text:
Hairdresser in Bryanston before I go into the points to help you choose your hairdresser, I should first outline the definition of what is a mobile hairdresser? A Mobile Wedding Hair Stylist is a hairdresser who usually works for his or herself visiting clients at their homes or place of work, or any other agreed venue and does not operate from a fixed hair salon or beauty shop.
Becoming a Hairdresser - The Advantages and Disadvantages
1.When to consider using a mobile hairdresser. The services of a mobile hairstylist may often be required to be used at a home for a wedding when it may often be inconvenient for the bride to travel to a hair or beauty salon to have her hair and her make-up done, requiring her then to travel back to her home to put on her wedding gown. Instead, the hairdresser will travel to the bride's home in order to style the bride's hair for her special day. A Mobile Hairdresser Near Me hairstylist is often in demand for Care homes, hospitals, prisons, the armed forces, and in many other situations where individual attention is required.
Choosing a Mobile Hairdresser - 4 Simple Tips to Help You Choose The Best
4. Always Use a qualified hairdresser. As with Salon hairdressers, your mobile hairdresser should hold formal hairdressing qualifications. The UK national Vocational Qualification in Hairdressing (NVQ) is the only recognized qualification system, and more than 60% of mobile hairstylists are now trained to this standard. They should also hold professional indemnity insurance.
Your mobile hairdresser should be happy and prepared to recommend the perfect hairdos and often make-up to accentuate and compliment the individual looks of the customer, and offer suggestions on what hairstyle or make up should best suit the client.
Hairdresser in Bryanston ?
Hairdressing by definition is the styling of ones hair employing various techniques including hair cutting, hair colouring, styling and various hair treatment options. This is usually executed by qualified and professionally trained people in the art of styling and cutting hair.
One would normally visit a hairdressing or beauty salon to have this performed however it is common today to have home visits as well by a mobile hairdresser. Hairdressing involves using a number of tools to complete the job such as hair straighteners, hair dryers, hair clippers, trimmers as well as the several number of hair care products available to help attain that ultimate style. The most crucial item in a hairdressers toolbox is of course the scissors. There are practically dozens of different types of scissors available on the market and the hairdresser will have his or her favourite make and style. Of the numerous kinds offered you have the traditional standard scissors as well as kinds that thin the hair and left handed ones too.
In order to remain ahead of the competition a good hairdressing salon has to constantly update there staff members skills and knowledge. New styles are showing up constantly and having the means to provide the desired service will help your business develop. Customers will always prefer a salon that provides a substantial and varied choice, not simply for their hair and skin but also their budgets too. One last note to consider prior to getting any kind of hairdressing equipment is to be sure that it adheres to any required security standards.
Starting Dreadlocks: What Method Is Best for You?
It would be impossible to count how many times each summer a professional groomer is asked to shave a client's dog in an attempt to make it cooler. Here in rural Montana where the summers are scorching, I have had requests to shave almost every breed imaginable. It is a common misconception that all dogs would automatically be cooler if they had less hair.
First it is important to consider is what type of hair the dog has. All dogs can basically be divided into two groups. First we have those who need to have their cut on a regular basis, such as poodles, shih tzus, cocker spaniels, lhasa apsos, terriers, etc. Dogs in this group have hair that would continue growing longer and longer until it was cut. These breeds can be shaved with no problem. Taking off excess coat by shaving them down in hot weather will indeed make them more comfortable and cooler, and will not cause damage to the dog's coat. However, this is not the case with the second group.
This group of dogs consists of all the other breeds, longhaired or shorthaired, whose hair grows to one length only and then remains that length. These dogs typically shed much more than dogs in the first group. These include retrievers, pomeranians, great Pyranees, chow chows, pugs, German shepherds, huskies, and the list goes on and on. Their coats act as insulators against the elements, and should never be shaved. After all, do you take the insulation out of your home in the summer to make it cooler? Absolutely not, and the same goes for these dogs as well.
It is important to note that if you have a mixed breed dog, it can be difficult to determine which group the dog falls into. Most groomers can evaluate a dog's coat upon inspection to let you know which group the dog falls into, and what course of action to take, the risks involved, etc.
As a former professional groomer, I strongly feel that it is the groomer's responsibility to fully explain these things to clients wanting to have their dogs shaved. It is important to share knowledge with the clients to make the best decision possible for the pet in need of grooming.
COPYRIGHT 2008 Shannon Heggem


text:
Results 1 to 1 of 1
- Join Date
- Jan 2019
- Posts
- 1
Problems when rewiring Reason in Pro Tools
I'm running into some glitchy issues with Reason10 as a rewire in Pro Tools.
1. I'm getting a constant, short, rhythmic midi note at C-2.
2. When I preview listen to a loop I hear it just fine, but after I load it into a Rex Player the sound changes. The best way I can describe it is it sounds like the loop is being put through a Lo-fi effect. Or course it's not, and I've checked all the other obvious things like the mixer settings ect.
I should say that I set up Reason on a Pro Tools Aux Track and work inside Reason for all my Midi Performances as apposed to a Pro Tools Instrument Track. I've worked this way for years with no issue. I thought it might be a compatibility issue with Reason10 as I was running PT11, but I tried upgrading to PT2018.12 and Reason10.2.2 and get the same issue. I'm running on Mac OS10.10.5
I've also tried contacting Propellerhead Support and I have to say their response has been seriously lacking. I first contacted them in November and my last response from them was Dec7 apologizing for their non response.
Thread Information
Users Browsing this Thread
There are currently 1 users browsing this thread. (0 members and 1 guests)

subset: commoncrawl


text:
SPOT Firmware UpdaterSome of the latest SPOT Products have firmware you can update. This often solves bugs or enhances the product. Click on your device below if you are prompted to update its firmware. During the update process the updater automatically checks whether there is an update available for your firmware.
Let's get started. First select your device:


