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HiBoost Hi23-3S
The HiBoost Hi23-3S has been created to enhance mobile phone coverage for the end user. The Hi23-3S can enhance mobile phone coverage in an indoor area of up to 5500 meters. The HiBoost signal booster is guaranteed to improve call quality and also improve mobile data speeds.
Key Features
All You Need To Know About HiBoost
The HiBoost 3S/3SL/5S Series: A revolution in the level of mobile signal enhancement.
HiBoost 3S/5S Series is one of the most innovative methods for new mobile signal reception usage at home and at the office. By using this item, you can constantly enjoy five bars of signal along with a stylish aesthetic design and mobile app.
The Features Of The HiBoost 3S/3SL/5S Series:
The inbuilt antenna as part of the mobile app means that you do not need to concern yourself with the mounting of an indoor antenna to obtain a mobile signal. Moreover, the installation of the mobile app is three times faster and simpler than before. All you need to do is opt for a booster position anywhere in the office or home regardless of the indoor antenna location.
Using this item you can monitor and set up the booster at any time from any location. It is possible to test the signal strength to find the best position for an outdoor antenna, as well as obtaining detailed data on the mobile network, carrier and serving cell tower.
|package includes
• Triband mobile signal booster
• Outdoor wide band directional antenna
• 50ft (15.2m) low-loss HiBoost 300 cable
• 12V / 7A, AC/DC power supply
- Mechanical Specifications
- Electrical Specifications
|Mechanical Specifications
|Electrical Specifications tab

subset: commoncrawl


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Can't Find It? Search Here
Find systems products and manufacturers at suspended ceilings Bristol for your project whether your replacing a single suspended ceiling tile in your kitchen, replacing the bathroom ceiling or planning the total refurbishment and refit of the company head office in Bristol we will have the systems products and manufacturers at one of our branches so we can help with local Bristol systems products and manufacturers.
Shops and other small medium and large Bristol businesses often use our website to get the ceiling lights they need to match some existing fittings, we are also asked if a certain type or style of ceiling speakers or wall speakers are still available.
We can quite often tell you where to get the best price in Bristol for ceiling roses or steer you in the right direction for a quote on ceiling fans and air conditioning panels, so if you are doing any ceiling or partition wall work you can be confident we can source the systems products and manufacturers in your local Bristol suspended ceilings area whether it's dry lining, drywall or insulated plasterboard we are the 1st4 Ceilings solution.
Scaffolding and step ladders are available for your job in your Bristol locality either for hire or for sale you only have to contact us and we will help whenever we can.
Any Questions? F.A.Q,s
1st4Ceilings Bristol. Insulation is the separation of a material to prevent the passage of heat, sound or electricity. Insulation solutions often come from different manufacturers. Partitioning refers to a process of subdividing something. There are many different varieties of partition walls which are made from variety of materials and they contribute to the design of many homes. Glass, wood and bricks are examples of materials used in partitioning. Glass partition wall is made of glass that usually slides along the ceiling track. To ensure prevention of accidental breakages, glasses are always substantially reinforced. A partition which is made of metal is resistant to fire, thin and durable. Although wooden partition gives a vintage feel to every home, it is very expensive. One major benefit of partitioning wall is to provide privacy. Fixing refers to all the work that is done after plastering a house . At fixing stage, there are many different works that take place and they include: installation of insulation, installation of insulated plasterboard which involves cornices, insulated plasterboard's, wallboard's and ceiling boards, carpentry, main plumbing fixtures, air conditioning, water proofing and tilling. The main plumbing fixtures include: installation of sinks, baths, basins, laundry troughs and shower trays. Contact Us at Bristol Suspended Ceilings.
Back To Top | Home | Contact | Store Locator


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Ever hear the phrase "don't wait until the last minute"? Well it's true, especially with the holiday's right around the corner. Last minute gift shopping and last minute runs to the grocery store can cause a big headache. It gets worse when you realize they're out of what you need. At filtersfast.com we want to make sure that doesn't happen to you. Here is a list of items you shouldn't forget to order.
Refrigerator and freezer deodorizers: As the holidays approach and the leftovers pile up, having Whirlpool Refrigerator and Freezer deodorizers will keep a pleasant odor to your refrigerator and freezer while keeping your food fresh for a longer period of time. For best results, use these low cost deodorizers together to ensure that the smell from your refrigerator and freezer stays pleasant.
Air Fresheners: When the guests arrive for the holiday festivities, treat them with a pleasant smell when they walk through the door with Fresh Scents Air Filter Fresheners. They easily attach to any air filter, air conditioner filter and furnace filter providing scented air throughout your entire home. Priced at under $3, these air fresheners come in scents of fresh berries, french vanilla, mountain breeze and much more.
Range and Hood filters: Like most, you or someone you know will be doing a lot of cooking for the upcoming holiday season. Before you begin the holiday cooking however, make sure your microwave oven and range hood filters are replaced. These filters reduce smoke, grease and re-circulate filtered air back into the kitchen. From now until Thanksgiving, you can get an additional 5% off on all American Metal Filter Company range and hood filters that we offer. View our blog for more details.
Don't wait until the last minute to order this holiday season. Place your order today and have your item delivered straight to your door.


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These are by Andrew Kanounov. And while it would obviously require a ton of time, measurements, and money to get one, don't you just wish you could?
There are a bunch of influences at work here (anyone else getting a strong art nouveau feel?), but mostly it all adds up to awesome.
G/O Media may get a commission


