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It may have been excessive. Perhaps a bit over the top, but that was sort of what I was going for.
Billowy balloons marked the entrance. Our guests, young and not so young, were greeted by our Lemonade stand offering a variety of cold beverages that refreshed on one of those perfect, late summer afternoons. Through the gate streamers flapped wildly in the warm wind overhead. In the center of it all was a table slathered with red and white striped tablecloth that held a myriad of kid's dreams.
Still warm cotton candy was served on one side and popcorn on the other. In between it all were jars of jelly beans, ring pops, licorice rope and more. A gumball machine sat proudly upfront with a jar a pennies nestled up close so one would never have to dig through their own pockets.
During the rare moment that a child left that table they found their way towards the face painting area or the designated water gun zone. My sister-in-law provided balloon animals and we all proudly donned pointed party hats and red clown noses.
When the time came to eat something other than candy we headed upstairs. The white and orange striped cake sat in the middle of the long table. Chocolate cupcakes with an abundance of vanilla scented and lightly salted frosting sat next to the cake.
The food could not have been more simple. I supplied buns tucked inside vintage aluminum wrappers, and warm dogs. The guests were given a wide variety of toppings to create the hot dog of their dreams. Conversation buzzed around the table. Each asking for the advice of the other trying to take this opportunity to create the most perfect recipe. There was cream cheese, sharp cheddar spread, pickled peppers, salsa verde, fresh onions, peanut butter (apparently it was quite good), pepper jack cheese, fresh arugula, and of course – ketchup, mustard, relish and mayonnaise. I went with my favorite combination of cream cheese, mustard, pickled peppers, fresh onions and arugula.
On the side there was platter of heirloom tomatoes with blue cheese dressing and nectarines topped with fresh basil, lemon zest, lemon juice and a drizzle of fruity olive oil.
We ate and enjoyed the excitement of the kids buzzing around us. My little birthday girl flitted around in her tutu dress and little painted whiskers on her cheek. Her joy was infectious.
It was a special day filled with more sugar than we see in a year, people we love most in the world, brightly colored signs, and towering cakes. In it all I wanted Ivy and all who were there to feel excessively loved and spoiled.
We've since returned back to our normal (with a few pieces of leftover party candy thrown in). A few wilted balloons still hang outside and evidence of the red and white cloth can be found in various corners of the house. I'm not quite ready for it to be over. In the midst of wanting to love on my daughter and my dear family and friends, I was the one who walked away feeling spoiled.
I've been reminded lately, quite painfully, that I am an imperfect person who can not be everything to my children. I have and will let them down. I'm sure I have and will inadvertently hurt them. I can not fulfill their every needs. But being their everything is not my job description.
Which is why I cling to those moments where I can bring them great joy and reflect a Love that is so much greater than my own. Sometimes it's as simple as reading a book, making an odd shaped lego airplane with them or inviting them into the kitchen to help bake a pie. Or sometimes it's throwing them a party that in my own way tells them they are loved, excessively.
Chocolate Cake with Vanilla Buttercream
Chocolate Cake
from Gourmet 2010
This is an incredibly simple and delicious chocolate cake. I put a layer of warmed raspberry jam in between the layers as well as the Vanilla Bean Buttercream.
I always find that cakes taste better on the second day, particularly chocolate cake. The time allows for the flavors to mingle and the texture to soften a bit.
1 cup all-purpose flour
1/3 cup unsweetened Dutch-process cocoa powder
1 teaspoon baking soda
1/2 teaspoon baking powder
1/4 teaspoon salt
1 stick unsalted butter, softened
1 cup packed light brown sugar
2 large eggs at room temperature 30 minutes
1 teaspoon pure vanilla extract
1 cup whole milk
Pre-heat your overn to 350*
Butter and line a 9×2" pan (or 2 6" rounds) with parchment on the bottom. Butter the parchment as well.
In a bowl whisk together the dry ingredients.
Cream the softened butter and brown sugar until light and fluffly in a stand mixer or by hand. Add the eggs one at a time combining well after each addition. Add the vanilla extract.
Alternate the addition of milk and dry ingredients in three additions. Finish mixing by hand to ensure everything is well combined.
Bake at 350*F for 30-40 minutes or until a toothpick inserted in the middle comes out clean.
Let cool in the pan for 5 minutes before cooling on a wire wrack.
Vanilla Bean Buttercream
adapted from MarthaStewart.com
2 1/2 cups sugar
10 large egg whites
4 cups (8 sticks or 2 pounds) unsalted butter, softened
2 teaspoons pure vanilla extract
1 vanilla bean
¼ – ½ teaspoon kosher salt
Combine the sugar and egg whites in the bowl of a stand mixer. Place bowl over a simmering pot of water or, if you are brave you can carefully place the bowl directly on a medium-low gas flame. If you go that route just be sure to constantly whisk the eggs and move the bowl so as not to cook the whites.
Using a whisk beat the whites and sugar until the mixture is hot and feels perfectly smooth as the sugar will have dissolved.
Immediately move the bowl to the mixer and begin mixing on medium high. Add the vanilla bean and whip for 10 minutes until the meringue is cool and fluffy.
At this point add the butter about a tablespoon at a time, until all the butter has been incorporated.
There's a magical point where the buttercream just pulls together. Before that point you may panic and think you have a curdled mess. Don't give up hope. Just keep mixing and it will come together. Add the salt and taste and adjust as you please. The salt cuts the sweetness nicely but you don't want so much that it tastes salty. The salt will continue to dissolve as the frosting sits so taste just before frosting the cake or cupcakes and add more at that point if you think it needs it.
Store at room temperature for no longer than a day. Can be refrigerated for up to a week and frozen for a month. Set out a room temperature for several hours. Re-whip if the buttercream has separated.
Tomatoes with Blue Cheese Dressing
Nectarines with Basil and Lemon
Really nothing needs to be done to a perfectly ripe nectarine or peach but if you're in the mood to add a bit more interest I highly recommend these few ingredients. And it really is more a list of ingredients rather than a recipe as I sort of created in on a whim and failed to measure what I was doing.
4 – 5 ripe nectarines or peaches
1 1/2 tablespoons olive oil
1/2 teaspoon lemon zest
squeeze of fresh lemon juice
2 tablespoons chopped, fresh basil (I threw a bit of Tarragon in there as well as I had an abundance of both in my garden).
Arrange the peaches or nectarines on a platter and top with the remaining ingredients.
Hot Dog Bar
Supply plenty of hot dogs and buns then let your creativity fly. In little dishes near the dogs I arranged:
– mustard
– ketchup
– bbq sauce
– pepper jack cheese
– salsa verde
– sharp cheddar spread
– cream cheese
– Mama Lil's Pickled peppers
– fresh, diced onion
– arugula
– relish
– peanut butter
Other items I should have included:
– crisped bacon
– caramelized onions
– saurkraut
– kimchi
– whipped cream (just kidding, that's gross – or is it?)
Red/White Striped Tablecloth Roll
Cupcake liners, popcorn bags, straws and hot dog wrappers – Party Delights (Etsy)
Balloons, Animal Masks, Clown Noses – Display & Costume
Hats – We made them by roughly following this tutorial.


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Spring 2020 classes have resumed online.Please visit
dcccd.edu/coronavirus for additional information and to
learn how to prepare for online classes.
This article appeared in a January 2017 issue of the
student newsletter.
Are you
thinking about transferring to a four-year college or university? Take time to speak with a transfer admission representative on campus.
Reps from
our top 10 transfer schools routinely visit the colleges. They typically set up tables in highly-trafficked areas during the day time. For a listing of dates, times and locations,
visit your college's Advising Center.
During the fall and spring semesters, the colleges of DCCCD host transfer fairs where you can speak with all of the transfer admission representatives at once. The list of Spring 2017 transfer fairs is below, including links to college transfer information.
El Centro College 9a.m. - Noon Student Center
Calendar event
Eastfield College 9 a.m. - 11 a.m.
The Pit, C-Bldg.
Richland College 1 – 4 p.m. El Paso Hall
North Lake College 9 - 11 a.m. Art Gallery, J. Bldg.
Brookhaven College 10 a.m. - 1 p.m. Student Services, S-Bldg. Lobby
*Note: Mountain View and Cedar Valley College will not host a Transfer Fair for Spring 2017 semester. Students can, however, visit the Transfer Resource Center (at Mountain View) or speak with Transfer Services (at Cedar Valley) to find out which four-year schools will be visiting campus and when.

subset: commoncrawl


text:
The shipping container-sized EDV-01 is designed to be delivered to a disaster area and automatically transform into an emergency shelter. When deployed, two persons can live in the temporary structure for up to a month, complete with amenities like running water and electricity.
A set of lithium batteries store the energy generated by solar cells in the day, and a fuel cell at night. And an 800 litre tank provides enough water for cleaning, drinking, and cooking. But to keep water usage to a minimum, a composting toilet turns waste into material suitable for starting a garden.
In a disaster situation the EDV-01 can be set up and running in just minutes after it's been delivered, and in the event that local communications networks are down, a satellite linkup lets the inhabitants stay connected to the outside world. Alternately, you can just call it in and erect it on your parent's front lawn for the perfect rent-free bachelor pad. [DigInfo TV]


