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Get an overview of this hotel3-star hotel with free breakfast and free airport shuttle
Collect 200 Nectar points!
Simply enter your Nectar card number when you check out. Your points will be credited 35 days after you return from your trip.*Offers may apply
Situated near the airport, this hotel is 1.5 mi (2.4 km) from Patterson Ice Center and 2.8 mi (4.4 km) from Orbit Room. Woodland Mall and Calvin College Ecosystem Preserve are also within 6 mi (10 km).
Hotel Features
An indoor pool, a fitness center, and a spa tub are available at this smoke-free hotel. Free buffet breakfast is provided, as well as free WiFi in public areas, free self parking, and a free airport shuttle. Other amenities include a 24-hour business center, coffee/tea in a common area, and laundry facilities.
Room Amenities
All 60 rooms feature comforts like pillowtop beds and down comforters, while conveniences include refrigerators and microwaves. Free WiFi and coffee makers are standard, as are LED TVs with satellite channels.
Information missing or incorrect? Tell us!Opens in a new windowCountry Inn & Suites By Carlson, Grand Rapids Airport, MI
Hotel Amenities
In addition to an indoor pool, Country Inn & Suites By Carlson, Grand Rapids Airport, MI provides a spa tub and a fitness center. High-speed wireless Internet access is complimentary. A 24-hour business center is on site at this 3-star property. Guests can enjoy a complimentary breakfast each morning as well as a complimentary manager's reception on select days. An area shuttle within 3 mi and a roundtrip airport shuttle during limited hours are complimentary for guests. This Grand Rapids hotel also offers a library, a picnic area, and coffee/tea in a common area. Onsite self parking is complimentary. The property may provide extended parking privileges to guests after check-out (surcharge).
Country Inn & Suites By Carlson, Grand Rapids Airport, MI is a smoke-free property.
- Indoor pool
- Spa tub
- Free breakfast
- Free newspapers in lobby
- 24-hour front desk
- Total number of rooms - 60
- Number of floors - 3
- Laundry facilities
- Coffee/tea in common areas
- Free airport transportation
- Picnic area
- Luggage storage
- Long-term parking (surcharge)
- Year Built 1998
- Free self parking
- Smoke-free property
- Number of buildings/towers - 1
- Elevator/lift
- Express check-out
- Fireplace in lobby
- Fitness facilities
- Free WiFi
- Library
- Free reception
- Free area shuttle
- 24-hour business center
Family Friendly Amenities
- Family Hotel
- Indoor pool
- Free Wi-Fi
- Area shuttle (complimentary)
- Laundry facilities
- Refrigerator
- Microwave
- Cribs/infant beds (complimentary)
Available in all rooms: Free WiFi
Available in some public areas: Free WiFi
Long-term parking (surcharge), Free self parking
Room Amenities
- Free cribs/infant beds
- Premium TV channels
- Hypo-allergenic bedding available
- Air conditioning
- Free weekday newspaper
- Blackout drapes/curtains
- Phone
- Free local calls
- Refrigerator
- Coffee/tea maker
- Microwave
- Free toiletries
- Hair dryer
- Shower/tub combination
- In-room safe (laptop compatible)
- Iron/ironing board
- In-room climate control (air conditioning)
- Satellite TV service
- Daily housekeeping
- Private bathroom
- Down comforter
- Rollaway/extra beds (surcharge)
- Desk
- Free WiFi
- Pillowtop mattress
Where to Eat
A complimentary hot/cold buffet breakfast is served each morning between 6 AM and 9:30 AM. A complimentary manager's reception is offered on select days.
Nearby Things to Do
An indoor pool and a spa tub are on site. Other recreational amenities include a fitness center.
Children under 17 years old are not allowed in the swimming pool without adult supervision.
The recreational activities listed below are available either on site or nearby; fees may apply.
- Hiking/biking trails nearby
If you have requests for specific accessibility needs, please note them at check-out when you book your room.
- Accessible bathroom
- Roll-in shower
- In-room accessibility
Hotel Policies
Check-in time ends at 2 AM
Minimum check-in age is 21
Check-in time starts at 3 PM
Special check-in instructions:
Check-out time is noon
Payment types
Children and extra beds
- Children are welcome.
- Kids stay free! Children 17 years old and younger stay free when using existing bedding.
- Rollaway/extra beds are available for USD 10.00 per stay.
- Free cribs (infant beds)!
- Pets allowed for an extra charge of USD 20.00 per pet, per week
- Specific rooms only
- Pet-friendly rooms can be requested by contacting the property at the number on the booking confirmation
You need to know
Extra-person charges may apply and vary depending on property policy.
Government-issued photo identification and a credit card or cash deposit are required at check-in for incidental charges.
Special requests are subject to availability upon check-in and may incur additional charges. Special requests cannot be guaranteed.
Optional extras
- Pet fee: USD 20.00 per pet, per week
- Rollaway bed fee: USD 10.00 per stay
Hotel Name
- Country Carlson Grand Rapids Airport MI
- Country Inn Carlson Grand Rapids Airport MI
We should mention
Children 17 years old and younger stay free when occupying the parent or guardian's room, using existing bedding. Only registered guests are allowed in the guestrooms. Some facilities may have restricted access. Guests can contact the property for details using the contact information on the booking confirmation. This property allows pets in specific rooms only (surcharges apply and can be found in the Fees section). Guests can request one of these rooms by contacting the property directly, using the contact information on the booking confirmation.


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On the Distribution of Crop Yields: Does the Central Limit Theorem Apply?
In this paper we take issue with the applicability of the central limit theorem (CLT) on aggregate crop yields. We argue that even after correcting for the effects of spatial dependence, systemic heterogeneities and risk factors, aggregation does not necessarily lead to normality. We show that aggregation is also likely to lead to nonnormal distributions, which exhibit both skewness and excess kurtosis. In particular, we consider the case in which the number of summands is not constant but varies with time, which corresponds to the empirically relevant situation where the number of acres used for cultivation of a particular crop exhibits substantial variation over time. In this case, the CLT is not applicable while the limit theorems for random sums of random variables, which apply, predict that the limiting distribution of the sum is not normal and depends on the postulated distribution of the number of summands. Using data from aggregate US states crop yields, we provide empirical support regarding the deviation of aggregate crops yields from normality.
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Handle: | RePEc:aue:wpaper:1007 |
Contact details of provider: | Postal: 76, Patission Street, Athens 104 34 Phone: (+301) 8214021 Fax: (301) 8214021 Web page: http://deos.aueb.gr/ More information through EDIRC |
References listed on IDEAS
Please report citation or reference errors to , or , if you are the registered author of the cited work, log in to your RePEc Author Service profile, click on "citations" and make appropriate adjustments.:
- Zanini, Fabio C. & Sherrick, Bruce J. & Schnitkey, Gary D. & Irwin, Scott H., 2001.
"Crop Insurance Valuation Under Alternative Yield Distributions,"
2001 Conference, April 23-24, 2001, St. Louis, Missouri
18953, NCR-134 Conference on Applied Commodity Price Analysis, Forecasting, and Market Risk Management.
- Bruce J. Sherrick & Fabio C. Zanini & Gary D. Schnitkey & Scott H. Irwin, 2004. "Crop Insurance Valuation under Alternative Yield Distributions," American Journal of Agricultural Economics, Agricultural and Applied Economics Association, vol. 86(2), pages 406-419.
- Hennessy, David A., 2012.
"Crop Yield Skewness and the Normal Distribution,"
Staff General Research Papers Archive
35019, Iowa State University, Department of Economics.
- Hennessy, David A., 2009. "Crop Yield Skewness and the Normal Distribution," Journal of Agricultural and Resource Economics, Western Agricultural Economics Association, vol. 34(1), April.
- Richard E. Just & Quinn Weninger, 1999.
"Are Crop Yields Normally Distributed?,"
American Journal of Agricultural Economics,
Agricultural and Applied Economics Association, vol. 81(2), pages 287-304.
- Weninger, Quinn & Just, Richard E., 1999. "Are Crop Yields Normally Distributed?," Staff General Research Papers Archive 5064, Iowa State University, Department of Economics.
- Alan P. Ker & Barry K. Goodwin, 2000. "Nonparametric Estimation of Crop Insurance Rates Revisited," American Journal of Agricultural Economics, Agricultural and Applied Economics Association, vol. 82(2), pages 463-478.
- Charles B. Moss & J. S. Shonkwiler, 1993. "Estimating Yield Distributions with a Stochastic Trend and Nonnormal Errors," American Journal of Agricultural Economics, Agricultural and Applied Economics Association, vol. 75(4), pages 1056-1062.
- Clark, Peter K, 1973. "A Subordinated Stochastic Process Model with Finite Variance for Speculative Prices," Econometrica, Econometric Society, vol. 41(1), pages 135-155, January.
- Blattberg, Robert C & Gonedes, Nicholas J, 1974. "A Comparison of the Stable and Student Distributions as Statistical Models for Stock Prices," The Journal of Business, University of Chicago Press, vol. 47(2), pages 244-280, April.
- Joseph Atwood & Saleem Shaik & Myles Watts, 2002. "Can Normality of Yields Be Assumed for Crop Insurance?," Canadian Journal of Agricultural Economics/Revue canadienne d'agroeconomie, Canadian Agricultural Economics Society/Societe canadienne d'agroeconomie, vol. 50(2), pages 171-184, 07.
- Barry K. Goodwin & Alan P. Ker, 1998. "Nonparametric Estimation of Crop Yield Distributions: Implications for Rating Group-Risk Crop Insurance Contracts," American Journal of Agricultural Economics, Agricultural and Applied Economics Association, vol. 80(1), pages 139-153.
