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On a winter day in 1883, aboard a steamer that was returning him from Marseilles to the Arabian port city of Aden, a French coffee trader named Alfred Bardey struck up a conversation with a countryman he'd met on board, a young journalist named Paul Bourde. As Bardey chatted about his trading operation, which was based in Aden, he happened to mention the name of one of his employees—a "tall, pleasant young man who speaks little," as he later described him. To his surprise, Bourde reacted to the name with amazement. This wasn't so much because, by a bizarre coincidence, he had gone to school with the employee; it was, rather, that, like many Frenchmen who kept up with contemporary literature, he had assumed that the young man was dead. To an astonished Bardey, Bourde explained that, twelve years earlier, his taciturn employee had made a "stupefying and precocious" literary début in Paris, only to disappear soon after. Until that moment, for all Bardey or anyone else in his circle knew, this man was simply a clever trader who kept neat books. Today, many think of him as a founder of modern European poetry. His name was Arthur Rimbaud.
What Bardey learned about Rimbaud that day is still what most people know about Rimbaud. There was, on the one hand, the dazzling, remarkably short-lived career: all of Rimbaud's significant works were most likely composed between 1870, when he was not quite sixteen, and 1874, when he turned twenty. On the other hand, there was the abrupt abandonment of literature in favor of a vagabond life that eventually took him to Aden and then to East Africa, where he remained until just before his death, trading coffee, feathers, and, finally, guns, and making a tidy bundle in the process. The great mystery that continues to haunt and dismay Rimbaud fans is this "act of renunciation," as Henry Miller put it in his rather loopy 1946 study of Rimbaud, "The Time of the Assassins," which "one is tempted to compare . . . with the release of the atomic bomb." The over-the-top comparison might well have pleased Rimbaud, who clearly wanted to vaporize his poetic past. When Alfred Bardey got back to Aden, bursting with his discovery, he found to his dismay that the former wunderkind refused to talk about his work, dismissing it as "absurd, ridiculous, disgusting."
That Rimbaud's repudiation of poetry was as furious as the outpouring of his talent had once been was typical of a man whose life and work were characterized by violent contradictions. He was a docile, prize-winning schoolboy who wrote "Shit on God" on walls in his home town; a teen-age rebel who mocked small-town conventionality, only to run back to his mother's farm after each emotional crisis; a would-be anarchist who in one poem called for the downfall of "Emperors / Regiments, colonizers, peoples!" and yet spent his adult life as an energetic capitalist operating out of colonial Africa; a poet who liberated French lyric verse from the late nineteenth century's starched themes and corseted forms—from, as Paul Valéry put it, "the language of common sense"—and yet who, in his most revolutionary work, admitted to a love of "maudlin pictures, . . . fairytales, children's storybooks, old operas, inane refrains and artless rhythms."
These paradoxes, and the extraordinarily conflicted feelings of admiration and dismay that Rimbaud's story can evoke, are at the center of a powerful mystique that has seduced readers from Marcel Proust to Patti Smith. It had already begun to fascinate people by the time the poet died, in 1891. (He succumbed, at thirty-seven, to a cancer of the leg, after returning to his mama's farm one last time.) To judge from the steady stream of Rimbaldiana that has appeared over the past decade—which includes, most recently, a new translation of "Illuminations," by the distinguished American poet John Ashbery, and a substantial novel that wrestles with the great question of why Rimbaud stopped writing—the allure shows no sign of fading.
Depending on your view of human nature, either everything or nothing about Rimbaud's drab origins explains what came later. He was born in October, 1854, in the town of Charleville, near the Belgian border. His father, Frédéric, was an Army captain who had fought in Algeria, and his mother, Vitalie Cuif, was a straitlaced daughter of solid farmers; it was later said that nobody could recall ever having seen her smile. To describe the marriage as an unhappy one would probably be to exaggerate, if for no other reason than that Captain Rimbaud was rarely in Charleville; each of the couple's five children was born nine months after one of his brief leaves. When Arthur was five, his father went off to join his regiment and never came back. The memory of the abandonment haunts Rimbaud's work, which often evokes lost childhood happiness, and occasionally seems to refer directly to his family's crisis. ("She, / all black and cold, hurries after the man's departure!") Vitalie, devoutly Catholic, took to calling herself "Widow Rimbaud," and applied herself with grim determination to her children's education.
At school, Rimbaud was a star, regularly acing the daunting prize examinations. (One exam required students to produce a metrically correct Latin poem on the theme "Sancho Panza Addresses His Donkey.") Not long after his fifteenth birthday, he composed "The Orphans' New Year's Gifts," the first poem he published. It's a bit of treacle—two children awaken on New Year's to realize that their mother has died—but it is notable for its thematic preoccupation, the absence of maternal love, and its precocious technical expertise. It seems likely that Rimbaud inherited his gifts and intellectual ambition from his father, who, while serving in North Africa, had produced an annotated translation of the Koran and a collection of Arab jokes. Rimbaud, who seems to have retained a romantic view of his father, sent for these texts when he moved to Africa; a formidable linguist, he became fluent in Arabic as well as a number of local dialects and even gave lessons on the Koran to local boys. His mother's glumly concrete practicality ("Actions are all that count") stood in stark contrast to these cerebral enthusiasms. It's tempting to see, in the wild divergence between his parents' natures, the origins of Rimbaud's eccentric seesawing between literature and commerce.
Certainly the teen-rebel phase that began when he was around fifteen looks like a reaction to life with Vitalie. The frenetic pursuit of what, in one letter, he called "free freedom" runs like a leitmotif through Rimbaud's life: few poets have walked, run, ridden, or sailed as frequently or as far as he did. Late in the summer of 1870, a couple of months before his sixteenth birthday, he ran away from Vitalie's dour home and took a train to Paris: the first of many escapes. Since he didn't have enough money for the full fare, he was arrested and jailed on his arrival and, after writing a plaintive letter to a beloved teacher back in Charleville, Georges Izambard (and not, as far as we know, one to his mother), he was bailed out and slunk back home. The pattern of flight and return would recur up until his final return, a few months before his death.
Two days after the iconoclast's arrival in the capital, France was defeated by Prussia and the Second Empire fell; soon after he got back home, the Paris Commune was established. Stuck in Charleville while great things were happening in the world ("I'm dying, decomposing under the weight of platitude"), the once model schoolboy let his hair grow long, sat around mocking the passing bourgeoisie, and smoked his clay pipe a lot. His yearning to break away now made itself felt in the poems he was writing. Some of these, as Izambard once put it, could have "the cheek to be charming." ("Off I would go, with fists into torn pockets pressed. . . . Eh, what fine dreams I had, each one an amorous gest!") But the desire to break out could express itself as well in a kind of literary vandalism. He'd already mocked the poetic conventions of the times (one early poem gives the goddess Venus an ulcer on her anus); to the period of frustrated ennui following his first escape, we owe such poems as "Accroupissements" ("Squattings"), which in elegantly metrical verse describes the effortful bowel movements of a priest, or "Les Assis" ("The Sitters"), which pokes vicious fun at the habitués of the town library where Rimbaud himself spent hours. Occasionally, he stole books.
However illicit the acquisition of those volumes, it reminds you that Rimbaud's restless intellect continued to seethe. As Wyatt Mason points out in the vigorous and sensible introduction to his translation of the poet's letters, as much as we now like to romanticize Rimbaud as a Dionysian rebel, spontaneously tossing off revolutionary verses, the fact is that he made himself a poet by following a distinctly Apollonian trajectory—"a long, involved, and sober study of the history of poetry."
The combination of adolescent rebellion and poetic precocity yielded, in May, 1871, a grand statement of artistic purpose. In two letters, one to Izambard and the other to his friend Paul Demeny, also a poet, Rimbaud set out what he had come to see as his great project. To Izambard he wrote:
I'm now making myself as scummy as I can. Why? I want to be a poet, and I'm working at turning myself into a Seer. You won't understand any of this, and I'm almost incapable of explaining it to you. The idea is to reach the unknown by the derangement of all the senses. It involves enormous suffering, but one must be strong and be a born poet. And I've realized that I am a poet. It's really not my fault.
The sixteen-year-old went on to make an assertion that Graham Robb, in his idiosyncratic yet magisterial 2001 biography, refers to as the "poetic E=mc2": "Je est un autre" ("I is someone else"). His insight, plain perhaps to us in our post-Freudian age but startling in its time, was that the subjective "I" was a construct, a useful fiction—something he'd deduced from the fact that the mind could observe itself at work, which suggested to him that consciousness itself, far from being straightforward, was faceted. ("I am present at the hatching of my thought.") He suddenly saw that the true subject of a new poetry couldn't be the usual things—landscapes, flowers, pretty girls, sunsets—but, rather, the way those things are refracted through one's own unique mind. "The first study of the man who wishes to be a poet is complete knowledge of himself," he wrote in the letter to Demeny. "He searches his mind, inspects it, tries it out and learns to use it."
In this letter, he tellingly added the adjective "rational" to "derangement of all the senses"—here again he was more Apollonian than we often think—and further asserted that this project required a new kind of poetic language, in which one sense became indistinguishable from another, sight from touch, hearing from smell: "summing up everything, perfumes, sounds and colors, thought latching on to thought and pulling." In one of his most famous poems, he assigns colors to each vowel: "A black, E white, I red, U green, O blue." Here, as so often, he was following the example of Baudelaire, the great iconoclast of the previous generation and the champion of synesthesia.
"Thought latching on to thought and pulling" is an ideal way to describe the workings of the major poem he produced during this crucial period, "Le Bateau Ivre" ("The Drunken Boat"). The poem is characterized by a formal correctness (it's composed of twenty-five rhymed quatrains of alexandrines, the classic French six-beat line) placed in the service of a destabilizing fantasy—a dream of liberation from correct form. It ostensibly describes the downstream journey of a vessel that has lost its haulers, its rudder, its anchor, wandering to and fro and witnessing bizarre sights en route to nowhere in particular. ("Huge serpents, vermin-plagued, drop down into the mire / With black effluvium from the contorted trees!") But as you make your way through the poem, each stanza seeming at once to latch tightly on to the last and yet move further into imaginative space, it seems to expand into a parable about life and art in which loss of control—of the boat, of the poem itself, of what we think "meaning" in a poem might be—becomes the key to a kind of spiritual and aesthetic redemption:
The wash of the green water on my shell of pine,
Sweeter than apples to a child its pungent edge;
It cleansed me of the stains of vomits and blue wine
And carried off with it the rudder and the kedge.
Here, the two faces of Rimbaud's desire to break out—the charming and the destructive—seamlessly come together, as the desire for consummation melds with a desire for annihilation: "Swollen by acrid love, sagging with drunkenness— / Oh, that my keel might rend and give me to the sea!"
Whatever else it is—and many find its inscrutability insurmountable—"The Drunken Boat" is the work of a poet who has achieved his mature voice. In September, 1871, Rimbaud made another bid to escape Charleville. He wrote a letter to Paul Verlaine, who, like Baudelaire, was one of the few poets whom Rimbaud admired, and enclosed a number of his poems. It was not long before he received the older poet's invitation to come to the great city, expressed in words that proved prophetic: "Come, dear great soul. We await you; we desire you."
The rules of poetry weren't the only things that Rimbaud broke when he arrived in Paris. Among other things—bric-a-brac, dishes, and furniture in the various homes where he was offered hospitality, and where his boorish behavior inevitably led to his eviction—he broke up Verlaine's marriage. The two men apparently became lovers soon after Rimbaud's arrival, embarking on an affair that scandalized Paris and made literary history. Verlaine's brother-in-law, for one, was never taken in by the angelic face and striking pale-blue eyes; he dismissed Rimbaud at once as the "vile, vicious, disgusting, smutty little schoolboy whom everyone is in raptures about."
Between the autumn of 1871 and July, 1873, the couple wandered from Paris to Belgium to London and, finally, back to Brussels again, drinking absinthe, smoking hashish, engaging in outrageous public displays of affection (one newspaper article cattily referred to the younger man as "Mlle Rimbaud"), quarrelling, and—as Verlaine once boasted—making love "like tigers." They apparently liked to puncture each other with knives, and jointly composed a poem called the "Asshole Sonnet," complete with beautifully wrought, anatomically minute descriptions of that orifice. Many readers and biographers see the couple as what one critic calls "the Adam and Eve of modern homosexuality," but the evidence suggests that, as far as Rimbaud was interested in anyone other than himself, he was interested primarily in women. (Later, in Abyssinia, he lived with a strikingly good-looking local woman; she wore Western clothes and smoked cigarettes, while he wore native costume.) It is hard to escape the feeling that Verlaine, an ugly man whose appearance Rimbaud made cruel jokes about, was a kind of science experiment for the poet, part of his program of "rational derangement of all the senses," his strident adolescent ambition to "reinvent" love, society, poetry. Indeed, for someone who uses the word "love" so often in his poetry, Rimbaud comes off as a cold fish; the tenderer emotions seem hypothetical to him.