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How did the current quartet come together?
Yoni Kretzmer had recently come to town – this was back in 2011. We were playing on the same bill at Local 269 as part of The Evolving Music Series. He messaged me sometime after the show to compliment me and asked to play, and we got together and had a great time. So I hired him to play my music. I get along really well with him, I think.
Mike Pride has been part of your environment for a long time, right?
He has; actually when I first moved to Brooklyn from Rutgers – Chris [Welcome] moved to Brooklyn before I did because he's two years older than me, so he moved here and I was still going to school, but I was coming over all the time. He was going to ABC No Rio every Sunday for the jam session, which was really fun. Everybody would be mismatched in twos and threes. Chris and I were at the session and Mike and Jonathan Moritz were playing, and we got mixed and matched in improvisations, which was really fun. Mike hired Chris and I to start a trio, Ixtlon, which was very short-lived. Jonathan played on three of Chris's quartet records and Jonathan eventually hired me to play in his trio, which will be performing in April at Spectrum.
When I first saw you, you were playing in a really nice trio with [tenorist] Ras Moshe and [guitarist] Amanda Monaco, and that must've been around the same time.
We've done a few of those gigs – maybe once every year or so? I play with Ras all the time. Amanda is great.
You've been playing with Ras for a while, right?
Yeah, when I first moved to Brooklyn I started a series in Park Slope and between going to the ABC No Rio sessions every week and having my own series, I met a million people. I had Talibam! play, and that series is how I met Ras. He asked me for a slot and asked if I would play bass on the gig. It was with [drummer] Charles Downs and [guitarist] Dave Ross, and I'm pretty sure that was my first time playing with him. That quartet went on to make the Transcendence record – I'm proud of it. That was my first real in-studio recording session.
As for your compositional process over the years and how it's evolved, could you talk about that?
Yes. It's really just going through any artistic chapter – like a blue period or red period, it's kind of like that, and right now I'm in a folk-melody period, whereas before I was more interested in rhythm, harmony and counterpoint. Now I am more interested in melody and spontaneity.
How did this period emerge?
Well, I was feeling frustrated with making grooves sound interesting – they were stiff and felt uncreative. The melodies in the new book of songs are improvised over and under – it's a bit more like my first record with TheKillMeTrio, but the written parts are longer.
As a listener it's hard for me to bridge what you're saying, because I'm on the receiving end and I like Ache & Flutter, the rhythm record, very much. You seem like you're very self-critical of your work, which is good.
Thanks. It's terrible – I get really dark sometimes, but I think that is why it's important for me to surround myself with other creative people who are supportive of me, and I feel lucky to have so many people in my life who are supportive, like Chris, Ras, and Weasel [Walter]. I can't believe how nice and nurturing and patient Weasel is, and yet he's so intense and has a million things he wants to work with people on. Chris is constantly working on elaborate chamber pieces or he's practicing really hard music. This is the kind of energy I need to be around.
Was the development of these folkier ideas and grooves that people can hang onto something that came out of working with Cellular Chaos, or was it present before?
It was present before; there are some rhythms that on Ache & Flutter that were like that, and I've always listened to rock and metal – that comes out in The KillMeTrio. I had listened to Lydia Lunch before Weasel joined her band, and in 2005 I was really into the Swans and wanted to do thirty minutes of half-notes and have the drummer just play toms. I've always been interested in this heavy, minimal thing as well, so I'd had these influences before joining Cellular Chaos.
Which is interesting because I had not heard HOT DATE before today, and was pretty surprised at what it is. I certainly have a predilection to minimal music and noise, but I didn't expect that HOT DATE would be in that realm.
That's from last winter; we just did a gig last weekend at XFest in Holyoke, Massachusetts – Walter Wright owns an art gallery up in Lowell and he started a festival where he invites all these amazing improvisers and performance artists, dancers and visual artists, and he curates the space visually and makes up groups. You get fifteen minutes to play music with someone you've never played with – it's a huge, crazy party and this was the sixth year. On the last day he has bands play. HOT DATE played and, I'm not sure if you know about how we perform, but we wear all black and have these orange masks on, and we had these two red lights in the middle. Four people stand in front of us and they're all wearing these monster masks I sewed with mosquito nets (so they would be breathable). It's more theatrical than my other projects – eventually, I want to get a string of lights to go in the middle and around us, maybe get some tap lights, sort of like a light sculpture. I like the visual effects and people's responses to this project. Also, having people standing that close, which is rare, is pretty awesome.
I didn't know about that aspect of the group and had only listened to the recording. How do you view the performance of that work versus releasing a document, which is missing the theatre?
Performing is the most important thing to me right now. It's very different than what can be mass produced on CD, tape or vinyl. The set design was just another step from designing a flyer or an album cover. I usually do the design for most albums I release, so designing the set was a smaller step. It's something I wanted to do, and I've had a lot of trouble getting visual artists to collaborate with me for some reason, or choreographers – they half-ass it or are too self-absorbed to really put something into the project. One day it'll happen, but I get exhausted trying to psych people up for things, so I do it myself.
I can imagine that people are busy and don't want to branch out of their own things. How do you find people to do the standing role?
That's a great question. We've had people say they would do it and when it comes to show time they wimp out. Some people move around too much. It's best to get dancers or movement artists even though it's really simple. The people who are standing in front of us are really just standing there – they aren't choreographed in any major way, but they are part of the atmosphere. XFest is easy because there are so many weirdos around, and at this point we've been doing it for two years so people know what the vibe is. I try to get people who have already done it before, like Alex Pelchat, who's very young but one of the best improvisers I've heard. He's a great noise artist out of Montreal.
I've only spent much time with your jazz-oriented work.
I do a lot of things; it makes sense that you say that, because I'm most known for free jazz, and I really love it. That's me at my most natural.
How did you get into playing creative music?
I always played creatively. I used to tell stories and play piano at my babysitter's house when I was a kid – she was basically my first teacher. I played piano in elementary school and then played guitar, and I was kind of – well, I was kind of a tough and never did my work, hated participating in activities and going to class, so the school therapist said I should join the school band. There were already enough guitarists, and I grew up an hour north of the city and we always listened to WQXR and NPR, so classical music was around along with doo-wop and folk music, and I decided I wanted to play upright bass and nothing would stop me. My parents took me to a lot of shows growing up, so I saw Richie Havens a bunch of times and went to the NY Philharmonic. The orchestra teacher asked me to play violin or cello, and I got one lesson on the bass and learned all the major scales in a day. I'd already been playing piano and guitar, so it wasn't a big deal. The chick who taught me was two years younger and twice my size, but it was cool – I got third chair right away and it was really fun. That's all I wanted to do – I was set from age fourteen.
As far as jazz and free music, how did you become aware of it?
I was spotted playing pizzicato by a jazz teacher during an orchestra rehearsal, and he invited me to play in the jazz band. I went to his office and he played me Blue Train and I was sold from then on. I went to Rutgers for jazz and wasn't too interested in free music. I wasn't aware that people performed it and made careers out of it until I met Chris and went through his record collection, and he started taking me to shows in the city. We went to Tonic every weekend, and I discovered Weasel through him – Chris is from Chicago and was going to Flying Luttenbachers shows as a teenager. I would go through his records and that was the first time I heard Destroy All Music and thought "oh…" I told him that we were going to start a free jazz band and we recruited these two guys who had absolutely no interest in playing the music. Modus was the name of the band.
Rutgers as a program, was it pretty conservative?
Yeah, it was, but it was also a lot more relaxed than it is now. It's really intense – I have some super-senior friends who are still there. You have to learn the standards and listen to a lot of Coltrane, but of course I loved that and I wanted it. I like to swing and I love Coltrane – it was making me a better free bass player to know the foundations.
How did you meet William Parker? I know he's been important in your musical direction.
I'd been going to his shows since I was eighteen, and it was just bound to happen. [Drummer] Andrew Barker had a series called Phantom Ear at Union Pool, and in 2007 the quartet with Charles Downs and Ras opened up for William's band. I talked to William and told him how much I enjoyed his music, and he saw me play and I took a great solo that night, so it was a victory night. A month later he emailed me and asked if I could play the Vision Festival in his big band.
That's pretty amazing.
Yeah, I remember getting that email! It was in the early afternoon and I was living on 22nd St. and 4th Ave in Brooklyn. I was sitting on a pink chair my grandma gave me and looking out the window thinking "Oh my god! This is it!."
Was there any formal teaching from him?
No, he treated me like a band member. I know people who have taken lessons from him and and I think he focuses on playing together, rather than lecturing – though I have seen him speak and he's very inspiring. Have you ever seen his Tone World book? I borrowed it from [trumpeter] Pasquale Cangiano and it's pretty fascinating. I have also been developing a relationship with Patricia [Parker]. She's great and super important for the scene here in New York; I also got to know William through playing in Bill Cole's Untempered Ensemble. When he was with the group he played a lot of shenai so at one point it was me and two shenai players. Just the fact that William feels comfortable not playing bass and having me on it instead, that's –
Exactly. I was 23 when he invited me to play Double Sunrise Over Neptune at the Vision Festival. It was amazing, but I'm still working my ass off and I still have no record label interested in releasing my music. I'm not touring unless I save up for it and make it happen. I have to send a million emails out just to get a gig. It could fall apart at any minute if I don't do the work.
I've noticed a few of your call-outs on Facebook about being very frustrated. I know it's frustrating for everybody here – not to diminish your struggles, which are very real.
Yeah, well, this year I've been touring a lot with Cellular Chaos and Hot Date, and I'm still getting good reviews. Whenever I go out and play a show people come up and say that I'm very successful and ask how I do it, looking for advice. I go home and look at my spreadsheets with the money I make from PayPal and how much I didn't make the other night paying my band fifty bucks each, and am I creating an illusion by showing all this positivity? I'm just trying to get people interested and I want my music to reinforce positive things, but at the same time I feel like I'm creating an illusion that it's all positive – I want to be more open and personal about these issues to let people know that it's really fucking hard. Jealousy and envy really stress me out. I think it's fake. You think I've had some breaks, but I still have to put $3,000 aside to make my next record. Where's that going to come from? My day job – I teach piano and guitar to little kids. But that's time spent not working on my own shit. It hurts a little bit that people might think that I'm making my living from my music. I've been a sandwich maker, caterer, dog walker, dog and cat sitter, office assistant, and now I just teach private music lessons to little kids.
I remember reading that on the cover of Archie Shepp's Live in San Francisco LP, which has a proudly-emblazoned golden Selmer saxophone on it, Shepp was having to pawn his horn to feed his family because Impulse wouldn't give him an advance and Selmer wouldn't give him a horn, even though he was endorsing their product. In this music, people who appear successful often are scuffling and working for nothing.
But there's a lot of people who like to be bitter and feel like others are "chosen," whereas I'm hanging on by a thread. I could get fired from Cellular Chaos tomorrow or lose a gig because of something I can't control, like the weather.
You're saying this with a big smile, it's funny.
Pretty much! I can't survive without a sense of humor. This lifestyle is way too crazy.
How did you get in with Cellular Chaos?
I wish I remembered all the details – I went to see [drummer] Dylan Ryan and his trio play at ShapeShifter and I met Stephen Buono who was also playing that night in his band Split Red. Dylan grew up with Chris, so we've been friends a long time. Stephen messaged me and asked if I wanted to play with Cellular Chaos, and I thought he meant a show so I began plugging Hot Date. He was like "no, will you play bass in the band?" I don't really play electric – I used to play in a doom band that was really fun and I've been teaching beginning electric bass, but it's not my first instrument.
At the time Carlo [Costa] left the quartet and Yoni was going out of the country, and we'd finished playing my last book of tunes and I didn't have that much new stuff, and I was in a dark and uninspired place, so I had a month off. Cellular Chaos was taking off a bit and all of the songs were written, so I just needed to learn them. They had a two week tour booked in the South, and I'd never been to the South and really wanted to play down there. I got into Chris' computer to get Weasel's email address (he wouldn't care if he knew!), and sent him a message to the effect that I knew he was looking for a bass player and to let me know. I thought I wasn't going to get the gig, and asked Weasel to audition me. It wasn't like that at all – we did a three hour rehearsal and I was in. It was at first a sub gig for [bassist] Kelly Moran, but after the tour, Kelly was out, and I could tour whereas she couldn't, so that was that. I don't mind being dirty, sleeping on floors and drinking whiskey to get through it. I love playing and performing for an audience, and I can't turn that down.
Obviously the audience is different for Cellular Chaos and your jazz groups.
It's completely different – it's younger, there are more women, it's more diverse in terms of ethnicity, sexual orientation, there are more transgender people at Cellular Chaos shows. I'm mostly psyched to play for younger women; I don't get that with downtown free jazz shows at all. Last night I played at ShapeShifter with [reedman] Michael Moss and [guitarist] Billy Stein, and they've been playing in New York since the '70s. That show was all older white guys. It's not really that big of a deal, it's just when they talk to me after they make me feel like a unicorn. And I think it's because they look at me and they see my age and my gender. If my audience is more similar to me, I feel like there is more focus on my craft – playing bass.
I always skirt around the gender question in terms of success or struggles, being in or out of the scene, and some people are critically popular for different reasons – hard work, talking to the right promoters, it's all an aspect of putting oneself out there. I was trying to figure out how gender affects either the acceptance of your music or the difficulty you have in finding labels, gigs, and so forth.
I would lie if I said no, but I really hate thinking or talking about it. I do think people turn their heads when they hear me or see me because I'm not tall and I'm not male. This is who I am and I've been doing this for over fifteen years. I have shaped my life to evolve around playing bass. I feel pretty comfortable with myself being a bass player and it's hard being around people who make me feel like a circus act. It took me a long time to be okay with talking about this – I think I'm more comfortable now, but I don't like to think my success has anything to do with being female. It's because of my playing and devotion to it.
I was thinking the opposite – the scene, as it is, could be creating roadblocks.
I think it's hurt me with some people and helped with others. Some guys want it to be a sausage club. Some women want it to be a females-only thing. I think it's unnatural and limiting to work in that way – people should be hired because of their ability and chemistry with each other.
It's interesting that the touring environment with Cellular Chaos is maybe more open than the jazz environment.
I think I got the gig because I'm a female. I talked about it with Admiral [Grey] and Weasel, and he said that he wants to give other people a chance and not have it be a white-guy band. That's boring – why aren't there more women playing music? Why aren't there more black people playing rock music? It's true, and Weasel wants to give other people the chance.
I get just as many compliments on my bass playing in Cellular Chaos as in a free jazz band. I'm learning music, I'm feeling it stronger because I play these tunes every night. It's good for my memory, it adds fuel to the fire when I want to play upright, because I really love upright a lot more – it's who I am. It's true – I wish there were more women in the scene and it wasn't an issue, but it is. How do you get more women in? You hire them and you show them off so that other women can see them and think it's cool. I know the upright bass isn't an inspiring instrument to women – a lot of women want to look petite and fashionable, and a bass isn't going to help them do that.
No, they are going to look strong and awesome.
Yeah, that's what I'm going for! I don't know, it's a sensitive topic and it's weird because for a long time I felt uncomfortable playing with other women, and I don't like it when people come up to me and say 'oh, you're a female musician. Do you know this other female musician?' Like we all know each other because we're females – that happens all the time. Especially being a bass player, people want to ask me all the time about Esperanza Spalding. I'm a couple of years older and right before she made it, I was playing a lot of the same venues. I do the opposite thing!
You go hear someone like Amanda or Mary Halvorson or Kris Davis, and it's predicated by the fact that they are women, not that they are great musicians. Ideally I don't want to care what someone looks like.
I really appreciate you not pointing out the female part in reviews – like "she is an upright bass player," I really noticed that in your writing. I've noticed it for years when reviewers say "she's a young female musician" and it's annoying. I wanted to sound like Paul Chambers and Charles Mingus since I was fifteen, so when somebody talks about me being female, that works against my interests .I don't play because I am female and my music is not about being female.
You do have a very full, warm sound on the instrument that you've cultivated, ant that should be what's interesting to people. The only realize I bring up this question is because I feel like in avoiding it, even though you don't want to box people in, it's important to discuss.
I know, I agree and I appreciate you bringing it up sensitively. I look at it like I have goals, and whatever I need to do to reach those goals, I do those things. One time this chick called me up for a gig with an all-female band to do demos for a pharmaceutical commercial about depression, and there were so many no-no's. I don't want to be in an all-female band for marketing reasons, and I don't like the pharmaceutical industry. And I don't want to be a female musician with depression in a commercial – so I turned that down, even though there was money involved.
So you've got integrity!
Exactly. I do think I've been hired sometimes because I'm female, but I have to take the gig and get exposure for my work, and I'm going to do what I do. Hopefully I can get to a point where I only do the gigs I want to do and not play with people who waste my time.
Not all the gigs you take are your own band. Are you talking studio work?
No, just one-off gigs. It's good for me to play other people's music, because it helps me identify with my own music more. It's kind of a jazz school teaching – take every opportunity that comes along. It feels good when someone wants to play with me, and I want to do that. I've been hired for gigs where someone probably wasn't thinking about my artistic abilities, and they wanted someone generic, and those were really boring.
People probably don't do their research.
Yeah, and they just take these quotes from my Facebook page – someone asked me to sit in on the volunteer opera production of The Magic Flute, and I was like 'I don't know if I can pull this off." I could've done it six years ago but right now I've just been making a lot of noise, and I don't have the time to rehearse for something like that.
You still could call up the classical chops.
Yeah, The Magic Flute would be a stretch – I'd like to see the music for it, maybe I'm wrong and it could be easy and just doubling the cello part. I feel more comfortable doing pit band stuff – I did Camelot a couple of years ago and it was fun.
I was going to ask another hopefully not-too-weird question, but it is somewhat personal. Collaborating with your partner or spouse, how does that work? I watched Tom Rainey and Ingrid Laubrock play a duo the other day and I was thinking that they know one another so well, yet they're also continually challenging one another and watching their faces, neither was throwing an easy pitch. Knowing someone as a musician and on a personal level so deeply, as you do with Chris, I'm curious about how that has developed.
We had been playing together before we were "together," and I feel like he's my mentor. I look up to him and I've learned a lot from him, and whenever I have a problem musically I can ask him, like "this line sounds corny – what can I do to make it sound cool?" Harmony and rhythm – "did I transcribe this right?" His ears and knowledge have always been so much more than anyone else I know. I really look up to him and am really psyched about his playing my music, because I can really manicure it with him. Whereas a lot of other musicians I feel like if I called them in, I'd have to hope that they can do the right interpretation. We can talk about it in depth, we play music in the house all the time – standards, noise, whatever – we always listen to records and go music shopping.
I admit it can be a little stifling and my next project may not have him involved. When I first moved to the city I had TheKillMeTrio and it was clear that I didn't want Chris in the band, but it coincided with his quartet that I was playing in, so we were still playing together a lot. At that point he wanted to play music that had more dynamics and subtleties and I wanted an in your face loud, angry free jazz band. We have a had a lot of arguments about music but we agree that the goal as a musician should be versatility and being exposed to as many different things as possible. If you put him in the right context and tell him the right things, he will go nuts. That's how a great musician works.
Yeah, I was going to say, on Ache & Flutter, he's definitely not subtle.
I suggested certain things – I said "I want you to listen to Sonny Sharrock" and I told him I wanted the music to have that vibe. I was really into Black Woman and wanted to have him sound like that.
Any parting thoughts?
I was really psyched to be invited to play Roulette again [on Monday, March 3] I haven't played the new space with my own project before. I played the old space with William Parker's Essential Orchestra doing Inscription For Cecil Taylor. Cecil was in the audience! It's great playing with these guys – I've been friends with and playing with Mike, Yoni and Chris for a long time. I'm also very excited to test out the new book of music – one in particular I remember my mother humming when I was a child, so it all comes from experiences like that. There is peace, love and torment with this music. I like to describe my new music as melodies that calm demons and improvisations that give them some "exercise."
Interview conducted in Williamsburg on March 1, 2014 and over email.
Solo photos by Wesley Mann
Cellular Chaos photo courtesy ThrAsheville Zine