- Joseph Atwood & Saleem Shaik & Myles Watts, 2003. "Are Crop Yields Normally Distributed? A Reexamination," American Journal of Agricultural Economics, Agricultural and Applied Economics Association, vol. 85(4), pages 888-901.
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subset: commoncrawl


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/Filmcast Ep. 192 – The Amazing Spider-Man (GUEST: Jeff Cannata from The Totally Rad Show)
Posted on Sunday, July 8th, 2012 by David Chen
This week, Dave, Devindra, and Adam continue their discussion about the promise of 3D television, praise the humor of Klown and the rawness of Fake It So Real, and chat about the problems and greatness of The Newsroom and Louie, respectively. Special guest Jeff Cannata joins us from The Totally Rad Show.
You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. We'll be reviewing something next week. Not sure what yet, but it'll be good!
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text:
Tuesday, October 27, 2009
My NY Pizza Adventure, Part 2 - Di Fara
Monday, October 19, 2009
My NY Pizza Adventure, Part 1 - Pieman's Craft Event
Anthony Mangieri, in certain circles, is considered pizza royalty. The authentic Neapolitan pies he slung at his NY-based Una Pizza Napoletana were considered among the very best in the city. Then the news came: Mangieri was closing shop.
I was devastated. After reading rave reviews of the place in Ed Levine's A Slice of Heaven and on Jeff Varasano's website, I had placed Una Pizza Napoletana at the top of my list of pizzerias to try whenever I made it out to
Shortly thereafter, a post on the venerable Slice blog caught my eye: Mangieri was coming back to make a few more pies for the Food & Wine Magazine's annual Pieman's Craft event, a two-day pizza extravaganza hosted by Ed Levine and Slice founder Adam Kuban. Tickets were going fast, so fast that the event's first day was already completely sold out. But, but...there were still a few tickets left for the second day. Charged by adrenaline, fueled by impulse, I typed in my credit card number and scored two tickets. I gave no consideration as to how I would actually get to
It wasn't easy. I procrastinated on the plane tickets and ended up paying far more than I would have liked. Hotel options for the weekend of the event were extremely limited, and even at the budget traveler's level, pricey. I paid dearly, but now all the logistics were taken care of. I would be flying to
After months of waiting, the day arrived, and through the window of the plane I watched the entire country roll by beneath me. I was deposited at
I was the first to arrive, and soon enough met Adam Kuban, who knew me immediately by my Slice moniker, WikiAdam. I took a seat near the front windows, which was a smart decision, as the fresh breeze helped alleviate some of the heat trapped inside this tiny restaurant. Before long I was surrounded by fellow pizza fanatics, including Brooks Jones of Me, Myself, and Pie and Nick Sherman of Pizza Rules! I had the time of my life chatting with Brooks about NY pizza, Jeff Varasano's pizza recipe, and places he recommended I try around the area.
Then the big dogs arrived: Ed Levine, our charming host; Anthony Mangieri, looking exactly as he did in all the videos I'd seen filmed at Una Pizza before it closed; and Mathieu Palombino, owner of Motorino. I had read a lot of very positive press about Motorino's Neapolitan pies in the weeks leading up to this trip, and I couldn't believe how young Palombino looked. Could someone so youthful make truly sublime pizza? I was about to find out.
But first, for the purpose of comparison, we were served two NY-style slices. And believe me when I say to you that the difference was like night and day.
The first slice came courtesy of one of the
Most noticeably, the slice had a stale quality to it, as if it had been left to sit out overnight. The crust had decent char to it, but it lacked crispness and was chewier than I expected. Also, and I assume this is because of the coal-fired oven, there was the distinct flavor of cocoa in every bite; the smoke released by the burning coal had to be the culprit. As for the rest of the slice, the sauce seemed slightly thick, but I kind of liked the flavor of the mozzarella -- it tasted more than a little bit like macaroni and cheese. All in all, it was a pretty underwhelming slice, and I didn't finish it.
Next up came a substantially larger slice from Pizza Suprema, whose location was apparently close enough to the Slice offices to warrant inclusion in the taste-testing. As disappointed as I was with the Totonno's slice, I liked this one even less.
Again, being delivered halfway across the city had taken its toll on the slice, and it had lost much of its crispness in the process. The sauce was surprisingly sweet, and the cheese had perspired so much grease into it that I had a difficult time swallowing it. As with the Totonno's slice, I'm positive Suprema's pizza is much better when eaten at the source of its inception.
Once the waitstaff carried away our paper plates and mostly uneaten slices, they returned with a sign that foretold of better things to come: the red wine. Our glasses filed, a palpable sense of excitement rippled through the crowd like a stone dropped onto the surface of a lake. It meant only one thing: we would be eating the real pizza now. And after a pretty lackluster antipasti plate, it came.
The first full pie to hit our table was the Soppressata Piccante. It was immediately obvious that the crust took center stage here, with a very puffy cornicione, leopard-spotting galore, and perfect char blisters on the upskirt. This crust was crispy on the outside and marvelously chewy on the inside, light and airy and well-crafted. Topping this magnificent display of wood-fired dough was a San Marzano tomato sauce, fresh fior di latte, spicy soppressata (the gourmet's pepperoni), sliced garlic, chili oil, and thin slices of red chilies that most likely accompanied the bottle of said chili oil. Not knowing what to expect, I mistakenly bit into two of these innocent-looking little red circles and felt like I'd been stung in the mouth by a wasp. Those chilis bit down on my tongue harder than my own teeth had bit into the slice, and with my eyes filling up I chugged some ice water and gave my dining companions a thumbs-up sign to let them know I was still conscious. Note to all those planning on ordering this pizza from Motorino in the future: take it easy with those chilis. They are very flavorful, but they're packing more heat than John Dillinger.
I have to be honest: I liked this pie, but I didn't love it. I think the chili oil permeates too much of the pizza, infusing all of the sauce and cheese so that I could barely distinguish their individual properties. All I could taste were chilies. It's still a delicious pizza, but as it turns out, it was to be my least favorite of the three "real" pizzas served to us that day.
Next came the Filetti, Palombino's ode to Anthony Mangieri's notoriously sparse menu. Forgoing red sauce for a simple canvas of mozzarella, basil, cherry tomatoes, and olive oil, the Filetti was a more subdued--but in my opinion, far more successful--pizza than the Soppressata Piccante. Do not mistake this to mean it lacked flavor, because that couldn't be further from the truth.
The Filetti was dynamite, a spot-on Bianca pie that tasted fresh, delicious, and authentically Italian. That same great crust made a return appearance here, its smoky char lending itself well to the creamy mozz and sweet, juicy tomatoes. I really liked this pie.
Finally, the house Margherita was set down before us, and with one bite it was clear they had saved the best for last. This was everything a Margherita should be, from the tang of the tomato sauce to the soft creaminess of the mozzarella di bufala. I could find no fault in it, and I would have eaten more if only I hadn't gorged myself on so many slices from the Soppressata and Filetti.
Between rounds of pizza, we were also treated to a discussion of pizza from Levine, Mangieri, and Palombino. Mangieri and Palombino both delved into their deep passion for pizza and the journey that had led them to
My stomach full and my head swimming with the wine, I made my way toward the exit and struck up a conversation with Adam Kuban. We discussed how I'd come all the way from Portland, Oregon to come to this event and to try as much New York pizza as possible, and he pressed upon me the absolute importance of getting out to Brooklyn that night to sample the slices at Di Fara, as this would be the last night they would be open before I had to return to Oregon on Tuesday. The decision was made: it was Di Fara or bust!
To be continued...
Friday, October 9, 2009
Impressions: Pizzeria Bianco
Phoenix, AZ 85004
(602) 258-8300
It was the volleyball that did it.
Chris Bianco of Pizzeria Bianco has, for several years now, basked in the ebullient exaltations of Oprah, Martha Stewart, Jimmy Kimmel, and, far more importantly, pizza aficionados Ed Levine and Peter Reinhart. He is widely regarded as serving the best pizza in the U.S., and in the opinion of Mr. Levine, the best in the world. That's high praise.
I knew I had to get to Phoenix as soon as was humanly possible to see if these superlatives were being thrown down haphazardly or if maybe, just maybe, they were accurate. But a trip to Arizona to try a single restaurant? Insanity. I'm not made of money (not yet, anyway...)
Then, as fate would have it, a friend of mine and fellow pizza fanatic from Los Angeles scored a press pass to photograph the Association of Volleyball Professionals (AVP) championships in Glendale, the city adjacent to Phoenix's western edge. This upped the stakes considerably: fly to Phoenix to eat great pizza and see a good friend? How could I pass this up?
The answer was, I couldn't, and I didn't. What follows is my Phoenix experience from the moment I touched down at the airport to receiving not the first, but the second check of the evening at Pizzeria Bianco.
The Phoenix Sky Harbor International Airport is an enigma of mind-numbing proportions. It is comprised of four disconnected terminals in the least-intuitive arrangement you can fathom. Unlike most airports, you can exit PHX from two directions, both the north and the south sides. Convenient? In theory, yes, but in actuality, no. Confusing? Absolutely. Read on.
Upon stepping off the plane into Terminal 4 at 2:55 in the afternoon, I knew I had several hours to kill before my friend arrived from Los Angeles at 9:00 that evening. Performing some quick calculations in my head, I toyed with the idea of hitting Bianco solo: Let's see here, it's 3 o'clock now...Bianco opens at 5pm...I can do this.