Whatever the nature of the relationship, the period of their affair was one of tremendous growth for Rimbaud, whose work was undergoing a dramatic evolution. Entranced, at one point, by the charmingly simple lyrics of eighteenth-century operas, he wrote a number of poems so delicately attenuated, so stripped of descriptiveness, that they seem to have no referent at all. ("I have recovered it. / What? Eternity. / It is the sea / Matched with the sun.") But the tranquillity of the verse was not reflected in everyday life; by the time the pair were living, impoverished, in London (they took to placing desperate ads for their services as French tutors), the relationship had seriously frayed. After a catastrophic scene that ended with Verlaine running off to Belgium, Rimbaud—more terrified of being poor and alone, you suspect, than of losing his lover—joined him in Brussels. There, on July 10, 1873, after yet another drama, the distraught Verlaine, who had been making suicide threats, used a revolver he'd intended for himself to shoot his lover in the arm.
And then, as the French writer Charles Dantzig puts it in a tartly shrewd essay on Rimbaud, "our anarchist called the police." Following an official inquest that included a humiliating medical examination, Verlaine was sentenced to two years in prison. Rimbaud went home to his mother.
This sordid emotional cataclysm surely goes some way toward explaining Rimbaud's desire for a new life: it's hard not to feel that, perhaps for the first time, he realized that deranging his and other people's senses could have serious and irreversible consequences. Home at Vitalie's farm, a chastened Rimbaud spent the summer of 1873 hard at work on the text he'd begun earlier that year. This collection of "atrocious stories" in prose, as he described them in a letter to a friend, would become "A Season in Hell," his best-known work and a founding document of European modernism.
If you were to take Dante's "Inferno," Dostoyevsky's "Notes from Underground," a pinch of William Blake, and a healthy dash of Christopher Smart's madhouse masterpiece "Rejoice in the Lamb," throw them into a blender and hit "purée," you might well find yourself with something like "A Season in Hell." On one level, it looks like a narrative of abasement and redemption, tracing the story of a Rimbaud-like artist who has wantonly corrupted his childhood innocence ("Once, if I remember well, my life was a feast where all hearts opened and all wines flowed") and, after wallowing in a rehearsal of his sins, seeks a kind of healing. Interlaced with political slogans ("Wealth has always been public property") and grandiose vatic pronouncements ("I am going to unveil all the mysteries"), much of "A Season in Hell" is, as one indulgent critic said of Rimbaud's work, "aggravatingly beautiful and too frequently hermetic." Most interesting are what look suspiciously like verbatim quotes from his life with Verlaine. The older poet appears as a character called "the Foolish Virgin," endlessly bemoaning his involvement with the seductive youth:
He was hardly more than a child. His mysterious delicacies had seduced me. I forgot all my duty to society, to follow him. . . . I go where he goes. I have to. And often he flies into a rage at me, me, the poor soul. The Demon! He is a demon, you know, he is not a man.
Ultimately, "A Season in Hell" is a kaleidoscopic evocation of a man who comes to terms with the limits of the self; a heavy sense of failure, of wrong paths taken, hovers over the vignettes. Even the overweening and narcissistic fantasies of artistic transcendence ("I became a fabulous opera") are reoriented, in the end, toward reality: "I who called myself angel or seer, exempt from all morality, I am returned to the soil with a duty to seek and rough reality to embrace!" It is this understanding—that fantasy and romance must be eschewed—that leads to the famous closing utterance: "One must be absolutely modern."
If "A Season in Hell" is seething, anguished, and dialogic, Rimbaud's next, and final, work speaks with an air of quiet authority and calm. It feels like the writing of someone who's forgiven himself. Rimbaud and Verlaine met one last time, in 1875, when Rimbaud was living in Germany. When he handed his former lover a sheaf of papers to take back to France, they had no title; "Illuminations" is the name under which Verlaine, ever generous to his ungrateful ex, eventually published them. The word was meant to evoke the minute illustrations on old manuscripts, and it's easy to see why. These strange, exquisite prose poems—a "crystalline jumble," as John Ashbery calls them in the preface to his new translation (Norton; $24.95), which, like the work itself, is sometimes willful but often has its own crystal purity—are intensely visual, bringing before your eyes fleeting images that have the oddness, the intensity, and the subterranean logic of dreams. Scholars have long argued over which poem was written first, but it seems clear that "Illuminations" begins in a kind of post-apocalyptic calm after the crisis evoked in "A Season in Hell." The opening gives you a sense of what's in store:
No sooner had the notion of the Flood regained its composure,
Than a hare paused among the gorse and trembling bellflowers and said its prayer to the rainbow through the spider's web.
Oh the precious stones that were hiding,—the flowers that were already peeking out.
(This passage offers some examples of how Ashbery sometimes squeezes too hard. In the original, the notion of the Flood simply "took its seat again," the bellflowers are just "moving," and the flowers don't "peek," they just "look.")
Reading this remarkable and, it must be said, often incomprehensible work ("Since then the Moon has heard jackals cheeping in thyme deserts") can be a startling, frustrating, and yet exhilarating experience. Among its more uncanny features is the way it often seems to look ahead to the twentieth century. One vignette suggests the grandiose architecture of Hitler's dream Berlin: "The official acropolis beggars the most colossal conceptions of modern barbarity. . . . With a singular taste for enormity, they have reproduced all the classical marvels of architecture." Another prefigures the visual puzzles of M. C. Escher: "A bizarre pattern of bridges, some of them straight, others convex, still others descending or veering off at angles to the first ones, and these shapes multiplying." Rimbaud, who had found the industrial vigor of London exciting, was never more a seer than he was here.
There is much more—not least, a description, delicate as rice paper, of what may or may not be ideal love. ("It's the friend who's neither ardent nor weak. The friend.") In a final section called "Génie," whose haunting, incantatory rhythms Ashbery renders more precisely and more beautifully than any previous translator, the poet exhorts us to embrace the vaguely Christlike figure of the title—perhaps the same genie who appears in an earlier section, described as holding "the promise of a multiple and complex love":
He has known us all and loved us all. Let us, on this winter night, from cape to cape, from the tumultuous pole to the castle, from the crowd to the beach, from glance to glance, our strengths and feelings numb, learn to hail him and see him, and send him back, and under the tides and at the summit of snowy deserts, follow his seeing, his breathing, his body, his day.
Ashbery, for whom this translation was clearly a labor of love—there is no shortage of fine English versions—calls this "one of the greatest poems ever written." It was, very probably, the last poetry that Rimbaud ever wrote. He was twenty years old.
Defending the opacity of "Illuminations" in his biography of Rimbaud, Graham Robb writes, "Fortunately, aesthetic pleasure can often be derived from a mere impression of complex thought: Einstein's blackboards, Wittgenstein's propositions, Rimbaud's prose poems." It wouldn't be the first time that someone talked about the Viennese philosopher and the Ardennais poet in the same breath. Bruce Duffy, the author of "Disaster Was My God" (Doubleday; $27.95), a reimagining of Rimbaud's life published last month, made his fictional début in 1987 with a novel about Wittgenstein, "The World As I Found It." Although the new novel treats the entirety of Rimbaud's life—it begins with his sour-faced mother reinterring his body in the Charleville cemetery, ten years after his death, and unfolds as a series of flashbacks—its real preoccupation is, inevitably, the question that continues to haunt admirers of Rimbaud. As Vitalie watches the gravedigger at work, she thinks of the journalists and professors who have come calling over the years, asking, "But why did he stop writing?"
There are many lovely touches in Duffy's novel. Rimbaud at one point sits "like a tongue awaiting Holy Communion"; Vitalie in the graveyard arranges some small bones as if they were silverware on a table. More important, Duffy persuasively penetrates the layers of myth and produces characters who suggest the real people they once were. By far the most impressive—and, in its way, the most moving—of these characterizations is that of Rimbaud's mother, who here emerges not as the familiar harpy of many biographies but as a figure of almost tragic stature, a woman as tormented as she was tormenting. Duffy has the marvellous idea of making Vitalie the real seer in the family: she hears voices and has prophetic dreams. The notion that Rimbaud somehow owed his visionary poetics to his difficult parent has a nice psychological irony. The central emotional drama of the novel is, in fact, the ongoing war of attrition between the son and the mother, resolved—in the only way possible for these two implacable characters—in the final, very moving lines of the book.
More problematic, inevitably, is the representation of Rimbaud himself. The interior of an artist's mind is notoriously difficult to represent on the page. Although Duffy has some nice evocations of the boy-poet's "cycloning brain," they feel as if they come from outside the organ in question, rather than from within; too often, the author has to fall back on the ungainly device of interjecting reminders of Rimbaud's greatness. ("What other nineteenth-century writer managed to break through to the twentieth?") This cheerleading gets wearisome—as do some misfired attempts at freshening the period drama with contemporary locutions: "Two-seat fat," "cooties of feeling."
But Duffy gets one thing absolutely right. Toward the end, there's a scene in which the alcoholic Verlaine, accompanied by his prostitute pal Eugénie, consents to give an interview to a journalist who's burning to unravel the mystery that pervades the novel: "how a poet of almost unfathomable abilities could willfully forget how to write." At one point, the bustling Eugénie interjects with her own theory: "Rimbaud was simply burned out. A dead volcano. Shot his wad." Verlaine, who seems to be speaking for Duffy here, has a larger insight. "Well," he says, "one big reason, perhaps obvious, is he grew up . . . the child in him died."
Indeed, the mystery of Rimbaud's renunciation may not be such a mystery after all. The apparently irreconcilable extremes of his thought and behavior are easier to account for when you remember that Rimbaud the poet never reached adulthood: violent oscillations between yearning and contempt, sentimentality and viciousness, are not unheard of in adolescents. (The Surrealist André Breton described Rimbaud as "a veritable god of puberty.") Like J. D. Salinger, another beloved celebrant of youthful turmoil, Rimbaud may simply have found that, as he grew up, the urgency of his subject was gone. There was nothing left to say.
The peculiarly adolescent quality of the poet's life and work, the desire to rebel against whatever milieu he happened to find himself in—the schoolboy against school, the wunderkind against his admiring hosts, the poet against poetry—undoubtedly accounts for his particular appeal to teen-agers. (One statistic that Rimbaldians like to cite is that one in five French lycéens today claims to identify with the long-dead poet.) A striking feature of many of the translations and biographies of Rimbaud is the seemingly inevitable prefatory remark, on the part of the translator or biographer, about the moment when he or she first discovered the poet. "When I was sixteen, in 1956, I discovered Rimbaud," Edmund White recalls at the start of his nimble "Rimbaud: The Double Life of a Rebel," by far the best introduction to the poet's life and work; Graham Robb observes early on that "for many readers (including this one), the revelation of Rimbaud's poetry is one of the decisive events of adolescence."
Ashbery, too, was sixteen at the moment of impact, as was Patti Smith, the author of what is, perhaps, the most moving testament to the effect that a reading of Rimbaud might have on a hungry young mind. "When I was sixteen, working in a non-union factory in a small South Jersey town," she writes in an introduction to "The Anchor Anthology of French Poetry," "my salvation and respite from my dismal surroundings was a battered copy of Arthur Rimbaud's Illuminations, which I kept in my back pocket." The anthology, she adds, "became the bible of my life."
I suspect that the chances that Rimbaud will become the bible of your life are inversely proportional to the age at which you first discover him. I recently did an informal survey among some well-read acquaintances, and the e-mail I received from a ninety-year-old friend fairly sums up the consensus. "I loved Rimbaud poems when I read the Norman Cameron translations in 1942," she wrote—Cameron's translation, my favorite, too, is among the very few in English that try to reproduce Rimbaud's rhymes—but she added, "I have quite lost what it was that so thrilled me." In 1942, my friend was twenty-one. I was twice that age when I first started to read Rimbaud seriously, and, although I found much that dazzled and impressed me, I couldn't get swept away—couldn't feel those feelings again, the urgency, the orneriness, the rebellion. I don't say this with pride. Time passes, people change; it's just the way things are. On the day before his death, a delirious Rimbaud dictated a letter to the head of an imaginary shipping company, urgently requesting passage to Suez. Sometimes, for whatever reason, you miss the boat. ♦