text:
- Sign In
- or
Please retry or call the practice for assistance.
Privacy policy
1.1 Centaur Software Development Co. Pty. Ltd (ACN 057 620 390) t/as Centaur Software ("Centaur Software") is committed to keeping your information safe and secure in accordance with the Privacy Act 1988 (Cth) (the "Privacy Act") and the Australian Privacy Principles contained therein. By engaging Centaur Software's services, you are giving consent to Centaur Software for the use of your private information in the manner set out in this Privacy Policy.
2.1 Centaur Software may collect and use the following kinds of information:
(a) information about your use of the services of Centaur Software, including but not limited to our website at www.centaursoftware.com.au (the "Services"); and
(b) information about your personal details (including name; phone contact details; address information; email; employer; career history and current salary).
2.2 Information about your personal details may be collected from you in a variety of ways, including but not limited to: when you interact with the Services electronically or in person; when you access the Services; via the internet; and when Centaur Software provides services to you.
3.1 Centaur Software may use your personal information:
(a) to enable your access to the Services;
(b) to track usage and measure statistics in connection with the Services;
(c) to supply to you the Services to you as a customer;
(d) to receive and/or access information from third party providers for the provision of our services to you;
(e) to contact you regarding your use of the services or services offered by Centaur Software;
(f) to contact you in relation to comments, complaints, enquiries or dispute resolution;
(g) to communicate with third party providers or associate parties with respect to the provision of the services;
(h) for marketing purposes; and
(i) to send you marketing communications.
3.2 Centaur Software may be required to disclose personal information about you to third parties where it is required, incidental or otherwise related to the primary purpose of providing services to you. You acknowledge and agree that, pursuant to the nature of the Services, Centaur Software may elect not to disclose the identity of these third parties to you.
3.3 Centaur Software may disclose your personal information to the extent that it is required to do so by law, in connection with any legal proceedings or prospective legal proceedings, and in order to establish, exercise or defend its legal rights.
4.1 It is important that you advise Centaur Software of changes to your personal information that you have provided to Centaur Software as it is essential that your personal information is accurate, complete, and up-to-date in order for Centaur Software to provide services to you.
4.2 Centaur Software uses reasonable technical precautions and has implemented business processes to protect your personal information from misuse, loss, unauthorised access, modification and disclosure. However Centaur Software is not liable for any unauthorised access to this information.
4.3 Centaur Software will take all reasonable steps to destroy or permanently de-identify personal information if it is no longer needed for the purposes of providing our services to you and where Centaur Software is not required to retain that information by law.
5.1 As a potential customer, you are responsible to ensure that the information you provide to Centaur Software is accurate, complete and up-to-date.
5.2 By request, you may contact Centaur Software and ask to know what sort of personal information is held about you, for what purposes, and how it is collected, held, used and disclosed.
5.3 By request, you may access your personal information by contacting Centaur Software at email@example.com. Centaur Software reserves the right to charge a reasonable administration fee for this access.
5.4 Centaur Software, in its sole discretion, may consider that there is a sound reason under the Privacy Act, Freedom of Information Act or other relevant law to withhold personal information, or not make the requested changes.
6.1 You acknowledge that Centaur Software retains, collects and maintains your personal information for statistical analysis purposes (for internal use only). You agree that Centaur Software may share, distribute and/or transfer information which you have provided to Centaur Software to third parties, after that information has been de-identified.
7.1 You acknowledge that Centaur Software's servers may be situated outside of Australia and therefore, your personal information may be transferred and stored in foreign jurisdictions. You agree that Centaur Software may transfer your information into foreign jurisdictions for the purposes of providing you with the Services. In addition to the above, Centaur Software will only transfer personal information to someone who is in a foreign country where:
(a) Centaur Software reasonably believes that the recipient of the information is subject to a law, binding scheme or contract which effectively upholds principles for fair handling of the information that are substantially similar to the Australian Privacy Principles;
(b) the individual consents to the transfer;
(c) the transfer is necessary for the performance of a contract between you and Centaur Software, or for the implementation of pre-contractual measures taken in response to your request;
(d) the transfer is necessary for the conclusion or performance of a contract concluded in your interest between Centaur Software and a third party;
(e) all of the following apply:
(i) the transfer is for your benefit;
(ii) it is impracticable to obtain the your consent to that transfer; and
(iii) if it were practicable to obtain such consent, you would be likely to give it; or
(f) Centaur Software has taken reasonable steps to ensure that the information which it has transferred will not be held, used or disclosed by the recipient of the information inconsistently with the Australian Privacy Principles.
8.1 Sensitive information is defined in the Privacy Act to include information or opinion about such things as an individual's racial or ethnic origin, political opinions, membership of a political association, religious or philosophical beliefs, membership of a trade union or other professional body, criminal record or health information.
8.2 Sensitive information will be used by Centaur Software only for the primary purpose for which it was obtained; for a secondary purpose that is directly related to the primary purpose; with your consent; or where required or authorised by law.
9.1 As a valuable customer, if you have any questions or complaints in relation to this Privacy Policy or privacy practice, please feel free to contact Centaur Software of your complaints to firstname.lastname@example.com.
9.2 A complaint should identify whether it is about:
(a) the collection of personal information;
(b) the use of personal information;
(c) the disclosure of personal information;
(d) the security or storage of personal information;
(e) the accuracy of personal information;
(f) a refusal to give complaint access to or find out about their personal information; or
(g) a refusal to change or delete personal information .
9.3 Centaur Software values your opinions and takes complaints very seriously. Upon receiving written notice of your complaint about privacy, Centaur Software will respond quickly to advise you of the outcome following its enquiring into the same. You will also be invited to respond to its outcome. If a response is received, Centaur Software will assess it and advise if it has changed its view. If you are unsatisfied with the final outcome, Centaur Software will advise further options including, if appropriate, making a complaint with the Office of the Australian Information Commissioner.
10.1 No partnership or agency
Nothing contained or implied in this Privacy Policy will create or constitute, or be deemed to create or constitute, a partnership between you and Centaur Software. A party must not act, represent or hold itself out as having authority to act as the agent of the other party or in any way bind or commit the other parties to any obligation.
10.2 Waivers
In limited circumstances, Centaur Software may allow you to waive application of this Privacy Policy. A waiver of this Privacy Policy must be in writing and signed by Centaur Software. Centaur Software anticipates that the waiver of this Privacy Policy would only be in exceptional circumstances, and Centaur Software encourages that you consider the circumstances leading to the waiver request prior to submitting such a request.
10.3 Governing Law & Jurisdiction
This Privacy Policy is governed by the laws of New South Wales, Australia. In the event of any dispute arising out of or in connection with this Privacy Policy, you agree that the exclusive venue for resolving any dispute shall be Sydney, Australia.
11.1 This Privacy Policy is available online via www.centaursoftware.com.au by clicking the "Privacy Policy" link located at the bottom of the Services. Centaur Software reserves the right to modify or amend this Privacy Policy at any time and for any reason, without notification.
11.2 Centaur Software updates this Privacy Policy from time to time by posting a new version on its Services. You shall be taken to agree to the Privacy Policy from the time the new policy is posted on its Services.
11.3 This policy was last modified on 10 March 2015.
12.1 Please contact Centaur Software if you have any questions regarding this Privacy Policy.
To obtain the best browsing experience you need to be using the latest version of IE, Google Chrome or Firefox.
We suggest you download the latest version of Google Chrome, Microsoft Internet Explorer, Mozilla Firefox.
If you require further information, please consult the Help within your browser.
You will receive an SMS with a confirmation code shortly.
Please use this code to complete the sign up process.
Terms and Conditions of Use
1 About the Platform
1.1 Welcome to Centaur Software, a cloud based platform (the "Platform") that provides patients with a quick and easy way to interact with their medical practitioners. The Platform provides a variety of cloud based services including but not limited to the following:
(a) online appointment services (eAppointments);
(b) online forms for patients to complete (eForms);
(c) online marketing services (eMarketing);
(d) a cloud based payment gateway (ePayments); and
(e) the ability to have direct access to your patients and other practices to relay information (eCommunication).
(the "Services").
1.2 The Platform is operated by Centaur Software Development Co. Pty. Ltd (ACN 057 620 390) t/as Centaur Software ("Centaur Software"). Access to and use of the Platform, or any of its associated products or services, is provided by Centaur Software. Please read these terms and conditions (the "Terms") carefully. By using, browsing and/or reading the Platform, this signifies that you have read, understood and agree to be bound by the Terms. If you do not agree with the Terms, you must cease usage of the Platform, or any of its products or services, immediately.
1.3 Centaur Software reserves the right to review and change any of the Terms by updating this page at its sole discretion. When Centaur Software updates the Terms, it will use reasonable endeavours to provide you with fourteen (14) days' notice of same. Any changes to the Terms take immediate effect from the date of their publication. Upon your purchase of the Services, Centaur Software will provide you with an electronic copy of the Terms, however, it is recommended that you check the Terms available on the Platform from time to time and make a copy for your records.
2 Acceptance of the Terms
2.1 You accept the Terms by using the Services and/or clicking to accept or agree to the Terms where and if this option is made available to you in the user interface.
3 Your obligations as a User
3.1 In order to use the Services you must first be provided with a Patient Identification and password by your medical practitioner (the "Patient Identification") and, upon using the Patient Identification you will be prompted to read the Terms and accept them.
3.2 Once you have accepted the Terms you will be a recognised user of the Platform (the "User") and you agree to comply with the following:
(a) you will use the Services only for purposes that are permitted by:
(i) the Terms; and
(ii) any applicable law, regulation or generally accepted practices or guidelines in the relevant jurisdictions;
(b) you have the sole responsibility for protecting the confidentiality of your Patient Identification. Use of your Patient Identification by any other person may result in the immediate cancellation of the Services;
(c) access and use of the Platform is limited, non-transferable and allows for the sole use of the Platform by you for the purposes of Centaur Software providing the Services; and
(d) you will not use the Services or the Platform in connection with any commercial endeavours except those that are specifically endorsed or approved by the management of Centaur Software.
4 Copyright and Intellectual Property
4.1 The Platform, the Services and all of the related products of Centaur Software are subject to copyright. The material on the Platform is protected by copyright under the laws of Australia and through international treaties. Unless otherwise indicated, all rights (including copyright) in the content and compilation of the Platform (including but not limited to text, graphics, logos, button icons, video images, audio clips, Platform, code, scripts, design elements and interactive features) or the Services (the "Content") are owned or controlled for these purposes, and are reserved by Centaur Software or its contributors.
4.2 All trademarks, service marks and trade names are owned, registered and/or licensed by Centaur Software, who grants to you a worldwide, non-exclusive, royalty-free, revocable license whilst you are a User to:
(a) use the Platform pursuant to the Terms;
(b) copy and store the Platform and the material contained in the Platform in your device's cache memory; and
(c) print pages from the Platform for your own personal and non-commercial use.
Centaur Software does not grant you any other rights whatsoever in relation to the Platform, the Services. All other rights are expressly reserved by Centaur Software.
4.3 Centaur Software retains all rights, title and interest in and to the Platform and all related content. Nothing you do on or in relation to the Platform will transfer any:
(a) business name, trading name, domain name, trade mark, industrial design, patent, registered design or copyright, or
(b) a right to use or exploit a business name, trading name, domain name, trade mark or industrial design, or
(c) a thing, system or process that is the subject of a patent, registered design or copyright (or an adaptation or modification of such a thing, system or process),
to you.
4.4 You may not, without the prior written permission of Centaur Software and the permission of any other relevant rights owners: broadcast, republish, up-load to a third party, transmit, post, distribute, show or play in public, adapt or change in any way the Content or third party content for any purpose, unless otherwise provided by these Terms. This prohibition does not extend to materials on the Platform which are freely available for re-use or are in the public domain.
5 Privacy
5.1 Centaur Software takes your privacy seriously and any information provided through your use of the Platform, Services or the registration process are subject to Centaur Software Privacy Policy, which is available at www.centaursoftware.com.au.
6 General Disclaimer
6.1 Nothing in the Terms limits or excludes any guarantees, warranties, representations or conditions implied or imposed by law, including the Australian Consumer Law (or any liability under them) which by law may not be limited or excluded.
6.2 Subject to this clause 6, and to the extent permitted by law:
(a) all terms, guarantees, warranties, representations or conditions which are not expressly stated in the Terms are excluded; and
(b) Centaur Software we will not be liable for any special, indirect or consequential loss or damage (unless such loss or damage is reasonably foreseeable resulting from our failure to meet an applicable Consumer Guarantee), loss of profit or opportunity, or damage to goodwill arising out of or in connection with the Services or these Terms (including as a result of not being able to use the Services or the late supply of the Services), whether at common law, under contract, tort (including negligence), in equity, pursuant to statute or otherwise.
6.3 Use of the Platform and the Services is at your own risk. Everything on the Platform and the Services is provided to you "as is" and "as available" without warranty or condition of any kind. None of the affiliates, directors, officers, employees, agents, contributors and licensors of Centaur Software make any express or implied representation or warranty about the Content (as defined in clause 7.1 of these Terms) or any products or services (including the products or services of Centaur Software) referred to on the Platform. This includes (but is not restricted to) loss or damage you might suffer as a result of any of the following:
(a) failure of performance, error, omission, interruption, deletion, defect, failure to correct defects, delay in operation or transmission, computer virus or other harmful component, loss of data, communication line failure, unlawful third party conduct, or theft, destruction, alteration or unauthorised access to records;
(b) the accuracy, suitability or currency of any information on the Platform, the Services, or any of its Content related products (including third party material and advertisements on the Platform);
(c) costs incurred as a result of you using the Platform, the Services or any of the products of Centaur Software;
(d) the Content or operation in respect to links which are provided for your convenience;
(e) any failure to complete a transaction, or any loss arising from e-commerce transacted on the Platform; or
(f) any defamatory, threatening, offensive or unlawful conduct of third parties or publication of any materials relating to or constituting such conduct.
7 Limitation of liability
7.1 Centaur Software's total liability arising out of or in connection with the Services or these Terms, however arising, including under contract, tort (including negligence), in equity, under statute or otherwise, will not exceed the resupply of the Services to you.
7.2 You expressly understand and agree that Centaur Software, its affiliates, employees, agents, contributors and licensors shall not be liable to you for any direct, indirect, incidental, special consequential or exemplary damages which may be incurred by you, however caused and under any theory of liability. This shall include, but is not limited to, any loss of profit (whether incurred directly or indirectly), any loss of goodwill or business reputation and any other intangible loss.
8 Termination of Contract
8.1 The Terms will continue to apply until terminated by either you or by Centaur Software as set out below.
8.2 If you want to terminate the Terms, you may do so by providing written notice to Centaur Software via the 'Contact Us' link on our homepage.
8.3 Centaur Software may at any time, terminate the Terms with you if:
(a) you have breached any provision of the Terms or intend to breach any provision;
(b) Centaur Software is required to do so by law;
(c) Centaur Software is transitioning to no longer providing the Services to Users in the country in which you are resident or from which you use the service; or
(d) the provision of the Services to you by Centaur Software is, in the opinion of Centaur Software, no longer commercially viable.
8.4 Subject to local applicable laws, Centaur Software reserves the right to suspend or deny, in its sole discretion, your access to all or any portion of the Platform or the Services without notice if you breach any provision of the Terms or any applicable law or if your conduct impacts Centaur Software's name or reputation or violates the rights of those of another party.
8.5 When the Terms come to an end, all of the legal rights, obligations and liabilities that you and Centaur Software have benefited from, been subject to (or which have accrued over time whilst the Terms have been in force) or which are expressed to continue indefinitely, shall be unaffected by this cessation, and the provisions of this clause shall continue to apply to such rights, obligations and liabilities indefinitely.
9 Indemnity
9.1 You agree to indemnify Centaur Software, its affiliates, employees, agents, contributors and licensors from and against any breach of the Terms.
10 Dispute Resolution
10.1 Compulsory:
If a dispute arises out of or relates to the Terms, either party may not commence any Tribunal or Court proceedings in relation to the dispute, unless the following clauses have been complied with (except where urgent interlocutory relief is sort).
10.2 Notice:
A party to the Terms claiming a dispute ("Dispute") has arisen under the Terms, must give written notice to the other party detailing the nature of the dispute, the desired outcome and the action required to settle the Dispute.
10.3 Resolution:
On receipt of that notice ("Notice") by that other party, the parties to the Terms ("Parties") must:
(a) Within seven (7) days of the Notice endeavour in good faith to resolve the Dispute expeditiously by negotiation or such other means upon which they may mutually agree;
(b) If for any reason whatsoever, twenty-one (21) days after the date of the Notice, the Dispute has not been resolved, the Parties must either agree upon selection of a mediator or request that an appropriate mediator be appointed by the President of the Law Society of New South Wales or his or her nominee;
(c) The Parties are equally liable for the fees and reasonable expenses of a mediator and the cost of the venue of the mediation and without limiting the foregoing undertake to pay any amounts requested by the mediator as a pre-condition to the mediation commencing. The Parties must each pay their own costs associated with the mediation;
(d) The mediation will be held in Sydney, Australia.
10.4 Confidential
All communications concerning negotiations made by the Parties arising out of and in connection with this dispute resolution clause are confidential and to the extent possible, must be treated as \"without prejudice\" negotiations for the purpose of applicable laws of evidence.
10.5 Termination of Mediation:
If thirty (30) days have elapsed after the start of a mediation of the Dispute and the Dispute has not been resolved, either Party may ask the mediator to terminate the mediation and the mediator must do so.
11 Venue and Jurisdiction
The Services offered by Centaur Software are intended to be viewed by residents of Australia. In the event of any dispute arising out of or in relation to the Platform, you agree that the exclusive venue for resolving any dispute shall be in the courts of New South Wales, Australia.
Unless otherwise stated, all amounts, including out of pocket expenses, expressed and described on or in connection with these Terms, are listed in Australian Dollars (AUD) and are GST exclusive. GST is only applicable to subscribers situated in Australia.
13 Governing Law
The Terms are governed by the laws of New South Wales, Australia. Any dispute, controversy, proceeding or claim of whatever nature arising out of or in any way relating to the Terms and the rights created hereby shall be governed, interpreted and construed by, under and pursuant to the laws of New South Wales, Australia, without reference to conflict of law principles, notwithstanding mandatory rules. The validity of this governing law clause is not contested. The Terms shall be binding to the benefit of the parties hereto and their successors and assigns.
14 Independent Legal Advice
Both parties confirm and declare that the provisions of the Terms are fair and reasonable and both parties having taken the opportunity to obtain independent legal advice and declare the Terms are not against public policy on the grounds of inequality or bargaining power or general grounds of restraint of trade.
15 Severance
If any part of these Terms is found to be void or unenforceable by a Court of competent jurisdiction, that part shall be severed and the rest of the Terms shall remain in force.


