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Edging boards
Forum Responses
I probably waste more than others, but I don't flip and move edge boards much to edge them. I've seen some guys spend 30 minutes edging 25 feet of lumber. Making a cut, then stopping and flipping boards. Not me - I take the widest first and stack until the mill is loaded and just start making boards. My first cut on the top might only straight edge two or three boards. I'll make 4 inch boards out of these and usually straight edge two or three more with the same cut. By this time, most boards are straight on at least one edge and you can make 6 inch or whatever you're making. If you try that sometime, you will learn there's not as much waste as it sounds like and it's much faster and easier, to boot.
If you edge like I used to, flipping and moving and trying to figure if you should take a 6 inch now or flip and get 2 four inches and a six inch and this and that, it isn't worth it - very time consuming. If you try just making boards and comparing, I think you'll only edge one way.
PS If I was cutting FAS oak or any valuable wood, I'm sure I would do things a little different.
Placing the boards against the cant stabilizes the boards much better than clamping them against the bolsters. Edging after every log sounds slow to me. When we were edging on the mill, I kept a small cant (4X4) handy to edge against.
From contributor P:
Before I got an edger, I used to sort the flitches into sizes (ones that would make a 6 inch, 4 inch, etc.) and lengths. I would stack these sorted flitches centered on top of each other to about 12 inches thick. Then, with a couple of big C clamps at each end of these piles, me and the grunt would lift the whole pile on the mill and two cuts later, we had a bunch of boards (careful not to cut the c-clamp tightener thing). This only works for softwood/dimensional lumber, etc - not high-class hardwoods.
It might be surprising to know that typical hardwood edging recovers about 66% of the volume in the un-edged cants - over-edging is common. Further, the dollar loss is about 20%. Further, most pieces needing edging, if you rotate 180 degrees, are the upper grade pieces, so poor edging is expensive.
Gene Wengert, forum technical advisor
I am cutting Doug fir on a large job right now. I have about half a day's logs set up before I start. I am cutting two logs, then edging. I put the narrowest against the side supports and bigger as I go out, then I turn them as I edge. If you edge after every log, you don't optimize the number of flitches you should. I seldom edge with my cant, as the edge lumber is a different size than I would get while I am cutting the cant.
From contributor A:
When I edged on the mill, I did it depending on log size. With larger logs 24" +, I would leave the forks halfway up and leave all of the flitches on till I got to a tie or 6x6 cant, then dump the flitches onto the deck with the forks. (Less handling and there may be eight or nine of them.) Clamp and edge them, then take it all off the saw and start on the next log. If there are just 2 or 3 from the log, I would set them off and wait till I had several. Edging hardwoods will pay if you take your time and follow the rules for wane and size.
From contributor L:
I cut about two logs and edge in softwoods. In oak, I edge every log. Slabs go across a frame that holds them off the ground. The un-edged boards are laid on the ramp that the logs roll up on. When the logs are sawed and finished, the boards are put on the mill so I don't have a whole stack of one thing. I have to segregate into two or three different sizes with two or three in a size. Once every last board is edged and stacked (with sticks), I crank up the chainsaw and slice up the slabs into free wood to fuel my kiln. Throw it out of the way and grab the cant hook.
I do things this way so I can move the cut without walking. Placing the boards on the ramp prevents me from having to bend over to get boards off the ground. Not until it's done do I have to walk to stack it. Of course, before I can roll another log up, things have to be finished. For me, that's kind of a good thing, because I dread edging and put it off otherwise.
Just trying to throw the oak edgings across the mill and far enough to burn justifies stacking them and making firewood. It's easier and more productive. Working alone, I have to adapt a system that balances need/production with common sense and feasibility.
Maybe some can take a mill and just edge away without waste. I find it very hard to do several boards at once and not waste a strip of board here and there. It became feasible to just start at the top, accepting any waste and getting on with my life as opposed to flipping boards that are getting heavier as the day goes by. And I'm not so sure it's more wasteful - I like it and I squeeze the bugs out of my sawdust to prevent waste.
You boys with HD would look at edging in a different light without it. Them oak boards get heavy.
Wood-Mizer Twin Blade Edger. That's all I've got to say about that.
From the original questioner:
I guess there's no real easy or fast way to edge with out an edger. I do keep the boards separate and that helps a lot.
I have most of the things I need to put hydraulics on my mill, except time.
Incidentally, in many cases, a properly edged hardwood piece of lumber will have about 1/2 the length in wane (not any more than 1/2) and 1/2 of solid wood. Additional edging may be required at times, but usually not. This rule is to meet the NHLA grading rules requirement and also to meet market expectations. (It is more complicated than this, but this is a start.)
Gene Wengert, forum technical advisor
My $1500 Miner Edger paid for itself in six months.
From contributor P:
Since I got my edger, lumber cutting has changed dramatically. Especially making 2X6's out of small pine. I kind of like them small logs now - used to hate 'em.
With my system, the length thing is a bit of a pain, but this system is fast if you have the room to sort out all the piles. When I worked by myself, I made the piles smaller.
Edgers rule, though. Even working by yourself, production goes way up with very little effort (just lots of cash).
Gene, it is nice to see you include market expectations in your edging statements. As I have said, my shorts will sell at much higher value if they appear clean and ready to use. You and I both know that my customers will still rip them, but they just don't buy the ones with wane according to rules. Granted I will never make a dent in the wholesale lumber market, but given the number of people who are trying what I do, there is some validity.
Sometimes when I am breaking down larger logs into framing lumber and I am on the 3rd and 4th sides (when turning 90degrees), I will flip the flitch up against the cant (it will only have one bark edge, of course) and trim it off to a divisible width to the targeted dimension. It lightens them up a little and when I set these together, they will be ready to be busted down rapidly.
From contributor A:
Yes, if you are going to try to do this full time, HD is the only way to go. Manual mills are for piddling (sorry, guys) or getting your markets set up cheaply so that you can make the jump to more mill.
The comments below were added after this Forum discussion was archived as a Knowledge Base article (add your comment).
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Budhia Singh, who recently ran 60km (33 miles) in six and a half hours, has appeared in a spate of TV commercials.
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This study has been implemented by the International Tuning Academy, based in Deusto, Bilbao (ES) and Groningen (NL), in close cooperation with the Ministry of Education (MoE) of the People's Republic of China. It responds to one of the follow-up actions identified in the field of education of the first round of the EU-China High Level People-to-People Dialogue (HPPD) held in Brussels on 18 April 2012. This action consists of initiating an EU-China "Tuning" joint study in 2012. The study should allow for (i) strengthening the compatibility of EU and China education systems, (ii) enhancing outcome-based education, (iii) overcoming obstacles to mobility, (iv) establishing commonly acknowledged quality criteria and (v) developing tools for mutual recognition.
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CHICAGO, June 21, 2016 /PRNewswire/ -- Tribune Broadcasting, a subsidiary of Tribune Media Company (NYSE: TRCO), today issued the following statement regarding a lawsuit filed against the company Monday by Dish Network:
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With last night's opening premiere of The Union, director Cameron Crowe's doc about Elton John and Leon Russell, the 10th Tribeca Film Festival kicks off. Though this 12-day event has enjoyed mixed reviews after its noble start as a response to the 9/11 World Trade Center attack's devastating effects on downtown Manhattan life, it has become an annual event in the city's spring calendar.
Initially created to regenerate interest in and bring people to Tribeca and lower Manhattan, the festival evolved into a sprawling set of contradictory ideas and goals -- was it meant to be a high-profile red-carpet, celebrity-driven media circus or a celebration of international cinema was just one question raised. In any case, one thing has been certain, that with the support of its founding sponsor American Express, the festival had the secure financial bedrock from which it could be nurtured into a yearly event sustained by more than its original rationale for existence.
And one of its key supporters among the senior executives at AmEx has been Chief Marketing Officer John D. Hayes, who, for the past 16 years has overseen the unusual and unique ways in which the company's marketing dollars have been directed. From its clever commercials occasionally starring famous film directors such as Martin Scorsese to sponsoring a live stream of cool concert events such as the recent NYC appearance of Arcade Fire, Hayes and his office has lent the financial services company's support to many things more interesting than the obvious mainstream mettle.
Now, with this year's fest, Hayes and company have gone one step further in becoming both a short film producer and distributor -- sort of. Tucked into the short film program of the fest is the first film made on the basis of a contest conceived and spurred on by AmEx/TFF partnership -- My Movie Pitch.
In mid-2010, TFF and American Express announced that they would take a pitch from anyone entering and, if picked, would see it made into a short film for the 2011 Tribeca Film Festival. The contest allowed aspirants to upload 60-second pitches and five finalists were chosen by viewers and a panel of Tribeca directorial alums Brian Hill, Dev Benegal, Julien Kemp, Måns Herngren, Tarik Saleh, Jacob Tierney, David Russo, Jac Schaeffer, Julien Nitzberg, Mat Whitecross and Josh Appignanesi. The grand prize winner got the pitch made into a short directed by one of the directors plus a trip for two to NYC and VIP access to the film's TFF screening.
So, on Saturday, April 23 at 5:30 p.m., John Nash of Chestnut Ridge, New York -- whose pitch told an unexpected story of a man and his mustache -- will see his idea, Mr. Stache, as a film premiering on the big screen made by director Jac Schaeffer. Starring Rich Sommer and Amy Smart, Mr. Stache also screens as part of the Mix Tape Short Film Program, as well as at this mustache-themed premiere where the stars will join Schaeffer for an in-depth conversation.
Throughout the Festival, Mr. Stache can be viewed at www.amexfilm.com as well as within The Festival Streaming Room as part of the Tribeca Online Film Festival at www.tribecafilm.com/tribecaonline.
Q: Most people wouldn't think that someone from a credit card company -- if you want to call American Express that -- had said, "I've got a wacky idea. Let's produce some films as part of our mission." That's incredible.
JH: That's why I do this job. I live in the belief that there are always going to be great ideas. Obviously, you have to sort through many to get to the great ones. But it's great ideas and great partnerships that we believe are the future, and this represents both of those.
We think there are great ideas that have come out of this, [and]... it's a great partnership. I love the fact that you totally get what I do, because not everybody does.
Q: Hey you don't have to worry about product placement -- if you're actually putting your money where your mouth is as you're the producer of the film in a sense. Then having the logo there doesn't seem artificial.
JH: [That's] the reason why all of these programs we've created have done so much good with the people in the film industry. If you talk to folks in the film industry and listen to how they talk about American Express, they will say what you just said, which is the organic nature of what we've done.
This is not a group of people just trying to stick their name on my existing film and trying to stick their product in a scene. This is a group of people who organically really appreciate film.
Q: Did you ever thinking about having a cameo for yourself in this film?