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Dewberry Farm Opening Weekend – Sept. 29th
Dewberry Farm Celebrates 10 Years of Family Fun with a New Eight-Acre "Uncle Sam" Corn Maze and a vintage 80-Passenger Locomotive!
Dewberry Farm (just outside of Katy) opens for the season on September 29th and celebrates ten years of clean, country "Agri-tainment". With more than 30 attractions including: an eight-acre Pumpkin Patch, a NEW 6,000-pound 80 passenger train, "thoroughbred" Pig Races, fun-flying Zip Lines, Punkin' Hollar with 500 lighted hand-carved pumpkins and a spectacular eight-acre Corn Maze with trekking-levels for all ages! Be a part of the "You CAN Vote!" campaign. Bring a can of food to vote for your favorite CAN-didate and receive a one dollar token to be used anywhere on the Farm. The goal is to collect 25,000 cans of food to help stock local food banks.
Sunday – Noon to Dusk
WHERE: Dewberry Farm
For more information please visit: www.DewberryFarm.com / http:


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U.S. Equal Employment
Opportunity Commission
Company Refused to Grant Employee Leave to Attend Church and Fired Her, Federal Agency Charged
CHARLOTTE, N.C. -- A North Carolina corporation that manufactures, designs, and produces orthopedic and sports medicine products will pay $55,000 and furnish further relief to settle a religious discrimination lawsuit brought by the U.S. Equal Employment Opportunity Commission (EEOC), the agency announced today.
In its suit (EEOC v. Medical Specialties, Inc. d/b/a Gaylord, Inc., Civil Action No. 3:11-cv-00464) filed in U.S. District Court for the Western District of North Carolina, Charlotte Division, the EEOC alleged that Evelyn Lockhart, an employee who is a Christian, was discharged after she refused to work on a religious holiday. Lockhart has been a follower of the Christian Holiness faith for the last 33 years. As part of her sincerely held religious beliefs, Lockhart abstains from work on certain sacred days, which include four Holy Days - Passover, Pentecost, the Day of Atonement and the Last Great Day.
According to the EEOC's suit, Lockhart was hired as a sewing machine operator for Gaylord in Wadesboro, N.C., in September 2006. On or about Oct. 15 and again around Oct. 20, 2008, Lockhart asked Gaylord for a day off for the Last Great Day that occurred on Oct. 21. According to the complaint, Lockhart specifically informed her supervisor that she needed to be off that day to attend church yet Gaylord denied Lockhart's request to be off that day. When Lockhart did not report to work that day because of her observance of the holiday, Gaylord discharged her.
Such alleged conduct violates Title VII of the Civil Rights Act of 1964, which requires that employers make reasonable accommodations to employees' and applicants' sincerely held religious beliefs, as long as this poses no undue hardship. The EEOC filed suit after first attempting to reach a pre-litigation settlement through its conciliation process.
In addition to paying $55,000 in damages to Lockhart, Gaylord must also take other actions set forth in the two-year consent decree resolving the case, including adopting a formal anti-discrimination policy, which includes information regarding religious accommodations, and conducting annual training on Title VII and its prohibition against religious discrimination and retaliation in the workplace. Gaylord will also post a copy of its anti-discrimination policy at all of its facilities.
"An employee should not be forced to choose between her faith and her job," said Lynette A. Barnes, regional attorney for the EEOC's Charlotte District Office. "Under federal laws, employers have an obligation to balance employees' needs and rights to practice their religion with the conduct of their business. Where there is a minimal impact on the business, those religious needs must be accommodated. We are pleased with the settlement we reached with Gaylord, and happy that the settlement provides injunctive relief that will benefit all the company's employees."
The EEOC is responsible for enforcing federal laws prohibiting discrimination in employment. Further information about the EEOC is available on its website at www.eeoc.gov.