Lacking any transportation of my own, I immediately strolled over to the Information booth, at which sat a surly-looking elderly man who looked like he'd rather be absolutely anywhere else in the entire world than behind said booth, to inquire about bus services. After ascertaining which bus I would need to catch, I then received instructions to locate its stop at the terminal. Here are his directions, verbatim:
1. Turn left and follow the wall on your right past three or four baggage carousels.
2. About halfway across the room, make a 45-degree turn to your left toward the far corner.
3. Continue in that direction until you reach the elevators in the corner nook.
4. Ride the elevators to Level 2, then step out and make a right turn.
5. Watch the right wall (not the left, that's the north side!) for Door #22, about thirty paces, and go through those doors.
6. Outside, turn right and walk approximately 50 feet past the shuttle bus stop to the city bus stop.
There is no reason on God's green earth why catching the bus at an airport should be so convoluted, or why I should ever have to make a 45-degree turn anywhere. In every other airport I've flown into, the buses are waiting just outside the baggage claim area. That's where they always are, because that's where it makes sense for them to be.
But I digress. Eventually the bus showed up and I took it to the closest stop to Pizzeria Bianco, about a block away, and stepped out into 104-degrees sunshine so bright my hair immediately went five shades lighter. I kid, but this heat was nigh-unbearable. How could anyone live in these conditions? I wondered. I was out of the cool cradle of the air-conditioned bus for fifteen seconds and already I was starting to perspire from every pore on my body. Lovely.
Pressing on, I made the walk down 7th Street to Pizzeria Bianco, which itself is situated in a quaint little plaza called Heritage Square. The time was 3:30pm. There to my surprise I saw a man standing outside Bianco's, a soul who had actually braved the heat to be the first person in line. I took the #2 spot, leaned against one of the shaded wooden tables outside the restaurant, struck up a conversation with the man, and began the one-and-a-half-hour wait.
By 4 o'clock the line behind me had grown to thirty strong, and the neighboring Bar Bianco opened. I asked Jim (yes, I was on a first-name basis with the guy at the head of the line by now) to hold my place while I went to buy a cold pint of ale. I went through three pints by the time the restaurant opened, and by then the line was approaching 75 hungry patrons.
Fast-forward to the dining room. I'm sitting against one wall with the rest of Jim's family, who had graciously permitted me to join them for dinner. This allowed me the opportunity to try more than one pie on this visit, God bless them.
Craning my neck to see over the counter from our table, I was shocked to see that the man himself, Chris Bianco, was not present in the restaurant. This was quite astonishing to me because, well, much talk has been made of how Bianco makes every single pie himself. I had never heard of him taking a night off, have read no one else's report that he had not been present at their meal. I immediately got a bad feeling, but once the food arrived, all fears that his absence would aversely affect our dinner were thoroughly smashed.
We started with the house Anitpasto Plate ($12), a delicious platter piled with vegetables roasted in Bianco's wood-fired oven, soppressata, some cheese, and a few slices of Bianco's excellent homemade bread with olive oil. Everything on the plate was fantastic, particularly the sampling of eggplant parmesan. It was a good sign for what was to come, as we had also ordered four pizzas.
Let's begin with the Margherita ($11). It was, hands-down, the very best Margherita I have ever tasted. There are four reasons for this, but no more are needed: incredible crust, fantastic tomato sauce, creamy mozzarella, and flavorful basil. It's really that simple. Chris Bianco makes his own mozzarella, and it is superior to any I have yet had on a pizza. His red sauce is simple, bright, and salted just right, with just a hint of oregano. It is also superior to any sauce I have yet tasted. But I want to make special mention of the crust. It is clearly not an authentic Naples-style crust, but that's not what he's shooting for. It's light, airy, pliant, alternately puffy and flat, with charred (not burnt) air bubbles dotting the rim. It was very flavorful, just as the bread in the antipasto plate was, and slightly soft, a far cry from the more solid NY-style crust. All pizzaiolo should strive for crusts as perfect as Bianco's. If any fault whatsoever could be found on this Margherita, it's that Bianco's second-in-command (or whoever it was making the pies tonight) did not put enough basil on the pie after it was pulled from the oven. The way it was cut, one slice did not even have any basil on it, but I'm sure it was because Bianco himself wasn't at the helm.
Our second pizza was the Sonny Boy ($13), which includes the aforementioned tomato sauce and fresh mozzarella, Gaeta olives, and large slices of salami. If the Margherita hadn't been so spot-on, this would have been my favorite pie of the night. It's quite salty, with a strong olive taste, so those with delicate palates may be turned off by it, but I found the flavors intense and pleasurable. The crust isn't quite strong enough to hold up to the mass of toppings on this pizza, so be prepared for folding.
The Biancoverde ($14) was the first of our two "white" pies. The Biancoverde eschews the red sauce for fresh mozzarella, Parmigiano Reggiano, ricotta, and arugula. Typically I do not find white pies as interesting as red sauce pies (as the ricotta usually overpowers everything else), but the Biancoverde manages to avoid this criticism by turning the conventions on their side. The peppery arugula leaves are considerably smaller than the ones offered in just about every other pizzeria, and while they bring immense flavor to this pizza, they don't overwhelm it. The mozz, Parmigiano-Reggiano, and ricotta work in perfect harmony with each other, with no one cheese overshadowing the other two. This is a great white pie, and not one I was expecting to like so much.
Finally, we have the Wiseguy ($14). This pie also lacks red sauce, opting instead to top the same great crust with mozzarella smoked in Bianco's wood-burning oven, wood-roasted onion, and fennel sausage. The smoked mozzarella is dynamite, bringing a new dimension to the already-magnificent cheese. Cut into long strips rather than crumbled, the fennel sausage was thick and had a great snap to it when bitten into. The onion was good, slightly sweet, but didn't have that same punch of flavor the rest of the ingredients on this pie had. All in all, this was probably my least favorite pie of the night, though "least favorite pie" may be misleading: it's still better than 99% of the pizzas available in the rest of the country. My companions and I all agreed it would benefit greatly from the addition of the red sauce.
Pizzeria Bianco offers no desserts, so once we were done with the pizza, we paid the bill and vacated our table for the next eager group, who by then had been waiting in line nearly two hours. I thanked Jim and his family for letting me dine with them, then caught the next bus back to the airport.
Once my friend Mark arrived and we had secured a rental car, he mentioned that he had not eaten anything for several hours and was famished. Pizzeria Bianco came up. It was fifteen minutes to ten o'clock. Could we make it in time? Mark was willing to find out.
Slamming the accelerator to the floor, Mark cruised down the freeway to the 7th Street exit, navigated around a series of Road Closure signs, and pulled up outside Bianco's with minutes to spare. While he drove off to find a parking space, I got out and secured our names on the waiting list. The hostess (who vaguely recognized me from that afternoon, but assumed I had eaten there previously on a different day) informed me the wait would be an hour-and-a-half to two hours; I was just grateful (and amazed) Pizzeria Bianco still took names right up until closing time.
The wait ended up being only about an hour, during which time Mark and I sat on a bench outside in the relatively cooler 90-degrees air, sipping on pints of cream ale. When we finally got into the restaurant, the last group served that night, Mark knew just what he wanted: a Margherita, a Sonny Boy, and a Wiseguy. I still wanted to try Bianco's Marinara and Rosa pies, but I was in no position to argue, having already eaten there once that same day. Mark loved the pizzas, particularly the Margherita, and informed me he could devour three of them by himself. Our waiter, overhearing him, gestured to a young man sitting at the bar, clearly a regular. "That kid's the record holder," he told us. "He's eaten five of them." On our way out, Mark stopped by the bar to challenge the lad to an eat-off the next time he was in town, and the kid gladly accepted, much to the amusement of our chuckling waiter.
So there you have it, my dual experience with Pizzeria Bianco. I am not a huge fan of the city of Phoenix, but I can say this: I will return to Pizzeria Bianco in the future, as many times as possible. My favorite single pizza may still the Hot Soppressata and Basil pie at Ken's, but overall, Chris Bianco is serving the very best pizza I have ever eaten. I cannot envision better pizza being made anywhere, but my quest shall continue regardless. If you call yourself a lover of pizza and have not sampled Chris Bianco's pies yet, they are absolutely worth a foodie trip to Phoenix, even if you have no other reason for being there. They're that good. No. They're that great.
Next time, though, I'll skip the volleyball.
Thursday, October 8, 2009
Review: Apizza Scholls
Portland, OR 97215
(503) 233-1286
In Portland, Oregon, a veritable melting pot of tree-hugging hippies, tech-savvy yuppies, organic food junkies and white trash, a pizza revolution is beginning to take form, and the most popular iteration of this burgeoning pizza haven must certainly be Apizza Scholls.
Nestled between a chocolate shop and the Bar of the Gods on hip Hawthorne Boulevard, Apizza Scholls dishes out whole pies to legions of local fans seven days a week (5pm - 9:30pm Monday thru Saturday, 4pm - 8pm Sunday). Such is the enthusiastic fervor surrounding the pizzeria that lines can form thirty-strong or more an hour prior to opening on Fridays and Saturdays, making a simple walk-in-sit-down-and-order an impossible affair on busy weekends. To-go orders are available only Monday through Wednesday, but after that, expect a long wait if you're not there when the doors open.
After the moment of heart-stopping elation that comes when the hostess calls your name, you're ushered to one of the ten or so tables in either of the dual dining rooms. Décor is sparse, with simply painted walls adorned with the occasionally piece of framed artwork. It's really nothing special. But you're not here for the atmosphere, you're here for the eats!
Thankfully, Scholls has several beers on tap to get you nice and buzzed, all at $4.50 a pint (except for the Schneider Hopfen-Weisse at $6), as well as nearly 30 more bottled. Several red and white wines are also readily available, along with an impressive array of Boylan's soft drinks.