JH: That's not my aspiration [chuckles]. I like to inspire creativity as opposed to put myself in the midst of it.
I've been doing [this job] for 16 years. I'm told that the average life expectancy of a CMO nowadays is about 22 months, so I'm bucking the trend here.
Q: Do you have a favorite movie -- maybe one you saw at Tribeca? Did it make you think, "Why don't we get involved earlier on than just waiting for what we get?"
JH: We were always looking for imaginative ways that haven't been done before, to get more engaged, whether it be with our card members or our merchants, or with the independent film industry.
My Movie Pitch was really all about giving aspiring movie makers -- people who wanted to create a film, who had a story to tell -- a chance to put together a 60-second pitch and submit it.
We got thousands of these pitches, and they were able to get it in front of a lot of people. The directors last year at the Tribeca festival were the ones who judged this. Then we also had regular people vote on these pitches, too.
Q: Did this idea come out of you guys, out of Tribeca, or some third party?
JH: It came from us, actually. Over the last few years, we've been talking about the things that have been of greatest value in this relationship with Tribeca.
From that discussion on a strategic level, someone said "Well, there are a lot of people who want to create a film who frankly don't have the wherewithal to do it.
And with social media being what it is today, with digital media being what it is today, we could let those people pitch their film to directors and to the public at large, and we could help them because we understand how social media works.
We could give them the platform to do that, let them make that pitch, and then follow up by supporting whoever made the best pitch with the ability to create the short film and tell the story."
Executing it, we worked very closely with Tribeca. As I said, Tribeca was able to get us Jac Schaeffer to direct it. We probably couldn't have done that on our own, but we certainly could do that with the power of this partnership with Tribeca. And so it was really that partnership that brought about the outcome.
Q: Did somebody say to you, "How are we going to wade through all this? Are you crazy?"
JH: There's always a naysayer saying, "Oh gosh, the logistics seem really complex," but you know what? In the end it wasn't that complicated. And frankly, it did a lot of good. It helps us with the industry, because the industry says "Look at this. These guys are helping aspiring filmmakers do something."
There are always those logistical questions. People will say, "How are we going to deal with this if we get thousands of submissions?" But we've always managed. We try new things all the time.
Q: It's one thing to support a festival several steps removed, but there's a real payback in seeing somebody's getting a chance to generate a film.
JH: I think you're exactly right. This partnership was not just about getting the payback on a per-constituent basis. This is about giving voice to something that didn't exist before.
Having the ability to be able to create a film -- for example, with My Movie Pitch -- has changed the way people see this brand and see us as a company. That's important to us.
Q: What got you involved with Tribeca in 2001? Obviously we had 9/11 and there were a lot of unusual circumstances, but what was the thinking at the time?
JH: Certainly all of this was originally spurred by the horrific events of 9/11, and the impact that 9/11 had on lower Manhattan was profound.
Lower Manhattan has been home to American Express for over 160 years. This company [has] always been headquartered downtown, so we could feel it immediately. It was a time when this area had been really deeply affected.
We got the call from Jane [Rosenthal] and Bob [De Niro] a couple months before the first event was put on. It was just an idea at the time. They called us and said, "Have you got any interest in working with us on creating this film festival?" And we said, "Yeah, it sounds like the right kind of catalyst that will help to rebuild the entire neighborhood."
We were looking to create a revitalization for our employees, for our merchants, and we have a large group of card members who are passionate about film.
Right from the beginning, we were seeing effects. We saw more spending in lower Manhattan from our card members, we saw our small businesses, merchant businesses, starting to pick up.
We were getting emails and correspondence from some of our merchant partners telling us "This is making a difference for our business. This is starting to activate things here in lower Manhattan."
So it really was out of a sheer belief that lower Manhattan needed something to turn it around. And it did.
Q: How did you know Tribeca's co-founders?
JH: Bob and Jane called us because of what this company stands for. We recognized it as something that would make a difference, so we went for it. It really comes back to our reputation.
We have a history of doing things that make a difference -- cause-related marketing. Some people actually credit us with inventing cause-related marketing with stuff we did back in the '80s -- with the Statue of Liberty and whatnot. We have a reputation for getting behind movements that can make a difference.
Q: Had you worked with them before?
JH: We've been associated with the film industry, but we had not done anything specifically with Tribeca before that.
We have a history of doing a number of things with the film industry. If you look at our advertising going back a number of decades, you'll see that we've had high profile, prominent people from the movie industry as part of our advertising.
We did a series with directors -- M. Night Shyamalan, and Wes Anderson among them -- in our advertising. We've had Martin Scorsese in a few of our ads; he's shot a few commercials for us. We've been an advertiser on the Academy Awards for a number of years.
[Tribeca] was a way of building a new relationship within that industry, and it's turned out to be a lucrative partnership for both of us.
We sell 60 to 70% of the tickets for the Tribeca Film Festival early to our card members; that's how much they really enjoy this festival. In fact, 2011 so far in ticket sales is up 20-plus percent versus a year ago.
And we've got eight special events this year for our card members only, and those have sold out already.
Q: You've been doing this a long time and been in all kinds of different worlds, but was there anybody that you were excited about?
JH: I'm enamored with people who tell stories. People who travel a lot are usually people who tell great stories; that's what their journeys materialize into.
If you look at independent film, it is about great storytellers and great stories. It's about great stories that are interesting, that need to be told, and for me that's what this opportunity represented.
This festival is about a celebration of people who tell stories. These are not films that get enormous support from marketing.
It gave American Express a chance to give voice to stories that should be told. This company has been about great storytelling for years.
Q: You're a guy that has the broadest overview, who can see across the landscape -- not just the cards, but also the magazine, the sponsorships, the products. the larger product concepts.
JH: Yes, I think that is accurate. My scope is global, so I cover all the markets that we do business in. I get involved with our product development, and certainly our products are not just material products, they're service.
Q: Would you say that you're a global company which has a role in the travel experience?
JH: If you think about how we have been a brand for travel, it's not just about offering people the opportunity to transact. It's also been, more importantly, about the service of American Express: the idea that we are an advocate, we are someone who's always got the customer's back.
We do a lot from a lifestyle standpoint because we're serving our customers' lifestyles, and travel is part of that lifestyle; so is entertainment, and film is part of that entertainment.
People trust us to curate for them on a travel basis. If we say "This resort's worth going to," and if we say "This film is something you might want to see," we get the same reaction, because this brand has helped people curate their lives for many years.
It's one of the reasons why we have a publishing group, for example. Departures magazine is an important part of our Platinum card. It's all part of that lifestyle curation.
Q: There's an interesting hook between festivals, film, and travel. You go see a movie set in Africa, and you want to go to Africa.
JH: There's no doubt -- particularly when you see a really well done documentary on something and you say, "Wow, I want to experience that." It's about places and people's lives that both spur travel. The idea of great storytelling and travel go together in so many ways.
Q: It makes sense that there's a fit between Tribeca -- or any film festival -- and AmEx, but you don't think about it until you think about it.
JH: You're exactly right. As you think about it more deeply, you go "Wow." That's why I don't talk about us as a "sponsor" of Tribeca. I say we're "partners."
Since the beginning, we've spent time talking about what their aspirations are for the festival, for their company, and what our aspirations are, and how we can make this work for both of us. We've built this together, and that is why it's really been a partnership.
But how do we take this to a place that has more scale, so we can serve more card members as it relates to film?
We're working through new distribution channels, whether it be Comcast, VOD [video on demand], Netflix, or Amazon -- all these new distribution channels for film -- and giving our card members access to independent film, which is becoming harder and harder to access these days.
Q: It's a pretty strange concept to see a credit card company become an entertainment company.
JH: It's because it is a company that isn't just in the transaction business. People who analyze this company and think that we're just in the transaction business are missing what it is that makes this company so special.
We're in a relationship business that's based on service, and our customers look to us as a service entity, not just a transaction entity. And you see it with the cards that we offer.
The difference between a green card and a gold and a platinum card and a centurion card is they all transact in the same places, but the level of service changes. That service is what really creates a level of engagement with our customers, and service is everything from answering the phone to getting them access to things they want to experience.
We help create experiences for our customers -- whether it be in the music field, where we do a lot of work, or if it's in film, which they love. We do a number of things related to fashion and Fashion Week and creating experiences around that.
Q: And you're doing it also with other festivals.
JH: We've been involved with other festivals.
Q: As well as working with the NBA, Unstaged, Fashion Week -- when do you sleep?
JH: I have a great team, first of all, who share the same vision that I have, that creating quality experiences for our customers -- and even some of our prospects -- is really important, and they've done it in very inventive ways.
Unstaged is a pretty amazing program, working with Vevo and YouTube and scaling out music on the web from a streaming standpoint. We've done about five or six shows now, and we're at a point where we've had just under 15 million people live stream those shows.
Q: You guys did the Arcade Fire, right?
JH: Yes, we did. We did The National. We just did Duran Duran and the director was David Lynch.
Q: You're also sponsoring the Tribeca partnership with the Doha Film Festival, right? You're able to get involved with this emerging world where there's lots of money, and have an influence culturally in a very interesting way.
JH: There are a lot of stories to be told everywhere around the world, and the film industry is a core part of those cultures and their evolution. And you're right, as markets mature, there's no question being part of that is exciting.
Q: It's unusual to see a company perform this kind of payback. You're really generating something here.
JH: Yes, because we've very clearly generated business for our merchants with the festival. Let's face it, [for] somebody who goes out on a Friday night to go see a film, it's usually dinner as well. As we move now into the film distribution business in partnership with Tribeca Film, many of these distributing channels are partners of ours as merchants.
Comcast is a very important company to us. Amazon is, as well as Netflix. These are all merchant companies for us that are very important, in addition to allow[ing] us to serve card members who have a passion for films.
Q: The idea that a sponsor is actually playing the role of seeing a film get produced and then get further distribution, is a pretty exciting thing for filmmakers and hopefully, creativity.
JH: I agree with you. We're partnered with Tribeca in the sponsorship of creativity.
For more stories by Brad Balfour go to: filmfestivaltraveler.com