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To make things easier for our partners, site owners will have access to a range of content from Air New Zealand including official logos, imagery, fonts, advertising banners and booking widgets. We can also work with you to create text links and how you can support Air New Zealand through presence in search engines (brand bidding excluded). Terms and conditions apply.
Want to get involved? Sign up now through our Affiliate network TradeDoubler or find out more about the Air New Zealand Affiliate Program.
We are keen to work closely to with our affiliates, so if you require bespoke offers or have the opportunity to generate more referrals for Air New Zealand please contact TradeDoubler.


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This is a feature where we celebrate Jose Canseco by creating motivational posters out of his actual tweets. We believe it is in this context that the world can best appreciate our favorite Bash Brother.
Around 2:00 p.m. yesterday, Jose Canseco basically admitted he never even heard of a Duplicator before. Amateur.


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Before leaving town last week, Congress wrapped up a $162 billion war-funding bill and expanded America's entitlement system by giving veterans the biggest boost in college benefits since the World War II GI bill.
Lawmakers also added a 13-week extension to unemployment benefits and approved $2.7 billion in emergency relief for the storm-lashed Midwest.
Despite commitments to fiscal discipline on both sides of the aisle, none of it is paid for – at least not by today's taxpayers.
"There is absolutely no appetite to make hard choices," says Robert Bixby, executive director of the Concord Coalition, citing the war-funding bill. "There's never been any attempt to pay for the war, and now that's being used to expand a major entitlement program for veterans, which might be a good idea, but we ought to pay for it."
Since the 9/11 terrorist attacks, Congress has voted some $857 billion in war funding, according to the Congressional Research Service. That includes $656 billion for Iraq, $173 billion for Afghanistan, and $29 billion for enhanced security – all of it so-called emergency spending paid for with borrowed money.
The new GI Bill of Rights, estimated to cost $62 billion over 10 years, is a permanent entitlement that pays four years of college tuition for veterans who have served since the 9/11 attacks. At the urging of President Bush, this new benefit will also be transferable to spouses or children to help prevent a mass exodus from the military after the new benefit comes on line.
In the House, conservative Democrats won support for offsets for the new entitlement with a new tax on Americans making more than $500,000 a year, but that provision fell out of the final version of the bill after GOP protests in the Senate.
"We were very glad that the House passed a bill that did pay for it and were disappointed that the final bill did not. But in the scheme of things, we're talking about something that costs $0.6 billion a year against a war that's costing $150 billion to $170 billion a year – and we're not paying for that," says Richard Kogan, a senior fellow at the Center on Budget and Policy Priorities in Washington.
The remaining weeks of the 110th Congress hold more budget-busting prospects, including a second emergency-spending bill for domestic priorities.
"I have consulted with the leadership, and next month the committee will consider a second supplemental to deal with the Midwest floods, hurricane Katrina, and to make critical investments in America," said Sen. Robert Byrd (D) of West Virginia, who chairs the Senate Appropriations Committee, in a floor speech Thursday.
Congress is also on track to consider a package of tax extenders, including a fix for the Alternative Minimum Tax that is expected to hit some 21 million taxpayers filing 2008 tax returns next year. On Wednesday, the House approved a $62 billion AMT fix, including tax increases for hedge-fund managers and the oil and gas industry to offset the cost of the bill. The bill passed 233 to 189 but faces strong opposition from Senate Republicans, who have the votes to hold up the legislation until the offsets are removed.
Last week, the House held a hearing on a bipartisan bill to establish a commission, along the lines of the Base Closure and Realignment Commission that dealt with military installations, to propose solutions to America's long-term fiscal challenge.
"It should be stated for the record that this hearing was an agreed compromise in return for Blue Dog votes for the budget," said Rep. Jim Cooper (D) of Tennessee, a member of the conservative Blue Dog caucus – a reference to Yellow Dog Democrats being "choked blue" by deficits – and a cosponsor with Rep. Frank Wolf (R) of Virginia of the commission bill.
"Whether this bargain was worth it remains to be seen, he added. "I feel a little bit like that T-shirt we see sold on the street that says, 'My parents got the vacation; all I got was this T-shirt.' "
The nation's future liabilities – including the national debt and unfunded liabilities in Social Security ($7 trillion) and Medicare ($35 trillion) – are $53 trillion, according to a report released last week by former US Comptroller General David Walker and the Peterson Foundation. Congress's fiscal 2009 budget resolution anticipates raising the statutory debt limit to $10.615 trillion – an increase of $800 billion from the current level.