The menu is as expansive as the drink list. Beyond the usual house and Caesar salads ($7 and $8, respectively) you'll find some delicious antipasti options, such as an assortment of delicious cured olives ($5), a veggie plate with roasted red peppers, olives, sun-dried tomatoes, cherry peppers, Fior di Latte, and grilled artichoke hearts ($10) and a meat plate with proscuitto rosa, salame Gentile, soppressata, salame Siciliana, and mortadella ($10). Your best bet is the House Antipasti Plate, which offers a hearty mix of both the meat and veggie plates. All of it is cured to perfection and a steal at $12.
And that brings us to the pies, and what pies they are. An unabashed mash-up of New York and New Haven styles, pizzas at Scholls are large 18-to-20-inch discs with a well-charred, crisp crust that holds up well to the toppings, whatever they may be. The air pocket-filled outer crust is bubbly and perfect, with a nice crisp crunch giving way to a light, chewy center. Owner and head pizzaolo Brian Spangler closely monitors every pie in his electric oven with an infrared thermometer gun, watching them char under controlled 700°F+ heat and making sure each one comes out perfect. As far as I can tell, he has succeeded every time.
If you're in Portland for any reason and consider yourself a fan of pizza, skipping Apizza Scholls is the most cardinal of cardinal sins. A Slice of Heaven author and Serious Eats founder Ed Levine named it one of the "Top Five Pizzerias in America," and after just one of Spangler's masterpieces, you'll understand why.
OVEN: Electric
RECOMMENDED: House Antipasti Plate, Margherita with Sausage
Friday, October 2, 2009
Impressions: Wy'east Pizza
This tiny trailer resting in one corner of a near-vacant parking lot in a less-than-hip neighborhood may not look like much on the outside, but like so many things in this life we wander through, it is what is beneath the shell that truly matters.
In this case, it's good Neo-Neapolitan pies prepared by a mustachioed man known only as "Squish."


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The Unexplained World - now 'Frankie's Roadhouse' |
Road House & Haunted Building in Willow Springs. Updated May 2007. |
Frankie's Roadhouse
Restaurant & Bar
8933 S. Archer Ave,
Willow Springs, IL. 60480
Formerly Rico D's Pizza Ristorante
Formerly Cavallone's West
in Willow Springs, IL
Below is what was mostly written about the location (2005) The Haunted Building and one time 'Oh Henry's Roadhouse' once owned by the same owners of the Oh Henry Ballroom, now the Willowbrook Ballroom (name was changed to Willowbrook Ballroom in 1959), in Willow Springs, IL - The Owner was John Verderbar. During
the 1950's a small gambling casino occupied a space behind the Arbor
Room in the lower level of the Ballroom. I had originally heard of the location,
when the location I've
been called a Spiritual Observer (feeler), and never There
is no doubt that spirits do wander around the But
with the ability I have and others who also feel the And
the roadhouse first known as Oh Henry Roadhouse, has stood there for
many years with many owners. An old saying
"Many owners have come and gone, but the spirits will remain". Running
tours in Rico D's, I would tell of what were the The
Unexplained World, was the first to bring paranormal guest speakers
into the Rico D's named location. The first We
held the first Night of Ghost Stories around the bonfire. Deep
in the forest was a location as active as the building it's self
and was virgin territory to those then involved in I
have been gifted the name 'Sun Ray' by a Native American and her spirit guides and have become
Over time, I could feel the spirit's mood changing. On
the last Over Nighter on Oct 22nd 2005, I refrained |
are photos of areas on the 2nd floor,
and in the basement during renovations.
on image to see larger photo
(will open new page).
are below
I also had our Psychic Feeler Amy
describing what she felt when she visited
this location with me and we walked it all.
Photos © 2005
Edward L. Shanahan
Hello Visitors, Below
you will find descriptions of what Amy and I felt in As
I said and proven by many, there are spirits there. Ed 'Sun Ray'. Photo's
Our Paranormal Test, this is an ancient way of finding B
The Haunted Room & Fireplace. This is where Amy & C
Haunted Hallway. Things have been felt in this long hallway D
Amy picked up that this is a smoking room. She was also drawn E
- Window area in secret stairway. When I first
came upon this area, F
- Special Room. This is now a large room of what
may of been two G
Special Stairway. This is the stairway that goes with photo E, and H
This is the most haunted area for Amy & I. It is located in the
I - This is a closer view of the area and to the right. J
- Now as you pan to the right in the same room
of the K
Tunnel that lead at one time to the building of the Willowbrook Ballroom, L
This is a hideaway false wall and room. You have to crawl through M
- Hideaway ceiling. I crawled in for no other
reason that N
Rumors have it that at one time when the cannel was O
- Looking at the photo - their seems to be more
then even P
- Another section of the basement where Amy felt
very Q - This is the stairway leading to the basement.
* We are proud to bring you *
Our Own Live Internet Radio Broadcast Show |
Our Free Internet Videos of Haunted Locations & More |
Ed's write-up of both the
Ashbary Coffee House and Rico D's
If you
have not been to
The Unexplained World Web Site
Then just - Click
© 2003 - 2007 Edward
L. Shanahan


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Posts Tagged ' Eduardo Saverin '
Baby products e-tailer Hopscotch raises $11M from Facebook co-founder's fund & others
Tuesday, January 20, 2015 | Nikita Peer | More »
Hit The Mark Inc., which runs Mumbai-based curated baby and kids products flash sales site Hopscotch.in, has raised $11 million in its Series B round of funding led by Facebook co-founder Eduardo Saverin's VC fund Velos Partners, according to a top executive of the company. The ...
Shrija Agrawal
Facebook co-founder Eduardo Saverin's PE firm Velos to start investing in India
Soon after Mark Zuckerberg showed his love for India through his much publicised visit to the country recently, it's now the turn of the other Facebook co-founder to do his bit. Eduardo Saverin, the billionaire co-founder of Facebook, will soon start making investments in India, among other co...14 October, 2014 | More »


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I started stitching up this little chevron piece last night, not exactly sure what it will become just yet, but I'm loving it!
That about sums up this weeks stitchy progress, be sure to head over to Freshly Pieced and add your WIP!
My husband actually said to me today "Shouldn't you get a turkey soon?" and he's totally right! Thanksgiving has come out of nowhere this year!! I love, love, love your Weekender, it makes me want to brave another one...eventually ;) And your Chicopee blocks totally make me smile, but I'm positively swooning over your Daisychain sampler!!
ReplyDeleteHello there! I could have sworn I've been to this blog before but after looking at many of the posts I realized it's new to me.
Anyways, I'm definitely pleased I stumbled upon it and I'll be book-marking it and checking back regularly!
Here is my web site : can i get more youtube views


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ValueMate Bookcase - Four Shelves - 54"H
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Availability : In Stock
Qty :
Product Code : NALLUN-BLK
Keep our convenient Black MyDrap Luncheon Napkins on hand for any special meal or celebration. These Black Napkins come perforated on a roll - simply tear them off as needed.
Made of 100% cotton
Each napkin measures 8" square
25 napkins per roll
Napkins may be washed and reused up to 6 times
Care instructions: Machine wash warm| Do not bleach| Iron high heat


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This is my kitten, Belle. She was my Christmas present from my daughter and she is the most lovable cat ever! She is my shadow and follows me everywhere. My daughter put this basket on my desk for me to use for storage but before I could decide on how to use it, Belle decided for me. She is now a permanent fixture each and every time I craft. She will lay for hours happily sleeping in her basket.
Hello and welcome to Busy Bee Creations. I am so happy to finally have a place to share my love of all types of paper crafting with everyone. Please take a look around and see the items that I have created. Paper crafting has gone from a hobby to a passion and has become my therapy. It has also helped me to make many wonderful friends and I look forward to making more through my blog. If anyone has any questions about my crafts, would like further information or a list of products used, just drop me an email. Please come back often. Things change around here pretty often. For my friends and family who aren't familiar with a crafting blog, you can click on the pictures to enlarge them. Enjoy and thanks for stopping by! NOTE: If anyone tries to become a follower and has trouble, please drop me an email and let me know. Seems blogger can be a bit tempermental. Thx!
Sunday, July 1, 2012
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Best of luck with the movie script. This is an opportunity you can't pass up. Terry Alexander
Congrats! That's awesome! Good luck with that and get back to us when you can!
That's excellent news Micheal! Let us know when we can line up to buy tickets for the movie.
CONTACT THE EDITOR: firstname.lastname@example.com C. Lea edited the critically-acclaimed superhero fiction anthology POW!ERFUL TALES (Peryton Publishing, 2009). He is currently editing its sequel (BETA CITY), as well as the anthology LIMINALITY. His short fiction collection COSMOS CUBED is due out in 2011 from the Library of Science Fiction Press. Michael lives in northwest Arkansas with his wife and a menagerie of dogs and cats.
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I HAVE a strong belief in the essential excellence of Biblical subjects for the purposes of the lyric drama at least from an historical point of view. I can see no reason against but many reasons in favor of a return to the stage of the patriarchal and heroic figures of the people who are a more potent power in the world today, despite their dispersal and loss of national unity, than they were in the days of their political grandeur and glory. Throughout the greater part of his creative career Anton Rubinstein was the champion of a similar idea. Of the twenty works which he wrote for the theatre, including ballets, six were on Biblical subjects, and to promote a propaganda which began with the composition of "Der Thurmbau zu Babel," in 1870, he not only entered the literary field, but made personal appeal for practical assistance in both the Old World and the New. His, however, was a religious point of view, not the historical or political. It is very likely that a racial predilection had much to do with his attitude on the subject, but in his effort to bring religion into the service of the lyric stage he was no more Jew than Christian : the stories to which he applied his greatest energies were those of Moses and Christ.