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At Form + Function we just LOVE Ingo Maurer. We have sold these incredible fixtures for over 20 years and enjoyed every moment of inspiration.
We guarantee you the lowest prices online.
If you see an Ingo Maurer piece at a lower price online we will meet and most likely beat that price.
We do not want you to have any stress or buyer's remorse over a purchase that should be pure joy!
Currently we have several wonderful pieces in stock that we want to find homes for before the Holidays: Oh Mei Ma Silver, Birds, Birds, Birds, W-Tum-Bu 2. We will offer you great prices!!
At Form + Function we just LOVE Ingo Maurer. We have sold these incredible fixtures for over 20 years and enjoyed every moment of inspiration.
Ingo Maurer is well-known all over the world for his playful, intriguing lamps, light objects and lighting installations.
Buying an Ingo Maurer piece is not just just picking a light fixture. It's choosing a piece of art, an installation that brings more than just illumination.
We offer the complete Ingo Maurer collection at the lowest prices you will find.
Visit our Facebook photo album, a collection of Ingo Maurer photos from homes and businesses from New York City to Copenhagen, Tokyo, Rio...
Since we have sold and installed them all over the country you can contact us anytime regarding installation, tips, suggestions and parts.
We order directly from Ingo Maurer in Munich, Germany. No middlemen, no added cost. We are therefore able to offer you all Ingo Maurer fixtures at the best prices you'll find.
We also provide you with an information package about the piece you are interested in: general info, the story behind the piece, spec sheets, installation instructions. Everything you ever wanted to know!
Since we have had most of the popular pieces on display in our showroom we are familiar with their installation and can trouble-shoot with you for special, tricky installations.
We want to make this great design accessessible to you!
Find inspiration through our Facebook photo album with Ingo Maurer photos from homes around the world.
Since 1992 we have enjoyed dealing with lighting guru, inspiration, genius Ingo maurer and his great team.
We love his work and want to share our enthusiam. We'd therefore love to work with you on your projects and make your ideas possible. Pleae contact us with any questions, requests, bids.
We want to make great design accessessible!
Ingo Maurer is among the most fascinating, prolific and respected designers and artists of today. With a primary focus on what he calls the magic of lighting Ingo Maurer has created over 150 different lighting systems and illuminated sculptures like the Ingo Maurer Campari Lamp, the Lucellino, the Bulb, the pop-art "Canned Light", the Ingo Maurer Floatation. We have enjoyed our relationship with him for many years and visit his showroom in Munich as often as we can, just for inspiration.
Ingo Maurer often uses everyday materials and found objects for his light creations.He was among the first designers to develop a cable lighting system (YaYaHO) and from early on experimented with halogen and light-emitting diodes.
The names of the Ingo Maurer lights are almost as creative as the lights themselves: Alizz C. cooper, Willy Dilly, Licht.Einstein, Knitterling. I could go on and on.
Ingo Maurer seeks interaction from the users of his designs: there are mirrors to be directed, wires to string, love notes to attach to wires. Quirky details act as surprising elements that make you stop, look again to see if you were right, then smile. Alligators, inquisitive rats, chicken feet, scribbled love notes, wherever you look there's something new and exciting, something magical.
That's pure Ingo Maurer.


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This video is a fun introduction to the classic market research technique, conjoint analysis. Help Jane figure out how to build and market a better "bazoogle" to beat her competitor Bob. This white-boarding video explains how conjoint analysis tools (especially choice-based conjoint, CBC) are used to design and price near-optimal products and services.
Conjoint Analysis
Conjoint analysis is one of the most widely-used quantitative methods in Marketing Research. It is used to measure preferences for product features, to learn how changes to price affect demand for products or services, and to forecast the likely acceptance of a product if brought to market.
Learn More
- Designing new products
- Product line extensions
- Estimating brand equity
- Measuring price sensitivity (elasticity)
- Branding and packaging
Understand and predict consumer choices. Design, modify, and price products to improve market share and profitability. CBC is the gold-standard technique.
Learn More
Adaptive CBC can be a better approach than standard CBC for studies involving about 5 or more attributes, especially when the product or service involves a high-involvement purchase process. The survey tends to be longer than with CBC, but respondents find it more engaging and the results usually have higher precision.
Learn More
Menu-Based Choice (MBC) is advanced discrete choice modeling software for multi-check menu studies, including those involving bundling vs. a la carte choices. Includes logit and HB modules, plus simulations (including Excel simulation option).
Learn More
With 30 years in business and thousands of users worldwide, Sawtooth Software is the consensus leading provider of conjoint analysis software. Companies like Procter & Gamble, Google, General Motors, General Electric, and Microsoft use our software and have presented case studies and success stories at our popular research conferences.
Read: What is Conjoint? Read: Which Conjoint Method Should I Use?