text:
Cashin Out CD Cover TemplateThe canvas is set up at 1575×1575 pixels (5×5 inches with .25 inch bleed area)
- Contains six (6) PSD files that are well organized and highly detailed for easy use.
- Print Ready (CMYK, 300DPI)
- Web Ready (RGB, 300DPI)
- The files contains groups that are color coded and properly labelled.
- Easy to edit and fully customizable.
- All text are editable
All fonts used are available for FREE
Enjoy and Remember to RATE ITEM when Purchased
Credit: CD Case in High resolution by Fireman02:Available Here


text:
|Allegro CL version 9.0
Unrevised from 8.2 to 9.0.
8.2 version
The class of menu-item objects. A menu-item is created by calling make-instance, specifying the menu-item class or some subclass of it.
Here is a list of the properties of a menu-item; each can be specified at creation time by passing the corresponding keyword initarg to make-instance:
pixmap object (or pixmap handle) in
order to display an image rather than a string in the menu.
nil, then the menu-item will be grayed out and
unavailable to the user. The default is true.
Here is a typical menu-item creation form:
(make-instance 'menu-item :name :help :title "~Help" :value 'show-help :help-string "Shows help on the selected thing." :event-synonym 'vk-f1)
A menu-item may be added to a menu when the menu is created by calling open-menu, or added later by calling add-to-menu.
See About how to get sample code for creating controls in cgide.htm, which explains how to use the IDE to create such code.
See also the menu chapter in the IDE User Guide.
Copyright (c) 1998-2019, Franz Inc. Oakland, CA., USA. All rights reserved.
This page was not revised from the 8.2 page.
Created 2012.5.30.
|Allegro CL version 9.0
Unrevised from 8.2 to 9.0.
8.2 version


text:
The real life of Beacon happens in Life Groups. Groups meet from Mondays to Wednesdays from 7:30pm at various homes in Burntwood and Lichfield. Life Groups have two forms: Life Groups that gather around the word preached on a Sunday and fellowship and support, and Discipleship Groups that follow our Know-Grow-Go in-house curriculum.
This event has passed.
Discipleship and Life Groups
March 17 @ 7:30 pm - 9:00 pm
|Recurring Event (See all)
An event every week that begins at 7:30pm on Monday, Tuesday and Wednesday, repeating until 31st December 2020


text:
So a South Florida Congressional candidate was making a campaign speech the other night and in the process of decrying Pres. Obama's new healthcare bill, he blurted out "Listen up, Buckwheat. That's not how it's done!"
Would you assume "Buckwheat" was a race-bating slap at Obama, for the most obvious reason?
I would. It's reasonable assumption, I think.
Now, the twist to the story: The candidate, Corey Poitier, is black. Not that it should matter, but he's running as a Republican.
Poitier says he was taken aback by criticism of his comment, and says "Buckwheat" was aimed at the healthcare reform plan itself, not at Obama. He says he meant to convey that the plan is "silly."
Otay, then! That makes sense. I don't like your plan, so I'm going to call it by the name of a harmless but buffoonish sitcom character from back in the day - not the whole show, but the very buffoonish character who shares some obvious physical characteristics with you!
Poitier completed his self-defense by arguing it's not logical that he could be racist toward another black person, being black himself.
If you read me with any regularity, you know one of my biggest pet peeves is hypersensitivity and hyper-Political Correctness.
But the criticism of Poitier falls into neither of those categories. What he said was stupid, and by virtue of the fact that it was an obvious race-related putdown, maybe racist.
Maybe. But not necessarily. It's possible Poitier really intended to convey an opinion of silliness. If so though, he took a round-about way to make the point. Whatever the case, one of his potential Democratic opponents - also a black man - downplayed suggestions of racism on Poitier's part and said instead that Poitier simply spoke before he thought and said something stupid.
Anyway, Mr. Poitier, if you're reading this, here are two free lessons from Politics 101 that informed supporters of your campaign should have given you:
- Don't take swipes at people over characteristics they don't control - like skin color, eye color, height, physical disability, etc...unless you're Sammy Sosa, who apparently has discovered how to control his skin color. But that's another story. Those types of knocks, no matter how you mean them are going to be interpreted in a bay way nine out of 10 times.
- And what determines an action of yours as racist or some other "ist" isn't the group to which you belong, but rather the group to which your target belongs, and your apparent intentions.
PS. Follow me, please, at twitter.com/jamesburnett.


text:
The Stockholm Metro is undoubtedly one of the most artistic subway systems in the world. It is not for nothing that it is called the world's 'longest art gallery'. Artists, painters and sculptors have been given the opportunity to convert 90 of the 100 subways in the system as a display of their various arts. The result is that the subways are adorned by wall reliefs, frescos, graffiti and many other forms of art, making the subways absolutely unique and uncharacteristic. There is an array of splendid colors and designs to behold and it is honestly a wonder that people make it on time to wherever they are going- considering how easy it to lose track of time while admiring these fantastic surroundings.
Every subway has a theme along whose lines the décor is created. While some emphasize the underground nature of the subway by using caves as a backdrop, some create contrast by having sky-themed cubes protruding from walls, floors and ceilings.
The Stockholm Metro is the metro system in Stockholm, Sweden. The system has 100 stations in use, of which 47 are underground and 53 above ground. There are seven lines numbered from 10 to 19, in three groups identified by a color: the Green, Red and Blue Lines. Each colour line has two or three numbered lines on shared sections through the Stockholm City Centre.
The metro system is owned by the Stockholm County Council through Storstockholms Lokaltrafik. Operation was contracted to Veolia Transport until 1 November 2009, after which MTR Corporation took over.
The decision to build a metro was made in 1941. The following years, some routes were built with near metro standard but operated with trams. The first part of the metro was opened in 1950, when an underground tram line from 1933 was converted to metro standard. This line ran south from Slussen to Hökarängen. Over the following years, two more lines extending from Slussen (via Gullmarsplan, then Johanneshov) were opened. In 1952, a second system from Hötorget to the western suburbs was opened. In 1957, the two parts were connected via the Central station and the Old Town, forming the Green Line. The Red Line was opened in 1964, with two lines going from northeast to southwest via the city center. The third and final system, the Blue Line, was opened in 1975, with two lines running northwest from the city center. The latest addition to the whole network, Skarpnäck station, was opened in 1994.