Much against my inclination (for Rubinstein came into my intellectual life under circumstances and conditions which made him the strongest personal influence in music that I have ever felt) I have been compelled to believe that there were other reasons besides those which he gave for his championship of Biblical opera. Smaller men than he, since Wagner's death, have written trilogies and dreamed of theatres and festivals devoted to performances of their works. Little wonder if Rubinstein believed that he had created, or could create, a kind of art-work which should take place by the side of "Der Ring des Nibelungen," and have its special home like Bayreuth ; and it may have been a belief that his project would excite the sympathetic zeal of the devout Jew and pious Christian alike, as much as his lack of the capacity for self-criticism, which led him like a will-o'-the-wisp along the path which led into the bogs of failure and disappointment.
While I was engaged in writing the programme book for the music festival given in New York in 1881, at which "The Tower of Babel" was per-formed in a truly magnificent manner, Dr. Leopold Damrosch, the conductor of the festival, told me that Rubinstein had told him that the impulse to use Biblical subjects in lyrical dramas had come to him while witnessing a ballet based on a Bible story many years before in Paris. He said that he had seldom been moved so profoundly by any spectacle as by this ballet, and it suggested to him the propriety of treating sacred subjects in a manner worthy of them, yet different from the conventional oratorio. The explanation has not gotten into the books, but is not inconsistent with the genesis of his Biblical operas, as related by Rubin-stein in his essay on the subject printed by Joseph Lewinsky in his book "Vor den Coulissen," published in 1882 after at least three of the operas had been written. The composer's defence of his works and his story of the effort which he made to bring about a realization of his ideals deserve to be rehearsed in justice to his character as man and artist, as well as in the interest of the works themselves and the subjects, which, I believe, will in the near future occupy the minds of composers again.
"The oratorio," said Rubinstein, "is an art-form which I have always been disposed to protest against. The best-known masterpieces of this form have, not during the study of them but when hearing them performed, always left me cold ; in-deed, often positively pained me. The stiffness of the musical and still more of the poetical form always seemed to me absolutely incongruous with the high dramatic feeling of the subject. To see and hear gentlemen in dress coats, white cravats, yellow gloves, holding music books before them, or ladies in modern, often extravagant, toilets singing the parts of the grand, imposing figures of the Old and New Testaments has always disturbed me to such a degree that I could never attain to pure enjoyment. Involuntarily I felt and thought how much grander, more impressive, vivid, and true would be all that I had experienced in the concert-room if represented on the stage with costumes, decorations, and full action."
The contention, said Rubinstein in effect, that Biblical subjects are ill adapted to the stage be-cause of their sacred character is a testimony of poverty for the theatre, which should be an agency in the service of the highest purposes of culture. The people have always wanted to see stage representations of Bible incidents ; witness the mystery plays of the Middle Ages and the Passion Play at Oberammergau to-day. But yielding to a prevalent feeling that such representations are a profanation of sacred history, he had conceived an appropriate type of art-work which was to be produced in theatres to be specially built for the purpose and by companies of artists to be specially trained to that end. This art-work was to be called Sacred Opera (geistliche Oper), to distinguish it from secular opera, but its purpose was to be purely artistic and wholly separate from the interests of the Church. He developed ways and means for raising the necessary funds, enlisting artists, overcoming the difficulties presented by the mise en scène and the polyphonic character of the choral music, and set forth his aim in respect of the subject-matter of the dramas to be a representation in chronological order of the chief incidents described in the Old and New Testaments. He would be willing to include in his scheme Biblical operas already existing, if they were not all, with the exception of Méhul's "Joseph," made unfit by their treatment of sacred matters, especially by their inclusion of love episodes which brought them into the domain of secular opera.
For years, while on his concert tours in various countries, Rubinstein labored to put his plan into operation. Wherever he found a public accustomed to oratorio performances he inquired into the possibility of establishing his sacred theatre there. He laid the project before the Grand Duke of Weimar, who told him that it was feasible only in large cities. The advice sent him to Berlin, where he opened his mind to the Minister of Education, von Mühler. The official had his doubts ; sacred operas might do for Old Testament stories, but not for New; moreover, such a theatre should be a private, not a governmental, undertaking. He sought the opinion of Stanley, Dean of Westminster Abbey, who said that he could only conceive a realization of the idea in the old time popular manner, upon a rude stage at a country fair.
For a space it looked as if the leaders of the Jewish congregations in Paris would provide funds for the enterprise so far as it concerned itself with subjects taken from the Old Dispensation ; but at the last they backed out, fearing to take the initiative in a matter likely to cause popular clamor. "I even thought of America," says Rubinstein, "of the daring transatlantic impresarios, with their lust of enterprise, who might be inclined to speculate on a gigantic scale with my idea. I had indeed almost succeeded, but the lack of artists brought it to pass that the plans, already in a considerable degree of forwardness, had to be abandoned. I considered the possibility of forming an association of composers and performing artists to work together to carry on the enterprise materially, intellectually, and administratively ; but the great difficulty of enlisting any considerable number of artists for the furtherance of a new idea in art frightened me back from this purpose also." In these schemes there are evidences of Rubinstein's willingness to follow examples set by Handel as well as Wagner. The former composed "Judas Maccabaeus" and "Alexander Balus" to please the Jews who had come to his help when he made financial shipwreck with his opera ; the latter created the Richard Wagner Verein to put the Bayreuth enterprise on its feet.
Of the six sacred operas composed by Rubin-stein three may be said to be practicable for stage representation. They are "Die Makkabäer," "Sulamith" (based on Solomon's Song of Songs) and "Christus." The first has had many performances in Germany; the second had a few performances in Hamburg in 1883 ; the last, first performed as an oratorio in Berlin in 1885, was staged in Bremen in 1895. It has had, I believe, about fourteen representations in all. As for the other three works, "Der Thurmbau zu Babel" (first performance in Konigsberg in 1870), "Das verlorene Paradies" (Düsseldorf, 1875), and "Moses" (still awaiting theatrical representation, I believe), it may be said of them that they are hybrid creations which combine the oratorio and opera styles by utilizing the powers of the old time oratorio chorus and the modem orchestra, with the descriptive capacity of both raised to the highest power, to illustrate an action which is beyond the capabilities of the ordinary stage machinery. In the character of the forms employed in the works there is no startling innovation ; we meet the same alternation of chorus, recitative, aria, and ensemble that we have known since the oratorio style was perfected. A change, however, has come over the spirit of the expression and the forms have all relaxed some of their rigidity. In the oratorios of Handel and Haydn there are instances not a few of musical delineation in the instrumental as well as the vocal parts ; but nothing in them can be thought of, so far at least as the ambition of the design extends, as a companion piece to the scene in the opera which pictures the destruction of the tower of Babel. This is as far beyond the horizon of the fancy of the old masters as it is beyond the instrumental forces which they controlled.
"Paradise Lost," the text paraphrased from portions of Milton's epic, is an oratorio pure and simple. It deals with the creation of the world according to the Mosaic (or as Huxley would have said, Miltonic) theory and the medium of expression is an alternation of recitatives and choruses, the latter having some dramatic life and a characteristic accompaniment. It is wholly contemplative ; there is nothing like action in it. "The Tower of Babel" has action in the restricted sense in which it enters into Mendelssohn's oratorios, and scenic effects which would tax the utmost powers of the modern stage-machinist who might attempt to carry them out. A mimic tower of Babel is more preposterous than a mimic temple of Dagon ; yet, unless Rubinstein's stage directions are to be taken in a Pickwickian sense, we ought to listen to this music while looking at a stage-setting more colossal than any ever contemplated by dramatist before. We should see a wide stretch of the plain of Shinar ; in the foreground a tower so tall as to give color of plausibility to a speech which prates of an early piercing of heaven and so large as to provide room for a sleeping multitude on its scaffoldings. Brick kilns, derricks, and all the apparatus and machinery of building should be on all hands, and from the summit of a mound should grow a giant tree, against whose trunk should hang a brazen shield to be used as a signal gong. We should see in the progress of the opera the bustling activity of the workmen, the roaring flames and rolling smoke of the brick kilns, and witness the miraculous spectacle of a man thrown into the fire and walking thence unharmed. We should see (in dissolving views) the dispersion of the races and behold the unfolding of a rainbow in the sky. And, finally, we should get a glimpse of an open heaven and the Almighty on His throne, and a yawning hell, with Satan and his angels exercising their dread dominion. Can such scenes be mimicked successfully enough to preserve a serious frame of mind in the observer ? Hardly. Yet the music seems obviously to have been written in the expectation that sight shall aid hearing to quicken the fancy and emotion and excite the faculties to an appreciation of the work.
"The Tower of Babel" has been performed upon the stage ; how I cannot even guess. Knowing, probably, that the work would be given in concert form oftener than in dramatic, Rubinstein tries to stimulate the fancy of those who must be only listeners by profuse stage directions which are printed in the score as well as the book of words. "Moses" is in the same case. By the time that Rubinstein had completed it he evidently realized that its hybrid character as well as its stupendous scope would stand in the way of performances of any kind. Before even a portion of its music had been .heard in public, he wrote in a letter to a friend : "It is too theatrical for the concert-room and too much like an oratorio for the theatre. It is, in fact, the perfect type of the sacred opera that I have dreamed of for years. What will come of it I do not know ; I do not think it can be performed entire. As it contains eight distinct parts, one or two may from time to time be given either in a concert or on the stage."
