looked as though those stats would hold — until Staal's redirection started the Hurricanes' flurry against Fleury.
NOTES: Bylsma said C Evgeni Malkin, who missed his third straight game with a concussion, skated for the second consecutive day at the team's practice facility south of Pittsburgh — and uncorked a nifty trick shot, sending a puck into a bag from center ice. Bylsma said there is no timetable for Malkin's return. ... Skinner was one of four Hurricanes who returned from injuries, joining D Tim Gleason, D Jamie McBain and C Tim Brent. ... Carolina was 1-4 without Skinner.


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Manchester aldermen to discuss Pearl Street parking lot, KC's Rib ShackBy TED SIEFER
New Hampshire Union Leader
August 05. 2013 10:25PM
MANCHESTER — The Board of Mayor and Aldermen is set to discuss a proposed student housing project downtown and the partial shutdown of KC's Rib Shack as part of a crowded agenda this evening.
Tonight's meeting, which begins at 7 at City Hall, is the first full board session for the aldermen following a month-long break over July.
The aldermen are expected to vote on a committee recommendation to issue a request for proposals for the Pearl Street parking lot downtown. Since the Land and Buildings Committee made the recommendation last month, over selling the lot directly to a private developer for a college student housing tower, several other parties have expressed both interest in and concern about the site.
A representative of Stonegate Developers, LLC, based in North Carolina, wrote a letter to Mayor Ted Gatsas last week offering to pay the city $1.2 million for the 3-acre property, which is now a city-run surface parking lot. Stonegate's plan is for a building with 250 student apartments and a 750- to 1,000-space parking garage. The offer is $300,000 higher than the one that was made by VMD Companies, the first firm to express an interest in building student housing there.
On Friday, another developer, American Campus Communities, based in Austin, Texas, indicated that it was interested in the property for student housing.
Both Stonegate and American Campus Communities are working with Mike Castagna, a consultant in Manchester. Castagna had been representing VMD, but no longer is.
"After having initial discussions with them, I determined they were not suited for this project and discontinued further dealings with them," Castagna wrote in his letter on behalf of American Campus Communities. VMD is still pursuing the project, Castagna wrote.
In addition, the general counsel for Brady Sullivan Properties wrote a letter to the aldermen last week expressing concern about the possible elimination of parking spaces due to the development of the lot.
"It is essential that Brady Sullivan be provided an opportunity to engage in an RFP process in order to protect its rights to parking at that lot. 1230 Elm Street was redeveloped by Brady Sullivan in reliance on the existence of that parking," attorney Marc Pinard wrote.
Mayor Ted Gatsas said given the interest expressed in the lot, it makes sense for the city to issue an RFP, rather than negotiate a price with one potential developer.
At the same time, Gatsas said he wasn't sold yet on the concept of student housing for the site — or that parking wasn't the best use for the site.
"Economic development isn't just about what can happen today. It's also about what can happen in the future," he said. "Any developer who comes in, one of the biggest issues is if there is going to be parking."
Tuesday's meeting will also be the aldermen's first chance to discuss the shutdown of the tiki bar and patio at KC's Rib Shack on the West Side. City inspectors ordered the patio shut down in early July, citing a list of urgent health and building violations.
It was later revealed that the owner had been discussing a plan to address concerns raised by a health inspector concerning a portable sink for the tiki bar, but was caught off guard when a building inspector ordered the immediate shutdown of the patio.
The patio was allowed to reopen the next week, and Gatsas issued a new directive to departments requiring inspectors to get the permission of their bosses before ordering a business cease operations.
Other items likely to come up for discussion or votes on Tuesday include removing the welfare commissioner position from the Yarger Decker system of set annual raises; the slight downgrade of Manchester's credit rating; and again making economic development a separate department, rather than a division of the mayor's office.


text:
Les Misérables (US - BD RA)
Gabe dreamed a dream of a director that could hold still and frame a shot...