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Listen to this story via streaming audio, a downloadable file, or get help.
April 22, 2003: Three years ago, something weird happened to the Sun.
Normally, our star, like Earth itself, has a north and a south magnetic pole. But for nearly a month beginning in March 2000, the Sun's south magnetic pole faded, and a north pole emerged to take its place. The Sun had two north poles.
"It sounds impossible, but it's true," says space physicist Pete Riley of Science Applications International Corporation (SAIC) in San Diego. "In fact, it's a fairly normal side-effect of the solar cycle." Every 11 years around solar maximum, the Sun's magnetic field goes haywire as the Sun's underlying magnetic dynamo reorganizes itself. The March 2000 event was simply a part of that upheaval.
Right: An ultraviolet image of the Sun at solar maximum. Image credit: SOHO. [more]
"The south pole never really vanished," notes Riley. It migrated north and, for a while, became a band of south magnetic flux smeared around the Sun's equator. By May 2000 the south pole had returned to its usual spot near the Sun's southern spin axis--but not for long. In 2001 the solar magnetic field completely flipped; the south and north poles swapped positions, which is how they remain now.
The vast region of space filled by the Sun's magnetic field is called the heliosphere. All nine planets orbit inside it. But the biggest thing in the heliosphere is not a planet, or even the Sun. It's the current sheet--a sprawling surface where the polarity of the Sun's magnetic field changes from plus (north) to minus (south). "We call it the 'current sheet,'" says Riley, "because an electrical current flows there, about 10-10 amps/m2." The filament of an ordinary light bulb carries sixteen orders of magnitude (1016x) more amps/m2. But what the current sheet lacks in local amperage, it makes up in sheer size. The sheet is 10,000 km thick and extends from the Sun past the orbit of Pluto. "The entire heliosphere is organized around this giant sheet."
An artist's concept of the heliospheric current sheet. The rotating
Sun is located in the center. Credit: Brian Grimm and LivingText.
See also the complete
Ordinarily, the current sheet circles the Sun's equator like a wavy skirt around a ballerina's waist. But during the double north pole event of March 2000, the current sheet was radically altered: The waviness increased. Irregularities appeared. Its topology "morphed" from a ballerina's skirt to a giant seashell.
Interesting to a solar physicist, perhaps...
...but ordinary people should care about this, too. First because of energetic cosmic rays: The current sheet acts as a barrier to cosmic rays traveling through the heliosphere. Cosmic rays can't cross the sheet; instead they flow along it. The shape of the current sheet therefore determines how many cosmic rays strike Earth.
Space weather is another reason: As Earth orbits the Sun, it dips in and out of the undulating current sheet. On one side the Sun's magnetic field points north (toward the Sun), on the other side it points south (away from the Sun). South-pointing solar magnetic fields tend to cancel Earth's own magnetic field. Solar wind energy can then penetrate the local space around our planet and fuel geomagnetic storms.
Below: These auroras appeared over Alaska's Knik Valley during a strong geomagnetic storm on April 8, 2003. Photo credit and copyright: LeRoy Zimmerman.
Geomagnetic storms are both good and bad--bad because they can cause electronics on satellites to short circuit and power grids on Earth to fail; good because they spark auroras, which sky watchers enjoy. "If we could make an accurate daily map of the current sheet, then we could do a better job predicting the onset of these storms."
There's a problem, though: the current sheet is invisible. "We can't see it through an optical telescope," he says, "which means we have to calculate where it is." Riley and his colleagues have developed a computer program to do that. The input data are measurements of the Sun's surface magnetic field; these are taken daily by telescopes on Earth. The program applies the equations of resistive magnetohydrodynamics to calculate how the electrified solar wind drags that magnetic field through the solar system. A supercomputer--Riley uses the Blue Horizon IBM SP3 at the San Diego Supercomputing Center--is required to execute the code.
The episode of the double north pole provided a key test of their software. "We calculated the shape of the current sheet for a Sun with two north poles," recalls Riley. "The result looked like a conch shell ... more than a billion kilometers wide."
Left: The shape of the current sheet in March 2000 as calculated by the Blue Horizon supercomputer. [more]
But how could he check his results?
NASA's Ulysses spacecraft provided the crucial data. In early 2000, Ulysses was about 600 million km from the Sun--perfect for testing the conch model. As the spacecraft cruised through space at 10 km/s it crossed the current sheet twice, once in March and again in April 2000. Onboard magnetometers recorded the crossings, which were in good agreement with Riley's predictions.
Using only measurements of the Sun's surface magnetic field, his software had successfully predicted magnetic fields in interplanetary space 600 million km away. Impressive.
Right: Ulysses observations of the Sun's magnetic field in March 2000 overlaid on Riley's magnetohydrodynamic (MHD) calculations. [more]
"It has taken us ten years to develop this capability," says Riley. "We would like to improve it even more by including measurements of the temperature, density and speed of the solar wind--parameters that we merely estimate now. Our ultimate goal is to provide up to 4 days advance warning of geomagnetic storms."
Testing that next-generation software will require more data from Ulysses. The spacecraft follows a high-looping orbit where it can see the Sun's polar regions--something no other spacecraft can do. "This unique trajectory has allowed scientists for the first time to fully explore the heliosphere in three dimensions," says Riley.
A supercomputer on Earth. A spacecraft hundreds of millions of kilometers away. Working together they're getting us ready for the next time the Sun sprouts an extra north pole ... or something stranger yet.
Credits & Contacts
Author: Dr. Tony Phillips
Responsible NASA official: John M. Horack
Production Editor: Dr.
Tony Phillips
Curator: Bryan Walls
Media Relations: Steve Roy
|The Science and Technology Directorate at NASA's Marshall Space Flight Center sponsors the Science@NASA web sites. The mission of Science@NASA is to help the public understand how exciting NASA research is and to help NASA scientists fulfill their outreach responsibilities.
|More information
Ulysses -- (JPL) an ESA-NASA mission to explore the Sun's poles and the heliosphere
What did the current sheet look like on your birthday? -- (SAIC) Find out here. See also SAIC's Coronal Modeling Page\
Movies: In collaboration with Pete Riley, digital artist Brian Grimm of LivingText has created some wonderful animations of the heliospheric current sheet. In these movies, the current sheet is depicted in false color. Red denotes negative magnetic polarity. Blue denotes positive. Check them out:
Kitt Peak National Solar Observatory -- (KPNSO) the input data for Riley's supercomputer calculations are collected daily at KPNSO.
The Sun Does a Flip (Science@NASA) In 2001 NASA scientists watched the Sun's dipolar magnetic magnetic flip -- a sure sign that solar maximum had arrived.
Below: Earth's magnetic field resembles that of a bar magnet. Such fields are "dipolar."
Dumbell Magnetic Fields: Earth has a dipole magnetic field. It's like a dumbell with a north pole on one end and a south pole at the other. Usually the Sun's magnetic field is dipolar, too. But not always. "During solar maximum there are quadrupole and octupole components as well," says Riley. That's a physicist's way of saying that the Sun's magnetic field is more like 4 or 8 dumbbells jumbled together. When Solar Max is near, these components rearrange themselves with sometimes-odd results--like a double north pole.
The Heliosphere (APOD) Where does the Sun's magnetic influence end? The heliosphere extends past the orbits of Neptune and Pluto. How far, no one knows.
The shape of the heliospheric current sheet affects space weather and the propagation of cosmic rays through the solar system.
more: Artist's Conception of the Heliospheric Current Sheet (Stanford University); The Interplanetary Magnetic Field, the Heliospheric Current Sheet and Magnetic Sectors (SWRI)
Join our growing list of subscribers - sign up for our express news delivery and you will receive a mail message every time we post a new story!!!


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2 thoughts on "Contact"
Technology Submission – Novel Rotary-Turbo-InFlow Tech / Featured Development
Atypical InFlow Thermodynamic
Technology Proposal Submission
Novel Fueled Motor Engine Type
*State of the art Innovative concept Top system Higher efficient percent.
Have similar system of the Aeolipile Heron Steam device from Alexandria 10-70 AD.
YouTube; * Atypical New • GEARTURBINE / Retrodynamic = DextroRPM VS LevoInFlow + Ying Yang Thrust Way Type – Non Waste Looses
*8-X/Y Thermodynamic CYCLE – Way Steps:
1)1-Compression / bigger
2)2-Turbo 1 cold
3)2-Turbo 2 cold
4)2-Combustion – circular motion flames / opposites
5)2-Thrust – single turbo & planetary gears / ying yang
6)2-Turbo 2 hot
7)2-Turbo 1 hot
8)1-Turbine / bigger
-New Form-Function Motor-Engine Device. Next Step, Epic Design Change, Broken-Seal Revelation. -Desirable Power-Plant Innovation.
-With Retrodynamic Dextrogiro vs. Levogiro Phenomenon Effect. / Rotor-RPM VS InFlow / front to front; "Collision-Interaction Type" – inflow vs. blades-gear-move. Technical unique dynamic innovative motion mode. [Retrodynamic Reaction = When the inflow have more velocity the rotor have more RPM Acceleration, with high (XY Position) Momentum] Which the internal flow (and rotor) duplicate its speed, when activated being in a rotor (and inflow) with [inverse] opposite Turns. A very strong Novel concept of torque power thrust.
-Non-waste parasitic looses system for cooling, lubrication & combustion.
-Shape-Mass + Rotary-Motion = Inertia-Dynamic / Form-Function Wide [Flat] Cylindrical shape + positive dynamic rotary mass = continue Inertia kinetic positive tendency motion. Like a Flywheel.
-Combustion 2Two continue circular [Rockets] flames. [ying yang] opposite to the other. – With 2TWO very long distance INFLOW [inside propulsion] CONDUITS. -4 TURBOS Rotary Total Thrust-Power Regeneration Power System. -Mechanical direct 2two [Small] Planetary Gears at polar position. -Like the Ying Yang Symbol/Concept. -Wide out the Rotor circumference were have much more lever [HIGH Torque] POWER THRUST. -Military benefits; No blade erosion by sand & very low heat target profile. -3 points of power thrust; 1-flow way, 2-gear, 3-turbine. *Patent; Dic. 1991 IMPI Mexico #197187 All Rights Reserved. Carlos Barrera.