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Inhabited since at least the 15th century B.C., Gaza has been dominated by many different peoples and empires throughout its history; it was incorporated into the Ottoman Empire in the early 16th century. Gaza fell to British forces during World War I, becoming a part of the British Mandate of Palestine. Following the 1948 Arab-Israeli War, Egypt administered the newly formed Gaza Strip; it was captured by Israel in the Six-Day War in 1967. Under a series of agreements known as the Oslo accords signed between 1994 and 1999, Israel transferred to the newly-created Palestinian Authority (PA) security and civilian responsibility for many Palestinian-populated areas of the Gaza Strip as well as the West Bank. Negotiations to determine the permanent status of the West Bank and Gaza Strip stalled in 2001, after which the area witnessed a violent intifada or uprising.
In early 2003, the "Quartet" of the US, EU, UN, and Russia, presented a roadmap to a final peace settlement by 2005, calling for two states. Following PA President Yasir ARAFAT's death in late 2004 and the subsequent election of Mahmud ABBAS (head of the Fatah political faction) as the PA president in 2005, Israel and the Palestinians agreed to move the peace process forward. Israel by late 2005 unilaterally withdrew all of its settlers and soldiers and dismantled its military facilities in the Gaza Strip, but continues to control the Gaza Strip's land and maritime borders and airspace. In early 2006, the Islamic Resistance Movement, HAMAS, won a majority in the Palestinian Legislative Council election. Attempts to form a unity government between Fatah and HAMAS failed and violent clashes between their respective supporters ensued, culminating in HAMAS's violent seizure of all military and governmental institutions in the Gaza Strip in June 2007. Israel and Egypt since HAMAS's takeover have enforced tight restrictions on movement and access of goods and individuals into and out of the territory. Since then, Fatah and HAMAS have reached a series of agreements aimed at restoring political unity between the Gaza Strip and the West Bank but have struggled to implement them. In April 2014, the two factions signed an agreement and two months later President ABBAS formed an interim government of independent technocrats, none of whom were affiliated with HAMAS. The factions, however, continue to disagree over how to implement the deal and HAMAS remains in de facto control of the Gaza Strip.
In July 2014, HAMAS and other Gaza-based militant groups engaged in a 51-day conflict with Israel—the third conflict since HAMAS's takeover in 2007—culminating in late August with an open-ended truce that continues to hold despite the absence of a negotiated cease-fire and occasional violations by both sides. Reconstruction efforts since the end of the conflict have been hampered by Israeli restrictions on goods entering the Gaza Strip and inadequate donor aid. The UN in 2015 published a study assessing that the Gaza Strip could become uninhabitable by 2020 absent a substantial easing on border restrictions.
- Location
Middle East, bordering the Mediterranean Sea, between Egypt and Israel
- Geographic coordinates
- Area 206/257
total: 360 sq km
land: 360 sq km
water: 0 sq km
- Area - comparative
slightly more than twice the size of Washington, DC
- Land boundaries
total: 72 km
border countries (2): Egypt 13 km, Israel 59 km
- Coastline
40 km
- Maritime claims
see entry for Israel
note: effective 3 January 2009, the Gaza maritime area is closed to all maritime traffic and is under blockade imposed by Israeli Navy until further notice
- Climate
temperate, mild winters, dry and warm to hot summers
- Terrain
flat to rolling, sand- and dune-covered coastal plain
- Elevation
mean elevation:
elevation extremes:
lowest point: Mediterranean Sea 0 m
highest point: Abu 'Awdah (Joz Abu 'Awdah) 105 m
- Natural resources
arable land, natural gas
- Irrigated land
240 sq km; note - includes West Bank (2012)
- Natural hazards
- Environment - current issues
desertification; salination of fresh water; sewage treatment; water-borne disease; soil degradation; depletion and contamination of underground water resources
- Geography - note
strategic strip of land along Mideast-North African trade routes has experienced an incredibly turbulent history; the town of Gaza itself has been besieged countless times in its history; there are no Israeli settlements in the Gaza Strip; the Gaza Strip settlements were evacuated in 2005 (2014)
People and Society
- Nationality
noun: NA
adjective: NA
- Ethnic groups
Palestinian Arab
- Languages
Arabic, Hebrew (spoken by many Palestinians), English (widely understood)
- Religions
Muslim 98.0 - 99.0% (predominantly Sunni), Christian note: dismantlement of Israeli settlements was completed in September 2005; Gaza has had no Jewish population since then (2012 est.)
- Population 152/238
1,869,055 (July 2015 est.)
- Age structure
0-14 years: 42.75% (male 410,599/female 388,473)
15-24 years: 20.34% (male 194,798/female 185,295)
25-54 years: 30.66% (male 293,556/female 279,471)
55-64 years: 3.59% (male 33,843/female 33,198)
65 years and over: 2.67% (male 20,667/female 29,155) (2015 est.)
- Dependency ratios
total dependency ratio: 76%
youth dependency ratio: 70.8%
elderly dependency ratio: 5.2%
potential support ratio: 19.2%
note: data represents Gaza and the West Bank (2015 est.)
- Median age
total: 18.4 years
male: 18.2 years
female: 18.6 years (2015 est.)
- Population growth rate 13/233
2.81% (2015 est.)
- Birth rate 37/224
31.11 births/1,000 population (2015 est.)
- Death rate 221/225
3.04 deaths/1,000 population (2015 est.)
- Net migration rate 96/222
0 migrant(s)/1,000 population (2015 est.)
- Urbanization
urban population: 75.3% of total population (2015)
rate of urbanization: 2.81% annual rate of change (2005-10 est.)
note: data represents Gaza Strip and West Bank
- Sex ratio
at birth: 1.06 male(s)/female
0-14 years: 1.06 male(s)/female
15-24 years: 1.05 male(s)/female
25-54 years: 1.05 male(s)/female
55-64 years: 1.02 male(s)/female
65 years and over: 0.71 male(s)/female
total population: 1.04 male(s)/female (2015 est.)
- Mother's mean age at first birth
note: median age at first birth among women 25-29 (2004 est.)
- Maternal mortality rate 94/184
45 deaths/100,000 live births
note: data represents Gaza Strip and West Bank (2015 est.)
- Infant mortality rate 105/224
total: 14.94 deaths/1,000 live births
male: 15.97 deaths/1,000 live births
female: 13.86 deaths/1,000 live births (2015 est.)
- Life expectancy at birth 110/224
total population: 74.87 years
male: 73.11 years
female: 76.74 years (2015 est.)
- Total fertility rate 35/224
4.08 children born/woman (2015 est.)
- Contraceptive prevalence rate
52.5% (includes Gaza Strip and West Bank) (2010)
- Physicians density
2.1 physicians/1,000 population (2013)
- Hospital bed density
1.3 beds/1,000 population (2010)
- Drinking water source
urban: 50.7% of population
rural: 81.5% of population
total: 58.4% of population
urban: 49.3% of population
rural: 18.5% of population
total: 41.6% of population
note: includes Gaza and the West Bank (2015 est.)
- Sanitation facility access
urban: 93% of population
rural: 90.2% of population
total: 92.3% of population
urban: 7% of population
rural: 9.8% of population
total: 7.7% of population
note: includes Gaza and the West Bank (2015 est.)
- HIV/AIDS - adult prevalence rate
- HIV/AIDS - people living with HIV/AIDS
- HIV/AIDS - deaths
- School life expectancy (primary to tertiary education)
total: 13 years
male: 12 years
female: 14 years
note: data represents Gaza and West Bank (2013)
- Unemployment, youth ages 15-24 14/134
total: 41%
male: 37%
female: 64.7%
note: includes West Bank (2013 est.)
- Country name
conventional long form: none
conventional short form: Gaza Strip
local long form: none
local short form: Qita' Ghazzah
etymology: named after the largest city in the region, Gaza, whose settlement can be traced back to at least the 15th century B.C. (as "Ghazzat")
- Economy - overview
Israeli security measures and Israeli-Palestinian violence continue to degrade economic conditions in the Gaza Strip, the smaller of the two areas comprising the Palestinian territories. Israeli-imposed border controls became more restrictive after HAMAS seized control of the territory in June 2007. They have produced high unemployment, elevated poverty rates, and a sharp contraction of the private sector, which had relied primarily on export markets.
Egypt's ongoing crackdown on the Gaza Strip's extensive tunnel-based smuggling network has exacerbated fuel, construction material, and consumer goods shortages in the territory. The 51-day conflict in July 2014 that HAMAS and other Gaza-based militant groups fought with Israel further depressed the Gaza Strip's already aid-dependent economy. Donor support for reconstruction and relaxed Israeli import restrictions in late 2014 and 2015 have fallen short of postconflict needs, with almost 100,000 people remaining internally displaced because their homes have yet to be rebuilt or repaired.
- GDP (purchasing power parity)
see entry for West Bank
- GDP (official exchange rate)
$2.938 billion
note: excludes West Bank
- GDP - real growth rate 223/225
-15% (2014 est.)
6% (2013 est.)
7% (2012 est.)
note: data exclude West Bank
- GDP - per capita (PPP)
see entry for West Bank
- GDP - composition, by end use
data exclude West Bank (2014 est.)
- GDP - composition, by sector of origin
note: data exclude West Bank (2014 est.)
- Agriculture - products
olives, fruit, vegetables, flowers; beef, dairy products
- Industries
textiles, food processing, furniture
- Industrial production growth rate 81/202
3.1% see entry for West Bank
- Labor force 143/233
1.117 million
note: excludes West Bank (2014 est.)
- Labor force - by occupation
agriculture: 8.4%
industry: 12.3%
services: 79.3%
note: data exclude West Bank (2013 est.)
- Unemployment rate 177/207
25% (2014 est.)
26.9% (2013 est.)
note: data exclude West Bank
- Population below poverty line
note: data exclude West Bank (2011 est.)
- Budget
see entry for West Bank
- Fiscal year
calendar year
- Inflation rate (consumer prices) 134/226
note: 2.9% excludes West Bank
- Commercial bank prime lending rate
see entry for West Bank
- Stock of narrow money
see entry for West Bank
- Stock of broad money 149/193
$2.356 billion (31 December 2014 est.)
$2.16 billion (31 December 2013 est.)
- Stock of domestic credit 153/191
$1.274 billion (31 December 2014 est.)
$1.147 billion (31 December 2013 est.)
- Current account balance 156/197
note: -$2.894 billion see entry for West Bank
- Exports 146/224
$1.692 billion (2013 est.)
- Exports - commodities
strawberries, carnations, vegetables, fish (small and irregular shipments, as permitted to transit the Israeli-controlled Kerem Shalom crossing)
- Imports
see entry for West Bank
- Imports - commodities
food, consumer goods, fuel
- Debt - external
see entry for West Bank
- Exchange rates
see entry for West Bank
- Telephones - fixed lines
403,118 (includes West Bank) (2014 est.)
- Telephones - mobile cellular
total: 3,197,550 (includes West Bank)
subscriptions per 100 inhabitants: 117 (includes West Bank) (2014 est.)
- Telephone system
general assessment: Gaza continues to repair the damage to its telecommunications infrastructure caused by fighting in 2009
domestic: Israeli company BEZEK and the Palestinian company PALTEL are responsible for fixed-line services; the Palestinian JAWWAL company provides cellular services
international: country code - 970 (2009)
- Broadcast media
1 TV station and about 10 radio stations; satellite TV accessible (2008)
- Radio broadcast stations
AM 0, FM 10, shortwave 0 (2008)
- Television broadcast stations
1 (2008)
- Internet country code
.ps; note - same as West Bank
- Internet users
total: 1,379,000 (includes West Bank)
percent of population: 34.4% (includes West Bank) (2009)
- Airports 219/236
1 (2013)
- Airports - with paved runways
total: 1
over 3,047 m: 1 (2013)
- Heliports
1 (2013)
- Roadways
note: see entry for West Bank
- Ports and terminals
major seaport(s): Gaza
Military and Security
- Military branches
HAMAS does not have a conventional military in the Gaza Strip but maintains security forces in addition to its military wing, the 'Izz al-Din al-Qassam Brigades; the military wing reports to the Hamas Political Bureau leadership, which remains scattered throughout the region since relocating from its Damascus headquarters in early 2012 (2015)
Transnational Issues
- Disputes - international
the status of the Gaza Strip is a final status issue to be resolved through negotiations; Israel removed settlers and military personnel from Gaza Strip in August 2005
- Refugees and internally displaced persons
refugees (country of origin): 1,258,559 (Palestinian refugees) (2014)
IDPs: at least 263,500 (includes persons displaced within the Gaza strip due to the intensification of the Israeli-Palestinian conflict since June 2014 and other Palestinian IDPs in the Gaza Strip and West Bank who fled as long ago as 1967, although confirmed cumulative data do not go back beyond 2006) (2015)