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KALW has partnered with radio producers inside California's oldest prison to bring you the award-winning San Quentin Prison Report, a series of stories focusing on the experiences of these men, written and produced by those living inside the prison's walls.
David Jassy is a Grammy-nominated artist and songwriter from Stockholm, Sweden. With a passion for music and a promising career ahead of him, he flew to Hollywood to work with fellow artists. But six weeks into his stay Jassy found himself facing a life sentence in prison. From the San Quentin Prison Report, Greg Eskridge has the story of how Jassy's tale turned from triumph to tragedy so quickly.
DAVID JASSY: I just remember growing up, if I heard about somebody being convicted of murder that was like 'wow, how can you murder somebody?' And here I am in a street fight and somebody dies.
Click the audio player above to listen to the full interview.


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Ford Motor plans $1.4 Billion Livonia expansion, 500 jobs. FCA investing $74.7 Million in Trenton
LANSING — CRAIN'S DETROIT BUSINESS – Ford Motor Co. plans to invest $1.4 billion into its Livonia transmission plant to produce a new transmission used in its Raptor and F-150 trucks, part of a larger project that also includes a $200 million investment in Ohio.
In addition, Fiat Chrysler Automobiles will invest $74.7 million at a Trenton engine plant to bring production of its four-cylinder engines there starting in the third quarter of 2017.
Both automakers on Tuesday won state tax exemptions worth a combined $28 million from the Michigan Strategic Fund, a division of the Michigan Economic Development Corp., to support the projects.
The MEDC said approval of the financing will help Ford create 500 hourly jobs when it expands the Livonia plant, which currently makes six-speed, rear-wheel-drive transmissions.
Read more of this story from Crain's Detroit Business by Lindsay VanHulle
Photo courtesy of Ford Motor Company