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Thanks for all the gorgeous entries for our Pink and Green challenge, wow there really were some amazing entries!
The winner of the last challenge, drawn by random is:
#23 Katja
Congratulations Katja, please email me to claim your £15 voucher
Our Top 3 for the last challenge are:
Congratulations ladies, please take the Top 3 Banner from our side bar.
Our challenge this week is Summer Flowers, and is open to your interpretation. Please remember we have a few rules that need to be followed, they are listed at the top of the blog.
We are sponsored by Wild Orchid Crafts with a £15 voucher to spend in their store.
And here is what the DT have come up with
And now it's over to you.


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Our customers face a range of risk management and financing challenges specific to their individual circumstances. At NatWest Markets, our financing, risk management and trading solutions help our customers address these challenges.
Our focus is on anticipating our customers' needs and providing excellent customer service and execution.
We measure our success by the trust we build.
We are what we do.


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Using Engel's Theorem and Lie's Theorem, one can easily establish the following result:
Let $ \frak{g} $ be a finite-dimensional Lie algebra over an algebraically closed field $ \mathbb{F} $ of characteristic $ 0 $. If $ \frak{g} $ is solvable, then $ [{\frak{g}},{\frak{g}}] $ is nilpotent.
In order to apply the two theorems stated at the beginning, one must assume that (i) $ \mathbb{F} $ is algebraically closed, (ii) $ \mathbb{F} $ has characteristic $ 0 $, and (iii) $ \frak{g} $ is finite-dimensional. If we relax each of these three conditions in turn, are there certain well-known counterexamples?


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Advanced Search
This book released last year is designed to help IT pros prepare to pass the new Windows Server 2003 networking certification exam.
This book offers comprehensive coverage of Windows Server 2003 administration.
The authors are thorough with their explanations and detail, and are not
afraid to consume pages at the publisher's expense. They truly have the
reader in mind. In fact, the book weighs in at almost 1,000 pages and
includes a DVD with recorded instructor reviews of each chapter in an
abbreviated format. If it wasn't for the plentiful exercises, review,
and labs, this book would compare in size to many of the other self-study
guides available.
Unfortunately, the included DVD with instructor review doesn't really
add much value. In my review of the DVD, all that I observed was a female
instructor reading the displayed slides. And not everyone has a DVD drive
just yet! Although the investment in time and resources would have been
much greater, substantial value could have been added by using live lab
systems and demonstrations. Be sure and practice everything you read and
hear in your own lab.
The inline Notes, Exam Warnings, and Test Day Tips are right on target.
There is a unique balance where the authors have laid out and formatted
each page for clarity and flow.
This book is technically accurate on all topics and won't lead you astray.
Although there are a few typographical errors in some of the exercises,
and small grammatical errors throughout the text, this book is still very
strong in many respects. And although this book is almost 1,000 pages,
the inline chapter labs with explicit step-by-step labs add lots of value
for the new MCSA or MCSE candidate.
For the Windows 2003 MCSA/MCSE candidate, this book meets all the requirements
of a self-study guide. It includes gobs of resources that the self-study
candidate will need to be successful.
If you need a 70-290 self-study guide, you'll have to decide for yourself
if you like the author's elaborate writing style, and what works best
for you. I would recommend for your money that you also check out similar
Sybex and Microsoft Press guides.
About the Author
Andy Barkl, MCT/MCITP/MCSA, A+, Network+, Security+, CCNA has been studying technology for 30 years. Of the last 15 years, he has spent much of his time parting the knowledge and experience he has gained through IT exams, over 300, to help others be prepared and successful. He teaches classes in Phoenix, Ariz. where he has lived most of his life. He can be reached by e-mail at [email protected]
Microsoft has hired the Romanian operations of software engineering and design services company Movial to develop an Android-based operating system solution for the Microsoft Devices business segment.
Microsoft on Monday gave notice that it will be ending support this year for the "workflows" component of SharePoint 2010 Online, as well as deprecating that component for SharePoint 2013 Online.
Don't call it a comeback (because that's not likely). But as Brien explains, there are three ways that today's smartphone market leaves the door open for Microsoft to bring Windows back to smartphones.
Microsoft last week described the confusion it is attempting to avoid by removing the client graphical user interface (GUI)-based controls to defer Windows 10 feature updates, starting with version 2004.
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You knew Ozzie would do it:
"I don't want him to be a coach," manager Ozzie Guillen said of the signing. "That's the last thing I want. Omar is so professional handling something he had to do for the first time in his life. I think the job he did with the kids in Texas [last season] was outstanding. "His presence with the team is very important. He's a guy that knows how to play the game, he's a Hall of Famer. The kids can take advantage, especially Gordon [Beckham] and [Alexei] Ramirez. We will try and find him a lot of playing time, especially early in the year because everyone knows Ramirez struggles early either because of the weather or over-training." … Meanwhile, Vizquel's main concern is a jersey number to wear. Guillen told his friend that he "doesn't have enough money to get my number [13]," so Vizquel was kicking the tires on Aparicio's No. 11 or Carrasquel's No. 17.
Now if the playing time is taken from "3B regular" Mark Teahen, it doesn't sound so bad.