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CHARACTERIZATION OF ENVIRONMENTALVARIABILITY IN IDENTIFIED DYNAMIC PROPERTIES OF A SOIL-FOUNDATION-STRUCTURE SYSTEM by Ali Asghari ________________________________________________________________ A Dissertation Presented to the FACULTY OF THE USC GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (CIVIL ENGINEERING) December 2009 Copyright 2009 Ali Asghari
Object Description
|Characterization of environmental variability in identified dynamic properties of a soil-foundation-structure system
|Asghari, Ali
|Author email
|email@example.com; email@example.com
|Doctor of Philosophy
|Document type
|Degree program
|Civil Engineering
|Viterbi School of Engineering
|Date defended/completed
|Date submitted
|Restricted until
|Date published
|Advisor (committee chair)
|Johnson, Erik A.
|Advisor (committee member)
Nigbor, Robert L.
Masri Sami F.
Ghanem, Roger Georges
Wellford, L. Carter
|For more than thirty years, researchers have attempted to establish effective local and global methods for monitoring civil, aerospace and mechanical structures. The unpredictable nature of soil and the nonlinear behavior of civil structures, however, make monitoring rather complex. In fact, the combined soil-structure system can be influenced by environmental factors on daily to annual time scales. Identification of structural damage using vibration-based methodologies in the presence of such influences requires some data normalization to reduce uncertainties and variations introduced by environmental factors.; To better understand the correlation between environmental variations and the dynamics of soil-structure interaction, semi-continuous monitoring of a large-scale field test structure has been conducted. The analysis uses data from sensors placed at several locations on the NEES Soil Foundation Structure Interaction (SFSI) Test Structure, which is located on very well-characterized soil in southern California, as well as sensor arrays monitoring the soil response under the foundation. A network of sensors was designed and positioned to record temperature at various locations on the structure; some pertinent soil properties are also monitored.; The observations of measured environmental data and the identified structural system parameters demonstrated strong correlation between variations in the environmental features and in the dynamic properties of the structure; for example daily shifts in the structure's fundamental frequencies are as much as 10% due to temperature change or seasonal shifts due to ground water table variation under the foundation. An example is given, based on novelty detection, of how "unusual" dynamic behavior can be indicated for the SFSI test structure in the presence of environmental variations.; To explain the effect of the soil saturation on the rocking frequency of SFSI systems, a predictive model based on Wolf's Cone Model approach was developed. The results from parametric study validated the observations from both the SFSI test structure and the scaled model of decreased natural frequency for dry soil. Further, the study shows that the opposite effect — that is, higher natural frequency with soil saturation — occurs for structures with different characteristics relative to the soil. A 1/14 scale model of the SFSI test structure was constructed to validate the observed effect of the water level under the foundation on the rocking frequency of SFSI systems in a controlled laboratory environment. These experiments showed a similar correlation between the identified rocking frequency of the scaled prototype and the rise and fall of the water level under the foundation. This work shows that understanding the environmental variability of an identified model is critical to developing methodologies for cleansing data and reducing uncertainty to allow more robust health monitoring in real civil structures.
|system identification; soil-structure interaction; damage detection; structural health monitoring; modal analysis
|Part of collection
|University of Southern California dissertations and theses
|Publisher (of the original version)
|University of Southern California
|Place of publication (of the original version)
|Los Angeles, California
|Publisher (of the digital version)
|University of Southern California. Libraries
|Electronically uploaded by the author
|Legacy record ID
|Contributing entity
|University of Southern California
|Asghari, Ali
|Repository name
|Libraries, University of Southern California
|Repository address
|Los Angeles, California
|Repository email
|Archival file
|Page 1
|Contributing entity
|University of Southern California
|Repository email
|Full text
|CHARACTERIZATION OF ENVIRONMENTALVARIABILITY IN IDENTIFIED DYNAMIC PROPERTIES OF A SOIL-FOUNDATION-STRUCTURE SYSTEM by Ali Asghari ________________________________________________________________ A Dissertation Presented to the FACULTY OF THE USC GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (CIVIL ENGINEERING) December 2009 Copyright 2009 Ali Asghari