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Over the course of the last week, several people have asked me how to begin using the Book of Common Prayer. Here is a brief introduction for those who might be interested in exploring this historic resource for individual and corporate prayer.
THE BOOK OF COMMON PRAYER (1979 edition)
Tradition is the living faith of the dead. Traditionalism is the dead faith of the living
–Jaroslav Pelikan
Welcome to the Book of Common Prayer!
Millions of Christians who have used this tool to structure individual and corporate worship for over five hundred years. It was originally created in response to the English Magisterial Reformation, however, the Book of Common Prayer drawls from the deepest sources of the entire Christian tradition, even before the time of the European Reformations. Its purpose is to make Christian prayer and worship accessible to all believers, structuring life around the Christian year, and providing language for believers to understand major life events in view of Jesus Christ.
- Liturgy means "Work of the People"
- Eucharist means "Thanksgiving"
- BCP is the abbreviation for "The Book of Common Prayer"
- Collect is the assigned prayer for the week.
- Rite I = a worship service written in Elizabethan English (closer in format and language to the 1928 version of the BCP)
- Rite II = a worship service written in contemporary English
Basic content
- Worship services – for individual and corporate use.
- There are four types of prayer services outlined for various times of day. These are refered to as the Daily Office (Morning, Noon, Evening, Compline)
Example: Turn to page 355 and read through the Rite II Eucharist Service. Notice the main movements of the service (Entrance into God's presence and prayer of purity, Scripture lessons, corporate affirmation of faith, corporate prayers, confession of sin, communion)
- Written Prayers – for insertion into worship/prayer services and various other occasions.
- The Book of Psalms – often referred to as "The Psalter"
- A guide for reading the scriptures on a daily and weekly basis – individual and corporate use, referred to as "The Lectionary"
Where to Find
Apostles Creed…………………….Page 96
Daily Devotional liturgy………..Page 136
Weekly written prayer…………..Page 211
Confession of Sin………………… Page 360
Psalter………………………………….Page 585
Sunday Scripture Readings…….Page 887
Daily Scripture readings…………Page 933
An Example of How to use Devotionally
1) Begin on pages 137 – 140 and choose a prayer format for appropriate time of day. For instance, if in the morning choose the Morning Rite.
2) Pray through the opening prayer (from Psalm 51), either alone or with others. –
3) After the section titled "A Reading" read the assigned scripture passages for the day.
- To find the assigned reading turn to the Daily Lectionary Readings (beginning on page 934) and find the current week in the liturgical year. On this week in 2013 we are in the Daily Office Year One – Week of 4 Easter (left side of page, page 960). Choose the week that corresponds to the church calendar.
- The numbers above the Old Testament reading refer to the Psalms to be read in the morning and the evening
4) Read 1 Peter 1:3 aloud (page 137).
5) Next is a time for structured and unstructured prayers, silence and songs. There are many options in the BCP for structured prayers. For instance, on p. 389 is an order for prayer called "Form V." This works well in a group, with additional time for spontaneous prayers in the midst of the structured prayers.
6) Conclude the time of prayer by praying the Lord's Prayer (on page 97)
7) Pray the written prayer at the bottom of page 137 (called a "Collect"), or find the Collect assigned for the week. The collect for the Fourth Sunday of Easter is on page 225.
A Further Resource
Black, Vicki K., Welcome to the Book of Common Prayer. Morehouse Pub., Harrisburg, 2005.
Download the BCP:
The 1979 U.S Book of Common Prayer formattted
Daily Prayer Offices from the BCP:
BCP Daily Readings on BibleGateway.com