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- Home
- Departments
- Business Licenses & Taxes
- Tax and Licensing Forms
Tax And Licensing Forms
Related Resources
Please be sure to submit the form in its entirety. Most forms are two pages.
For all forms except the Online Jurisdiction Account Information Form, the original completed copy must be mailed to the City of Hoover.
* Note regarding link for Online Jurisdiction Account Information Form: When you click on this link you will be prompted to sign in with your profile for this site or create a profile if you do not have one. Be sure to check the box next to I AM NOT A ROBOT toward the bottom of the screen.
The last part of the profile creation process is validation of your email address where a link with instructions will be sent to the email address you provide. Clicking the link will take you to a login page. After logging in you would navigate to this page -- Tax And Licensing Forms --then click the link for Online Jurisdiction Account Information Form above and you will be routed to the form for online completion and submission.
Interest Rates For Late Payment, Updated Quarterly


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Wealth advisors who aspire to serve the ultra-affluent family market are increasingly demanding best practices to ensure they are best in their profession as they approach elite clientele, according to Family Office Exchange.
In response, FOX will offer a Wealth Advisor Master Class in New York, Sept. 12–14, to help advisors strengthen their delivery of the kinds of integrated services wealth owners require.
In a statement last week, FOX said the course would cover these issues:
- The unique challenges of top-tier wealth owners
- Developing an integrated service delivery model
- Business strategy and process management
- Sales and marketing strategies
- Talent and team structures
- Pricing and profitability
"The program will not only cover best practices but important business considerations such as marketing strategies, process management and how to assemble the right talent for your team," FOX Senior Consultant Charles Grace said in the statement.
FOX said membership in the organization is not required to attend the class; FOX members, however, will receive a discounted rate.


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Scala Goes Dynamic with JavaRebel (5 messages)
As a scalable language Scala can be used both for scripting and for large enterprise applications. We at ZeroTurnaround respect and support the vision of a statically typed and powerful language that builds on the Java platform to improve the productivity and maintainability of Java language. One of the challenges to productivity is the failure of Java platform to provide a facility to reload changes to classes, i.e. exactly the problem that we solve with JavaRebel. Dynamic languages like Ruby tend to have instant turnaround, whereas developing Java web software is a constant cycle of redeployment. At the Scala Lift Off unconference we met with the representatives of the Scala/Lift community and decided that we can facilitate the Scala adoption by putting its productivity on par with the dynamic languages. To do that we have created a special JavaRebel license that can only be used to reload Scala classes, which we donated to the Scala community for free use for a year. We will extend this license on a yearly basis to help drive Scala adoption. We are currently discussing with the Scala and Lift communities the necessary licensing for embedding JavaRebel in Scala and Lift distributions, but until then you can just download the nightly build that includes support for Scala-only licenses and the free license itself (just put it in the same directory as javarebel.jar). Using the free Scala-only JavaRebel license you can now evolve your application non-stop getting the powerful Scala static type system, higher-level abstractions and dynamic code reloading all in one package.
- Posted by: Jevgeni Kabanov
- Posted on: May 21 2008 10:13 EDT
Threaded Messages (5)
- Thanks Jevgeni by Matthew Passell on May 21 2008 14:55 EDT
- Re: Thanks Jevgeni by Jevgeni Kabanov on May 21 2008 16:00 EDT
- On a yearly basis? by John Reynolds on May 22 2008 13:47 EDT
- JavaRebel price is public by Alex Besogonov on May 22 2008 14:42 EDT
- Re: On a yearly basis? by Denis Bredelet on May 22 2008 18:50 EDT
Thanks Jevgeni[ Go to top ]
Thanks again for spearheading this. I wasn't expecting you guys to have something ready so soon after the Scala Lift Off. That was fast! --Matt Grove Hill Software
- Posted by: Matthew Passell
- Posted on: May 21 2008 14:55 EDT
- in response to Jevgeni Kabanov
Re: Thanks Jevgeni[ Go to top ]
- Posted by: Jevgeni Kabanov
- Posted on: May 21 2008 16:00 EDT
- in response to Matthew Passell
Thanks again for spearheading this. I wasn't expecting you guys to have something ready so soon after the Scala Lift Off. That was fast!That's because I. Have. No life. :)
On a yearly basis?[ Go to top ]
I have next to no idea what you're talking about... But designing something into a solution with a license that's going to change from year-to-year probably isn't going to make me eager to adopt your technology. If it's free, it's free. If it's worth paying for, then let me know the price, and I'll make an informed decision whether or not to send you a check.
- Posted by: John Reynolds
- Posted on: May 22 2008 13:47 EDT
- in response to Jevgeni Kabanov
JavaRebel price is public[ Go to top ]
It's right there: http://sales.zeroturnaround.com/
- Posted by: Alex Besogonov
- Posted on: May 22 2008 14:42 EDT
- in response to John Reynolds
Re: On a yearly basis?[ Go to top ]
I believe that JavaRebel is mainly useful to speed up development, so your application will not stop running if its license runs out. On the other hand having a taste of it may incite you to pony up for the non-Scala only license!
- Posted by: Denis Bredelet
- Posted on: May 22 2008 18:50 EDT
- in response to John Reynolds


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My daughter had a purple party. She really wanted a cute dolly girl for the top of the cake so I decided to keep the outside of the cake simple.
Clothespin dolly girl! She was so fun to make and I love how she turned out! I used beads to make her hair.
The big surprise was the inside of the cake....
On the night before the party I was losing steam, I still had some decorating to do and I was tempted to ice the layers with white icing. I am so glad I didn't. I think the colored icing helps to make the look more dramatic!
You can make this cake too.
In any color you like.
Without too much headache.
I baked the cake(s) the week before. This way I was able to bake them, wrap them up and freeze them and not have as much to do the night before the party. I prefer to freeze my cakes for at least 24 hours before I decorate them. They are easier to ice and cut and I think it makes it much more moist.
I mixed a small amount of white cake batter with wilton icing coloring. I mixed lots into the first one to make a really rich, dark shade. I baked this in a 6 inch round pan. Then I took another small amount of cake batter (maybe 1 1/2-2 1/2 cups...I didn't measure!?) I added a bit less color to the next and a bit less as I went.
The night before the party, I mixed about 1/2 cup of icing in each of the shades of purple. I made sure the cakes were even by slicing the rounded tops off the cakes. I stacked the cakes and iced them with the appropriate colored icing between the layers.
I iced the whole cake with a crumb coat (icing made a bit thinner with a little bit of water. This layer will get crumbs in it but that's okay because it is not the final layer:)
Then I popped it in the freezer for 20 minutes.
Here's my lame {it's late, the lighting was bad, I was tired...} photo of my cake with the crumb coat on, all ready to be jazzed up!