text:
COLUMBUS – William Hesmer said the discomfort from chronic disc problems in his back is manageable.
The Crew goalkeeper was fit enough Thursday at Red Bull Arena to come within nine minutes of a club record 26th career shutout but had to settle for a 3-1 win over New York that moved the undefeated team atop the Eastern Conference.
"My body feels good," he said afterward.
He will get a chance for his fourth clean sheet of the season Sunday at his former team the Kansas City Wizards and could break the deadlock with Jon Busch on the all-time list—if he is healthy.
The pain in Hesmer's back flared before last week's match against Chivas USA yet he made three saves in a 1-0 win.
"Saturday was the most pain I've ever played in," he said. "I was really, really struggling. We put heat on it enough to get through it. Sunday I couldn't even get out of bed, gave it rest. Monday, I did the same thing. Tuesday, I still struggled but I had great treatment from our trainers and doctors and they had me good to go (Thursday)."
Back pain has been a constant companion. He missed more than a month of the 2009 season with a strained lumbar.
He has been reliable except for a misplayed ball off the foot of New England's Zac Boggs on May 8.
"He's one of the top keepers in the league," defender Eric Brunner said. "He's making saves and making our job easier."
Hesmer's pro career began inauspiciously in 2004 after joining Kansas City out of Wake Forest. He played exclusively on the reserve team the first two years before compiling a 1-2 MLS record with one shutout for the Wizards in 2006.
Toronto FC claimed him in the expansion after the season, but he never played a game with the club because the Crew acquired him and defender Danny O'Rourke for a partial allocation in one the great deals in team history.
Hesmer's debut for then-coach Sigi Schmid's team was delayed until the 11th game in 2007 because of a hamstring strain suffered in the preseason.
"I had been in Kansas City for three years and I was just finally getting a chance at the end of my third year," Hesmer said. "When Sigi traded for me all I wanted to do was prove myself and prove Sigi right. He stuck his neck out for me."
Hesmer played the final 20 games and was 8-7-5 with 1.45 goals against average and five shutouts.
"When I started playing we finally turned it around," Hesmer said. "I don't take all the credit. The team was starting to turn it around, but to be a part of that movement in the right direction that led us into 2008 was obviously very good for me."
He helped the Crew win the MLS Cup in 2008 and was a finalist for goalkeeper of the year after compiling 10 shutouts to go along with a 17-6-6 mark and 1.14 GAA. Hesmer was 9-4-6 with seven shutouts last season when his goals against dropped to 0.95.
"I want to continue to be consistent, continue to win games," Hesmer said. "I've been very proud of my win-loss record. Ultimately that's what a goalkeeper's judged on."
He's off to another stellar start by allowing six goals in seven games (0.86, third-best in MLS).
The Crew will need Hesmer to be on the top of his game Sunday. They are coming off an emotional win at New York and will be tired although leading scorer Guillermo Barros Schelotto will be fresh after serving a suspension against the Red Bulls.
"I'm happy with his (Hesmer's) performance," coach Robert Warzycha said. "What is happening in the game is you have to make one stop and he's doing that right now."


text:
April 29, 2012
On last week's Mad Men, "Far Away Places," Roger Sterling (John Slattery) and his trophy wife Jane dropped acid. Roger's trip involved a magazine model with a weird hairdo who turned out to be Ted Baxter – well, not the Mary Tyler Moore Show news anchor, but the actor who played him, Ted Knight, who evidently supported himself with modeling gigs during his lean years as a bit player on Combat and The Outer Limits.
Matt Zoller Seitz, my go-to guy for Mad Men parsing, called the acid trip sequence "the least judgmental, most period-innocent depiction of the cosmic insight that people took LSD to experience in the mid-sixties." This season of Mad Men is set in 1966, a moment when experimenting with LSD really did enter the mainstream. I'll bet many Mad Men watchers were surprised by the idea that there were a few years – after LSD emerged from the counterculture of Ken Kesey and Owsley Stanley, before it was criminalized in 1968 and Richard Nixon called Timothy Leary "the most dangerous man in America" – when hard-drinking, out-of-touch middle-aged guys like Roger might have taken a dose. Even Cary Grant dropped acid around this time.
What may surprise TV fans even more is that Roger Sterling isn't the first TV character in a suit to enjoy a beneficial acid trip. In fact, even in "TV time," Kenneth Preston (Robert Reed) beat him to it by more than a year, in an amazing 1965 episode of The Defenders called "Fires of the Mind."
In that show (and for the record, I'm self-plagiarizing this description from a post I wrote two years ago), Donald Pleasence plays a Timothy Leary-like LSD advocate who is tried for murder after one of his patients commits suicide. What is remarkable about this show is its unwillingness to take as a given the idea that psychotropic drugs are harmful. The father-and-son attorneys fall on either side of a generational split on LSD, with Lawrence Preston (E.G. Marshall) so disgusted that he drops out of the case and his son Kenneth (Robert Reed) curious enough to take an acid trip. Ken is permitted to enthuse about his expanded consciousness without rebuke, and on the witness stand the LSD doctor demonstrates some of the positive effects that drugs have had on his perception and memory.
"Fires of the Mind" was one of the last works by Arnold Manoff, the blacklisted writer who enjoyed a too-short revival of his career, under the pseudonym "Joel Carpenter," in the early sixties. Manoff's episodes of Route 66 and Naked City are quirky, off-beat comedies. But for his single Defenders, Manoff contributed a straightforward, frank script, clear-eyed and questioning in a manner typical of the taboo-busting legal drama. It feels like the work of someone who needed to stick up either for the experience of LSD or, at least, for its proponents who were being demonized in the press.
For the most part, early television was monolithically anti-drug, rarely mentioning illicit substances and then only in the most hysterical, unhip terms. "Fires of the Mind" aired for the first time on February 18, 1965. Manoff, who had a weak heart, had died eight days earlier. Roger Sterling took his acid trip in September 1966. Four months later, on January 12, 1967, Benjy "Blue Boy" Carver died of an acid overdose in the now-famous, latter-day camp classic Dragnet episode "The LSD Story," effectively ending the conversation – on television, at least – about the possible benefits of lysergic acid diethylamide.
Robert Reed on acid!


text:
Current region > United Kingdom
John Sisk & Son has successfully completed a large number of residential schemes. Projects such as our ongoing work with Quintain in the massive re-development around the new Wembley Stadium, the 600 apartments in the major mixed development at Dublin's Spencer Docks, and the award winning Weymouth Street and Bolsover Street developments demonstrate the diversity of our residential work.
Sisk has established a strong reputation for working closely with clients' design teams to deliver value-engineered, innovative buildings finished to the highest quality standards.


text:
Skip to Navigation
Skip to Main Content
Skip to Footer
Try us for 3 days FREE
Gym Membership
Gyms Near Me
Gym Finder
Find the perfect gym near work or home.
Coming Soon
Explore our newest gyms and soon-to-be-open locations.
Gyms by Amenity
See what we offer and where to find it.
Find your nearest gym
Find Gym
Studio Classes
Personal Training
Let our personal trainers create a workout plan for you that's tailored to your schedule, pace and goals.
Find Trainers
Buy Personal Training
Training Club 24
Succeed as a team. Our small group training program features world-class workouts, inspiring coaches and amazing group energy.
My24 Account
About Us
Site Map
Press Room
Media Hotline: (866) 819-7414
Contact Us
Team Members
Investor Login
Member Services
Our Policy
Terms of Use
Membership Policies
In-Club Privacy Policy
SMS Text Policy
Website Privacy Policy
Follow Us
24 Hour Fitness USA, Inc. All rights reserved. 36 USC 220506