Set against the backdrop of 19th-century France, Les Misérables tells the story of ex-prisoner Jean Valjean (Hugh Jackman), hunted for decades by the ruthless policeman Javert (Russell Crowe), after he breaks parole. When Valjean agrees to care for factory worker Fantine's (Anne Hathaway) young daughter, Cosette (Amanda Seyfried), their lives change forever. (From Universal's official synopsis)
I know very little about Victor Hugo's Les Misérable other than the basic story, which I learned by seeing Bille August's 1998 film version – the one without any singing. It's not a very good movie, so my affection for the story is limited. I have no connection to the material and thus have no reason to resent any adaptation. I am, however, not a fan of director Tom Hooper, so anything with his name on it is automatically suspect in my book. Hooper's coming out party from the no man's land of BBC programming was a surprise Oscar sweeping hit, The King's Speech, a film that shook off none of the director's TV movie visual limitations. King's Speech isn't a bad film, but it is a film that directs itself, thanks to a simple, straight-forward screenplay and a handful of strong performances, including co-producer Geoffrey Rush, who probably could've done just as well as Hooper as director. The only thing Hooper really brought to the table was a series of bizarrely off-center camera compositions, which kind of covered his lack of scope or scale. One would assume that, given a chance to shine on a proper budget with popular, oft-adapted material, he would break out of his minimalist, 'quirky' style.
Apparently, there are at least 13 film adaptations of Les Misérable and, more recently, a French TV miniseries and a Japanese animated series. That's one or more per decade since the advent of the motion picture. This version is set apart, because it is the first big screen version of Alain Boublil and Claude-Michel Schönberg's musical version of Hugo's novel. An adaptation of the musical had been in development for decades, alongside other Broadway hits from the era, like The Phantom of the Opera and Cats. Hooper reportedly pursued this project, leading one to believe he had something special in mind for the material. Alas, it's just more of the same. His wildly unattractive over-direction does not lend itself to an epic musical production. In fact, everything I didn't like about The King's Speech is compounded by movement – something he's clearly unprepared to deal with. Where the stillness of his last film more or less required a bit of visual flair, this material is already plenty kinetic, brimming with the melodrama of stage acting and a massive cast of busy extras. The amazing production values can be seen peeking at the viewer from around the peripherals of the ridiculously confined, oddly fish-eyed compositions. Every so often, we're given a glimpse of a fantastically over-done special effect and realize someone, somewhere has a slice of David Lean in their heart, but the man in charge wanted us to stare into the pores on his actor's noses, not the beautifully crafted sets and locations.
Hooper's editing practices are also a huge problem, visually speaking. Every shaky, hand-held, hyper-close-up is compounded by a series of cuts that don't allow any of the compositions to sit still long enough to absorb (Cut! Reverse angle! Cut! First angle! Cut! Dutch variation of the first angle!). It's as frenetic as the fights in a Jason Bourne movie, which is an intriguing idea for maybe one or two pieces (it works well for the terrifying delirium of 'Lovely Ladies'), but is shatteringly stupid when drawn over 158 minutes. The story editing works pretty well, at least for someone like me that isn't attached to specific moments and story rhythms. Well, it works pretty well for a while – eventually it breaks down like almost everything else in the movie. The sprinting pace does begin to numb around the 30-minute mark, which is a good place for 'I Dreamed a Dream' to hit and give Anne Hathaway her big Oscar moment (it's a good one too; I have no problem with her winning the statue). The placement is so mechanical, though, that I assume it was meant to be something of a climax, but it feels more like a nice, deep breath before Hooper and his screenwriters tear back into the thick and chunky plot. Other breaks from the pace, like the Thénardier's introductory song, 'Master of the House,' sort of work separate from the rest of the film, but are generally tonally awkward and take up valuable time as the story begins to focus on the 'chase' (which made up the bulk of Bille August's non-musical version).