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Greg Bird, former Grandview star, starting for Yankees in AL Wild Card Game
Former Grandview High School star Greg Bird will be starting at first base for the Yankees in their American League Wild Card game against the Astros on Tuesday.
The rookie Bird, 22, was called up to New York's main roster in August. He showcased his power during the regular season, hitting 11 home runs in 157 at-bats, while batting .261 and driving in 31 RBIs.
"It's a special feeling. Just to be able to come up and help these guys out. I followed them all year … just being able to come up and help," Bird said in an interview with YESNetwork.


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What does fact checked mean?
At Healthfully, we strive to deliver objective content that is accurate and up-to-date. Our team periodically reviews articles in order to ensure content quality. The sources cited below consist of evidence from peer-reviewed journals, prominent medical organizations, academic associations, and government data.
The information contained on this site is for informational purposes only, and should not be used as a substitute for the advice of a professional health care provider. Please check with the appropriate physician regarding health questions and concerns. Although we strive to deliver accurate and up-to-date information, no guarantee to that effect is made.
How to Get Rid of Sludge in a Gall Bladder
Gallbladder, or biliary, sludge is composed of a mixture of small, sand-like particles and mucus within bile. It may exist without symptoms, or intermittent symptoms may be experienced. The most common symptom of gallbladder sludge is pain, caused by sludge or gallstones preventing bile from exiting the gallbladder through the bile ducts, or from inflammation of the pancreas or gallbladder. If you are concerned you may have gallbladder sludge, discuss these concerns with your physician.
Select foods high in fiber as the staples of your diet. Include healthy unsaturated fats such as those found in nuts and fish. High-fiber foods should consist primarily of a variety of fruits and vegetables to prevent additional sludge from developing. Stay away from high cholesterol foods as well as saturated and trans fats, including whole dairy products such as butter and cheese. Foods high in fats and cholesterol force the gallbladder to work harder to release bile into the small intestine to assist with the digestive process and lead to increased sludge formation. Discuss adding calcium and anti-oxidant vitamins such as C and E to your wellness routine with your doctor. Insufficient amounts of these vitamins leads to an increased risk of developing gallbladder sludge.
Eat frequent small meals throughout the day. Do not skip meals. Small meals spaced through the day will cause the gallbladder to release small amounts of bile at regular intervals to assist with digestion. The gallbladder will then not need to store bile for long periods, preventing its consistency from thickening.
Lose weight if you are overweight or obese to decrease your risk of developing more gallbladder sludge. Reduce the amount of calories consumed each day. Begin an exercise regimen to use the calories that are consumed.
Take Ursodiol (ursodeoxycholic acid) as prescribed by your doctor to help break down bile proteins and reduce the amount of gallbladder sludge. Ursodiol will be prescribed if dietary and other lifestyle changes do not remove existing sludge or new sludge continues to form.
Have your gallbladder surgically removed. If your gallbladder sludge condition does not improve, or leads to the development of gallstones or related complications such as a blocked bile duct, gallbladder inflammation or pancreatitis, your doctor may recommend removal. Since the gallbladder is not an essential organ, and gallbladder issues are known to reoccur, surgical removal eliminates the symptoms without affecting the digestive process or causing additional health issues.
Discuss specific dietary recommendations with your doctor that will prevent or minimize the effects of gallbladder sludge.
Seek immediate medical attention if you experience a high temperature along with pain in the upper right portion of your abdomen.
- Discuss specific dietary recommendations with your doctor that will prevent or minimize the effects of gallbladder sludge.
- Seek immediate medical attention if you experience a high temperature along with pain in the upper right portion of your abdomen.


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Sawn Timber Planks
With our saw mill we are able to cut our wood to size, this gives us the flexibility to work to your specifications. We also have various lengths and thicknesses all stored and aired dried in our barn.
Below are photos of the type of planks with have in stock and also a few examples of projects they have been used in.
Elm planks
Elm planks
Curved cherry planks.
Elm used to restore a boat.
A barn being restored using our planked Elm.
Garden Wood Sculptures
Burrs, hollow logs and tree roots all make interesting and unusual pieces in the garden. Below are some photos of burrs we currently have in stock. We currently only offer local delivery to Eastbourne and surrounding area or you can collect from Eastbourne.
Twisty Tree Root £15
Elm Hollow Log £25
Front view
Elm Hollow Log £25
Back view
Elm Hollow Log
Unique beetle markings
Burr 1 £50
Burr 1 £50
Burr 1 £50
Burr 2 £60
Burr 2 £60
Twisty Tree Root Two
Twisty Tree Root Two
Twisty Tree Root Three
Twisty Tree Root Three
Horned Beast
Twisty Tree Root
Horned Beast Twisty
Tree Root
Horned Beast
Twisty Tree Root
Twisty Tree Root Four
Twisty Tree Root Four
Aerial View
- Our wood can be used to make lots of different furniture items. Below are some examples of how our Elm has been transformed into a variety of pieces.
- Below are some examples of coffee tables we have had made. Contact us for a quote for your very own gorgeous bespoke Elm coffee table.