text:
Gas prices today are in $3.80-a-gallon territory. Timing could be better for this. Press release here:
Strive Not to Drive began 21 years ago as "Bike to Work Day," with the goal of encouraging bicycle commuting in Buncombe County.
Over the years, as concerns have grown about air quality, traffic congestion and the consequences of physical inactivity, the event has broadened to encourage any form of transportation other than driving alone in your car.
We hope you'll join us in this year's event as we increase awareness about how transportation choices affect our health, air quality and quality of life in Buncombe County.
This year's Strive not to Drive (SNTD) week is May 21–25. Recruit your colleagues to take the SNTD pledge to ride the bus, walk, or bike to work during this week and join hundreds of others in Asheville striving not to drive.
SNTD will also offer its annual Workplace Challenge, in which area business will compete against those of similar size for signing up the most SNTD participants. Prizes will be awarded as part of the challenge.
To learn more about SNTD and the Workplace Challenge, we invite you to send a representative from your workplace to the kick-off breakfast at 8:30 a.m. Wednesday, March 21 at the YWCA of Asheville, located at 185 South French Broad Ave.
Employers will learn about SNTD generally and about the Workplace Challenge specifically, including ideas for motivating employee participation. There will also be an update on recent and soon-to-be implemented upgrades in the City of Asheville's transportation systems that will make multi-modal commuting easier.
SNTD reps will have posters and more information for you to take back to your coworkers and get started building your team.
- Asheville organic grocer Earth Fare is returningMarch 26, 2020If the plans come to fruition, it would be a stunning resurrection of an Asheville-born brand that suddenly announced the closure of all 50 of its stores in February.1 Comment
- Dogwood Health Trust CEO: We're fighting to flatten the curve; stay homeMarch 25, 2020Dogwood Health Trust's investment to battle COVID-19 so far: $10 million.No Comments
- Asheville City Council affirms participation in One Buncombe emergency fundMarch 25, 2020The One Buncombe emergency relief fund will include both a both an individual and a small business relief component.No Comments
- Christy Lynn Band in Asheville set to celebrate 'Sweetheart of the Radio' album releaseMarch 10, 2020The Christy Lynn Band will celebrate the release of their debut album, "Sweetheart of the Radio," on Thursday at The Mothlight in West Asheville, along with Brody Hunt & The Handfulls.No Comments
- Mission Hospital nurses rally as unionization vote nearsMarch 8, 2020Mission Hospital registered nurses will vote by secret ballot in the next 20 days or so on whether to join the National Nurses United union.No Comments
- Asheville's Fireside Collective poised for a run with new recordMarch 4, 2020The guys of Fireside Collective exude a powerful collective confidence that frames the questions about their future not as "What's next for us," but rather, "What isn't?"No Comments
- Songcraft centers Songs From the Road BandMarch 3, 2020Songs From the Road Band will play a rare Asheville show at the The Funkatorium on March 14. The Wooks, a hot band out of Lexington, Ky., will open the 8 p.m. show.No Comments
- Bernie Sanders: Mission Health nurses are unionizing, and I applaud themFebruary 28, 2020Word of the unionization effort at Mission Health follows a recent public outcry over deteriorating work conditions at the hospital, which was recently purchased by HCA Healthcare.No Comments
- From 'pit of despair' to 'civic plaza'; concepts presented for Haywood-Page lot developmentFebruary 20, 2020Development on the property may include housing, a restaurant or office space to help cover the annual cost of maintaining the park components, according to plans presented.No Comments
- News obit: Bruce Elliston, founder of Asheville Family Health Centers, diesFebruary 19, 2020Bruce Elliston was the first faculty member at Mountain Area Health Education Center in Asheville, a center that has helped train countless health professionals in the mountains.No Comments
- Asheville River Arts District mixed-use project, including hotel, gets movingFebruary 18, 2020The project calls for a mix of uses, includes space for artists, two restaurants and a 70-room hotel.No Comments
- Your Feet's Too Big! Cabaret show set for Feb. 29 in HendersonvilleFebruary 17, 2020The one-night-only show will be staged in the recently renovated Center for Art & Entertainment in Hendersonville.No Comments
- 2019 ASHEVILLE FOOD FAN AWARDS! Best of Asheville part 3: THE FINAL COUNTDOWNJanuary 21, 20202019 BEST OF ASHEVILLE FOOD PART 3 The Final Countdown1 Comment
- LEAF Community Arts marks milestone with new home, new nameJanuary 18, 2020The new LEAF Global Arts Center is set for a Feb. 14 opening.No Comments
- 2019 ASHEVILLE FOOD FAN AWARDS! Best of Asheville part 2: MAKERS BAKERS TRUCKS 'N' SUCHJanuary 15, 20202019 BEST OF ASHEVILLE FOOD PART 2 Makers, Bakers,No Comments
- Hot Sheet: Asheville Regional Airport adds four more Allegiant flightsJanuary 14, 2020Also, a new light-induced meditation center has opened in downtown Asheville, and more.No Comments
- Hot Sheet: Craven Street condo project proposed in West AshevilleJanuary 8, 2020Also, construction should be starting soon on the new outdoor performance venue on Coxe Avenue; and much more.No Comments
- 2019 ASHEVILLE FOOD FAN AWARDS! Best of Asheville part 1: LET'S GET THIS FUNKY PARTY STARTED!January 7, 20202019 BEST OF ASHEVILLE FOOD PART I Let's GetNo Comments
- Hot Sheet: Wehrloom Honey and Meadery planned for Asheville South SlopeJanuary 6, 2020Also, the popular Sunny Point Cafe in West Asheville plans to renovate an adjacent house and use it as a bakery and prep kitchen for the cafe; and more.No Comments
- Hometown Holiday Jam Brings Talent, Good Vibes to The Orange PeelDecember 24, 2019This is the true holiday spirit. A crowd full of young hippies and old rockers all jamming together to songs that we know and love.No Comments
- Top Buncombe baby names of 2019: Charlotte and LiamDecember 24, 2019Check out the names of Buncombe babies in 2019.No Comments
- Holiday Hot Sheet: Harvest Pizza planned for Asheville South SlopeDecember 20, 2019Also, updates on Sunny Point Cafe, Wehrloom Honey and Meadery, goPuff and more.No Comments
- Ask A Woman AVL: What makes for a bad holiday gift for my female partner?December 12, 2019Please remember this season that the most valuable thing you can give to each other is love and attention. And cash.No Comments
- Asheville Proper, a new steakhouse, planned for downtown Grove ArcadeDecember 9, 2019At Asheville Proper, ribeye, porterhouse, NY strip and other classic cuts of meat will be cooked over a wood-fired flame on a custom grill.No Comments
- Bernstein Family Christmas Spectacular offers one last holiday escape at Asheville's Magnetic TheatreNovember 21, 2019This year's show marks the 10th, and last, staging of the of raucous, irreverent play that's become a favorite holiday escape in Asheville.3 Comments
- Buncombe tourism officials call barrage of criticism divisive, untrueNovember 20, 2019Buncombe TDA members responded to a recent opinion piece criticizing the tourism board.4 Comments
- Parisian Hotel in downtown Asheville coming back for reviewNovember 19, 2019The hotel proposal was approved before the current one-year moratorium on new hotel projects in Asheville.No Comments
- Here's how to enjoy Christmas Jam weekend in Asheville without the main jamNovember 18, 2019The two-day Kevn Kinny Songwriter Jam set for Jack of the Wood on Dec. 13 and 14 is just one of the ways to enjoy Christmas Jam weekend in Asheville.No Comments
- Bluegrass band observes a growing Asheville in 'Cold Mountain Town' trackNovember 18, 2019Ty Gilpin, Unspoken Tradition's mandolin player and the song's writer, talks about the song, its message and the traditions of mountain music.No Comments
- Asheville Citizen-Times awaits layoffs, consolidation after merger dealNovember 17, 2019The new company, which will be called Gannett, will be focused on establishing a business model that puts digital offerings first.1 Comment


text:
Toshiba Canvio Basics 2TB USB 3.0 Portable Hard Drive 2.5" Black
Toshiba's Canvio Basics for the PC requires only a single step to start saving and transporting important files, plug it in. With no software necessary to install, the Canvio Basics portable hard drive offers a hassle-free, high capacity storage solution right out of the box.
A sleek solution with plenty of storage capacity for the growing amount of digital content, from photos and videos to music and documents, the Canvio Basics offers an intelligent combination of data protection, portability, and simplicity. The one plug ease-of-use is complemented by the drive's stylish design, courtesy of a glossy finish and soft, rounded edges. Despite its light weight design and diminutive size, the Canvio Basics can add peace of mind by keeping files safe with its internal shock sensor and Ramp Loading technology.
Beyond its technical capabilities, the practicality of the Canvio Basics portable hard drive is evident in the drive's pocket-sized form factor which not only makes it easy to carry but also conforms to Toshiba's environmental efforts to reduce materials used in production. In addition, the Canvio Basics' packaging is made from 100 percent recyclable materials.