Hooper did bring one important concept to this adaptation – he made the hard choice to capture all of the singing on-set. This isn't as unheard of as the press materials would leave you to believe (Julie Taymor did it as recently as 2007, when she made Across the Universe), but it is unusual, especially on a film of this scale. Unfortunately, again, Hooper's over-direction sort of ruins the incredible effort, or at least the visual component. The actors do greatly benefit from this approach, as do their performances. I'm a huge fan of the classic Hollywood approach to musicals and appreciate the glossy singing performances created in post, even those dubbed by singers that don't appear on-screen. I also think that we are at a point in motion picture musicals where we can accept less than glossy singing from our actors, at least in some cases. I think the charm of the 'natural' singing performances found in Tim Burton's Sweeney Todd: The Demon Barber of Fleet Street and Phyllida Lloyd's Mamma Mia justifies the fact that some of the actors are objectively 'not good' singers. The more 'raw' or 'rock and roll' sound seems to fit with Hooper's rough-and-tumble, gutter trash approach. The problem then becomes that Hooper hired professional Broadway types to fill out the supporting cast. These people sing perfectly, but don't emote on the same level as the more famous cast, creating an imbalance that makes folks like Russell Crowe and Hugh Jackman look like weaker singers, while simultaneously making Samantha Barks and Aaron Tveit look like wooden actors.
Hooper and cinematographer Danny Cohen (who was somehow nominated for Best Cinematography for The King's Speech) shot Les Misérable on 35mm, seemingly for the sake of the grit it afforded them, clearly not for the sake of natural colours or image quality. This 1.85:1, 1080p transfer is as sharp and clear as the roaming, wiggling, unfocused camera will allow, which means that the close-ups look great and most everything else looks kind of blurry. Every nook and cranny of every actor's face is razor cut with brilliant contrast levels. The bulk of the backgrounds are blobby shapes, but feature no notable low-level noise and smooth enough gradient blends. On those rare occasions where a wide-angle lens is utilized, the deeper-set textures and patterns match the sharpness of the foreground faces. The digital colour grading is pretty severe throughout the film and generally matches the palettes Hooper and Cohen set as their favourites with The King's Speech. The basic palettes include a blue and orange variation for daylight scenes (though, of course, everything is heavily overcast throughout the film) and a sort of pea green and urine yellow mix. The base palettes are highlighted with a handful of richer hues, specifically two that appear on the French flag – red and blue (I didn't think to see if the blue faded into black as the film progressed to match the colours of the revolutionaries' flag, but that would be awfully clever). Black levels are deep and thick without muddying to many of the dark details (the folds of black clothing, for example), but many of the white levels are closer to very, very light blue than true white. The film grain is not avoided and dances throughout the backgrounds especially, but there are no major signs of digital compression or the edge haloes that sometimes accompany 35mm releases.
Being a musical, not to mention a musical that was made using a much-publicized on-set method, it's not surprising that this DTS-HD Master Audio 7.1 soundtrack is given its biggest boost when people are singing and the orchestra is swelling. I did not realize until finally watching the film that famed composer Claude-Michel Schönberg had actually written additional music to fill out the downtime during this film version. The actors were recorded singing on set, which leaves their performances relatively unaltered and centered on the track. The sound isn't perfect – there are inconsistencies in volume, hints of hiss, and noise-reduction effects – but that's rather the point of the exercise. However, the orchestra was recorded in post and is given the usual multi-channel treatment it gets on any other major motion picture release. The full, 70-piece orchestra sound makes for a particularly rich and powerfully loud soundtrack. The pounding percussion and throbbing bass strings give the LFE plenty to handle, while the more treble-dependent instruments dance nicely throughout the channels. But the music doesn't always sit alone; there are some aural embellishments that give the channels a little something extra to do. There's generally no ambient noise apart from footsteps, closing doors, and the like, because the music fills the role of atmosphere. The directional cues revolve mostly around the special-effects-heavy establishing shots, specifically the movie-opening stormy, seaside boat-pulling sequence and the revolutionary battle scenes (though, even here, things are mostly music and lyric-based).