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Did anyone see Benvenuto Cellini the other night at ENO? Well, I hope that by the time we've finished here, you might want to – because this is going to have quite a lot to do with Berlioz. Alina and Steven's programme focuses chiefly on Debussy and Prokofiev, but I thought it would be interesting to look at the inter-influences between Russian and French music over the decades, indeed nearly a century, before their sonatas were written. I'd like offer you a kind of treasure-trail – a long-distance game of musical ping-pong between these cultures. We'll look as far back as 1830 and follow the path forward to the points at which Debussy and Prokofiev each breaks away to write violin sonatas that represent them at their most pure, distilled and independent. By embedding both of them in this background, looking at their musical roots, I hope we can gain extra appreciation of and perspective upon their branches.
Let's turn the clock back, first, by nearly 90 years. In 1830, a new piece exploded onto the consciousness of the French music-loving public: the Berlioz Symphonie fantastique. Even today it seems quite extraordinary to realize it was composed so early - only three years after Beethoven died, and two after Schubert. Berlioz really is phenomenal. If you go to hear Cellini, which dates from 1838, you'll hear vocal and choral writing that is almost impossibly ambitious, and harmonies that would have been startling even in Wagner. Along comes this visionary, larger-than-life composer, with the sheer scale of his thinking, the dazzling range of his orchestration, the imagination to make music nearly as powerful a narrative force as literature and the courage to dare everything – which is what Benvenuto Cellini is really about.
Much of Parisian musical society, though, didn't know what on earth to make of Berlioz. All his life he struggled for appreciation at home. Musicians elsewhere, though, were listening with more open ears – notably, in Russia. Berlioz toured there several times, to great acclaim, his last trip taking place close to the end of his life, and it was on that occasion that he met Tchaikovsky.
In Russia, Mikhail Glinka was the forerunner of a group of composers who were eager to build on his achievements: they are known as The Five: Rimsky-Korsakov, Balakirev, Cui, Borodin and Mussorgsky. But slightly aside from them stood Tchaikovsky – a colossus in his own right, the most westernized of the Russians and the closest to the world of ballet, in which guise so much Russian influence soon came to the west. Swan Lake, The Sleeping Beauty and The Nutcracker offer exquisite orchestration and remarkable sound pictures that were certainly affected by his colleagues, especially Rimsky, but that travelled particularly well.
Tchaikovsky's brother, Modest Tchaikovsky summed up Pyotr's attitude to Berlioz like this:
"Whilst he bowed down before the significance of Berlioz in contemporary music and gave him his due as a great reformer, chiefly in the sphere of orchestration, Pyotr Ilyich did not feel any enthusiasm for his music…But, although he displayed a sober attitude, free of any blind enthralment, towards Berlioz's works, he felt otherwise about Berlioz's personality during his visit to Moscow. In the eyes of the young composer the latter was above all, as he himself says, the embodiment of 'selfless hard work and ardent love of art'. Moreover, he was an old man worn down by the years and by illness, persecuted by Fate and by people, and for Pyotr Ilyich it was gratifying to be able to comfort him and warm his heart even just for a moment with a fiery manifestation of sympathy. Finally, in the person of Berlioz there stood before him the first great composer whose acquaintance he had had occasion to make, and the feeling of piety which as a young artist he understandably felt for his great colleague could not leave him indifferent. Like everyone who seriously loved music in Russia, he received Berlioz enthusiastically and all his life retained fond memories of his meeting with him."
A lot of the issues in Russian and French music in the mid to late 19th century are really about a quest for national identity. It's interesting to note those words about Berlioz being the first great composer Tchaikovsky had met. Russia, having not really had a national identity in classical music, had been importing some, the process started by Peter the Great. But it was down to Glinka's successors to create their musical nationalism by adding to the mix sounds from the folk music of Russia and its surrounding nations and ethnic groups, making these part and parcel of their compositions. Before that, great composers were there not.
France, ironically, was also slow on the uptake. Its 19th-century musical establishment was seriously, appallingly stuffy, despite Paris being an artistic capital second only to Vienna - home to Chopin and Liszt, besides such operatic wonders as Meyerbeer, who may not have been the greatest thing ever, but was enormously influential, not least on Wagner. Yet these composers were respectively Polish, Hungarian and German. There was little by way of a French national language in music that could be clearly identified. The lyrical concision of melody that characterized Gounod, for instance, or the sparkle of Saint-Saens, is traceable mainly to influences like Beethoven, Schubert and Mendelssohn.
After Wagner's operas exploded onto the scene, the noxious combination of his overwhelming musical personality plus France's defeat in the Franco-Prussian War led to seismic upheavals. In 1872 Saint-Saens, with a group of younger composers including Fauré, Chausson and Duparc, formed the Societé Nationale de Musique with the express intention of creating a uniquely French style of music, independent from German influence.
Now, if you are not going to let yourself be influenced by German music, but you do find examples from overseas more interesting than what your own country has been turning up, what are you going to do? You aren't going to look at Italy, where opera dominated even more. You aren't going to look at England, because there's nothing much to look at. You're going to look at Russia. Where there is, by now, plenty. Not least thanks to the influence of Berlioz. And you may be French, drawing on Russian influence, but you may not even realize that what you are actually drawing on is a French composer's influence on Russia!
Here's one little progression to illustrate this bit of ping-pong. Ravel admired Rimsky-Korsakov's Scheherazade. When he was writing Daphnis and Chloe, he got stuck over the final Danse générale and eventually he put the score of Scheherazade's final movement on his piano, and said he 'humbly tried to write something similar'.
Here's Rimsky, then Ravel. And when you hear them both, try remembering, too, Berlioz's rumbunctious Witches Sabbath from the Symphonie fantastique.
RIMSKY-KORSAKOV Scheherazade finale: https://www.youtube.com/watch?v=0RX9Bhps-SQ
RAVEL Daphnis finale https://www.youtube.com/watch?v=RppyDbRh8Sc