text:
Tile and Grout Cleaning Echuca West. Carpet Cleanings Echuca West offer deep tile and grout cleaning, tile regrouting & recoloring, shower tile cleaning, epoxy grouting and regrouting, efflorescence treatment, tile sealing, slippery floor treatment, tile steam cleaning, tile polishing, tile honing, tile stripping, minor tile repairs, bathroom tile restoration, kitchen tile cleaning. Our complete tile and grout cleaning solutions won't let you go anywhere else. Book now for the affordable same day tile services.
Tiles and grouts add to the aesthetic beauty of your homes and offices. But if you don't give them enough attention they can become your worst enemy. How to care about your floors? Do you know the easiest, quickest, and surest way to keep your tiles and grouts clean, healthy, hygienic, and looking beautiful always? Call the experts from Tile and Grout Cleaning Echuca West who are trained to deliver quality par excellence in our tile and grout cleaning services.
Tile Cleaning Echuca West
Our green cleaning solutions are designed in such a way that they give a new look and feel to your floors without causing any harm to the inhabitants. With more than two decades of experience in the cleaning industry, we have all the means and knowledge to give you the best of tile and grout cleaning solutions. Don't let stained floors stain your image in the eyes of your guests, let us do the honor to keep your floors stain free, absolutely clean, and thus fully clean!
Cleaner tiles and floors lead to a cleaner home/office. They ensure you have clean fresh air and breathe easy. Do you feel secure when your kids play directly on the floor? If not then probably it is high time you get professional tile and grout cleaning done by our experts from Tile and Grout Cleaning Echuca West. Dirtier tiles contain lots of contaminants and pollutants that could be life-threatening for your loved ones. We ensure the safety of your family/employees by ensuring that your floors get the best treatment and your tiles become deeply clean and contaminants free.
Tile cleaning services not just clean the tiles but also add to their life. Also, if your floors have faded in color then we can restore the original color without the need for tile replacement. Our tile restoration services are designed to restore your tiles from scratch. So if you are thinking of replacing your floors, after being tired of their problems, then come to us and we promise not to let you down!
The material of regular grouts is porous in nature and highly attractive to grime, dirt and stains. But, epoxy is the material that is highly resistant to stain and dirt. Epoxy grouting is the best way to keep your tiles clean, spotless, and grime-free. And the team of tile and grout cleaners offer the best services for epoxy grouting Echuca West that too at the most reasonable prices. So call us today and get the complete services related to your tiled surface.
The professionals of Carpet Cleanings Echuca West offer a wide range of floor restoration services in Echuca West. And one such service includes high-pressure cleaning. This method is used on hard surfaces, where regular cleaning does not work such as driveways, patios, basement, pathways and more. High-pressure cleaning is the best method to clean oil stains, gums, mould and other impurities from the surface that otherwise are not possible to clean with usual methods. High-pressure cleaning is the best method for external areas.
Floor buffing is another effective method for the removal of scratches and marks from your timber floors. We use advanced technology and quality buffing pads to remove impurities and marks from your floors. This is one of the most demanded and advanced techniques we use for restoring your floors. If you are also in the search of one such floor restoration service provider Carpet Cleanings Echuca West is the right place to approach. The professionals of our team offer only the quality and satisfactory services for tile restoration Echuca West.
You may think of cleaning pool tiles on your own, but the fact is, you may not receive the desired results. You ultimately are going to need professionals for pool tile and grout cleaning Echuca West. The cleaning tools and cleaning solutions professionals possess are designed to completely restore your pool tiles. Whereas, on the other, the cleaning solutions you have at home can't thoroughly clean your pool tiles. Also, you may lack the skills to do the task properly.
With the passage of time, your tiled floors become slippery due to a number of factors such as mould growth, ingrained dirt and accumulated contaminants. For the treatment of such floors, you may try several DIYs but these treatments do not last long. Whereas, professionals utilise all their their resources to treat slippery floors. Moreover, our professionals have years of experience in the field and they know the best techniques to thoroughly clean and treat your floors.
Tile and Grout Cleaning Echuca West offers quality domestic and commercial tile and grout cleaning services in all suburbs of Echuca West. To keep our results consistent and deliver 100% customer satisfaction, we train our cleaners with a specific cleaning procedure:
Customer satisfaction is our utmost priority and we go beyond our limits to ensure our customers are fully satisfied with our tile and grout cleaning services.
Choosing the most appropriate tile and grout cleaning service is crucial to your beautiful floors. We at Carpet Cleaning Echuca West give you our word that you will never be disappointed to choose us over many other cleaners in Echuca West. Our tile cleaning services are a result of our 20 years of experience and we keep ourselves up to date with the upcoming technology to give you an excellent cleaning experience.
We hire extremely skilled cleaners from across Echuca West. Moreover, there are certain other aspects that make us superior to others:
Tile and Grout Cleaning Echuca West offers complete tile and grout cleaning services. You can get a number of services at one place including tile sealing, tile protective coating, caulking, grout recoloring, tile stripping, grout restoration, color sealing, tile restoration, clear sealing, mildew and stain removal, shower/tub steam cleaning, floor polishing, and tile replacement. Why go somewhere else when all of this can be done in one place?
Call Tile and Grout Cleaning Echuca West today and ensure your tiles and grouts stay clean always!


text:
We are happy to announce OSS 4.1 build 1052 for Linux, Solaris, FreeBSD and SCO OSR5.
What's new:
- Fixes to VMIX layer (thanks Paulo Matias)
- New HD Codec support (Macbooks, VAIOs, Acers, HPs)
- New libossxmix - network friendly OSS mixer library
- New Linux kernel support
- ALSA Framework driver support for Linux (project cuckoo).
- AudigyLS fixes for Solaris Sparc
- Support for Solaris Boomer implementation of Open Sound.
- New audio formats added to ossplay (thanks Yair.k)
- SI3055 HD audio modem support (thanks Paulo Matias)
OSS 4.1 build 1052
Official announcements from 4Front Technologies
Moderators: hannu, dev, cesium
7 posts • Page 1 of 1
Is there a particular reason that you stop builds for OpenBSD and NetBSD? Those are fully compliant Posix systems and trying to compile OSS on these operating systems seems to me would help debugging the code. NetBSD in particular is in need of good audio support until 6.0 gets released but OpenBSD could also benefit from your drivers.
Is the goal eventually just to support Linux?
Is the goal eventually just to support Linux?
version 4.2
Well, no post yet, but, when I asked for the linux version of oss, I got the 4.2 which seems to work ! \o/ Thanks for your work !
7 posts • Page 1 of 1
Who is online
Users browsing this forum: No registered users and 2 guests


text:
|URLs and file paths: $wgScriptPath
|The base URL path.
|Introduced in version:
|pre 1.1.0
|Removed in version:
|still in use
|Allowed values:
|(relative path)
|Default value:
|'/wiki', but automatically overridden by installer to be '/w'
|Other settings: Alphabetical | By function
The base URL path (in relation to DOCUMENT_ROOT). This might be a virtual path (using apache mod_rewrite for example) or the actual directory into which MediaWiki is installed.
Note: A lot of other variables are defined relative to this one. If you redefine this in your LocalSettings.php then all dependent variables will need checking and might need redefining too!
This will be set to your base directory in LocalSettings.php at installation time. See Manual:Short URL for details.
See alsoEdit
$wgScriptPath = '/w';


text:
Mplus Home
Last Day
Last 3 Days
Last Week
Tree View
Edit Profile
Which Example details ESEM?
Mplus Discussion
Exploratory Factor Analysis
Doug Samuel
posted on Wednesday, October 19, 2011 - 6:29 am
I'm new to Mplus and new to ESEM so please forgive my ignorance. I am trying to use ESEM to examine the structure of a Big Five personality measure. I've found the examples in the manual to be very helpful in bringing me up to speed on several other analyses, but am not sure which of the examples in Chapter Five of the manual is most similar to the type of analysis that was conducted in the Marsh et al (2010) paper.
Any direction on examples to consider or how to structure the input correctly would be appreciated.
Linda K. Muthen
posted on Wednesday, October 19, 2011 - 8:04 am
The ESEM examples are 5.24 through 5.27.
Doug Samuel
posted on Wednesday, October 19, 2011 - 8:42 am
Right, sorry I guess I wasn't clear. I was wondering which of those examples was most similar to the application used in the Marsh et al (2010) study on the Big Five. More explicitly, how would I go about determining how well a five factor solution fits the data in terms of ESEM. Would this be 5.25?
If so, I'm having trouble understanding how this example would extrapolate to a Big Five inventory, with 6 indicators each for five factors.
Thank you.
Doug Samuel
posted on Wednesday, October 19, 2011 - 11:05 am
I now realize I was perhaps making it more complicated than it needed to be.
Would a straightforward ESEM of the inventory I mentioned (6 indicators each for 5 factors; so 30 total) just be:
MODEL: f1-f5 BY y1-y30(*1);
Is that correct?
Linda K. Muthen
posted on Wednesday, October 19, 2011 - 11:24 am
Yes, that is correct.
Doug Samuel
posted on Wednesday, October 19, 2011 - 11:30 am
Many thanks for your help and patience, Linda!
Back to top
Add Your Message Here
Posting Information:
This is a private posting area. Only registered users and moderators may post messages here.
Enable HTML code in message
Automatically activate URLs in message
Tree View
Program Credits


text: University of Calgary scientists are working on a machine that would pull carbon dioxide from the air in an attempt to scrub out emissions from diffuse sources, such as car exhaust and home heating. These "diffuse emissions" account for roughly half of the CO2 that goes up into the sky every day, contributing to global warming. The scrubber takes in air and binds the CO2 to sodium hydroxide. The heavier concoction is then sent through a few more chemical intermediaries, eventually resulting in a batch of separated CO2 that can be piped away, while the hydroxide gets fed back into the machine. According to the university, the scrubbers can capture around a ton of carbon dioxide for less than 100 kwh of electricity, about ten times as much CO2 as was released to keep it running. Unfortunately, that's not quite enough to keep it from being prohibitively expensive. The cheapest way to keep CO2 emissions out of the air is still not generating it in the first place. [Popsci]