text:
Embedded code generation is fundamentally changing the way engineers work. Instead of writing thousands of lines of code by hand, engineers are automatically generating their production code to increase productivity, improve quality, and foster innovation.
With MathWorks embedded code generation products, you can:
- Design real-time applications targeting floating- or fixed-point processors
- Generate C and C++ code from MATLAB® and Simulink®
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- Profile and verify embedded code on microcontrollers and DSPs
- Address industry certification standards
Learn More About Embedded Code Generation Solutions
See also: HDL code generation for FPGAs and ASICs


text:
FDA warns about dangers of skin lighteners: Mercury-tainted products, usually used for lightening skin, are sold as soaps, skin creams and lotions. The FDA has identified 35 products, most of them manufactured overseas, and most sold in Latino, Middle Eastern, African-American and Asian neighborhoods.
Black leaders re-enact Selma March: Watch the video of the event at MSNBC.
Halle Berry advised not to move to France: The rumor is that since she started dating actor Olivier Martinez, Berry has been determined to move to the European country where he was born. The Urban Daily reports that her attorney counseled the Oscar-winning actress to wait six months before going forward with moving plans.
Atheist slave billboard causes upset: An atheist billboard firing back at Pennsylvania lawmakers has angered black residents in Harrisburg because of its depiction of an African slave with a metal collar around his neck. The billboard features a passage from the Bible saying, "Slaves, obey your masters," as a jab toward state lawmakers who recently passed a bill announcing 2012 as the Year of the Bible.
Like The Root on Facebook. Follow us on Twitter.


text:
Smash Putt kickoff
Smash Putt kicks off its newest course in Seattle's Sodo neighborhood. Smash Putt is like mini-golf with the added challenges of negotiating laser beams, power tools and other mechanical obstacles. Plus, you can play it while downing a beer.
By BY JOSHUA TRUJILLO
on March 2, 2013 12:17 AM
Photo: JOSHUA TRUJILLO


text:
When I was in school I always used to get in trouble for talking or passing notes with my friends instead of doing my work. Little did I know it would prefigure my blogging habits. Sure, we haven't turned in a lot of essays, but here's a peek at what we've been passing notes about in the last week or so:
- We sorta heart Jezebel. Here, they take on more sexist advertising.
Adams' argument applies on several levels here. The ad displays both the meaty sandwich and the female body as objects ready for masculine consumption. The woman in the ad is not meant to enjoy the burger, for this is not about her. Like the meat, she is a thing to be consumed, a thing that will provide the viewer with a hearty dose of masculinity and virility. In an interesting twist, this ad, which is clearly intended to sell a piece of meat to straight men, also presents the phallic stand-in as something desirable. Men are supposed to see this image and think something along the lines of: "I like BJs and burgers, cuz I'm a real man. I need some BK," yet the ad makes the meat into a sexualized, fetishized masculine object.
- Lesley at Fatshionista, who always turns out gold in my opinion, deals with the question of whether fat is "natural."
So is it "natural" for me to weigh 300 lbs? I have no fucking idea. Maybe if I hadn't lost and regained (and lost and regained, and lost and regained) so much weight as a kid and teenager, I would weigh less now. Maybe if I hadn't started dieting at nine years of age and possibly affected what would have become a normal adult metabolism, I would weigh less now. I have no way of knowing. And I can't travel back in time (….yet) to find out whether doing things differently would have led to a different result. And even if I could, I don't know that I would bother.
- I'm curious about this article — the thesis seems to be that obesity has always been treated as a product of metabolism and genetics, but maybe instead it should be treated as an eating disorder. Was this published in Proceedings of the Bizarro Academy of Sciences?
- BMI may be even less accurate for African-Americans. There's increasing evidence that race needs to be a factor in at least some medical decision-making, but as in so many other areas of life, able-bodied white men are the default and everyone else is considered an outlier or a deviation. It's good that research is being done, but I'm thinking the medical community needs to listen to Lesley: bodies are not variations on a narrow template.
- Friend of the blog Robin Abrahams (otherwise known as Miss Conduct) wrote an excellent piece about how to handle situations where the rules of etiquette and one's personal preferences for treatment are at odds. We've been kicking around ideas about a post on "safe space" (and also a very belated review of Robin's book) so look for those in the future, but meanwhile, you get a slightly-less-belated link.
Just as we expect more than etiquette strictly demands from those whom we love, we should be willing to accept less than etiquette demands if there are no emotions at stake. That's how it works with those whom we love and who love us: we learn which buttons to avoid and which ones we can happily pound away on all day.
And it's absolutely vital to sanity to realize that when you step out of your circle of loved ones, you no longer have the right to that kind of customized treatment. People will say things that are hurtful to you, and if those things are within the common bounds of civility we've defined as a society, you cowboy up and answer them politely.
- Hanna Rosin at Double X writes about a new documentary on sex changes in Iran and makes our heads explode. Don't tell me I'm "used to thinking of 'transgender' as the last stop on the gay train to freedom and self expression," Rosin — believe it or not, I think that the ability to become the opposite gender is not actually all gay folks' ultimate goal. (Watch also for the part where she claims to have a better idea of "the universal truth about being transgender" than trans activists do!) Still, the documentary sounds very interesting.
- Sweet Machine's looking for a go-to dress for summer, something as versatile as this one (or at least, as versatile as that one would be if you weren't a total remixing GENIUS). Do you have a go-to piece that acts as the underpinning of infinite outfits?
- "The pudgy John Hodgman" hit a home run with his astute and funny speech at the Radio and TV Correspondents' Dinner:
- ETA: Holy shit, just saw this from Jez. Ableism doesn't get a lot more blatant, folks.
So what have you guys been talking about?