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2013: Played in 10 games started in one at defensive end ... Completed 19 tackles, four tackles for loss, and one sack ... He made three tackles against East Carolina ... In his season best game versus Maryland he made four tackles and one sack.
2012: Played in all 13 games, starting four at defensive end ... Finished the season with 40 tackles, six tackles for loss and three sacks ... Notched season-best eight tackles in quarterfinal contest against No. 6 Georgia Southern and in win against No. 18 New Hampshire.
2011: Appeared in seven games on the defense and as a member of special teams ... Captured nine tackles (3 solo, 6 assisted)...Had a season-high three solo tackles in the week eight win at Villanova.
2010: Appeared in eight games ... Made four tackles (1 solo, 3 assisted) ... Had two stops against Savannah State.
2009: Redshirted.
HIGH SCHOOL: Lettered in football, basketball and track at Buckingham County, before moving on to Fork Union ... First Team All-District at defensive end and tight end ... All-Region ... Named team defensive MVP ... Team captain as a senior ... Coached by Craig Gill by Buckingham County and John Shuman at Fork Union ... Helped guide the basketball team to a district and regional championship in 2008, advancing to the Virginia State Final Four.
PERSONAL: Born May 7, 1990 ... Son of Lonnie and Jesse Johnson ... Two sisters, LaTonya and Rebecca, and one brother J.R. Chambers ... Majoring in sports management.


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THE ART OF DESIGN Exhibition to Feature Costume Designs at Muhlenberg College, 2/25-3/17
The costume design process will be on display in The Art of Design, a Muhlenberg College gallery exhibit featuring six acclaimed costume designers.
"It all started as a way to showcase the artistry and process behind what you see on stage," says Constance Case, one of the featured costume designers and a lecturer in costume design and stage makeup. "This year, we had six accomplished designers, including three Muhlenberg alumni, and I wanted to give the public a chance to see their work."
Presented in the Galleria of the Baker Center for the Arts, The Art of Design will feature professional designers who are designing for Muhlenberg Theatre and Dance's current Mainstage season. It will run Feb. 25 - March 17, with an opening reception on Feb. 26 from 5 to 6 p.m. The exhibit is free and open to the public.
The exhibit will showcase the entire process, from research, sketches and renderings to finished costumes and production photos, including Tony Award-nominated costumes from the recent Broadway revival of "Hair." The show will feature a wide variety of genres and artistic styles.
"The work spans from college designs, to dance, to Broadway," says Lex Gurst, another designer whose work will be featured in the exhibit. "None of us have worked on the same shows, none of us have the same style. It spans decade of work as well as different genres and perspectives."
Featured designers include Case, Gurst, Liz Covey, Michael McDonald, Megan Prima and Annie Simon.Covey has designed for almost every major regional theater in the country, as well as nine Muhlenberg productions. She has also co-authored two books on theatrical costume and has served on the faculty at Barnard College/Columbia University, Marymount Manhattan College, and Bennington College.
McDonald has designed over 30 productions for Muhlenberg since he was a student at the College. He was recently nominated for a Tony Award, Drama Desk Award, and Hewes Award for his work on the 2009 Broadway revival of "Hair."
Prima will design the costumes for the Muhlenberg Mainstage productions "Iphigenia and Other Daughters" and "Mental Landscapes" in March. After graduating from Muhlenberg in 2007, Prima she went on to receive her Master of Fine Arts degree from California State University in Long Beach.
Simon graduated from Muhlenberg in 2005 and received her Master of Fine Arts degree from New York University, Tisch School of the Arts. She design costumes for theater, dance and film, mostly in New York City, and she is currently the costume designer for Muhlenberg's "Bartholomew Fair," which runs Feb. 21-24.
Case has been a lecturer and designer at Muhlenberg since 1997. Prior to that, she designed costumes and makeup for the Kennedy Center for the Performing Arts, the National Archives, the Washington Opera, the Woolly Mammoth Theatre, the Harmonie Park Playhouse, the Hilberry Theatre, the Michigan Opera, and Wolf Trap.
Gurst received her Bachelor of Fine Arts degree from Moore College of Art and Design. She has previously worked as a design assistant in New York City, and she recently designed "On the Town," her ninth Muhlenberg production.
For Muhlenberg Theatre & Dance patrons, this showcase offers an opportunity to see what goes into creating a show for a nationally ranked college theater and dance program.
"It's a side of theater you don't get to see," Case says. "It's a backstage peek. There's a lot more to it than a costume appearing on stage. There's psychology, sociology, and research, a lot of research, in addition to artistic talent... There are going to be beautiful, one-of-a-kind handcrafted pieces of art you can't see anywhere else. It's truly a beautiful art form."
The exhibition runs Feb. 25 to March 17. Tickets are not required and there is no charge for admission. There will be an opening reception on Tuesday, Feb. 26 from 5 to 6 p.m. The exhibit will be displayed in the Galleria of the Baker Center for the Arts on the Muhlenberg College campus at 2400 Chew St., Allentown. For more information, visit www.muhlenberg.edu/theatreanddance.


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Assistant Restaurant General Manager - Wolverhampton
- Recruiter
- Location
- Wolverhampton
- Salary
- £20,000 - £24,999
- Posted
- 12 Apr 2019
- Closes
- 17 Apr 2019
- Category
- Travel, Hospitality, Tourism
- Contract Type
- Permanent
- Hours
- Full Time
Assistant Restaurant General Manager
Do you want to Be Your Best Self, Make a Difference, and Have Fun?
KFC are looking for experienced managers to lead our restaurants. You will need to have a passion for developing people, a flair for customer service and the drive to achieve amazing results.
At KFC our managers play a huge part in our success. You will join a business whose culture encourages development not only within your role but offers fantastic individual learnings and progression.
You are the right hand man or woman to our Restaurant Managers, as an Assistant Manager to help to run our multi-million pound restaurants. You will be in charge of team engagement and helping your team achieve amazing results! Your job involves running the restaurant, coaching the team, controlling the business and most of all making sure every customer that walks through our doors is wowed by an amazing experience!
Along with amazing career progression we offer a competitive salary and bonus scheme.
Do you think you have got what it takes?