text:
ATC Course Descriptions
Curriculum Within the Art & Art History Department
Lower Division
AH 1: Survey of World Art: Europe and the United States
This course, intended for beginning students in any major, examines the evolution of art in Europe and the United States, from the prehistory until the twentieth century. The course offers students a general introduction to the history and methodology of art history in the West. Fee $20. Satisfies CORE Curriculum requirement AA - Artistic Understanding and CP - Creative Practice
AH 2: Survey of World Art: Africa, Asia and the Americas
This course, intended for beginning students in any major, examines the evolution of art in Asia, Africa, and the Americas. The course offers students a general introduction to the history and methodology of art history in non-western countries. Fee $20. Satisfies CORE Curriculum requirement AA - Artistic Understanding and GP - Global Perspectives
ATC 80: Art Theory
This course introduces students to the conceptual terrain of 20th & 21st century critical theory and its relationship to artistic practice. The class will proceed via seminar format based on close readings of seminal texts and will traverse a broad array of interdisciplinary topics and critical approaches ranging from psychoanalysis and philosophy to anthropology and political economy. Assignments will include research and creative projects. Students majoring in art as well as other fields are equally encouraged to enroll. Fee $60. Satisfies CORE Curriculum requirement AA - Artistic Understanding, CP - Creative Practice and WID - Writing in the Disciplines
ART 1: Studio Foundations 1: Drawing and Painting
This course introduces beginning students to basic two-dimensional art forms such as drawing, painting, collage, and digital photography. In order to explore essential characteristics of visual expression, the class examines basic two-dimensional (2d) design elements and techniques as well as the psychological implications of creative composition in relation to various media. The class functions as a laboratory for experimentation with multi-media work, collaboration, and documentation and includes drawing from live figures and local landscapes. Fee $60. Satisfies CORE Curriculum requirement AA - Artistic Understanding and CP - Creative Practice
ART 2: Studio Foundations 2: Sculpture and Installation
This course is an introduction to three-dimensional art forms including sculpture, installation, and performance. Assignments include the use of classical materials such as clay and plaster, as well as found objects, public interventions, and 2d/4d methods. Presentations of various artists' work and assigned readings provide a springboard for discussion of theory, practical application, and critical thinking, in both historical and contemporary terms. Students are encouraged to apply this material to their own work, with a focus on process rather than results. Fee $60.
ART 3: Basic Design
This course introduces students to the fundamental principles of design underlying a wide variety of visual art forms. Topics will include composition, design principles, layout, color and light theory, and typography as applied to two-dimensional formats. Techniques will be contextualized by relevant discussions of psychology and politics, rooted in the study of representative examples and project work. Fee $60. Satisfies CORE Curriculum requirement AA - Artistic Understanding and CP - Creative Practice
ART 55: Digital Foundations 1: Photo, Video, Sound
This introductory course investigates the digital editing tools, processes, and concepts through which digital technology extends traditional 2d and time-based art practices. Students will develop digital imaging, video, and sound projects using Adobe Photoshop and Apple Final Cut Suite. The course will combine extensive software demonstrations, hands-on exercises, theoretical and technical readings, discussion of a broad range of examples of media art, and group critiques. Fee $100. Satisfies CORE Curriculum requirement AA - Artistic Understanding and CP - Creative Practice
ART 65: Digital Foundations 2: Web Design and Interactive Media
This course introduces the digital editing tools, processes, and concepts of web design and interactive art. Students will study web layout and interface design principles, color theory, typography, information architecture, and other topics that will prepare them to produce compelling website design. The theory of interactive design and new media will help contextualize student work and broaden the creative possibilities for the use of interactive structures for the purposes of artistic expression. Students will develop projects using Adobe Creative Suite software. Fee $60. Satisfies CORE Curriculum requirement AA - Artistic Understanding and CP - Creative Practice
Upper Division
ATC 111: Philosophy of New Media Art
This course examines the historical, philosophical, and socio-political basis of contemporary new media art. We read theoretical and historical statements that articulate the concepts driving new media art production, coupled with studying examples of representative work, including photography, experimental film and video, installation and net art. Project assignments integrate a critical and creative exploration of concepts. Fee $20.
ATC 117: Art Criticism, 1900 – the Present
This course is an exploration of the history of critical writing about art. A broad sampling of 20th-century texts from art historians, critics, philosophers, social scientists, and artists are brought together for discussion and reflection. Fee $20. Satisfies CORE Curriculum requirement AA - Artistic Understanding and CP - Creative Practice
ATC 166: Issues in Twentieth-Century Art
This course, for students who have taken at least one art history course, examines the history of avant-garde art movements in the 20th Century. This course provides students with a focused study of specific types of innovative, modern art. Topics include: Art and Social Change and Art between the Wars. Fee $20.
ATC 180: Seminar in Theory & Practice of Art
Advanced study in critical theory and its relation to art practice. Variable topics may include psychoanalysis, semiotics, post-structuralism, cultural studies, Frankfurt School, to name a few. Assignments will integrate critical and creative process as a form of artistic "praxis." The course may be repeated for credit as topics vary. Fee $60. Prerequisite: Art 80: Art Theory. Satisfies CORE Curriculum requirement AA - Artistic Understanding
ATC 192: Capstone Project
Art Theory & Criticism majors are required to complete a thesis project as a capstone to their studies. This project typically entails the writing of a work of art theory or criticism, or the curating and production of an art exhibition. This course provides the time and credit for students to pursue their capstone project under the supervision of a departmental faculty member. The course is limited to upper division students in the major, minor, and split majors.
AH 118: Art since 1930
This course focuses on the major stylistic movements in Europe and the United States from the Great Depression to the Digital Age. Topics covered include existentialism, the Beat Generation, pop art, politics and postmodernism, and art in cyberspace. Students are encouraged to develop an understanding of the trends and debates in contemporary art. Fee $20.
AH 193: Museum Internship Project
Work-practice program conducted in an appropriate museum internship position. Normally open to junior and senior art and art history majors. Permission of instructor and departmental chair required.
AH 194: Special Topics in Art History
This course, intended primarily for departmental majors and minors, examines a specific research topic in depth. This course provides students with a focused study of a theme within the history of art. Topics include: The History of Women Artists and Art of the 19th
Century. Fee $20.
ATC 195: Curatorial Studies Workshop
Curriculum from Outside the Art & Art History Department
Lower Division
Perfa 1: Perceiving the Performing Arts
Professional artists in the fields of dance, music and theatre introduce students to the fundamental concepts of their respective disciplines. Students go to Bay Area performances in each art form studied. Team taught. Satisfies CORE Curriculum requirement AA - Artistic Understanding
Perfa 10: Rock to Bach: Introduction to Music
Students in this class cultivate the ability to listen more deeply. They study the evolution of classical music, jazz, blues and early rock through exposure to more than three dozen composers—from Bach to Miles Davis to Little Richard. Satisfies CORE Curriculum requirement AA - Artistic Understanding
Perfa 50: Interactive Theatre
Interactive Theatre offers creative tools to effectively engage in difficult dialogues about the intersections of race, gender, sexual orientation, and class in dynamic and innovative ways. Students learn to build non-threatening environments and promote community-centered problem-solving. Open to actors and non-actors. Satisfies CORE Curriculum requirement AA - Artistic Understanding, CP - Creative Practice, TCG - The Commen Good, and CE - Community Engagement
Phil 5: Practical Logic
A course in the analysis and evaluation of everyday arguments. Recognition of patterns of argumentation, fallacies, and ambiguities in English is stressed. This course aims primarily at refining and disciplining the student's natural ability to think critically. May not be counted for major credit.
Upper Division
Anth 120: Visual Anthropology
Film and photography are powerful media for the representation (or misrepresentation) of social and natural worlds. Because we live in an image-saturated society, this course aims to help students develop a critical awareness of how visual images affect us and how they can be used and misused. The course examines photographic and cinematic representations of human lives with special emphasis on the
documentary sue of film and photography in anthropology. The course has historical, theoretical, ethical, and hands-on components, and students will learn to use photos, PowerPoint and video to produce a coherent and effective presentation.
Anth 124: Museum Studies
Museum Studies is offered in cooperation with Saint Mary's Hearst Art Gallery and Museum and as part of the Archaeology/Art and Art History split major. In this course students study the history of museums and the ethical issues involved in the collection and exhibition of cultural artifacts. The course give students hands-on experience researching artifacts for inclusion in an exhibition, designating an exhibition at the Hearst Gallery, and designing and writing the explanatory wall text, posters and brochures for a show. Students also learn to serve as docents and to convey information about museum exhibitions to different audience. Offered occasionally when an exhibition appropriate for student involvement is scheduled at the Hearst Art Gallery and Museum.
Comm 100: Communication Theory*
This course provides students with a review of major theories applicable to communication among individuals, within organizations, in politics and in the elite and mass media. Through readings and discussion of seminal core texts, students are encouraged to judge for themselves the strong and weak portions of alternative concepts, models and theoretical concepts, as well as to evaluate the empirical methods from which these theories are derived.Satisfies CORE Curriculum requirement WID - Writing in the Disciplines
Comm 109: Visual Communication*
In this course, students study visual culture, learn to do visual analysis, and explore key ideas in visual communication including visual methodologies, such as compositional interpretation, semiotics, discourse analysis, and psychoanalytic analysis. Possible topics include exploration of the visual components of gay window advertising, video games, video camera technology, photography, film, television, news, the body, comics, theme parks, and museums. Other possibilities include discussing art, representations of race, and taking a walking visual tour of campus. Satisfies CORE Curriculum requirement AA - Artistic Understanding and CP - Creative Practice
Eng 170: Problems in Literary Theory
This course is for the student who is uncertain about or even frightened by such labels as "New Criticism," "New Historicism," "Feminism," "Post-Colonialism," "Deconstruction," etc. The only prerequisite is openness to considering new, sometimes foreign ideas or ways to study and think of literature. The aim of the course is to break down the fear and resulting mistrust or mysticism that grows up around these terms and to encourage a more sophisticated reading of texts than that based on mere common sense and impression. Satisfies CORE Curriculum requirement WID - Writing in the Disciplines
Perfa 118: Twentieth-Century Composers
Students will become familiar with the 20th century's most important classical music composers such as Stravinsky, Bartok, Copland, Debussy and Cage, as well as the music and aesthetics of living composers. Satisfies CORE Curriculum requirement AA - Artistic Understanding and WID - Writing in the Disciplines
Perfa 160: Special Topics in Performing Arts
Offered every other year, this course covers in-depth a specific aspect of the performing arts only touched on in other courses. Rotating topics include: African-American Dance, Great Composers, American Musicals, Dance and Film, Theatre and Social Justice, and Directing for the Stage, among others. Although this upper-division course is open to all interested students without prerequisites, prior completion of Performing Arts 1 is strongly recommended.
Perfa 184: Dance in Performance
A course in dance analysis and criticism. Various aspects of dance as a performing art are studied through attendance at dance performances offered in the Bay Area by local companies and national troupes performing on tour. Prerequisite: Performing Arts 1. Satisfies CORE Curriculum requirement AA - Artistic Understanding, AD - American Diversity and WID - Writing in the Disciplines
Phil 111: Philosophy of Art
An analysis of doing and making, of truth, good, beauty, the visible and invisible, of figure and finality, as these reveal the intellectual and spiritual universes disclosed by painters, sculptors, poets, etc. Satisfies CORE Curriculum requirement AA - Artistic Understanding
* Students should consult the department regarding possible
substitutions, as certain courses vary their content.
Click here for more information on CORE requirements


text:
Create your own Vertical Garden
Vertical gardening is a fun, creative way to grow plants in urban spaces! Below is just a sample of what you can create with ready-to-go planters and kits.buy tramadol online no prescription
The first few images are of GroVert Vertical Gardening Systems by Bright Green. There are two different sized panels (10 and 45), and each are planted, then hung on the wall using their included mounting bracket.ultram online pharmacy
The last images are of living walls made from felt pockets. These 'pockets' are very easy to install and plant. The indoor pockets have a water tight reservoir that is 100% leak-proof.ambien online without prescription
If you're looking to build one yourself, you can visit Urban Zeal Planters (uzplanters.com) to see all your options.buy ultram online