Extras begin with a commentary track from Tom Hooper. When I watched King's Speech with the Hooper commentary, I compared his tone to that of a napping dog. This is more of the same. Hooper is a humourless, self-important commentator and any important production factoid or thematic discussion is drowned in droning, dignified-verging-on-pretentious rhythms. There are interesting bits concerning the career histories of supporting cast members, changes between the film and musical (and book, for that matter), and the technical practices (having never seen the musical, I was not aware of the differences between the fixed and free singing tempos), but this is mostly like sitting through a high school English class just before lunch. To his credit, Hooper doesn't leave a lot of blank space and doesn't directly repeat himself while focusing on scene-specific discussion. Someone might want to define 'irony' for him, though – he doesn't appear to know what it means.
Up next is a whole subset menu entitled Les Misérables: A Revolutionary Approach that houses a series of behind-the-scenes featurettes, including:
- The Stars of Les Misérables (11:10, HD), concerning the casting process, the extraordinary efforts taken by the actors, and their thoughts on the characters they play.
- The West End Connection (8:20, HD), covering the members of the supporting cast and their ties to the musical – specifically Colm Wilkinson, who was the original Jean Valjean, and Samantha Barks, who came directly off the West End to star as Eponine.
- Les Misérables on Location (9:10, HD), including finding real-world locations, choreography, production design, and cinematography.
- Creating the Perfect Paris (3:50, HD), about designing and building the main stage's set.
- Battle at the Barricade (4:40, HD), concerning the process of filming the movie's biggest action set-piece. It looks pretty impressive when the camera angles are actually wide enough to absorb it all.
- Les Misérables: Singing Live (23:20, HD), the most substantial featurette, about the arduous process of recording singing live on a massive scale. This is all a bit technical, but also easily the most interesting thing on the entire disc.
One more featurette escapes the subheading. The Original Masterwork (11:10, HD) concerns Victor Hugo's life and the writing of the original Les Misérables novel. Interview subjects throughout all of the featurettes include Hooper, producers Debra Hayward, Eric Fellner and Cameron Mackintosh, writer/composer/co-creator Claude-Michel Schönberg, writer/co-creator Alain Boublil, supervising location manager Camilla Stephenson, choreographer Liam Steele, musical director Stephen Booker, music supervisor Anne Dudly, production designer Eve Stewart, assistant director David Channing Williams, prop masters Terry Wood and Charles Lister, set designer Anna Lynch-Robertson, sound engineer Simon Hayes, on-set pianist Jennifer Whyte, professor of French studies at UCLA Laure Murat, director of the Victor Hugo museum Gerard Audinet, and actors Hugh Jackman, Russell Crowe, Eddie Raymayne, Anne Hathaway, Samantha Barks, Amanda Seyfried, Colm Wilkinson, and a series of West End stage actors.
There's a good movie somewhere in Les Misérables, but director Tom Hooper's approach doesn't work at all. The script could do with a bit of pruning, perhaps, but the central performances are pretty spectacular (if not weirdly mixed) and the production design is a gorgeous blend of hyper-realistic and impressionistic. The final product looks more like haphazardly edited outtake reel, as if the original footage was burned in a darkroom fire and the handheld coverage had to be used to complete the film. But hey, if you're among the millions of people that enjoyed the film, you are certainly in for a treat with this Blu-ray release, which features a vivid 1080p transfer, a boisterous 7.1 DTS-HD MA soundtrack, and a bevy of informative (self-important) extra features.
* Note: The above images are taken from the Blu-ray and resized for the page. Full-resolution captures are available by clicking individual images, but due to .jpg compression they are not necessarily representative of the quality of the transfer.
Review by Gabriel Powers
mc_serenity Member Join Date: December 2006 Location: United States Posts: 824
I thought the sound mix was really front-heavy, even the orchestral music was spread to the front and center speakers with little bleed to the back.