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2405 Heather Street, Vancouver
Rare Find modern concrete townhouse in such an excellent location!!! Built by well known development team of Living Shangri-La, Fairmont Pacific Rim & Woodward's - Westbank. Large two levels townhouse featuring generous living area opening into gourmet kitchen with fully integrated European appliances. Upstairs features bedroom with large main bath across along with large master with spa-like ensuite. Floor to ceiling windows, oak hardwood flooring, roller blinds, alarm system & radiant heating/cooling system. Rentals and Pets allowed. 3 blocks away of Canada Line and further Millennium Broadway Line, Whole Foods, Canadian Tire, VGH, and a variety of coffee shops and restaurants. Do not miss it!
Taxes (2018): $3,164.31


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Neural Influences on Multi-Sensory Integration in Complex Settings
March 09, 2010
This project is the first in a new line of Army Research Laboratory basic research methods and tools that provide in sight for later application of neuroscientific principles to operational environments. ARL is investigating the neural underpinning of inter-sensory integration, potential interactions between senses, and the development of physiological markers to monitor and use this information within operational environments. Soldiers are continually bombarded with information from many directions and senses - not only by potential threats in the battlefield but also from increasingly complex display and control systems.
Here, ARL has shown that when participants focus on a difficult task, the clarity with which background, non-attended sounds are represented in the brain depends heavily on whether they are working within the visual or auditory sense at the time. Importantly, this effect occurs at even the most basic levels of hearing, which has strong implications for the design of alerts and displays. Additionally, ARL has identified computational algorithms for assessing the amount of individual variation in the automatic "entrainment" of certain cerebral responses to these background sounds, which will allow an appreciation for differences in Solders' abilities and limits of processing such complicated information.
Despite decades of research on how people maintain attention and associated brain states, there remains a lack of understanding in how the neural processes underpinning the allocation of attention actually affect function in complex, dynamic environments. This mostly stems from previous research being conducted within fairly limited laboratory settings, with the focus only on a single sensory system at a time.
Researchers use high-density electroencephalography (EEG) to assess varied levels of brain function while participants perform fairly difficult visual and auditory discrimination tasks. On- and off-line analyses then focus on the degree to which the non-attended sounds are processed at numerous levels in the nervous system, from initial reception to high level computation.
Continued testing aims to extend the findings to larger samples and establish the efficacy of the processing and identification algorithms for varied tasks and situations. An understanding of how the brain functions in complex, operational environments means that we can exploit this knowledge to effect better system design, which in turn could lead to improved Soldier performance such as more efficient multi-tasking, information processing and decision making.


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It has been just over a year since I walked into NOLA Church for the first time, and I cannot believe how different my life and point of view are now.
I have friends who love me without judgment, and I've built relationships with people who know everything about me – my deepest regrets and fears and joys – and love me in spite of those imperfections.
My church isn't perfect. It is filled with flawed people who are searching for acceptance, seeking to have their questions answered. We have issues, but I like that. Jesus spent time with people who needed Him, and we need Him. I need Him.
I've discovered God's immeasurable grace and unconditional forgiveness, and I have a relationship with Him that I didn't realize that someone like me – so flawed and imperfect and horrible – could ever have.
My life is different. I'm different.
I remember writing a post about my feelings on church, the reasons that I was skeptical about going and the reasons that it just wasn't for me. I remember wishing that I could have faith in someone that I couldn't see, and I remember being terrified of being hurt by the church again.
I needed peace and assurance that everything would be okay, but I didn't find that. Instead I faced gossip, judgment and condescension. The meanest, most judgmental people I knew were from the church, and I decided that if that's what church was about, I didn't want any part of it.
You can read the whole post here.
Now I love Jesus. Sometimes people find my love for Him obnoxious, but I'm so thankful that I can't imagine not talking about it. It defines so much of who I am now, and I don't want that to change.
Last week I wrote a post that some of you didn't like. Someone called me preachy, and another person called me an idiot. Someone else called me naive.
I get it. Some people think I'm ridiculous or full of crap for talking about Jesus here. I understand that you don't all love Him or believe in Him or have faith in Him, but it's who I am now. I still have a lot of other loves and interests, but He's part of me now. I'm happier and more at peace than I've ever been so it's not likely to change anytime soon.
I didn't write about forgiveness recently because I was trying to preach to anyone; I wrote it because I've been working through my feelings on forgiveness lately. As I look back at my past, I'm forced to think about things that I've tried to forget for years.
In my late teens and early 20's, I was an insecure, suicidal, dishonest person who desperately wanted to feel loved and accepted. I didn't think it was possible that I could forgive those who hurt me, and I didn't care who I hurt because I was in so much pain. I lived crippled by that pain for years, and now I'm free from it.
It's by God's grace that I'm not dead. It's because of His love that I get to live in freedom now. I'm loved. I'm forgiven. I'm His. End of story. Actually, I'm pretty sure it's just the beginning…


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Comedy | Romance
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The Circus (1928)Movies
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The Circus (1928)
The Circus: Charlie's Tramp character finds himself at a circus where he is promptly gets chased around by the police who think he is a pickpocket. Running into the bigtop, he is an accidental sensation with his hilarious efforts to elude the police. The ringmaster/owner immediately hires him, but discovers the Tramp cannot be funny on purpose, so he takes advantage of the situation by making the Tramp a janitor who just happens to always be in the Bigtop at showtime. Unaware of this exploitation, the Tramp falls for the owner's lovely acrobatic daughter, who is abused by her father. His chances seem good, until a dashing rival comes in and Charlies feels he has to compete with him.