America was the first country to act on the suggestion of a fragmentary performance. The first scene was brought forward in New York by Walter Damrosch at a public rehearsal and concert of the Symphony Society (the Oratorio Society assisting) on January 18 and 19, 1889. The third scene was performed by the German Liederkranz, under Reinhold L. Herman, on January 27 of the same year. The third and fourth scenes were in the scheme of the Cincinnati Music Festival, Theodore Thomas, conductor, on May 25, 1894.
Each of the eight scenes into which the work is divided deals with an episode in the life of Israel's lawgiver. In the first scene we have the incident of the finding of the child in the bulrushes ; in the second occurs the oppression of the Israelites by the Egyptian taskmasters, the slaying of one of the overseers by Moses, who, till then regarded as the king's son, now proclaims himself one of the op-pressed race. The third scene discloses Moses protecting Zipporah, daughter of Jethro, a Midianitish priest, from a band of marauding Edomites, his acceptance of Jethro's hospitality and the scene of the burning bush and the proclamation of his mission. Scene IV deals with the plagues, those of blood, hail, locusts, frogs, and vermin being delineated in the instrumental introduction to the part, the action beginning while the land is shrouded in the "thick darkness that might be felt." The Egyptians call upon Osiris to dispel the darkness, but are forced at last to appeal to Moses. He demands the liberation of his people as the price to be paid for the removal of the plague ; receiving a promise from Pharaoh, he utters a prayer ending with "Let there be light." The result is celebrated in a brilliant choral acclamation of the returning sun. The scene has a parallel in Rossini's opera. Pharaoh now equivocates ; he will free the sons of Jacob, but not the women, children, or chattels. Moses threatens punishment in the death of all of Egypt's first-born, and immediately solo and chorus voices be-wail the new affliction. When the king hears that his son is dead he gives his consent, and the Israelites depart with an ejaculation of thanks to Jehovah. The passage of the Red Sea, Miriam's celebration of that miracle, the backsliding of the Israelites and their worship of the golden calf, the reception of the Tables of the Law, the battle between the Israelites and Moabites on the threshold of the Promised Land, and the evanishment and apotheosis of Moses are the contents of the remainder of the work.
It is scarcely to be wondered at that the subjects which opera composers have found adaptable to their uses in the New Testament are very few compared with those offered by the Old. The books written by the evangelists around the most stupendous tragical story of all time set forth little or nothing (outside of the birth, childhood, teachings, miracles, death, and resurrection of Jesus of Nazareth) which could by any literary ingenuity be turned into a stage play except the parables with which Christ enforced and illustrated His sermons. The sublime language and imagery of the Apocalypse have furnished forth the textual body of many oratorios, but it still transcends the capacity of mortal dramatist.
In the parable of the Prodigal Son there is no personage whose presentation in dramatic garb could be looked upon as a profanation of the Scriptures. It is this fact, probably, coupled with its profoundly beautiful reflection of human nature, which has made it a popular subject with opera writers. There was an Italian "Figliuolo Prodigo" as early as 1704, composed by one Biffi ; a French melodrama, "L'Enfant Prodigue," by Mo-range about 1810 ; a German piece of similar character by Joseph Drechsler in Vienna in 1820. Pierre Gaveaux, who composed "Léonore, ou l'Amour Conjugal," which provided Beethoven with his "Fidelio," brought out a comic opera on the subject of the Prodigal Son in 1811, and Berton, who had also dipped into Old Testament story in an oratorio, entitled "Absalon," illustrated the parable in a ballet. The most recent settings of the theme are also the most significant : Auber's five-act opera "L'Enfant Prodigue," brought out in Paris in 1850, and Ponchielli's "Il Figliuolo Prodigo," in four acts, which had its first representation at La Scala in 1880.
The mediaeval mysteries were frequently interspersed with choral songs, for which the liturgy of the Church provided material. If we choose to look upon them as incipient operas or precursors of that art-form we must yet observe that their monkish authors, willing enough to trick out the story of the Nativity with legendary matter drawn from the Apocryphal New Testament, which discloses anything but a reverential attitude toward the sublime tragedy, nevertheless stood in such awe before the spectacle of Calvary that they deemed it wise to leave its dramatic treatment to the church service in the Passion Tide. In that service there was something approaching to characterization in the manner of the reading by the three deacons appointed to deliver, respectively, the narrative, the words of Christ, and the utterances of the Apostles and people ; and it may be that this and the liturgical solemnities of Holy Week were reverently thought sufficient by them and the authors of the first sacred operas. Nevertheless, we have Keiser's "Der Blutige und Sterbende Jesus," performed at Hamburg, and Metastasio's "La Passione di Gesù Christi," composed first by Caldara, which probably was an oratorio.
Earlier than these was Theile's "Die Geburt Christi," performed in Hamburg in 1681. The birth of Christ and His childhood (there was an operatic representation of His presentation in the Temple) were subjects which appealed more to the writers of the rude plays which catered to the popular love for dramatic mummery than did His crucifixion. I am speaking now more specifically of lyric dramas, but it is worthy of note that in the Coventry mysteries, as Hone points out in the preface to his book, "Ancient Mysteries Described," 1 there are eight plays, or pageants, which deal with the Nativity as related in the canon and the pseudo-gospels. In them much stress was laid upon the suspicions of the Virgin Mother's chastity, for here was material that was good for rude diversion as well as instruction in righteousness.
That Rubinstein dared to compose a Christ drama must be looked upon as proof of the profound sincerity of his belief in the art-form which he fondly hoped he had created; also, perhaps, as evidence of his artistic ingenuousness. Only a brave or naïve mind could have calmly contemplated a labor from which great dramatists, men as great as Hebbel, shrank back in alarm. After the completion of "Lohengrin" Wagner applied himself to the creation of a tragedy which he called "Jesus of Nazareth." We know his plan in detail, but he abandoned it after he had offered his sketches to a French poet as the basis of a lyric drama which he hoped to write for Paris. He confesses that he was curious to know what the Frenchman would do with a work the stage production of which would "provoke a thousand frights." He himself was unwilling to stir up such a tempest in Germany ; instead, he put his sketches aside and used some of their material in his "Parsifal."
Wagner ignored the religious, or, let us say, the ecclesiastical, point of view entirely in "Jesus of Nazareth." His hero was to have been, as I have described him elsewhere,' "a human philosopher who preached the saving grace of Love and sought to redeem his time and people from the domination of conventional law the offspring of selfishness. His philosophy was socialism imbued by love." Rubinstein proceeded along the lines of history, or orthodox belief, as unreservedly in his "Christus" as he had done in his "Moses." The work may be said to have brought his creative activities to a close, although two compositions (a set of six pianoforte pieces and an orchestral suite) appear in his list of numbered works after the sacred opera. He died on November 20, 1894, without having seen a stage representation of it. Nor did he live to see a public theatrical performance of his "Moses," though he was privileged to witness a private performance arranged at the German National Theatre in Prague so that he might form an opinion of its effectiveness. The public has never been permitted to learn anything about the impression which the work made.
On May 25, 1895, a series of representations of "Christus" was begun in Bremen, largely through the instrumentality of Professor Bulthaupt, a potent and pervasive personage in the old Hanseatic town. He was not only a poet and the author of the book of this opera and of some of Bruch's works, but also a painter, and his mural decorations in the Bremen Chamber of Commerce are proudly displayed by the citizens of the town. It was under the super-vision of the painter-poet that the Bremen representations were given and, unless I am mistaken, he painted the scenery or much of it. One of the provisions of the performances was that applause was prohibited out of reverence for the sacred character of the scenes, which were as frankly set forth as at Oberammergau. The contents of the tragedy in some scenes and an epilogue briefly out-lined are these : The first scene shows the temptation of Christ in the wilderness, where the devil "shewed unto him all the kingdoms of the world in a moment of time." This disclosure is made by a series of scenes, each opening for a short time in the back-ground castles, palaces, gardens, mountains of gold, and massive heaps of earth's treasures. In the second scene John the Baptist is seen and heard preaching on the banks of the Jordan, in whose waters he baptizes Jesus. This scene at the Bremen representations was painted from sketches made by Herr Handrich in Palestine, as was also that of the "Sermon on the Mount" and "The Miracle of the Loaves and Fishes," which form the subject of the next part. The fourth tableau shows the expulsion of the money changers from the Temple ; the fifth the Last Supper, with the garden of Gethsemane as a background ; the sixth the trial and the last the crucifixion. Here, as if harking back to his "Tower of Babel," Rubinstein brings in pictures of heaven and hell, with angels and devils contemplating the catastrophe. The proclamation of the Gospel to the Gentiles by St. Paul is the subject of the epilogue.


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In this issue: SALT Pet(s) of the Month; New York New York; California Screaming; and Policy Wonk.
Exceprt from "Simon Says!..":
In an unusual twist in the ongoing debate over sales tax collection by e-commerce retailers, Simon Property Group, L.P. (Simon), the largest operator of U.S. shopping malls, filed a lawsuit on November 3, 2011, seeking a writ of mandate aimed directly at Amazon.com to force the Indiana Department of Revenue (Department) to require Amazon to collect and remit Indiana sales tax. The complaint alleges that the Department acted in an "illegal and unconstitutional" manner for failing to "comply with their statutory duties" to require Amazon.com to collect Indiana sales tax. State of Indiana ex. Rel. Simon Property Group, L.P. v. Indiana Dep't of Revenue and John Eckart, Comm'r of the Indiana Dep't of Revenue, 49D13 11 11 PL 042652 (Ind. Super. Ct. Marion County Nov. 3, 2011). The complaint further states that the Department's actions "amount to an illegal and unconstitutional subsidy to Amazon." Thus, Simon was seeking to compel the Department to require remote e-commerce retailers to collect sales tax even though they are protected from sales tax collection and remittance obligations under the Commerce Clause of the United States Constitution.