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The Fundamentals: Extending Drive Belt Life
Kathy | April 1, 2007
Most end users think OEMs take particular pains to design things that last. That's true in most cases, but not all.
OEMs are in business to sell products. Consequently, countless OEM drive belts are designed with neither the concept of long-term cost savings in mind, nor with the idea that a Maintenance person might need to replace components because of wear. In fact, many belt products simply are selected (and sold) on the basis of lowest price-and the hope that they will facilitate the widest possible range of field adjustments and operate long enough to make it through the warranty period. After that, it's up to the end user to make changes. Or, to be more precise, it's generally left to the Maintenance organization to devise a way to make a belt last longer and cost less to operate.
Rules of thumb
The application with the greatest potential cost savings is a drive that operates 24/7-365 and is larger than 1 HP. It will provide the quickest payback and net the Maintenance department the greatest credibility for the changes.
Expected life with a 24/7-365 operation is commonly three years minimum. In the view of this long-time Maintenance professional, any "100% duty cycle" drive that does not last that long desperately needs revision.
The key is to operate a drive near the "Maximum Belt Velocity" or "Rim Speed." That maximum is 6500 FPM for cast sheaves, 8000 FPM for Ductile iron and 10,000 FPM for steel. At FPMs higher than these, centrifugal forces will exceed the tensile strength of the material, risking the sheaves flying apart. The safest approach, however, is to use only the 6500 FPM limit. That's because sometime in the future, someone in your company may try to save money by using the same pitch diameter (P.D.) and install cheaper cast sheaves-without considering the dangerous consequences associated with that decision…
Why start by looking at Belt or Rim Velocity? Think of it this way: Would you use a really short tack hammer to pry out a 4″ spike? No! You would grab the longest wrecking bar you could find because it would let you apply the greatest force with the least effort. The same is true with sheaves-the larger the sheave diameter, the greater the length of the lever is and the easier it is to transmit power. The only limits are the centrifugal force that is generated and the ability of the sheave material to handle it.
With the foregoing in mind, we should expect an 1800 RPM motor to spin a maximum of a 13.7″ P.D. sheave and a 3600 RPM motor to spin a maximum of a 6.9″ P.D. When you look at a drive, if the motor sheave isn't close to 12″ in diameter (or 6″ for higher-speed motors), it is not designed for long service life. This represents a potential drive-improvement opportunity.
For other shaft RPMs, use the formula for Maximum Sheave P.D.
P.D. max = 6500/(0.2618 x RPM)
The ideal pitch will safely operate just under this maximum.
For example…
An existing drive (roughly 6″/ 8″sheaves) has a drive ratio of 1.33:1. From the sheave catalogue we find the following:
Note that a 6.2 / 8.2 P.D. sheave set is the largest listed for a 1.33 ratio, yet the belt velocity is calculated and found to be 2840. That is not very close to the previously discussed 6500 FPM maximum. Thus, there is lots of room to move closer to a 6500 FPM belt velocity.
Notice in the HP/Belt column, the same "A" profile belt can handle much more HP as the sheave sets become larger in pitch. Just think what even larger sheaves would do to the values in the HP/RPM and Belt columns?
Next, refer to the Stock Sheave listing for the full pitch range that is available. Stock sheaves in the catalogue are listed from 1.9 P.D. to 37.5 P.D.
Again using a 1800 RPM motor, the closest sheave sizes under the 13.7 P.D. maximum are 12.0, 13.0 and 13.2. These will become the new candidates for the driver sheave on the 1800 RPM motor.
The Drive Ratio we want to keep is 1.33, so the machinery performs the same as it did before we make changes. Thus, we multiply the 12.0, 13.0 and 13.2 pitch diameters by the ratio 1.33.
This gives the following results:
12.0 x 1.33 = 15.96 P.D.
13.0 x 1.33 = 17.29 P.D.
13.2 x 1.33 = 17.556 P.D.
Now, which one is close to a standard stock sheave?
15.4, 16.0 and 18.4 are listed as standard stock pitch diameters. The 15.96 calculated P.D. and 16.0 listed stock P.D. are the closest match.
Our drive is now shaping up: We have a 12.0 P.D. driver with a 16.0 P.D. driven sheave
According to the nameplate, our nominal 1800 RPM motor runs at 1725 at full load. So, let's recalculate the new drive parameters.
Recalculating the driver…
12.0 P.D. @ 1725 RPM driver speed Belt velocity = P.D. x .6218 x RPM = 12.0 x 0.2618 x 1725 = 5419.26 FPM (Safely under the 6500 FPM limit)
Recalculating the overall drive…
16.0 P.D. driven/12.0 P.D. driver = 1.3333 drive ratio (Excellent)
Recalculating the driven…
16.0 P.D. @ 5419.26 FPM Driven RPM = (driver P.D. /driven P.D.) x driver RPM = (12.0/16.0) x 1725 = 1293.75 RPM (Very close to the original measured RPM)
Dynamic pull comparison…
Now that we have the drive specifics, let's calculate dynamic belt pull. That's the actual pull that transfers power from the motor to the machine.
Using the formula:
Dynamic Pull = ((HP x 126,000)/(RPM x in. Sheave P.D.)) x 1.5 standard service factor. A 10 HP motor with the 6.2/8.2 sheave set will pull 176.72 lbs. on the tight side of the belt.
A 10 HP motor with the 12.0/16.0 sheave set will pull 91.3 lbs. on the tight side. (That is a drop of 85.42 lbs. to transmit exactly the same 10 HP to the machine-almost half the effort.)
Static pull vs. dynamic pull…
Static pull is the amount of tension a mechanic puts on the belt when the drive is installed. This tension is equal on both halves of the belt.
Let's say the mechanic puts 175 lbs. of static pull on a drive. With the 6.2/8.2 sheave set, we see a 176.72 lb. pull. How, though, do these conditions affect the static pull? We can calculate it as follows: There is a pull of 175 lbs. of static pull plus 176.72 lbs. of dynamic pull on the tight side. That adds up to 351.42 lbs. of pull-quite a hefty force.
On the slack side, the static pull is reduced by 176.72 lbs. Thus, 176.72 lbs. of dynamic pull is subtracted from the 175 lb. static pull. That leaves us with a a deficit of almost 2 lbs.. The belt's slack side flops around loosely, the belt slips and squeals. What, then, does the mechanic do? Tighten the belt, of course. This brings the static pull much higher than the dynamic pull to keep the drive running quietly.
With the larger 12.0/16.0 sheave set, the dynamic pull is 91.3 lbs. plus the static pull of 175, which only leaves a tight side pull of (91.3 + 175) or 266.3 pounds and, conversely, a slack side pull of 83.7 lbs. There is, accordingly, no need to readjust the drive.
Keep in mind that all of these examples relate to "running condition" and ignore the starting pull on the drive. That short-duration force can be at least three times the dynamic pull.
The finer points Every rubber drive belt is essentially an elastic drive medium that, because of Dynamic Belt Pull, will stretch longer on the tight side than on the slack side. By making the sheaves larger than the original drive, the belt pull is reduced and so is the amount of belt stretch.
When a belt stretches every revolution under load, driven RPM is reduced. This difference-or "allowed belt slippage"-must be kept below 2%. Above 2%, the belt returns to its slack-side length part-way around the driver sheave, and stretches to its tight-side length partway around the driven sheave. This movement, when in contact with the sheaves, causes destructive wear and heat. Under 2%, the rubber distorts, yet maintains its grip on the sheave, absorbing the movement and releasing heat to the air between sheaves. This results in a long-lasting, cooler running drive.
To see how this works, consider this: A driven sheave's 1293.75 RPM, calculated in the foregoing manner with a 2% slippage, is actually 98% of the calculated RPM (slower than designed), or:
1293.75 x .98 = 1267.875 RPM
If the driver is actually 1725 RPM, then the measured driven RPM should be between 1268 and 1293 RPM to minimize any destructive effects of slippage.
Belt wrap on the smaller sheave also is a concern. For example, if the small sheave wrap is about 170 degrees on the original, with the 12.0 P.D. sheave and the same shaft center distance and drive ratio, there will be the same angle of contact or belt wrap.
The small sheave circumference, times the amount of wrap will indicate the length of belt gripping the sheave.
The formula for the length of belt wrap is:
= (P.D. x 3.1415) x (degrees of wrap/360)
The improved design example of a 12.0/16.0 drive is:
= (12.0 x 3.1415) x (170/360) = 37.698 x .4722 = 17.8″ of belt contacting the sheave Using the original example of the 6.2/8.2 drive for comparison:
= (6.2 x 3.1415) x (170/360) = 19.48 x .4722 = 9.197″ of belt in contact
An increase from 9.197″ to 17.8″of belt in contact will be almost double-a definite improvement in grip.
Installing the new, larger drive is a bit more demanding with regard to parallel and angular alignment in both the vertical and horizontal planes. For instance, with a motor and a fan (both of which have horizontal shafts), an alignment is usually set closely across the hub area and parallel and angular misalignment are removed. When checking vertical alignment between the motor and fan sheave, one sees that the top of the motor sheave tilts toward the motor and the bottom away from the motor. This drive twist- usually ignorable on smaller drives-becomes a real issue on larger drives, and requires adjusting out to avoid premature wear. When attempting to extend drive life two or three times the current life, remember that small details like this can adversely affect the desired long-term deliverable life.
If you had a chance to watch both the original and new drives under load, you would have noticed that the smaller unit usually exhibited a noticeable slack-side flop, while the tight side would remain stable. The new, larger drive, however, runs with the tight-side straight and stable, and the slack-side stable with a slight outward bow, when it is eyed down the length.
If the original small drive were started up, you would hear a definite thud or pound, as if the unit were hit by a huge rubber hammer. On the other hand, the new, larger drive's start-up thud will be almost silent-as if a small rubber hammer is being used. Generally, the new drive will run more smoothly, all the way around.
It is important to note that heat is the greatest single destructive element to which rubber can be subjected. Heat makes rubber harder and less flexible-and more susceptible to fracture and breakage. According to the Rubber Manufacturer's Association, V-belts will operate acceptably at temperature from -30 to 140 F. An internal temperature rise of 18 degrees F in this type of belt will decrease its service life by 50%. With our previously discussed drive modification, the heat generated in repeated stretch-and-relax cycles of the slack and tight sides has been reduced. The slippage heat generated in gripping the sheaves has been cut. The heat generated in bending or flexing around the smaller-diameter sheaves drops significantly.
- A higher horsepower per belt capability, which, in some cases, reduces the number of belts, or drops the belt profile to a smaller one
- Increased belt-wrap length for more gripping surface
- Less belt-bending occurs around a larger sheave set, equating to less flex-generated heat
- Less slippage or stretch-generated heat
- Higher belt velocity and sheave rim speed that enhances drive air-cooling
- New belts for the drive on the same center distance that are longer, resulting in any generated heat being dissipated over a much longer length of belt
- Much cooler operating belts and sheaves, equating to belts that last exponentially longer
- Much lower belt pull, which lowers drive-end bearing loads and start-up shock
- A more efficient belt drive that leads to definite energy savings, given continuous 24/7 power demands
- With regard to PMs, the elimination or revision of monthly, quarterly or semi-annual inspections-down to only one annual inspection. (Even then, you may not have to readjust belt tension in the first or second year, if the initial installation includes a tension check after the first two to 48 hours of operation, then again, after one-month's running, to take up the initial stretch and set the new belts.)
Doing it right
What can you really expect when you increase the velocity of your drive belts?
After five years of 24/7-365 operation, such belts will be riding lower in the sheave and the sheave edges will be visible above the crown of the belt, but not running on the bottom of the groove. When the belts are removed, you will find them to be surprisingly supple and flexible, with no segmented cracks anywhere. When the sheaves are inspected, there will be very little indication of the Vgroove wearing to a U-shape. Sheave grooves will appear highly polished, almost like chrome plating-ready for another five years of continuous operation with a new set of belts.
According to industry sources, well designed and carefully installed drives typically will generate very little heat. Furthermore, the cooling effect of the belt through the air will tend to cool the whole drive to a temperature very close to ambient. Such drives are expected to run 24/7-365 for three to five years.
Calculate, specify and install drive belts correctly and they will require very little maintenance for years.
Gary Burger worked himself up through the ranks of Canadian Occidental Petroleum, Durez Plastics Division, to become maintenance supervisor and chief engineer. He then joined the Stevenson Memorial Hospital maintenance team in Alliston, ON, Canada, as chief engineer. Over the past 10 years, he has helped lower this facility's energy consumption by over 64%, while keeping it all within budget. E-mail: firstname.lastname@example.com