The chief point of confluence here was of course Serge Diaghilev and his Ballets Russes. And it was Mikhail Fokine's exotic and sexy choreography for Scheherazade which brought that piece to everyone's ears in Paris, including Ravel's. The influx began in 1906, when Diaghilev held an exhibition of Russian art in Paris, creating a fascination there with all matters Russian. Two years later he put on Mussorgsky's Boris Godunov starring Feodor Chaliapin and then in 1909 he held a ballet season in which the Polovtsian Dances from Prince Igor, music by Borodin, created a sensation. The colour, energy, vitality and exoticism of ballet as gesamtkunstwerk, with the soaring standard of all its elements, dance, choreography, music and design – all this made a vast impact. Thereafter Diaghilev's commissions included Ravel's Daphnis as well as Stravinsky's first three ballets, The Firebird, Petrushka and The Rite of Spring. I don't need to tell you what happened in 1913 when they premiered the last of those.
Diaghilev is what Debussy and Prokofiev had in common. Debussy was, of course, at the height of his powers and enormously famous by the time Diaghilev came to Paris. He had less to gain from the connection than his younger compatriot, Ravel, and much less to gain than the youthful Prokofiev. But we still benefit from his limited association because his commission – after an initial approach in 1909 that came to nothing - was the ballet score Jeux, in 1912, in which a tennis match leads its two couples into games of a very different kind.
Its choreographer, Nijinsky, also choreographed Debussy's Prélude à l'apres-midi d'un faune in 1912, ending with an erotic gesture that caused a huge scandal. Debussy himself steered clear of both ballet and scandal. And he didn't much like Nijinsky's approach to Jeux. Here's how he described him: "Nijinsky's perverse genius applied itself to a special branch of mathematics!" he wrote. "The man adds up demisemiquavers with his feet, checks the result with his arms and then, suddenly struck with paralysis all down one side, glares at the music as it goes past. I gather it's called the stylisation of gesture. It's awful!"
In 1913 Prokofiev, then aged 22, travelled to London and Paris for the first time and made contact with Diaghilev. The impresario nurtured the young composer by commissioning a ballet score entitled Ala and Lolli; but when Prokofiev handed it over in 1915 Diaghilev rejected it as "unRussian". This seems a little perverse, since it was always going to be modelled on influences from the Scythian culture of central Asia. Parts of it eventually morphed into the Scythian Suite. But then Diaghilev asked Prokofiev for another score, this time Chout. And as Prokofiev was still quite inexperienced with ballet, the choreographer Leonid Massine and Diaghilev himself guided him closely through the process. The result, premiered in 1921, was a major success – Ravel called it 'a work of genius' - and it was followed later by The Prodigal Son, which was choreographed by George Balanchine in Paris in 1929. These paved the way for Prokofiev's Soviet ballets – Romeo and Juliet and Cinderella, among his best-loved works to this day. There was a further ballet for Diaghilev, too, entitled Le pas acier, or The Steel Step, supposedly portraying the industrialisation of the Soviet Union.
This plentiful experience in ballet music was, I think, a lasting influence on Prokofiev, whose fairy-tale feel for colour, elan, rhythm and musical storytelling never left him. The Second Violin Sonata is more or less contemporaneous with Cinderella, and, I think, audibly so. More about that piece in a minute.
If Debussy and Prokofiev's paths crossed in Paris during those years when Prokofiev was the enthusiastic young blood and Debussy the grand master near the end of his life, there's precious little sign of it. Still, even if Debussy didn't know Prokofiev, Prokofiev certainly knew Debussy's music – and according to his son's reminiscences, one of his favourite works was the Prélude à l'après-midi d'un faune.
Debussy had other Russian connections – and vital formative ones they were. In 1880, in his late teens, he found an interesting summer job with Tchaikovsky's legendary patroness, Nadezhda von Meck.
Here's her first impression of him, a letter of 10 July 1880: "Two days ago a young pianist arrived from Paris where he has just graduated from the Conservatoire with the first prize. I engaged him for the summer to give lessons to the children, accompany Julia's singing and play four hands with me. This young man plays well, his technique is brilliant, but he lacks any personal expression. He is yet too young, says he is twenty but looks 16…"
She described Debussy to Tchaikovsky as her "little Frenchman". Indeed, she became very fond of him and while he stayed with the family they played through duet versions of several big Tchaikovsky pieces. She told Tchaikovsky that Debussy was enchanted with his music. He made arrangements for duet of some of the national dances from Swan Lake, including the Spanish dance; his very first publication, apparently, was a Tchaikovsky arrangement that came out in Russia; and when he went home he took with him scores for Tchaikovsky's Romeo and Juliet and the opera The Maid of Orleans. He was young, intelligent and impressionable and soaked up music like the proverbial sponge.
Here is Romeo and Juliet…listen to the horn at around 8:54 to 9:56
And here is the Debussy. Listen to the woodwind around 5:50...
If that's a coincidence, I'll eat my hat...
Tchaikovsky was not so impressed with young Debussy, though, assessing the little Frenchman's Danse bohemienne and declaring to von Meck that the form was "bungled".
Now Tchaikovsky may not have been in thrall to Berlioz, but he was far from immune to him. He once said: "It is Berlioz who must be considered the true founder of programme music, for every composition of his not only bears a specific title, but is furnished with a detailed explanation, a copy of which is supposed to be in the listener's hands during the performance." I doubt we'd have had his Romeo and Juliet overture without Berlioz's example.
Other French music had made a big impact on him, especially Bizet's Carmen – the Fate motif proved a particular inspiration – and I think some crucial influences from Berlioz aren't difficult to detect. We're all too familiar with the applause that often follows the third movement of the Pathetique symphony, that rather brash and hollow march, which creates an expectation that it's the end, when it's not. The precedent for a supposedly triumphal march followed by something terrifyingly different was set in no uncertain terms by the Berlioz Symphonie fantastique, where the march to the scaffold is mock-triumphal and followed by the witches' sabbath. Tchaikovsky was apparently not an enthusiast over the Symphonie fantastique – he much preferred La Damnation de Faust. But the precedent was there and if there is any doubting the bleak, grotesque impact of Tchaikovsky's march and the tragedy that follows it, just look at what Berlioz was doing with his and the flavour is somewhat enhanced.
So there again, there's the progression - Berlioz to Tchaikovsky to Debussy. But by the time we reach Debussy's musical maturity, issues of musical nationalism are becoming stronger than ever before, in new, less cross-fertilised ways.
The trouble with musical nationalism is that it can be symptomatic of other kinds of nationalism on the rise around it. It has a way of finishing in wars. Both Debussy and Prokofiev were to go through considerable traumas as a result of the wars during in their respective lifetimes; their lives, their thinking and their music were deeply affected.
Debussy was only a child at the time of the Franco-Prussian War and he was fortunate thereafter to spend most of his life in peaceful times; but when the First World War broke out he was no longer in good health. It was around then that he began to suffer from the cancer that would eventually kill him in 1918, even as Paris was under bombardment.