Gabe Powers Editor Join Date: September 2004 Location: United States Posts: 4,719
It's possible. I tend to have my rear channels tweaked a bit high so that I really notice anything going on back there for review purposes. It's also possible that the vocals are keyed a bit too high throughout the movie and that creates a pretty heavy front presence.
mlcm Member Join Date: November 2006 Location: Canada Posts: 933
If I were a defender of the film, I'd say you chose stills that are anomalous, free of context, and do not represent the aesthetic of the film entirely. However, I've seen the movie and I know that the bizarre wide-angle close ups are the norm, not the exception. In other words, I loathed the direction and am unable to compute how people sat through this exercise in askew views.
hogaburger Contributor Join Date: April 2007 Location: United States Posts: 1,153
mlcm wrote: If I were a defender of the film, I'd say you chose stills that are anomalous, free of context, and do not represent the aesthetic of the film entirely. However, I've seen the movie and I know that the bizarre wide-angle close ups are the norm, not the exception. In other words, I loathed the direction and am unable to compute how people sat through this exercise in askew views.
I took the stills with the intent of showing how wonky the visuals could get. But stills don't really do it justice.
I still came out liking the movie. The music and cast won an uphill battle against Hooper's direction, but it was close.
I took the stills with the intent of showing how wonky the visuals could get. But stills don't really do it justice.
I still came out liking the movie. The music and cast won an uphill battle against Hooper's direction, but it was close.
Some material may be inappropriate for children under 13
Disc Details
Release Date: 22nd March 2013
Discs: 2
Disc Type: Blu-ray Disc
RCE: No
Video: 1080p
Aspect: 1.85:1
Anamorphic: No
Colour: Yes
Audio: DTS-HD Master Audio 7.1, DTS 5.1 English
Subtitles: English SDH, French, Spanish
Extras: Director's Commentary, The Stars of Les Misérables, The West End Connection, Les Misérables on Location, Creating the Perfect Paris, Battle at the Barricade, Les Misérables: Singing Live, The Original Masterwork, Trailers, DVD Copy, Digital Copy, UltraViolet Copy
Easter Egg: No
Feature Details
Director: Tom Hooper
Cast: Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried, Eddie Redmayne, Helena Bonham Carter, Sacha Baron Cohen
Genre: Drama and Musical
Length: 157 minutes
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text:
Style # 208651
Pintuck detailing at panels, heart-shaped neckline and exposed zipper at back make this bebe bustier a hot way to give your dressy tops a color lift. Fabric offers a slight sheen. Try it with a fit and flare skirt for a flirty-chic look.
- 96% polyester, 4% spandex
- Center back to hem: 11" (28 cm)
- Back zipper
- Hand wash
- Imported
- Model is 5'9" and is wearing a US size S
Chevron Pintucked Bustier is rated out of 5 by 1.
Rated 3 out of 5 by Divi417 from Disappointed!!! I was excited to get this blouse... But I'm an extra small and I ordered it in an extra small, but yet it was huge. Did not fit well at all and way too big. I was considering to get it taken in... But it would defeat the purpose as the design of pin tuck would be ruined. It definitely was not how it looks on the model and bebe needs to change their size system for this blouse.
Date published: 2012-12-06


text:
Firefighters continued to build a line around the 3,715-acre Hathaway Fire near Banning, containing about 45 percent of the blaze by Saturday morning, officials said.
Cal Fire officials expect to have the fire fully contained by June 25.
The fire ignited June 9 near the Morongo Indian Reservation and the San Gorgonio Wilderness, burning north in steep and rugged terrain.
Ten firefighters have suffered injuries while fighting the fire.
Reach Melissa via email or call her at 909-386-3878.
Get the latest crime and public safety news on Twitter @IECrime.