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Minimum wage is the talk of the town lately, and, while some business owners claim that an increase of the federal minimum would negatively impact their operations, Starbucks CEO Howard Schultz believes that it can, and should, come up.
Though he advocates an increase of the federal minimum wage, Schultz told CNBC Wednesday that it should be done carefully and thoughtfully, arguing "the minimum wage issue is a double-edged sword." According to Schultz, while a minimum wage increase means higher wages for workers, it might discourage some businesses from creating jobs.
"On balance, I am a supporter of the minimum wage going up," Schultz said. "We've got to be very careful what we wish for because some employers — and there could be a lot of them — will be scared away from hiring new people or creating incremental hours for part-time people as a result of that wage going up."
President Barack Obama has proposed increasing the federal minimum wage to $9 per hour, and tying it to inflation. Some of his Democratic colleagues would like to see it pushed up to $10 an hour, but Conservative opponents say raising wages would hurt workers in the end because businesses would hire less.
The average Starbucks employee makes $8.78 each hour, higher than the current minimum wage but less than Obama's proposed increase. Schultz said that the figure is misleading because it doesn't account for tips or raises over time.
Starbucks and its CEO are not strangers to voicing their opinion on politics. Last December, the company wrote "come together" on their coffee cups to encourage lawmakers to avoid the fiscal cliff. Schultz has said that the inability of our elected officials to work together on debt and spending is "sapping the lifeblood" of our country.
Do you support a federal minimum wage increase to $9 an hour? More? Why or why not?


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|Jen DePalma- NYC Contributor
Then there are certain fish we want to avoid not only because they may be high in toxins such as mercury but because from an ethical standpoint they are not a wise choice. You have a moral standpoint to avoid certain species and then there's the physically harmful standpoint to avoid other species. I, Jen DePalma greatly respect the ingredients I work with and understand that if we would like to continue enjoying these wonderful foods it's very important we respect the environment as well. As a chef I need to bring the home cooks recipes for your favorite restaurant dishes which will include Chilean sea bass, Red snapper and Bluefin tuna (we'll get to why they should be avoided in a minute). For sustainably reasons let's save them for a special occasion.
Fish You Can Feel Good About Eating
Wild Atlantic Salmon
Phosphate Free Scallops
Wild Tilapia
Wild Flounder
Wild Black Bass
Wild Skate
Wild Catfish
Fish Who Are Currently Over-Fished
Here's a list of currently over fished fish:
Chilean Sea Bass
Red Snapper
Bluefin Tuna
Atlantic Halibut
Spiny Lobsters from the Caribbean (California raised are fine)
Fish High in Mercury
Sword Fish (which could actually go on the above list too)
King Mackerel


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Dear Goosedale
We would like to express our thanks and gratitude for a wonderful civic dinner, we could not have been happier, it was a wonderful evening from start to finish.
Please pass on our thanks to your staff, in particular out Duty Managers who helped to ensure the evening went smoothly.
There have been many compliments from our guests
Once again, thank you so much for your generosity and we wish everyone at Goosedale our best wishes for the future
Yours sincerely
Councillor Sandra Barnes
- Gedling Borough Council
I am writing to thank you for the superb event you put on for us, the Nottingham Branch of the MS Society.
We were a group of 109, with 10 people in wheelchairs. All of my requests for bigger tables and extra room between the tables had been catered for. Daisy and Harry looked after us from the word go which made me feel very confident about the forthcoming afternoon.
I have had nothing but excellent comments from many in the group stating how well they were looked after by your staff. There were no issues that couldn't be solved. The food was also very good and enjoyed by everyone.
I would certainly recommend Goosedale to anyone and particularly to groups of people with disabled members.
I look forward to coming back to Goosedale for a future event.
- Mrs Pat Tomlinson
"This is the third year that we have held our annual Gala Dinner at the Goosedale and every year we have been absolutely delighted with how our events have been managed by the team there.
"Running a large scale event is never easy, but the team at Goosedale have always been completely professional and have delivered for us a fantastic event. Everything from start to finish was perfect – the venue is beautiful, the food was wonderful and the team there are brilliant.
"We would definitely recommend them to other organisations looking for a fantastic venue to hold their event. "
- Vicky Street
Our department celebrated it's Christmas party at the Goosedale, which had a Hollywood Glamour themed party night. The facilities at the venue were fantastic and included banqueting facilities, stylish bars, a relaxing lounge area, cloak rooms and free car parking. The food was excellent and was obviously produced from fresh and quality ingredients. There was also a wide selection of wines and other beverages at reasonable prices. The DJ played some great tunes and there was a lively party atmosphere.
The venue, food and staff were all fantastic and I would definitely visit again in the future and would highly recommend this venue for a party night.
- Helen Johnson
I recently celebrated my wedding reception party in December at Goosedale and would like to thank the staff for making our day very special. The day ran very smoothly without any hitches as the Goosedale staff were very helpful, supportive, kind and made sure everyone had a good time but at the same time making sure everything ran on time. I would like to thank Adesh for all his support over the past year in giving advice and being available to talk about ideas and making sure I got the best out of the venue. Thank you once again.
- Vishal
I recently got married here and could not have wished for a more perfect venue. The day went without a hitch, with the manager being very attentive. The views for my pictures are beautiful and the crystal hall is amazing. The food was devine, as was the wine! To anyone looking to get married here I would highly recommend!
Thank you to all at Goosedale for making our day perfect.
- Kelsey Evans
Can I first of all start by saying thank you to you and all the Goosedale staff for the most fantastic evening.The staff have all been singing your praises as to what a lovely venue and how much they liked the food. Your staff really looked after us and made it the best TDX Christmas party that we have ever held.
Thank you all so much.
- TDX Group
I wanted to say a huge thank you on behalf of the grad ball committee and the business school for all your work in helping us organise the first UoN Business School Graduation Ball (4/6/15). We all had a great time on the evening and received really positive feedback from our guests. We appreciate all your time and effort in helping make our event at Goosedale a success.
Kind Regards,
- Mayur – UoN Business School Graduation
On behalf of the mia I would like to thank you and everyone at Goosedale for hosting the miaList judging lunch yesterday. Your hospitality and sponsorship of the lunch was very much appreciated and we thoroughly enjoyed being in your wonderful venue. The feedback we have received has been excellent and the guest were made to feel welcome by your team.
Thank you for the delicious buffet and refreshments that were made available to our guests.
- Jane Owen – mia
Firstly I would like to say Thank you for the best day of my life.
Goosedale have been very helpful throughout my planning phase but most of all everything was exactly how I wanted it on the day. I would not change a single thing!
I wish you the best in the future and I would willingly recommend Goosedale as a wedding or party venue in the future.
- Asjid Rashid
The Luxury Motor Show would like to thank Goosedale and their management team for hosting another spectacular event in May of this year, the venue was exceptional in accommodating our sponsors and exhibitors as well as welcoming 4,500 visitors to the show. We can only once again thank all staff at Goosedale for their efforts in managing a seamless operation.
- Nick Bagri (The Luxury Motor Show)
Over 150 guests attended our annual Charity Ball at Goosedale in early October for a night of stylish sophistication and revelry all in a good cause. The grand total raised is yet to be confirmed as pledges are still coming in, but the night was a huge success and Nottinghamshire Hospice would like to thank everyone who turned up and made the night such a hit.
- Nottinghamshire Hospice Autumn Guide
Thank you so much for all your help last night and leading up to the event, it was such a relief when you came on board! Please thank the team from Oscars, I know there were issues but I know how difficult these events can be. If I do The Strawberry Ball again I would certainly use Goosedale, it was perfect for what we required. Thanks again
- Paula
Can I say thank you to you and your staff for making our day perfect, the venue was perfect and the day ran very smooth. Thank you all. Regards
- John & Sally Westray