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While almost anything goes within the walls of the Saint Louis Skatium, a couple of the Missouri laws that seem to exist simply to limit fun still have to be followed...Or the Skatium staff has to give the appearance that laws are being followed.
What I am trying to get at is the fact that around 1AM, the Skatium has to pretend to stop serving alcoholic beverages for a couple hours. Now, before you start throwing a tantrum, please note that this has happened the past two years. Technically, no alcohol is supposed to be distributed after 1AM, but as most of you know, that didn't stop beer from quietly exchanging hands at the bar.
What I recommend you do if you want to continue ingesting beer throughout the night is consider bringing a case of beer or two with you to the Skatium. This will help your desire to drink for two reasons:
A). The "stop serving at 1AM" rule won't interrupt your fun if you have your own stash.
B). While PBR is donating beer and we are trying to secure more free beer from other beer makers, last year's crowd inhaled two kegs in a few measly hours. We may run out of free beer, and while we will be happy to make a beer run if necessary, I encourage you to prepare yourself for the event that we run low on beer at some point during our 24-hour party.
Now you know.
I hope all of you are getting excited. This Lock-In, like every Lock-In, is going to be a damn good time.


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Silky Underwear
Silky Underwear
Smooth, sensual jasmine powder
Product Actions
When you want to feel smooth, dry and lovely, sprinkle some of this sexy jasmine and vetiver-scented powder all over. Its cornstarch and kaolin base will absorb moisture to keep you smooth as tiny shavings of cocoa butter nourish skin with a velvety touch. It's perfect on your skin, in your hair or in your sheets: sprinkle it everywhere for a cloud of aphrodisiac fragrance and a silky feel.
How to use: Sprinkle on all over for silky soft skin.
Fresh ingredients
*Occurs naturally in essential oils
Natural ingredients
Safe synthetics


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Serving Raceland, Gheens, Lockport, Valentine, Larose, Cut Off, Galliano, Golden Meadow, Leeville, & Grand Isle
Wednesday, September 18, 2019
Over the next few weeks, millions of Americans will receive their 2013 open enrollment materials. Although it's tempting to simply check "same as last year," that can be a costly mistake – especially if your employer is offering different benefit plans next year or your family or income situation has changed.
Plus, an important feature of health care flexible spending accounts, which many people use to reduce their tax bite, is changing next year (more on that below).
Here's what to look for when reviewing your benefit options:
Many benefit plans – especially medical – change coverage details from year to year. If you're offered more than one plan, compare features side by side (including plans offered by your spouse's employer) to ensure you're choosing the best alternative. Common changes include:
- Dropping or replacing unpopular or overly expensive plans.
- Increased monthly premiums for employee and/or dependent coverage.
- Increased deductible and/or copayment amounts for doctor visits, prescription drugs, hospitalization, dental or vision benefits, etc.
- Revised drug formularies.
- Doctors and hospitals sometimes withdraw from a plan's preferred provider network.
- Raising maximum yearly out-of-pocket expense limits.
If offered by your employer, health care and dependent care flexible spending accounts (FSAs) can significantly offset the financial impact of medical and dependent care by letting you pay for eligible out-of-pocket expenses on a pre-tax basis; that is, before federal, state and Social Security taxes are deducted from your paycheck. This reduces your taxable income and therefore, your taxes.
You can use a health care FSA to pay for IRS-allowed medical expenses not covered by your medical, dental or vision plans. Check IRS Publication 502 at www.irs.gov for allowable expenses. Dependent care FSAs let you use pre-tax dollars to pay for eligible expenses related to care for your child, spouse, parent or other dependent incapable of self-care.
Here's how FSAs work: Say you earn $42,000 a year. If you contribute $1,000 to a health care FSA and $3,000 for dependent care, your taxable income would be reduced to $38,000. Your resulting net income, after taxes, would be roughly $1,600 more than if you had paid for those expenses on an after-tax basis.
Keep in mind these FSA restrictions:
Important: Effective January 1, 2013, employee contributions to health care FSAs are now limited to $2,500 a year; however, if your spouse has FSAs at work, you still may contribute up to $2,500 to each account.
The dependent care FSA limit remains unchanged at $5,000.
Health care and dependent care account contributions are not interchangeable.
Estimate planned expenses carefully because you must forfeit unused account balances. Some employers offer a grace period of up to 2 1⁄2 months after the end of the plan year to incur expenses, but that's not mandatory, so review your enrollment materials.
Outside of open enrollment, you can only make mid-year FSA changes after a major life or family status change, such as marriage, divorce, death of a spouse or dependent, birth or adoption of a child, or a dependent passing the eligibility age. If one of those situations occurs mid-year, re-jigger your FSAs accordingly for maximum savings.
You must re-enroll in FSAs each year – amounts don't carry over from year to year.
Also remember that if you marry, divorce, or gain or lose dependents, it could impact the type – and cost – of your coverage options.
Jason Alderman directs Visa's financial education programs. To Follow Jason Alderman on Twitter: www.twitter.com/PracticalMoney.


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Notts County back to winning ways
Notts County's nine-match run of defeats came to end as they climbed out of the npower Division One relegation zone with a 1-0 victory at Tranmere.
It was only a fourth win on the road thanks to a hotly disputed first-half penalty. Tranmere, who are far from safe in the division, had only themselves to blame as they wasted a string of first-half chances.
Martin Allen's side failed to trouble home keeper Tony Warner before they were awarded a fortuitous penalty for an innocuous looking challenge by Zoumana Bakayogo on Jon Harley. Craig Westcarr blasted home from the spot in the 42nd minute to break the deadlock.
County keeper Stuart Nelson saved with an outstretched leg from an angled strike by Lucas Akins after seven minutes.
Robbie Weir made a hash of a good opportunity midway through the half before Enoch Showunmi missed the target. An Ian Goodison header was well held by Nelson who then turned aside a powerful strike by Weir.
Folloiwng Westcarr's pentalty County grew in confidence as they weathered a series of Tranmere attacks after the break, but it needed a fine save by Nelson to keep out an Aaron Cresswell free-kick in the 76th minute, the stopper tipping also over an added-time header by Adam McGurk.
There were a series of ugly brawls in the closing stages culminating in County's Ricky Ravenhill seeing a red card in the seventh minute of second-half injury time.
Copyright (c) PA Sport 2009, All Rights Reserved.News Now - Sport News


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Automating tests is an essential goal of any QA Engineer. It saves precious human resources and allows to maintain a healthy continuous integration. Unit and integration tests are closest to the developer's work: libraries, classes and functions. However, when a project is GUI-intensive or use software with poor introspection/accessibility capabilities, visual tests are very helpful. In this regard, we at Canonical are developing some good QA tools and one of them is Xpresser.
So, what is Xpresser? It's a Python framework to do visual tests. It was originally developed by Gustavo Niemeyer. Xpresser's main feature is to find saved images in the desktop. For example, if we want to check whether the Messaging Menu is active, we first save the blue icon and then command Xpresser to find it: Xpresser checks the whole visible desktop, as a regular person would do with its eyes. Xpresser is not only able to find images, but also to click on them. So in the previous case, will could open the Messaging Menu when active to then check whether Thunderbird is open. Xpresser even allows to simulate the keyboard.
To illustrate this, watch this useful screencast done by Chris Wayne, who works with us at Canonical as QA Engineer in OEM.
Plain easy, isn't it?
Xpresser is currently available in this PPA ppa:xpresser-team/ppa for Ubuntu Precise and Oneiric.