text: This is a short little clip a bunch of guys by the name of Waverley Films put together for MTV's Gamer's Week. It's about Link, a bully, and what happens when Link is confronted by said bully. The moral of the story? Link is never to be messed with. Especially when he's awkward, and British.


text:
Home>Products>Fish Feed/Pet Food/treats process line>fish feed pellet machine production line
fish feed pellet machine production line
- Massalfa
- Shandong, China (Mainland)
- 1 Set/Sets Fish feed pellet machine production line
- US $10,000 - 50,000/ Set
- Industrial equipment packaging
- paypal,UnionPay, Visa/MasterCard, Amex, Discover,T/T
- 30 Set/Sets per Day Fish feed pellet machine production line
Product Details
|Place of Origin:
|Shandong, China (Mainland)
|Brand Name:
|Model Number:
|Feed Pellet Machine
|1500 kg
|2 Years
|After-sales Service Provided:
|Engineers available to service machinery overseas
|Product name:
|fish feed pellet machine production line
|Machine material:
|Staineless Steel Food Grade
|Raw material:
|Grain flour
|Processing type:
|Twin Screw Extrusion
|Electricity Diesel
|Main motor:
|Inverter brand:
|ABB Delta
|Need workers:
|Installation service:
Product Description
fish feed pellet machine production lineProduct Description
Fish feed pellet machine production line
Product Description
ABC.Fish feed pellet machine production line can produce various shapes food for fish dog cat brid, etc pets and animals. Especially for the tilapia , tourt, aquarium fishes, gold fish, sharmp, prawn,etc .
ABC. Through the pretreatment of the fodder, it can reduce loss of nutrition and advance the protein ratio. So the fodder will be digested easily by animals.
ABC. It adopts corn flour, single screw extruder machine,low temperature soya flakes meal, rice bran , wheat bran as raw materials
4. The design high output,low consumption and bacterium reducing is realized by the steam and electric design.Fish feed generally consists of meat, meat by products, cereal, grain, vitamins, and minerals. General grains,such as soybean meal, corn meal, cracked wheat, and barely, are often used to improve the consisten-cy of the products. the meat is mixed with other ingredients
Fish feed pellet machine production line details
Power Supply
Based on ABC80V 50 Hz ABC phase.
Machine details
ABC.Stainless steel,:ABC0ABC, ABC04, ABCABC6, on request
ABC. Electric parts can be ABB, Delta, Fuji, Omron, Siemens;
Famous brand as your demand.
Raw Material
Corn meal, flour, soy meal, peanut meal.
Bone /meat/fish/shrimp powder, etc.
Product type
Dog food, cat food, livestock feed;
Floating fish feed & sinking fish feed
Product shape
Pet food: Pellet
Fish feed: Granule, Pellet, stick, tablet
Product size
Minimum Diameter: ABC.5mm
Fish feed pellet machine production line production process
Flour raw material mixing---extruding and shaping---drying---flavoring---cooling---packing
Fish feed pellet machine production line advantages
ABC.We specialize in high capacity extruder which can reach 4000kg/h
ABC.The screw material: Alloy steel (ABC8CrMoAL) by nitriding process. High strength and wear-resting.
ABC.With good self-cleaning ability, it's unnecessary to remove the barrel and screws for cleaning.
4.SIMENS (China) Motor.
5.It adopts speed-adjusted converter on feeding system, extrusion system and cutting system.
Food grade stainless steel twin screw feeding device guarantees stable materials feeding in the food process.
6.Adopted the Delta inverters, ensure the extruder better running.
7.The gearbox has automatic lubrication function, which prolong service life of gears.
8.Cutting knife is fixed in the die head seat, rotary cutting driven by V-belt.
Business established more than ABC0 years ago, is considered as one of Chinese most respected and experienced Automatic flavoring line, accessories and services.We also received a number of certification
Our Services
Pre-sale service
Communicating with customers and learn your requirement
Providing professional advisory services
Providing solutions according to customers' requirement,
And offer the quotation
Providing on-site visit to our factory
Providing samples
Selling service
Confirm every terms and details and sign contract with customers
Manufacturing machines according to contract.
Trial running after production.
Packing machines and delivery on time
Providing relevant documents for Custom clearance
(If necessary)
After-sale service
Send engineers for installation, trial running and training workers.
Handling the problems occurred during use.
Supply spare and wearing parts on discount.
Help customers to solve any other problems
We take good care of each machine for you
Delivery: ABC0-ABC0 days after receiving advance payment.
We are a professional manufacturer of food & feed extrusion machine
ABC.What's the price of your machines?
You can inquiry to us directly
ABC.What is your payment terms?
Recommend to use Alibaba's Trade Assurance.
T/T or L/C; by T/T ABC0% as down payment, 70% by T/T before delivery, L/C before shipment.
4. Can we provide the formula to you?
We can provide basic formula for producing the food etc. And help customer to produce good quality food according customer's detailed formula.
5. What is the workshop size required for tilapia fish feed food processing machinery?
The production line can be put in straight line and also can change the direction according to your factory size.We can design the layout according to your factory size.contact
Providing 'Quality Products, Excellent Service, Competitive Prices and Prompt Delivery', we are now looking forward to even greater cooperation with overseas customers based on mutual benefit. Please feel free to contact us or visit our website for more information.
Shandong Leader Machinery Co.,Ltd.
Tel:+86 0531 85064681
Fax:+ 86 0531 85064682
Skype: taishan0072
WhatsApp:+86 15315573781
Email: email@example.com
Factory : No.15, Lanxiang Road, Tianqiao District, Ji'nan, Shandong, China
At Shandong Leader Machinery Co.,Ltd, we have one single goal in mind: to make you a satisfied customer. That single focus, driven from every aspect of the company's operation, is the key to our ongoing success. If you're a satisfied customer, you'll come back to us when you have additional Machine needs in the future, and you'll tell your friends about us. Then if we can make them satisfied customers, the cycle continues.
——————————————————————Wendy Yao Director
Thank You
We're very pleased that you would give us the chance to earn your business by either calling us or visiting our site. We hope that you like what you see, and that you will give us the opportunity to prove that what we have said here is true. We consider it the highest honor when you choose us as your resource for Mahine. Thank you very much!
Contact Us
- Massalfa Microwave
- email@example.com
- AddressNo.4087 SHAHEXI ROAD, TIAOQIAO DISTRICT,JINAN,CHINA
- Phone(Working Time)0531-85064681
- Fax0531-85064682
Related News
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|Discussion on Denitrification Technology of Ceramic Furnace
Product Categories
- Fish Feed/Pet Food/treats process line
- Fried chips snacks processing line
- Modified starch Production line
- peanut shelling machine
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- Fungus and Mushroom Microwave Drying machine
- Paper Board Microwave Dryer Equipment
- Donut machine
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- Continuous microwave sterilization equipment
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- Herbal Ingredients and Tea Microwave Dryer
- fish skin fishbone machine
- ice making machine
- fish feed pellet machine
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- Microwave Drying And Sterilizing Equipment
- microwave dryer


text:
FIZ News
June 2015
Neues Zeolith kann mehr Wärme speichern
June 2015
Stabiles Netz trotz flexibler Einspeisung
May 2015
Windenergie-Anlagen rütteln und schütteln
Meet us at
Tag der gewerblichen Schutzrechte,
Stuttgart, 30. Jun
CICM 2015, Washington, 13. - 17. Jul
AALL - American Association of Law Libraries, 10th Annual Meeting and Conference, Philadelphia, 18. - 21. July
Where to find us
FIZ Karlsruhe – Leibniz Institute for Information Infrastructure is located on the premises of the Karlsruhe Institute of Technology/KIT Campus Nord (formerly "Forschungszentrum Karlsruhe"), about 12 km north of Karlsruhe (Please note that for entering the city of Karlsruhe itself, you will need an eco sticker for your car. If you only visit FIZ Karlsruhe/KIT Campus Nord you will not need any.).
By plane:
You can reach FIZ Karlsruhe by car or by public transport (train to Karlsruhe central station) from the following airports: Frankfurt/Main, Stuttgart or Karlsruhe/Baden-Baden (Baden-Airpark).
Access by car:
Coming from Frankfurt/M on motorway A67/A6, leave at exit Hockenheim, then take B 36 for Karlsruhe. Leave at exit Eggenstein-Leopoldshafen/KIT Campus Nord.
Coming from Heidelberg on motorway A5, leave at exit Bruchsal and take B35, direction Bruchsal-Bretten. After approximately 3 km, at the outskirts of Bruchsal, turn to the right for Stutensee-Büchenau, and then continue straight on for Eggenstein-Leopoldshafen/KIT Campus Nord.
Coming from Basel/Stuttgart on motorway A5, leave at exit Karlsruhe-Mitte. Take the direction of Landau (B10). Leave at exit no. 8/9. Take the direction of Mannheim on B 36 up to exit KIT Campus Nord.
Coming from the west via Landau/Wörth on motorway A65, leave at exit no. 9, then take B 36, direction Mannheim up to exit KIT Campus Nord.
Access by tram:
Tram S1 or S11 from Karlsruhe central station to Hochstetten (every 20 minutes).
If available, board the through coach "KIT Campus Nord" at the end of the train; otherwise exit at tram station Leopoldstraße and continue by bus no. 195 which goes directly to the southern entrance of Forschungszentrum Karlsruhe.
FIZ Karlsruhe
Hermann-von-Helmholtz-Platz 1
76344 Eggenstein-Leopoldshafen
Phone: +49 7247 808 0
Fax: +49 7247 808 259
FIZ Karlsruhe – Leibniz Institute for Information Infrastructure has further divisions in Berlin and Bonn:
FIZ Karlsruhe
Abteilung Mathematik und Informatik
Franklinstr. 11
10587 Berlin
Phone: +49 30 399934 0
Fax: +49 30 392700 9
FIZ Karlsruhe
BINE Informationsdienst
Kaiserstraße 185-197
53113 Bonn
Phone: +49 228 92379 0
Fax: +49 228 92379 29