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Today, while trawling the dusty depths of Monsieur Jean Laplanche's old psychoanalysis texts hidden in even dustier boxes in the bowels of Château Marey-Monge, we unearthed a very vintage Château de Pommard postcard dating back to 1976. It got our own belly's racing about what to cook for tonight's dinner … and what to drink!
This old-school item of marketing, the bright idea of the Château's Head of Marketing Nadine Laplanche at the time, details a recipe for "Le Boeuf Bourguignon", Burgundy's signature meat stew, a rich and hearty meal, guaranteed to warm the soul.
And, of course, no Burgundy dish is complete without being paired with a wine. For this particular postcard, the 1976 vintage of Château de Pommard's Grand Vin fit the bill.
Grand Vin: Château de Pommard's vintage postcard recipe for "Le Boeuf Bourguignon" from 1976.
Ahead of the weekend, we thought we'd share this classic Burgundian recipe with you, just in case you were hankering for the taste of home or thinking of having some friends or family over for a feast. Boeuf Bourguignon is the ideal dish to share but as we have no more 1976 Grand Vin left (do you?), this time we'll pair the dish with an even more elegant vintage – Clos Marey-Monge Monopole 2013. Our award-winning vintage.
Bon appétit!
A Match Made in Clos Marey-Monge: Boeuf Bourguignon & Clos Marey-Monge Monopole 2013
For 4 persons:
Dish of the Day: It was the famed Burgundy chef Auguste Escoffier who first published a Boeuf Bourguignon recipe in 1903.
2013: This wine will complement the stew's big, rich flavors
Clos Marey-Monge Monopole 2013
In February 2017, The Drinks Business announced the results of its popular and prestigious Global Pinot Noir Masters 2017 Awards. Naturally, Clos Marey-Monge Monopole 2013 won the Master Medal, receiving a score of 95/100.
Clos Marey-Monge 2013 continues to be highly rated and reviewed. Little wonder, considering the gifts on display. It's the waves of fresh roses that come first, evolving into fragrant woody tones, supported second by sweet spices, dark grapes and a subtle pulse of cinnamon. The palate expresses lots of ripe fruit combined with damp earth and walnuts, smells that point to several years of aging. Firm and dense in structure, with velvety tannins shining through the dark ruby glow, Clos Marey-Monge 2013's medium body and high acidity offer remarkable complexity and an endless, persistent length.
After the small yield, but delicious flavors, of the 2012 vintage, 2013 was another year mother earth proved her hegemony over the vignerons and vignobles of Burgundy. The bud break was relatively late, seeping into June, following a cold and rainy Spring. Throughout June, intense rainfall delayed floraison (flowering), introducing an increased risk of blight. Pommard, as well as surrounding appellations Volnay, Beaune and Savigny-lès-Beaune experienced a near-fatal hailstorm, identical to the power that struck in 2012. We lost fifty per cent of the harvest, and a lot of sleep, in June.
In July and August, the weather turned again, this time for the better. Warmth and sunshine clothed the vines like a large hug, guiding the grapes to ripen perfectly at the end of September. The harvest began on September 23rd, with Clos Marey-Monge bare of all ripe fruit come October 2nd. The year's unstable conditions struck again with huge storms across the region's vineyards on October 5th and 6th. Thankfully, just a few days too late to do any more damage to the overall yield.
Award Winner: Clos Marey-Monge Monopole 2013


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Your share of the national debt is now $1.1 million
Each U.S. taxpayer now has a federal-debt liability of $1.1 million, and rising.
Remember that when President Obama boasts that the federal deficit—the shortfall between annual revenues and spending—is declining. Of course, the primary reason for the decline is the sequester, which was his idea but now adamantly opposes.
The public tends to focus on the total national debt, which just passed the $17 trillion mark—up from $10.6 trillion when President Obama took office. But that figure pales in comparison to the federal government's long term unfunded liabilities—money the government is obligated to pay over and above the revenues it is estimated to receive.
According to the U.S. Debt Clock, total long term unfunded liabilities are at $126 trillion, a $1.1 million liability for each U.S. taxpayer.
The main driver of that astronomical number is two of our major entitlement programs: Social Security and Medicare.
The Debt Clock says Social Security is looking at $16.6 trillion in unfunded liabilities, while Medicare faces $87.6 trillion. And Medicare's prescription drug benefit, which passed in 2003, adds another $22 trillion…
If you believe the United States will ever pay off its debts, you must be smoking whatever it is that keeps Nancy Pelosi, Harry Reid, Barack Obama and the rest of the political leadership of this country blissfully journeying down Hope-and-Change Boulevard to the land of unicorns and unending chocolate rivers.
Boston University economist Laurence Kotlikoff estimated the national fiscal gap at $222-trillion almost one year ago—that comes to just over $700,000 for every man, woman, and child in this nation today. If we go by the "per taxpayer" calculation, we're a few thin dimes beneath $2-million each.
Simple mathematical reality screams that default is the only possible endgame here–either through a hard crash and debt-repudiation, or destruction of the currency. Unless, of course, you have $2-million to pay your "fair share," and an extra several million to cover me and my friends. If so… I'd love to speak with you.
If not, I ask: Are you financially and otherwise prepared to survive the economic storm that's headed this way? Have you taken any steps to avoid the coming plans for bank "bail-ins" and IMF "super taxes"?
Don't let paralysis keep all of your assets in harm's way—no matter how much, or how little you have.