text:
The MarketGrader A-Shares Large Cap 80 Index seeks to follow the most fundamentally sound companies with the best growth prospects in Mainland China that belong in China's large cap universe as defined by MarketGrader annually. Along with the MarketGrader A-Shares Small Cap 120 Index, it seeks to give local and global investors the opportunity to gain exposure to the best companies in China, with the best growth at a reasonable price (GARP) attributes, while acting on their views on a size-specific basis. Since the index is equally weighted, it gives each company an equal opportunity to contribute to its overall performance regardless of sector, business model or affiliation with the state.
156 Almeria Ave, Suite 201
Coral Gables, Florida 33134 USA
Phone (888) 529-1767


text:
|Working Group I: The Scientific Basis
|Other reports in this collection
9.3 Projections of Climate Change
9.3.1 Global Mean Response
Since the SAR, there have been a number of new AOGCM climate simulations with various forcings that can provide estimates of possible future climate change as discussed in Section 9.1.2. For the first time we now have a reasonable number of climate simulations with different forcings so we can begin to quantify a mean climate response along with a range of possible outcomes. Here each model's simulation of a future climate state is treated as a possible outcome for future climate as discussed in the previous section.
These simulations fall into three categories (Table 9.1):
Table 9.1 gives a detailed overview of all experiments assessed in this report.
126.96.36.199 1%/yr CO2 increase (CMIP2) experiments
Figure 9.3 shows the global average temperature and precipitation changes for the nineteen CMIP2 simulations. At the time of CO2 doubling at year 70, the 20-year average (years 61 to 80) global mean temperature change (the transient climate response TCR; see Section 9.2) for these models is 1.1 to 3.1°C with an average of 1.8°C and a standard deviation of 0.4°C (Figure 9.7). This is similar to the SAR results (Figure 6.4 in Kattenberg et al., 1996).
At the time of CO2 doubling at year 70, the 20-year average (years 61 to 80) percentage change of the global mean precipitation for these models ranges from -0.2 to 5.6% with an average of 2.5% and a standard deviation of 1.5%. This is similar to the SAR results.
For a hypothetical, infinite ensemble of experiments, in which Tm and T'' are uncorrelated and both have zero means,
The ensemble mean square climate change is thus the sum of contributions from the common forced component (Tf2), model differences (2M), and internal variability (2N ). This framework is applied to the CMIP2 experiments in Figure 9.4. These components of the total change are estimated for each grid box separately, using formulas that allow for unbiased estimates of these when a limited number of experiments are available (Räisänen 2000, 2001). The variance associated with internal variability 2N is inferred from the temporal variability of detrended CO2 run minus control run differences and the model-related variance 2M as a residual. Averaging the local statistics over the world, the relative agreement between the CMIP2 experiments is much higher for annual mean temperature changes (common signal makes up 86% of the total squared amplitude) than for precipitation (24%) (Figure 9.4).
The relative agreement on seasonal climate changes is slightly lower, even though the absolute magnitude of the common signal is in some cases larger in the individual seasons than in the annual mean. Only 10 to 20% of the inter-experiment variance in temperature changes is attributable to internal variability, which indicates that most of this variance arises from differences between the models themselves. The estimated contribution of internal variability to the inter-experiment variance in precipitation changes is larger, from about a third in the annual mean to about 50% in individual seasons. Thus there is more internal variability and model differences and less common signal indicating lower reliability in the changes of precipitation compared to temperature.
Other reports in this collection


text:
The Future Classroom Lab (FCL) provides opportunities for professional development of teachers through onsite courses and workshops regarding new pedagogical approaches and trends in order to help the participants to develop visions for the school of the future and strategies on how to realise these.
European Schoolnet's Future Classroom Lab has inspired many teachers, schools and organisations to create their own lab or learning spaces based on their local needs and interests. Based on these initiatives there has been created a network of learning labs, in some cases with the valuable and ongoing support of the Future Classroom Ambassadors. The Future Classroom Lab organizes a series of webinars where these learning labs share their experiences and tell the story of the building of the lab.
Educational technology and pedagogical research is an essential part of the FCL community. To support ICT companies, start-ups, and research projects interested in carrying out school pilots, European Schoolnet has developed a Future Classroom Validation Service, which is about working with schools to test new ideas, products and services targeting the education market.
Contact us
Postal and visiting address
EUN Partnership / Future Classroom Lab
Rue de Trèves 61
B-1040 Brussels, Belgium
See map here / Foursquare
Newsletter subscription
The newsletter includes news from the Future Classroom Lab and related EU-funded projects: ITELab, Novigado, EDU Regio and Design-FILS. Click here to subscribe >>


text:
Nothing real quick but after say 2 months, I think the asker should "owe" 1 rep point for every upvoted answer in a given question.
Using me as an example here:
I asked this question 9+ months ago and haven't accepted an answer yet. If you give a 2 month grace period, I would "owe" 14 SO points for not accepting an answer for 7 months with 2 upvoted answers.
Should I be docked some rep for letting this question go for as long as I have?
To tweak this a little...
Would there be a situation where you would start decrementing rep for this?
- Users with N questions with <M% acceptance.
- Answers upvoted N times with no downvotes (this would show participation from the asker).
- ???
EDIT: I removed some of the harsh language. The answers using punish are valid.


text:
Turkey blocks Twitter to end corruption leaks
SOFIA, Bulgaria — Twitter remained blocked in much of Turkey on Friday, days before an election and amid a massive corruption scandal in which incriminating leaks keep getting posted on social media.
The outage began Thursday night, hours after Turkish Prime Minister Recep Tayyip Erdogan gave a fiery speech to supporters in which he vowed to "eradicate Twitter" to uphold the privacy of citizens.
"I don't care what the international community says," Erdogan said at a campaign rally in the city of Bursa. "Everyone will witness the power of the Turkish republic."
Erdogan said he took action against the Twitter messaging system because anonymous Twitter accounts provide links to YouTube audio of conversations purportedly between him and his son on the shifting of cash to avoid police scrutiny. He says the audio is fake.
Elections on March 30 for local offices mark the start of a critical 15-month voting cycle leading into presidential and parliamentary elections. Erdogan has said he is not running for re-election after 11 years in office, but that can change.
Erdogan's attack on Twitter is making headlines, said Ilhan Tanir, Washington correspondent for the Turkish daily Today's Vatan.
"Everybody's talking about this," Tanir said.
Some of Erdogan's government ministers defended the ban, citing privacy issues. Other officials, including President Abdullah Gul, have criticized the restrictions.
"The wholesale shuttering of social media platforms cannot be approved," Gul said Friday on his Twitter account @cbabdullahgul, which has more than 4.4 million followers.
Gul, a founding member of Erdogan's ruling Justice and Development Party (AKP), is a potential rival of Erdogan in the presidential elections this summer. Although public disagreements between the two remain rare, analysts say any signs of emerging differences could have an effect on Turkish politics.
"Abdullah Gul is undoubtedly the next most important person in the AKP, and he actually scores higher marks than Erdogan does in public opinion polls," said William Hale, a professor emeritus of Turkish politics at the School of Oriental and African Studies in London.
According to reports in the Turkish media, Twitter has hired a prominent cyber-law expert to challenge the ban, while many users in Turkey used virtual private networks and international domain name servers to circumvent the ban.
More than half a million tweets from Turkey were posted in 10 hours Friday despite the ban, the Turkish national daily Hurriyet reported. That's not a significant decrease from daily averages before the ban.
Across Turkey, a group effort to defy the block emerged Thursday night and Friday. Protesters spray-painted the names of IP addresses on walls and election billboards, and journalists explained on TV how to set up virtual private networks.
"Every Turkish citizen has become some kind of Internet expert/amateur hacker after the ban," tweeted Ipek Yezdani, an Istanbul-based journalist.
The recordings Erdogan seeks to squash were made public in February, when anonymous Twitter accounts posted links to YouTube audio files, then notified reporters of their locations. Their original source is not known publicly.
According to transcripts, the audio files are recordings of five telephone calls between Erdogan and his son, Bilal, on Dec. 17, the day police raided the homes of several government ministers and their sons and seized millions of dollars in cash.
In the transcript, one man informs another of a corruption raid that day targeting 18 people and instructs him to "take everything you have in the house out."
Turkey has blocked access to YouTube, but this is the first ban on Twitter, which is hugely popular in the country and was instrumental in organizing flash protests against the government last year.
Many users trying to access the network early Friday saw a notice from Turkey's telecommunication authority, citing four court orders. Twitter spokesman Nu Wexler said the company was "looking into this now." He didn't say whether an outage had occurred.
Twitter's @policy account sent out messages telling Turkish users in both English and Turkish they could send out tweets by using short message service, or "SMS." It was unclear whether tweets sent this way would be viewable within the country.
The Turkish telecommunication authority issued a statement accusing Twitter of violating "personal rights and the confidentiality of private lives" and said access would be restored only when Twitter removes "illegal content."
Contributing: The Associated Press. Dorell reported from McLean, Va.; Kotzev from Sofia


text:
- Inside Athletics
- Tickets
- Fan Zone
- Media Zone
- Social
- Shop
- Donate Now
Johnson City, Tenn. - The women's tennis team (3-3, 1-0 Southern Conference ) opened its Conference slate by defeating the College of Charleston 5-1 in Charleston, S.C.
"It is nice to start the conference season with a win," said ETSU Head Coach Tom Russ. "I thought the ladies really fought hard and playe well. We still have some areas where we need to improve."
The Bucs will return to action tomorrow at 2 p.m. when they face Charleston Southern. ETSU has rescheduled its match versus Winthrop for Wednesday, March 15. That match was originally scheduled for March 11 but was rained out.
1. Paty Vega (ETSU) def. Vinny Seiverling (CofC) 6-3, 6-4
2. Mami Inoue (ETSU) def. Liorah Levin (CofC) 6-3, 6-1
3. Rica Iida (ETSU) def. Emily Scatuorchio (CofC) 6-1, 7-5
4. Megan Edwards (ETSU) def. Brook Raynal (CofC) 7-5, 7-5
5. Sabah Sattar (CofC) def. Eglantine Vitse (ETSU) 6-4, 6-3
6. Cara Prupas (ETSU) def. Ashley Hawkins (CofC) 6-2, 6-2