Indiana law provides that "[a]n action for mandate may be prosecuted against any inferior tribunal, corporation, public or corporate officer, or person to compel the performance of any: (1) act that the law specifically requires; or (2) duty resulting from any office, trust, or station." Ind. Code § 34-27-3-1. Although in many states such a lawsuit will survive a standing challenge only if the plaintiff alleges special injury distinct from any public harm, the Indiana Supreme Court has recognized the legitimacy of such actions for the purpose of enforcing a public right rather than any special private rights. See State ex. rel. Cittadine v. Ind. Dep't of Transp., 790 N.E.2d 978, 980 (Ind. 2003). However, the court has also held that such a mandate can survive only if the duty of the challenged officer is not discretionary—the Department is required to force Amazon.com to collect. State ex rel. Woodford v. Marion Super. Ct., 655 N.E.2d 63 (Ind. 1995).
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The following widget below is a playlist to introduce anyone into austrian economics, paste it anywhere you can on the web. In your blogs, myspaces, emails etc. Spread this widget to help spread liberty.
Find more music like this on Individualist Haven
To Embed this widget click on the small ^ button on the bar above the playlist it's by the volume buttom on the widget and click on "share" and copy and paste the code.
Also Click Here to download "Economics in One Mp3"
Friday, April 2, 2010
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Endorsed Candidates: Rand Paul (KY - Senate), Clint Didier (WA - Senate), John Dennis (CA - Congress)


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[e46] Carbon Fiber shifter plate skin
hey guys, i have made some 3M dinoc shifter plate skins. i have them for sale at $25 shipped (within canada).
https://dl.dropbox.com/u/23781290/E4...%20%281%29.jpg heres the install thread http://www.maxbimmer.com/forums/showthread.php?t=153048 hit me up if youre interested |
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We only expect mild further easing ahead, especially as the ECB does not wish to cause a rupture while the Fed is hiking rates.
We forecast that Asia Pac ex Japan, Japan and Europe will outperform in the next six months, while the US should underperform and, thus, deserve an underweight stance vs. all other regions.
As we enter 2016, we believe the divergent monetary policy theme will continue -- with the major risk to global bond markets and Fed rate rises continuing to be Europe.
The IMF's decision to include the Renminbi into the SDR is a major push for the RMB to become one of the world's major reserve currencies.
Our lead Australian fixed income portfolio manager discusses her intermediate-term outlook for the bond market "down under."
A better supply/demand balance in Europe, outperformance of "high yield" globally, positive event-risk in the telecom sector and opportunities in local currencies, as well as other credit related investment themes, all present interesting opportunities for generating positive returns, even in a challenging environment.
Our Nikko Asset Management fixed income experts, led by Simon Down, discuss the prospects for commodity currencies.
The internet revolution is coming to the financial sector, addressing inefficiencies in current system and business models. In China's case we are witnessing a combination of financial liberalisation with an internet revolution in the financial sector.
A concentrated, stock-picking approach is the best way to serve a long-term investor's goal of capital appreciation
Even though the current term premium on US Treasuries seems too low, it is unlikely to rise significantly unless offshore bond yields start to rise.
While RMB weakness will likely persist for a few months, we don't expect the currency to devalue more than 10% versus USD and we maintain our confidence that the currency will be included into the IMF SDR basket in a year from now.
The sharp equity market correction in recent weeks after a very strong run over the past year will not have a crisis-level impact to the broader economy.
The IMF has been supportive of China's attempt to be included, but has not indicated that it recommends it. Furthermore, there is a risk that most of these reforms are too new for the IMF to judge whether they are effective or sustainable.
We expect short-term volatility but the threat of financial contagion via the banking system in Europe is much lower than in 2011/12 and we're unlikely to see a severe longer-term impact on global markets.
Although the recent bond market sell-off may remind the market of 2003, we don't believe US bonds will be as badly affected. By comparing the worst US bond sell-offs since 2003, we estimate that the 10-year US Treasury yield could hit a high of 2.8-3.2% by October.
Real yields and inflation expectations currently suggest exceptionally low growth and low inflation far out into the future.
We do not expect the recent steepening of the bund yield curve to be the beginning of a sustained new trend. Moreover, Eurozone and German economic data, albeit improving, are not sufficient to support the higher bund yields on a sustained basis.
Since the Fed starting hinting at the normalization of interest rates a year ago, Asian central banks' foreign reserve accumulations - except for India and Hong Kong - have either incurred substantial losses or remained flat.
With many markets having rallied from major support levels when they were in highly oversold positions, we believe that bond markets should stabilise or rally from current levels.
Oil-producing countries have seen the largest drop in their foreign exchange (FX) holdings over the last year. In our view, Saudi Arabia can afford to handle oil prices at their current level for some time but ...


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- Worldwide Rank #214,670,201
- Follower/Following Ratio 0.31
- Daily New Followers 0
Miley and Mandy Show Twitter Stats
@mileymandyclub - Tracking Miley and Mandy Show Twitter profile since May 31, 2011
Miley and Mandy Show's story
Miley and Mandy Show, also known as @mileymandyclub has a reasonably significant presence on Twitter and is ranked by us in the 30% percentile for account strength. Active on Twitter since July 2010, Miley and Mandy Show made it to having a respectable 5 Twitter followers and to being ranked 214,670,201 for number of followers among all Twitter users.
The plot thickens when considering Miley and Mandy Show's follower-to-following ratio, which is 0.31.
Over the past month, @mileymandyclub's was hardly active on Twitter, with an average of 0 tweet(s) per day in the past 30 days. That's pretty consistent with a total of 0 since @mileymandyclub joined Twitter.
This account is tracked by us for quite some time now, actually since May 2011. As of March 28 2017 we track 14 Twitter accounts, so feel free to search for other accounts you're interested in and reveal their Twitter story!
Miley and Mandy Show Tweets
@mileymandyclub has posted 0 tweets in the last 30 days, which translates to an average of 0 tweets per day.
Miley and Mandy Show Twitter Followers
@mileymandyclub has 5 followers on Twitter.
This account is #214,670,201 in the worldwide rank of the most popular Twitter users.
Miley and Mandy Show Following on Twitter
@mileymandyclub is following 16 Twitter accounts.
Last month this account stopped following 2 users.
Miley and Mandy Show Predictions & Milestones
@mileymandyclub will hit 5 followers in the next 3 months, and 5 in one year.
Curious about the future of @mileymandyclub's follower growth or yours?
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We track these Twitter stats since May 31, 2011 . You can see how many followers Miley and Mandy Show lost or gained and what the prediction is for tomorrow or the next 15 days, together with all kinds of other stats like rank compared to all Twitter users, tweets etc.
Why don't you give it a try and compare Miley and Mandy Show to yourself ? Or if you are Miley and Mandy Show get even more feature rich & up-to-date stats with our premium Twitter Stats.
Twitter Counter is the #1 Twitter stats site powered by Twitter. It all started in June 12, 2008 and we grew rather rapidly because of our Twitter Counter badge. The button is a nice small image that shows your visitors how many followers you have on Twitter. Within a year the button was on many many blogs around the world and we displayed more than 100 million buttons in one month. We track follower stats for over 180 million users now.


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A friend sent me this link comparing revenue, profit, and cash positions for Microsoft and Apple. I almost fell off my chair when reading this data from Microsoft's and Apple's most recent quarterly filing:
Category | Microsoft | Apple | AAPL / MSFT |
Revenue | $15.06B | $11.68B | 78% |
Net Profit | $4.37B | $2.44B | 56% |
Cash & Equivalents Balance | $20.7B | $24.5B | 118% |
Seriously, when did this happen??? I mean, I knew Apple was doing well, but I'd taken the time to compare their financials versus Microsoft. Wow. Nice work Team Apple!
Next, via Matt Asay, Gizmodo is reporting that the new MacBooks will prevent Jailbroken iPhone and iPod devices. It seems that the culprit is a new build of iTunes for the new MacBooks. Things work fine on a Windows machine. A gizmodo commenter writes:
"While I don't like it, I can see why Apple tries to prevent Jailbreaking and Unlocking. Unlocking hurts them in the pocket and they are in the business of making money, after all. Jailbreaking opens up the possibility of piracy of App Store apps, this is just their way of trying to prevent piracy. It's no different from firmware updates for game consoles that break previous hacking techniques."
It always surprises me how Apple and Microsoft can make the exact same move and Microsoft will attract criticism, while Apple will attract praise. Part of this is because Apple's products really are sexy and fun to use. Sure. But the response is also driven by folks pulling for "the little guy". However, in the Apple vs. Microsoft fight, two things have changed. First, Apple isn't in the same fight that Microsoft thinks it is in. Apple is more like Sony than it is like Microsoft. Yet, Microsoft competes with Apple like Apple is, well, your dad's Apple. Second, while many of us were looking elsewhere, Apple isn't "the little guy" anymore.


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Solar Power (PV) 5.88 kW System: Key Attributes
Key Features
Solar power panels need the sun's light so they only generate electricity during the day, so it's most economical to install a system that can supply your expected daytime electricity usage. Our smallest solar power system needs just 10 sqm of roof space to generate around 30% of the average Australian household's energy use. The more power you would like to generate the bigger the roof space you will need.
The state of the art SMA Sunny Boy SB5000TL-21 inverter (Single Phase) or SMA Tripower STP5000TL-20 inverter (Three Phase) maximise the power output of the system under varying conditions. Capable of wired or wireless communication, it is ideal for monitoring via the inverter's own wireless home network or for online monitoring with Sunny Portal.