text:
Bifidobacterium adolescentis
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text: You are here: Home Radiology and Imaging Services Radiology and Imaging Services OverviewProvidersLocations Page ContentUW Medicine Radiology boasts one of the most advanced diagnostic imaging facilities in the country, offering a complete spectrum of leading-edge technologies and specialized clinical expertise. Along with these advancements, we have made significant improvements in our patient care environments.Our beautifully re-designed imaging suites and patient prep areas were designed to enhance the patient experience with more comfort and ease.UW Medicine Radiology provides clinical care at seven facilities in Seattle: UW Medical Center, Harborview Medical Center, Seattle Cancer Care Alliance, Seattle Children's, UW Medical Center-Roosevelt, Eastside Specialty Center and VA Puget Sound Health Care System. We invite you to explore and find out how UW Medicine Radiology can help you.For more information about UW Medicine Radiology's clinical, academic, and research activities, please visit their website.


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April 25 – April 27, 2019
Thursday to Saturday
Gates Open at 7 am
Texas Motor Speedway Fort Worth Texas USA
Texas Motor Speedway is 20 miles north of downtown
Fort Worth at the corner of Interstate 35 West and State Highway 114
General Admission is FREE
Vendor Spaces Available at 713-649-0922
Parking Fee:
$5.00 per vehicle for on site lot parking
(sorry, no in out privileges)
Camping and RV:
The Texas Motor Speedway provides an area next to the
Pate Swap Meet grounds during the event for individuals
with campers or recreational vehicles who are not camping
on their own vendor spaces. Reservations are not required.
The cost for the entire length of the swap meet is $20.00 and
the fee will be collected by a representative of the speedway. No hookups
available during swap meet.
Restrooms and
shower facilities:
are available at no cost to Pate Swap Meet vendors
and guests.
Individuals camping
at this facility must observe applicable camping
rules and regulations as defined by the
Texas Motor Speedway on their website.
Free Parts Hauling:
The Pate Swap Meet Team provide Parts Hauling
as a Free Service to
patrons and vendors or individuals purchasing heavy
or bulky items or
items that require assistance.
Electric Carts:
Electric mobility units (three or four wheeled, freestanding, electric scooters that are authorized by the federal government for access in public buildings) may be used at anytime inside the swap meet by any individual who requires this mode of transportation.
Individuals are welcome to bring their own personal scooters that fit these requirements for use during the swap meet.
Rental facilities will be onsite and available for scooters during the event.
The Pate Swap Meet is the largest swap meet in the midwestern United States. This is our 47th year of annual events. The widely attended Pate Swap Meet is a leading collector's choice for its diversity of auto and motorcycle related products offered by vendors from across the country. The four day event is host to everything automobile, motorcycle, and transportation related with a vast array of items including parts, accessories, automobilia, street rods, antique and collector cars along with many hard-to-find and vintage items.
The swap meet sponsoring clubs welcome you to our Car Corral. We are glad to have you join us at the Texas Motor Speedway. The Spring 2018 dates are April 26 – Apr 29.
Car Corral spaces can be purchased from registrar at the swap meet for $50 per car
We urge your support for all of our national organizations dedicated to the collector vehicle hobby
Event Scooters


text:
E. coli bacteria, TEM
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Credit: CENTRE FOR INFECTIONS/PUBLIC HEALTH ENGLAND/SCIENCE PHOTO LIBRARY
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Keywords: 0157, bacilli, bacillus, bacterial, bacteriology, bacterium, biological, biology, blue background, coloured, e coli, e. coli, ehec, enterobacteria, enterobacteriaceae, enterohaemorrhagic, enterohemorrhagic, escherichia coli, false-coloured, foodborne, gastroenteritis, intestinal, many, micro-organism, microbe, microbial, microbiological, microbiology, microorganism, multiple, o157, pathogen, pathogenic, prokaryote, prokaryotic, rod shaped, rod-shaped, shiga-like toxin, tem, transmission electron micrograph, transmission electron microscope, verotoxigenic, verotoxin, vtec
Licence fees: A licence fee will be charged for any media (low or high resolution) used in your project.