text: Undergraduate Programs Learn More Apply Now Sy Syms School of Business offers a comprehensive education in business fundamentals and practice. In addition to the following five main areas, we offer unique training and opportunities through the Ingeborg and Ira Leon Rennert Entrepreneurial Institute. Accounting Finance Information and Decision Sciences Strategy & Entrepreneurship Marketing Undergraduate Jewish Studies Alongside their coursework in business, Sy Syms students complete a core of liberal arts and sciences courses and also enroll in Yeshiva University's unsurpassed Torah studies programs. Led by eminent rebbeim and scholars, these programs offer exposure to the beauty of Torah study and the depth of Jewish tradition. Designed to deepen students' ethical and philosophical insights, Torah studies at Yeshiva University provide valuable training in rigorous thought, exposure to research methods and opportunities for independent work. A variety of paths accommodates the diverse background, goals and aspirations of students. In addition to producing thoughtful, broad-minded men and women who go on to make a positive impact on the world, this education is the ideal preparation for the successful business person. Sy Syms graduates are highly sought after by employers looking for this unique combination of skills and values. Undergraduate Jewish Studies for Women Undergraduate Jewish Studies for Men Honors Program Sy Syms Business Honors and Entrepreneurial Leadership Program The Sy Syms honors program is designed to enhance the educational experience of our high-achieving business students. Learn more about the Syms Business Honors and Entrepreneurial Leadership Program, including admissions requirements and how it can benefit you in ways both expected and unexpected


text:
How do I buy a domain name ?
Simply contact us if you require a domain name and we will be happy to both advise you on how it all works and organise the whole domain registration process on your behalf without you having a need for any technical knowledge.
Why should I buy my domains from dbwebvision?
We are happy to talk you through your needs and give you advice as and when you need it. We manage the whole process for you so you do not have to be technical or worry about a thing.
Why do I need a good domain name?
The domain name is the most important part of a company's website. Without a good, memorable domain name, people will find it extremely hard to find you in cyberspace after the first visit.
What email solution should I use ?
There are lots of different email solutions out there and your email solution will depend on your hosting providor, we can guide you through what service will best suit your business needs.
FYI we will alway provide free email addresses if we are your hosting providors.
Hosted in 'the cloud'
Your emails wil be stored in the cloud, so you don't have to purchase internal servers for ££££s, nor have to pay for IT support technicians to keep it all up-to-date. It is all taken care for you behind the scenes, in the cloud.
Google Business Emails
Lots of companies want to use shared documents and calendars and a great solution for this google applications for businesses, if you would like more information on this please contact us
We can provide hosting for your website, or some of our customers already have hosting and we are happy to work with whatever solution is best for the customer
When we quote for your initial design we will include the 1st years hosting free, there is then a pre agreed hosting free from year 2. Our prices are very reasonable and your hosting fees will depend on your exact site specification. All fees are always agreed in advance.


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Yoga asana is the main yogic tool for balancing the physical body and creating a flow of energy that enables us to direct our attention within. This flow of energy can also be focused on the body itself to treat illness or injury. Ayurveda uses the doshas to explain the different types of energy we experience and how asana can be used to help keep these energies in balance.
The Doshas of Ayurveda are Vata, Pitta and Kapha and they describe three different forms of energy.
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Vata is a motivating energy that is like the air in motion giving us speed and agility. In balance, vata promotes creativity and flexiblity. Excessive vata can make us anxious, fearful, and tired but restless. It often causes dry skin and digestive disorders. Regularity and structured routine are useful to re-balance vata.
Pitta is the energy that causes things to develop and mature. It is the energy of transformation. In balance, pitta promotes intelligence and understanding. Excessive pitta can lead us to anger, intolerance, competitiveness and judgment and can result in disturbed sleep, heartburn and food sensitivities. Chanting and exercising in cooler temps are often prescribed to correct a pitta imbalance.
Kapha is the energy of cohesion, it keeps things together and helps us unite with others. In balance, kapha expresses love and calmness. Excessive kapha leads to inertia, lethargy and sometimes depression. The body may experience water retention, bloating and sinus congestion. Warming, stimulating activity is the best way to rebalance an over-abundance of kapha.
Everyone has varying degrees of each of the three doshas which make up your basic nature (prakriti). The balance of the doshas, (vikruti) will fluctuate throughout your life, and can become balanced or imbalanced by factors related to your lifestyle, diet, health and illness, or environment. Asana is useful for all three doshic constitutions. It can be used to keep yourself in balance or correct an imbalance that may arise as a result of stress, illness, lifestyle or major life event. Any routine activity in your life can either balance your dosha or cause imbalances, and your yoga practice is no exception. In fact, too much of just one type of asana practice can create an imbalance quite easily.
Here are a few tips to guide your asana practice depending on your dominant dosha:
While certain asanas are suggested for each doshic type, it is more important to consider the manner and attitude with which you perform the asana. The same asanas can be adjusted for the different doshic types.
For times when you might be feeling a little hypervigilant or reactive, the goal is to balance vata:
- Asana should be slow and steady with a focus on releasing tension in the hips, lumbar spine and sacroiliac joints.
- Sitting poses and forward bends are helpful, grounding poses for balancing vata. Other beneficial poses include: Virabhdrasana II (Warrior II) and Uttanasana (Forward Fold), Paschimottanasa (Seated Forward Fold), Janu Sirsasana (Head to Knee pose) Padmasana (Lotus pose).
- Gentle twists performed with a focus on the breath are also excellent for releasing vata build-ups in the nervous system.
- Key words for practice: calm, slow, steady, grounding, strengthening, consistent.
When you are feeling aggressive, reckless or overly ambitious, diffuse some energy to reduce pitta:
- Perform asana in a way that is cooling, nurturing, expansive and relaxing and avoids turning your practice into a strong workout. Help balance your practice with meditation.
- Poses that release tension from the mid-abdomen are most useful for balancing pitta. For example: For example: Trikonasana (Triangle pose) Bhujangasana (Cobra pose), Dhanurasana (Bow pose), Chandra Namaskar (Moon Salutations), gentle backbends and other chest-opening, hip-flexor lengthening poses.
- Explore other cooling practices such as sheetali pranayama.
For those times when you are procrastinating, delaying goals or feeling possessive or lethargic, asana practiced with quickness, heat and effort will reduce kapha:
- Correcting an excess of kapha requires strong practice that heats the body considerably (sweating is good). Standing postures combined with movement and stretching or repeated sun salutations are great for kapha-types.
- Poses useful for balancing kapha include: Ustrasana (Camel pose), Setu Bandhasana (Bridge pose – to free up the chest and help prevent congestion), Adho Mukha Svanasana (Downward-facing Dog), repetitions of Surya Namaskara (Sun Salutations) A and B.
We can also add different forms of pranayama to make asana more heating or cooling, to focus on either building and strengthening or reducing and releasing.
The balance of the three doshas in your life will fluctuate, but learning to use your yoga practice to balance doshic energies will help to create the right flow of energy for your own unique set of needs for health and vitality. How are you feeling right now? Do you notice when you are feeling ouy of balance?