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- The Chargers have been odd this year. When they have everyone on offense, they can be a dangerous team. Floyd, Jackson, Mathews, Tolbert, Gates and even Crayton – that's a talented group. But today, they will be without Mathews and Floyd – and that limits them.
- Rivers is weird. He can play like an elite QB one week and then look like a loser the next week. There is something about his facial expressions that tell me he'll never win a Super Bowl.
- Norv Turner is similarly destined to never win (or get to) the big game. There is just something about him that gives Chargers fans no faith when it counts.
- Their last game ended in an unbelievably bad way. Rivers untimely fumble on Monday night against KC was really a boneheaded play. They had the game won.
- Somehow, even with a change of D Coordinators, San Diego's defense has again managed to be solid. They don't have any particular players who stand out necessarily – but they're good collectively. They average giving up 303 yards per game – and the Pack gives up 391. And, interestingly, they are the #4 pass D in the NFL giving up just 185 yards per game. (They won't be #4 after today's game.)
- Importantly – San Diego has not played any really good offenses (only NE) – so maybe their D isn't that good after all.
- The Pack needs to come out and intimidate right away offensively. No amount of studying and gameplanning can stop our offense and we need to assert ourselves right away. San Diego thinks they're better than they are and we should quickly put them in their place.
- Finley should be huge today. He will want to show the world that he's in a class with Gates – I think he'll be really good today.
- This is the kind of game I can see Jennings going nuts in. San Diego won't have an answer for him.
- San Diego will be setting up to defend against our passing game. This could be a big game for Starks/Grant.
- It will be interesting to see if Capers puts Woodson on Gates or Jackson. Woodson would match up very well with either guy. My guess is that they'll put him on Gates and let Tramon handle Jackson. Jackson definitely has the size advantage, but Tramon should be able to manage him because Tramon is much quicker/faster than Jackson.
- Big match-up here for our D will be Bishop/Hawk stopping Tolbert. That could be a challenge. Hopefully SD will have to start passing the ball right away after falling behind – because Tolbert is a mighty back who could give us some trouble.
Packers/Chargers Preview
3 Responses to "Packers/Chargers Preview"
DaveK Says:
November 6, 2011 at 3:08 pm |
From Michael Hunt at JSonline: "Packers fans are taking over Qualcomm Stadium before kickoff. They're drowning out Chargers fans."
KC got crushed by Miami today. Makes you wonder how the Chargers lost to them last Monday. The Chargers are coming off a short week with a bunch of injuries playing a fairly healthy Packer team coming off a bye. This shouldn't be close. But for some reason I've had this hunch the Packers crap down their leg this week. In the best of years this happens and IF they have to do it this would be a good game to do it being that it is a AFC team.
Dave In Tucson Says:
November 6, 2011 at 3:43 pm |
Travis Says:
November 6, 2011 at 3:47 pm |
What a return wow. Great blocking and nice spin move by Peprah. That was Nick Collins style, I'm impressed.
And excellent block by Matthews levelling the LT allowing Peprah to get in the end zone. Flattened him


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CNN reported today that a single woman who was discharged from the Air Force and asked to pay back her $92,000 ROTC scholarship after she revealed she was pregnant is fighting her dismissal.
Rebecca Edmonds was finishing up her nursing degree at Marquette University when she found out she was pregnant.
She received her commission but failed to tell the Air Force about her condition until she arrived at her first duty station. By then she was two-thirds into her pregnancy and there was no turning back.
Her tale quickly picked up steam, as articles appeared on both the UK's Daily Mail and New York Daily News.
Each tells the sad tale of a practicing Catholic, daughter of a Navy officer, who just wants to serve her country but was told single parents aren't welcome. The information she's pushing the hardest--that if she had terminated the pregnancy, she could have kept her commission and would still be an officer.
It's true, that the military doesn't want single parents. On the Air Force recruitment site, when you start an application, if you hold your mouse over the question "Are you a single parent?" it says, explicitly:
"An applicant is ineligible when he or she is an unmarried applicant who has physical or legal custody of any family members incapable of self-care. The applicant does not have the flexibility required to perform worldwide duty, short notice TDY, remote tours, and varied duty hours."
This information is repeated in Air Force Recruiting Service Instruction 36-2001; the other branches have similar policies.
At times the military hasn't even wanted married parents. A 2008 USA Today story reported that male, married Marine recruits who were fathers were 10 percent more likely to drop out of boot camp--making them less desirable than those with criminal records.
Edmonds was not completely without options. If she had notified superiors of the change in her medical condition, as she signed a contract promising she'd do, the Air Force wouldn't have accused her of fraud. She could have given custody of her son to her parents, who told CNN they would have taken care of him if their daughter deployed, anyway. She could have married her boyfriend, the father of her child.
A commenter, Milliepede, raised an interesting point under the Daily Mail's story: "Oh, and don't even use the "I'm a Catholic and don't believe in abortion" card. If you're having pre-marital sex and having children outside marriage - THAT IS NOT CATHOLIC [capitalization by commenter] and she shouldn't be portraying herself as such."
It is also worth noting that none of the three stories mention whether Edmonds was using contraception.
Karen Edmonds, Rebecca's mother, is trying to make this about all single women in the military, telling CNN that when Secretary of Defense Leon Panetta said, in regards to the repeal of Don't Ask Don't Tell, that he was committed to "removing all the barriers that prevent Americans from serving their country," it should have also applied to single mothers.
But it's not remotely the same. A gay soldier can't avoid being gay. A single soldier can prevent getting pregnant.


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Injuries test a team's mettle, turning roster depth into a truth-or-dare game. Ineffectiveness messes with a club's psyche. Prior to Wednesday's game against the Chicago White Sox, the Rockies sent a message that reverberated in the clubhouse, suggesting that the bid for a winning season was not just the glass-half-full optimism of owner Dick Monfort.
Manager Walt Weiss summoned Wilton Lopez to his office and demoted the maligned veteran reliever to Triple-A. Lopez left the team no choice after he dissolved before their eyes — again — in an embarrassing loss Tuesday night.
"It's hard. You try to put yourself in their position, and show compassion," Weiss said. "But it's a bottom-line business."
April games are never must-wins, but for a Rockies team off to a clumsy start, Wednesday's 10-4 victory came with a heightened sense of awareness with a weeklong road trip through San Francisco and San Diego on deck.
Second baseman DJ LeMahieu unclenched fists of anxious fans with a two-RBI single , triggering a six-run eighth inning, as the Rockies sprinted to victory at sun-splashed Coors Field.
With the score 4-4 and runners at second and third, LeMahieu smoked a line drive to center field. He finished with three hits and three RBIs.
PHOTOS: Colorado Rockies vs. Chicago White Sox
"DJ is a winning player," Weiss said. "No moment is too big for him."
The Rockies sent 10 batters to the plate in the eighth, which included an RBI single from infielder Josh Rutledge, who took Lopez's roster spot with the Rockies going to seven relievers.
With starters Tyler Chatwood and Jhoulys Chacin sidelined to start the season and reliever Boone Logan not available until Wednesday, Colorado figured to be compromised in the season's first two weeks. An uneven start, however, could become something more sinister with losses at home, regardless of the pitching issues. The Rockies have gone an identical 29-52 in visiting parks the past two seasons.
Winning at home is imperative if the team is to be competitive, and the Rockies finished their first home stand 4-2, with a a pair of series victories. The offense left welts on ERAs, averaging 6.4 runs. Even with shortstop Troy Tulowitzki (.407) prescribed a rest day Wednesday for his tight right quadriceps, the top of the lineup remains gluttonous.
Charlie Blackmon (.471), Michael Cuddyer (.415), Carlos Gonzalez (.389) and Justin Morneau (.387) are all off to encouraging starts. An offensive lift was required after consecutive pedestrian rotation outings.
"I feel like we are in a good place offensively. I am seeing better at bats than I saw last year," Weiss said
Juan Nicasio barely resembled the exclamation point he was in the home opener. He possessed a putaway pitch — as evidenced by his six strikeouts in five innings — but elevated his fastball, leading to an inflated pitch count and an early departure.
BOXSCORE: Colorado 10, Chi. White Sox 4
The bullpen provided reason for hope after a miserable Tuesday left the group with a 6.33 ERA. Matt Belisle, Adam Ottavino, Rex Brothers, LaTroy Hawkins and Logan, in his Rockies' debut, strung together four shutout innings.
Troy E. Renck: firstname.lastname@example.com or twitter.com/troyrenck