Our extensive network of Solahart Experts are qualified to assess your home and provide you with the best systems to meet your family's needs. Our installers are trained to the highest standards to ensure the safety and effectiveness of your system. All this is backed by our comprehensive warranties and the peace of mind you'll get from dealing with Australia's solar pioneer.
- Trouble Free - designed and engineered for Aussie conditions
- Independently rated as one of the highest performing panels.
- High efficiency at all output levels
- Designed for maximum power output and optimised for all weather conditions.
* The suggested price is comprised of RRP less the applicable solar incentive and excluding installation. the solar incentive value applies to PVR5880S50 solar power system in Zone 3.
^ Energy savings of up to 8100 kWh/year is based on the average amount energy produced per year by the PVR5880S50 solar power system in Zone 3. Savings and incentives will vary depending upon your location, type of Solahart system installed, orientation and inclination of the solar panels.
† Solahart Warranty Details:
- Solar Panels: 10 years,
- Inverter and Racking: 5 years,
- Labour: 5 years,
- For full warranty details refer to the Solahart Owner's Guide.
PVR5880S50 Specifications
Solar Panel Specifications
Panel Electrical Characteristics | |
Maximum Power (Pmax) Power Class |
Open Circuit Voltage (Voc) | 39.2V |
Short Circuit Current (Isc) | 9.44A |
Maximum Power Voltage (Vmp) | 31.9V |
Maximum Power Current (Imp) | 8.78A |
Module Efficiency (%) | 17 |
Temperature Coefficients | |
Maximum System Voltage ( IEC ) | 1000V |
Panel Specifications | |
Dimensions | 1665 mm x 991 mm x 38 mm |
Weight | 18 kg |
Cell Type and configuration | 120 REC HC multi-crystalline cells 6 strings of 20 cells |
Glass | 3.2mm Solar glass with anti-reflection surface treatment |
Back sheet | Highly resistant polyester |
Frame | Anodised aluminium |
Temperature range | -40°C to + 85°C |
Junction Box | Protection Class IP 67 |
Connectors | Multi-contact MC4 |
Part Number | REC280TP |
Solahart Warranty | 10 years (5 years labour) on panels* |
Solar Inverter Specifications
Technical data and types: Sunny Boy 5000TL | |
Input (DC) | |
Max. DC power (@ cos Φ =1) | 5250 W³ |
Max. input voltage | 750 V |
MPP voltage range / rated input voltage | 175 V - 500 V / 400V |
Min. input voltage / initial input voltage | 125 V / 150 V |
Max. input current A / input B | 15 A / 15 A |
Max. input current per string input A / input B | 15 A / 15 A |
Number of independent MPP inputs / strings per MPP input | 2 / A:2; B:2 |
Output (AC) | |
Rated power (@ 230 V, 50 Hz) | 4600 W |
Max. apparent AC power | 5000 VA² |
Nominal AC voltage | 220 V, 230 V, 240 V |
Nominal AC voltage range | 180 V – 280 V |
AC grid frequency / range | 50 Hz, 60 Hz / -5 Hz +5 Hz |
Rated power frequency / rated grid voltage | 50 Hz / 230 V |
Max. output current | 22 A |
Power factor at rated power | 1 |
Displacement power factor, adjustable | 0.8 overexcited - 0.8 underexcited |
Feed-in phases / connection phases | 1 / 1 |
Efficiency | |
Max. efficiency / European weighted efficiency | 97% / 96.5% |
Protection devices | |
Ground fault monitoring / grid monitoring |
•/• |
DC reverse polarity protection / AC short-circuit current capability | •/• |
All-pole sensitive residual-current monitoring unit | • |
Protection class (according to IEC 62103) / overvoltage category (according to IEC 60664-1) | I / III |
General data | |
Dimensions (W / H / D) in mm | 490 / 519 / 185 |
Weight | 26 kg |
Operating temperature range | -25°C … +60°C |
Noise emission (typical) | 25 dB(A) |
Self-consumption (night) | 1 W |
Topology | Transformerless |
Cooling concept | Convection |
Degree of protection (according to IEC 60529) | IP65 |
Climatic category (as per 60721-3-4) | 4K4H |
Maximum permissible value for relative humidity (non-condensing) | 100 % |
Features | |
DC connection / AC connection | Sunclix / Spring clamp terminal |
Display | Graphic |
Interfaces: Bluetooth® | • |
Warranty | 5 years* |
Certificates and approvals | CE, VDE0126-1-1, VDE-AR-N 4105, EN504381, IEC 61727, AS 4777 |
SMA type designation | SB5000TL-21 |
*For full details see Solahart Owners Guide & Installation Instructions • Standard features o Optional features Data at nominal conditions
1 Does not apply to all national appendicies of EN50438 / ² 4600 VA with VDE-AR-N-4105 / ³ 4825 W with VDE-AR-N 4105
Electrical characteristics tested at Standard Test Conditions (STC), defined as: Irradiance of 1000W/m2, air mass AM 1.5 and Cell temperature of 25°C.
*For full details see the Solahart owners guide and Installation Instructions.
Note: Electrical parameter curves are generated from a combination of production and lab data and may not exactly match that of a single test module.
1. The AC voltage range may vary depending on specific country grid standard. 2. The Frequency range may vary depending on specific country grid standard. 3. Night time consumption <0.6W. 4. Since their applicability dates, limited to plant power ≤ 3kW . 5. Limited to plant power ≤ 3.68kVA 6. For full details see Solahart Owner's Guide and Installation Instructions. Specifications and designs are subject to change without notice.
How Solar Power (PV) Systems Work
Solar power panels generate electricity from sunlight. The roof mounted solar panels are made up of many photovoltaic (PV) cells. These cells collect the sun's light and convert the energy into DC electricity. This is fed through an inverter and converted to 240V AC electricity to power your home.
The amount of electricity you can produce depends on the number and efficiency of the panels, the size of the inverter and the amount of sunlight in your location. Your home remains connected to the electricity grid so when you generate more electricity than you need you can feed it into the grid or purchase more from the grid when you are not producing enough to meet your requirements.
The Science Explained
The amount of energy from the sun that falls on Earth's surface is enormous. All the energy stored in Earth's reserves of coal, oil, and natural gas is matched by the energy from just 20 days of sunshine. Outside Earth's atmosphere, the sun's energy contains about 1,300 watts per square meter. About one-third of this light is reflected back into space, and some is absorbed by the atmosphere (in part causing winds to blow).
By the time it reaches Earth's surface, the energy in sunlight has fallen to about 1,000 watts per square meter at noon on a cloudless day. Averaged over the entire surface of the planet, 24 hours per day for a year, each square meter collects the approximate energy equivalent of almost a barrel of oil, or 4.2 kilowatt-hours of energy every day. Deserts, with very dry air and little cloud cover, receive the most sun—more than six kilowatt-hours per day per square meter.
Power Optimiser
The SolarEdge power optimiser is a DC/DC converter which is connected by installers to each PV module. The SolarEdge power optimisers increase energy output from PV systems by constantly tracking the maximum power point (MPPT) of each module individually. Furthermore, the power optimisers monitor the performance of each module and communicate performance data to the SolarEdge monitoring portal for enhanced, cost-effective module-level maintenance. Each power optimizer is equipped with a unique feature which automatically shuts down modules' DC voltage whenever the inverter or grid power is shut down. The MPPT for each solar panel allows for flexible installation design with multiple orientations, tilts and module types in the same string.
Solar Power System Design
The Solahart Solar Power system is comprised of two main components; a string or array of photovoltaic panels and an inverter. The photovoltaic (PV) panels transform solar radiation into electrical energy in the form of direct current (DC). In order to utilise this energy and feed it back into the grid, the direct current is transformed into alternating current (AC) by the inverter. This conversion is also known as DC to AC inversion.
The alternating current generated by the inverter is fed into the main switchboard, which in turn is connected to the electricity grid. If the energy generated exceeds that required by property demands, your electrical network operator may allow the difference to be directly injected into the grid and become available to other users. Energy injected into the grid can be measured by electricity network operators as either gross (everything generated) or nett (excess generated). Injected energy may or may not be purchased by the local electrical network operator according to national and local standards, and regulations.
PV Panel Orientation & Inclination
To maximize system output, install panels at optimum orientation and inclination (tilt) angles. The specifics of this will depend on the installation location and must be calculated by a qualified system designer. The ideal angle for mounting a panel should result in the sun's rays falling perpendicular (i.e. at a 90° angle) to the panel surface.
Panels should be installed in a shade free position. Even minor or partial shading of the panels/array will reduce system output. A panel is considered shade free when it is both:
- Free from shade or shadows all year round.
- Exposed to several hours of direct sunlight, even during the shortest days
Trouble-Free, Worry-Free PV: That's the Solahart difference: Download
Why Solahart Solar Power?: Download
Solar Power FAQ: Download
Solahart Solar Power (PV) Panel: 280W Series: Download
Solahart Solar Power (PV) Single Phase Inverter 5000TL: Download
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text:
Finally, "Role Models" You Can Relate To
by nathanbloch
September 16, 2008 at 3:56PM
Views: 83
Paul Rudd and Sean William Scott are teaming up as role models for at-risk youth in the new comedy Role Models. As local representatives of a popular energy drink, the two friends misbehave one too many times and are forced to act as mentors to kids having problems. This alternative to jail time strikes them as the lesser of two evils, but they soon realize working with kids can be much worse than jail. Check out the red band trailer to get a taste of the hilarity to come.