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Both the United States and Switzerland are pulling out of the post-2008 global economic slump on the wave of speculative bubbles. But while Washington is stoking its bubble in the hope of achieving faster economic growth, the Swiss are working to prevent their bubble from getting out of hand.
It is by now evident that the economies of rich industrial nations grow in a boom and bust cycle that was previously a prerogative mainly of emerging economies. In the U.S., the bust after the dot-com-driven economic upswing was followed by a boom in housing. When that, too, came a-cropper in 2008—spectacularly so—it was replaced by the easy-money bubble of the past five years, which pushed the prolonged rally in Treasuries into a speculative phase and extended the bubble in oil and other commodities.
The economic consensus continues to allay our fears, claiming that there is no bubble either in U.S. government bonds or in oil prices. Treasuries look good in comparison to European and even Japanese government bonds, and the U.S. is in no danger of defaulting. And oil prices can be expected to stay elevated since we have reached the historic peak of oil production and output will now start to decline steadily.
However, with U.S. inflation averaging above 2% a year, the yield on the 10-year Treasury, averaging 1.75% over the past year, has been negative in real terms. In other words, long bond investors have been paying Uncle Sam for the privilege of lending it money. Meanwhile, the 30-year bond, with its 3% yield, incorporates wholly unrealistic expectations about U.S. public finances over the next three decades. Similarly, hopes that inflation-adjusted oil prices will remain at more than twice their 50-year average are illusory, given new sources of supply and energy-saving technologies.
In fact, assurances that these two bubbles will endure are uncannily reminiscent of the talk of the "new economy" in the 1990s and the belief that "homeowners never default on their mortgages" and that "house prices never go down" in the mid-2000s.
Of course, bubbles could emerge again in the same market after a while—just as they used to do in Hong Kong or South Korea. But it hasn't worked like that in the U.S. More than a decade after the high-tech bubble burst, the Nasdaq Composite index stands at two-thirds of its 2000 high, while the number of issues traded today is less than half of what it was back then and continues to dwindle.
Similarly, the housing market and the construction industry, despite an uptick in early 2013, remain in the doldrums more than six years since house prices started to decline. Worse, each new bubble appears to produce a weaker recovery, with fewer jobs created, whereas busts have shown an alarming tendency to increase in severity and length.
Uneven Distribution
Speculative bubbles tend to distort the markets, attracting a disproportionate amount of financial resources to selected sectors while starving others. The Federal Reserve and other major central banks have created an unprecedented amount of liquidity—several trillion dollars' worth since the advent of the global financial crisis in 2008. But only a small portion of the money has gone where it could be used productively, i.e., to make loans to businesses and consumers. The bulk of the newly created liquidity ended up in the U.S. Treasuries and in Switzerland, which has emerged as a safe haven of last resort.
The Swiss have experienced a massive inflow of funds from the crisis-ridden euro-zone, and not only from troubled economies on its periphery, but from stronger ones in the north, as investors fear the collapse of the single currency and financial chaos everywhere in the European Union. Since 2008, the franc has risen by one-third against the euro. And even against the U.S. dollar, which strengthened against the euro as a result of financial turmoil in the eurozone, the franc has moved up substantially over the past five years.
For Switzerland's exceptionally open economy a strong franc is something of a catastrophe. Exports of goods and services account for almost 55% of the country's GDP, compared to less than 15% for the U.S. Switzerland's current account surplus, which measures 11% of GDP, is a key determinant of economic growth. An overvalued franc—and it is overvalued by some 60% according to The Economist's Big Mac index—threatens to undermine Swiss manufacturing, hitting its exports and hooking consumers on cheap imports.
Switzerland's tourist industry, already decimated in the final decades of the 20th century, is suffering further damage as the country becomes unaffordable for middle-class visitors. At a Zurich Starbuck's, for instance, a cup of medium-sized fresh-brewed coffee, which sells for around $2.40 in New York, will set you back by more than $5.
Righting the Ship
The Swiss government and the Swiss National Bank, its central bank, have been running a very tight ship. The SNB gets nervous when Swiss GDP grows at a rate of more than 2%, and it has been steadily mopping up the liquidity flooding Swiss banks. Wages and consumption have been crimped, and consumer prices actually declined during 2012. Since, in the Eurozone, inflation has been running at close to 2%, while prices in Switzerland have been flat or declining, the franc's overvaluation against the euro, as well as the dollar, will gradually disappear.
But this is only part of the solution. Looking ahead in the not-too-distant future, the Swiss authorities can easily see new waves of foreign money washing over their borders. The crisis in Cyprus has left vast sums of Russian money stranded in the island's banking system. Corporate and private depositors will suffer losses, and likely will withdraw the bulk of their funds from Cyprus once it becomes possible. Henceforth, Russian capital flight, measured at some $54 billion last year, will probably opt for greater safety, which at this point means Switzerland.
Since 2011, the SNB has maintained a ceiling on the euro exchange rate at 1.20 Swiss francs. By now it has established considerable credibility for this policy, so that if the eurozone crisis flares up again—for instance, as a result of the Cyprus debacle or the decision by the Supreme Court in Portugal to strike down austerity measures—the Swiss will be prepared to keep the franc from rising into the stratosphere.
Stocks Benefit
Measures to restrain economic growth, limit consumption and not allow a speculative bubble to develop may make the Swiss economy staid and less dynamic. After all, it is Switzerland, the land of the cuckoo clock. In fact, for all the inflow of funds, the Zurich stock market has performed largely in line with other major markets in Europe, such as Frankfurt and London. But over the longer term, its gains in dollar and euro terms, as well as adjusted for inflation, have been substantially higher.
If the euro does tumble, and capital flees to Switzerland, it is unlikely to be attracted to the Confederation's long bonds, which yield less than 0.7% on an annualized basis, the lowest in the world after Japanese government bonds. Swiss blue chip corporations, on the other hand, offer safety that is similar to government bonds and often pay attractive dividends, which for such companies as ABB, Novartis and Nestle measure in the environs of 3%.
There have been concerns about the performance of the Swiss corporate sector in the future, following the referendum in March to make decisions on executive pay contingent on shareholder approval, as well as to limit golden handshakes and golden parachutes. Opponents of such measures saw them as unwarranted interference into the private sector and claimed that Swiss companies will either be unable to attract executive talent or decamp abroad.
Defenders of the measure, meanwhile, have suggested that a compulsory say-on-pay requirement will improve corporate governance and align the interests of executives with those of shareholders. As to finding a more attractive place to do business, it should be kept in mind that Switzerland finished first in the Global Competitiveness Index compiled by the Davos World Economic Forum four years running.


text:
Ordering information
For SONL plummer (pillow) block housings, each of the following items must be ordered separately:
- housing
seal kit (→ Sealing solutions)
- locating rings
- bearing
adapter sleeve
Order example
Two plummer block housings are required for two 22224 EK spherical roller bearings on H 3124 adapter sleeves. One housing will accommodate the non-locating bearing at the end of the shaft. The other housing will accommodate the locating bearing on a through shaft. The oil needs to be cooled by two oil cooling tubes per housing.
The following items should be ordered:
- 2 housings SONL 224-524
- 1 seal kit TSO 524
- 1 seal kit TSO 524 A
- 2 locating rings FRB 12/215
4 oil cooling tubes AVA 0001/3


text:
Spring Island was a sea island cotton plantation in Beaufort County, South Carolina. In 1801, George Edwards came into possession of Spring Island Plantation through his marriage to Elizabeth Barksdale.
Further Reading:
The plantation is today owned by the Spring Island Trust and is a nature preserve. You can read more about the history of Spring Island Plantation at the Spring Island website.
The article "Tabby ruins at Spring Island a vivid reminder of cotton's power in the South" by Lisa Allen of the Beaufort Gazette is a detailed look at the history of Spring Island Plantation.


text:
Soundcheck: Funky Bitch/Dog Log mashup > Peaches en Regalia, The Old Home Place, Peaches en Regalia, The Wedge, I Want To Be A Cowboy's Sweetheart
SET 1: Wilson > Peaches en Regalia > Poor Heart > Also Sprach Zarathustra > Llama, You Enjoy Myself[1], Cars Trucks Buses > Down with Disease > Frankenstein
SET 2: Julius, Sparkle > Mike's Song > Simple > Harry Hood > Weekapaug Groove, Sweet Adeline[2], Good Times Bad Times
ENCORE: Harpua[3] -> Wildwood Weed[4] -> Harpua[5] -> I Want To Be a Cowboy's Sweetheart[6] -> Harpua[5] -> Suspicious Minds[7] -> Harpua, Suzy Greenberg[8]
Add a Review
March 27, 1993
25 years ago
Warfield Theatre
Set 1: Llama, Guelah Papyrus, Rift, Stash, Reba, My Friend, My Friend[1], Uncle Pen, Sample in a Jar, I Didn't Know[2], David Bowie[3]
Set 2: Buried Alive > Halley's Comet > It's Ice > Bouncing Around the Room, Chalk Dust Torture, The Man Who Stepped Into Yesterday > Avenu Malkenu > The Man Who Stepped Into Yesterday > Mike's Song > I Am Hydrogen > Weekapaug Groove, Hold Your Head Up > Cracklin' Rosie > Hold Your Head Up, Poor Heart > Golgi Apparatus
Encore: The Squirming Coil, Carolina
[1] Beginning featured Trey on acoustic guitar.
[2] Fish on trombone.
[3] All Fall Down signal in intro.
Phish.net is a non-commercial project run by Phish fans and for Phish fans under the auspices of the all-volunteer, non-profit Mockingbird Foundation.
This project serves to compile, preserve, and protect encyclopedic information about Phish and their music.
Credits | Terms Of Use | Legal | DMCA
The Mockingbird Foundation is a non-profit organization founded by Phish fans in 1996 to generate charitable proceeds from the Phish community.
And since we're entirely volunteer – with no office, salaries, or paid staff – administrative costs are less than 2% of revenues! So far, we've distributed just about $1,500,000 to support music education for children – hundreds of grants in all 50 states, with more on the way.


text:
COVID-19 has been confirmed in Jamaica. See Coronavirus COVID-19 Global Cases for up-to-date details.
The COVID-19 pandemic is a rapidly evolving situation and information about the virus is still emerging. IAMAT is updating this page and COVID-19 Q&A as new details are confirmed.
Travel and COVID-19: To reduce the global spread of COVID-19, IAMAT advises against all non-essential travel at this time. See Travel and COVID-19 for more information.
Coronaviruses are a large family of respiratory viruses that can cause illness in people and animals. In rare cases, coronaviruses that circulate among animals can evolve and infect humans. In turn, these infections can easily spread from person-to-person as was the case with Severe Acute Respiratory Syndrome (SARS-CoV) and Middle-East Respiratory Syndrome (MERS-CoV).
An outbreak of the novel (new) coronavirus was first reported in December 2019 when cases of viral pneumonia with unknown origin were confirmed in Wuhan, Hubei Province, China. Because of its similarity to SARS-CoV, the virus has been named: Severe Acute Respiratory Syndrome Coronavirus 2 (SARS-CoV-2). This virus causes the disease referred to as COVID-19 - Coronavirus disease 2019. Similar to other coronaviruses SARS-CoV-2 is suspected to have come from animals, potentially bats.
This virus is primarily transmitted from person-to-person by coming into direct contact with an infected person's droplets from a cough or sneeze. The virus can also be spread by touching a surface that has come into contact with infected droplets and then touching your mouth, nose, or eyes.
COVID-19 cases have been reported in many countries around the world. For real-time updates, see: Coronavirus COVID-19 Global Cases.
Returning travellers from high risk areas and those living in communities where there is local transmission of COVID-19 are at higher risk. Refer to your local and national health authority for guidance on prevention measures taking place in your community – be sure to comply with local restrictions on travel and gatherings.
The most common symptoms include flu-like symptoms such as fever, fatigue, and dry cough. Some people may experience sore throat, runny nose, nasal congestion, body aches, or diarrhea. Symptoms typically appear within 2 days to 14 days after exposure.
Those with a weakened immune system, the elderly, and those with a pre-existing condition (specifically high blood pressure, heart or lung disease, cancer or diabetes) appear to be more prone to severe illness.
Seek medical attention if you experience fever, cough, and have difficulty breathing.
Refer to your local and national public health authority to learn about prevention measures. Take care of your health and protect others by doing the following:
If you suspect you have been exposed to COVID-19 or recently returned from travelling, you may be advised by your health authority to self-isolate for 14 days to see if symptoms of COVID-19 develop. Self-isolation involves:
If it is confirmed that you have COVID-19, your healthcare practitioner and health authority will advise you on additional self-isolation measures. People who are diagnosed with COVID-19 are advised to follow the self-isolation measures outlined above and wear a mask to reduce the risk of transmitting the virus to others. Learn more about self-isolation here.
IAMAT advises against all non-essential travel at this time. To reduce the global spread of COVID-19, many governments and public health authorities have also advised against non-essential travel and have placed restrictions on international departures and arrivals. If travel is unavoidable, refer to the following infographic:
The COVID-19 pandemic is a rapidly evolving situation. IAMAT is constantly working to update its guidance as new details emerge.
For answers to your questions on travel restrictions, returning travellers, travellers abroad, and social distancing, check out our Q&A:
Information last reviewed: April 06, 2020
Become a member to access even more travel health resources, including the Travel Health Planner.JOIN TODAY
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