He was ten years old when Saint-Saens was forming the Societé Nationale de Musique in the aftermath of the Franco-Prussian War, and if later on writing music that was essentially French and that escaped Wagnerism became a preoccupation with Debussy, it was musically rather than politically inspired. But the First World War changed all that.
When Debussy composed what turned out to be his final completed works, the three instrumental sonatas – though originally he intended six – his outlook was close indeed to the manifesto of the original Societe Nationale. He was trying to create pure instrumental music that was free of influence from outside and that possessed instead what he felt to be characteristically French qualities. But to do so he now had to look back a very long way - beyond Wagner, beyond Tchaikovsky, beyond Berlioz and even beyond Mozart, turning to the French baroque, notably composers such as Rameau, Couperin and Leclair.
He wrote to his publisher, Jacques Durand, in August 1915: "I want to work – not so much for myself, as to provide a proof, however small, that 30 million Boches can't destroy French thought, even when they've tried undermining it first before obliterating it." Later he reflected in another letter: "What about French music? Where are our old harpsichordists who produced real music in abundance? They held the secret of that graceful profundity, that emotion without epilepsy, which we shy away from like ungrateful children…"
In his Violin Sonata he captures that quality to perfection. Here's some of it.
And so Debussy may have begun his career under the shadow of Tchaikovsky and Wagner – but he finished it by breaking free of all external impacts, for the same nationalist reasons that at one time attracted composers to borrow from one another's traditions. On the manuscript of his sonatas he signed himself simply "Claude Debussy, musician français".
Composers' chamber music works often reveal their musical thinking at its most private – think, for instance, of Brahms's clarinet quintet, or Shostakovich's string quartets. I reckon Debussy is no exception – and Prokofiev, too, finding the intimacy in his chamber music to express everything he could not put into larger public works in the era of Stalin.
Interestingly enough, it seems that Prokofiev probably performed the Debussy Violin Sonata himself, on tour in a duo with the violinist Robert Soetens in 1935.
There's one more influence from France which contributed to bringing Prokofiev's Second Violin Sonata into being. This piece dates from 1942, it was the first of the pair to be completed – and it's not really a violin sonata at all. It was originally written for flute and piano and was apparently inspired – in memory – by the great French flautist Georges Barrère.
Barrère was one of a powerful line of great French flautists, who also included Paul Taffanel and Philippe Gaubert, and would later extend to Marcel Moyse, Jean-Philippe Rampal. The French repertoire is replete with works conceived for them, including pieces like Fauré's Fantaisie, Poulenc's Flute Sonata, Ibert's Flute Concerto, Debussy's Syrinx, the big solo in Ravel's Daphnis and Chloe and of course the opening of Debussy's L'Après-midi – which we've also noted was a favourite of Prokofiev's. Moyse was another particularly significant example: a friend of Ravel and Enescu and creator of a method of flute playing that's used by student flautists all over the world, he played under the batons of both Rimsky-Korsakov and of Prokofiev himself. He once declared: "I long ago observed that the real beauty of the sound comes from the generosity of the heart."
In Russia the flute tradition was less developed than it was in France. The great violinist David Oistrakh spotted the likely lack of demand for this sonata and suggested Prokofiev should rework it for violin. Prokofiev embraced the opportunity and the result was every bit as successful as Oistrakh had hoped. Here he is, playing it, with pianist Vladimir Yampolsky.
But our next criss-crossing of France and Russia is more physical...and concerns why Prokofiev, having left Revolutionary Russia for France, eventually decided to go back again.
He was not a political animal. He appears to have been rather single-minded about his music; he was also something of a dandy, loving to wear good suits, yellow shoes and plenty of aftershave. But it is ironic that a man preoccupied only with art, love and his adopted religion of Christian Science should have been caught up in seismic political events that changed the face of the planet, and it was inevitable that from time to time their impact would find some expression in his music.
Prokofiev escaped the 1917 revolution in Russia and spent the next decade abroad. He was in the US for around four years, he spent a year in Bavaria writing his opera The Fiery Angel, but the rest of the time he was in France, where, among other things, he worked with Diaghilev. In 1927 he went back to Russia for the first time, encouraged by friends who told him that his music was popular there and he would be greeted with enthusiasm. He found it a very different country from the one he'd left, but he was indeed welcomed back with considerable triumph. That acclaim haunted him thereafter.
Several factors conspired to create the mindset that returned Prokofiev for good to the USSR in, of all times, the mid 1930s. First, after Diaghilev died in 1929, his ballets dropped out of the repertoire and he was left short of a vital commissioning patron. Besides, he was homesick. In a 1933 interview, he said:
"Foreign air does not suit my inspiration, because I am Russian, and that is to say the least suited of men to be an exile, to remain myself in a psychological climate that isn't of my race. My compatriots and I carry our country about with us. Not all of it, to be sure, but a little bit, just enough for it to be faintly painful at first, then increasingly so, until at last it breaks us down altogether."
There could have been warning signs. In 1929, trying to get his ballet Le pas d'acier staged at the Bolshoi, Prokofiev faced tough questioning from the Russian Association of Proletarian Musicians, who challenged him over living abroad and whether a factory in the piece was a capitalist one or soviet. Perhaps it's a measure of the composer's ignorance of what had been going on in the USSR that he was furious and declared "That concerns politics, not music, so therefore I won't answer." The ballet was rejected.
The next issue was purely musical. His personal leanings towards traditional forms, clarity of expression and a more traditional outlook than was being taken by contemporary composers in France at the time, let alone in Vienna, made him feel that the USSR might be the place for him. Desiring to create melodic music that large numbers of people could and would enjoy, Prokofiev felt his outlook was perhaps not so far off the official line. He once declared that he wanted to create music that would appeal to people in the Soviet Union discovering music for the first time, aiming to invent 'a new simplicity'. The Soviet authorities were only too happy to encourage him – his return would be a massive PR coup. He spent much of 1935 there working on his ballet Romeo and Juliet, but in 1936 he was permitted to leave again for a tour, so he was away when Shostakovich's Lady Macbeth of Mtsensk was denounced in the newspaper Pravda, apparently for tickling "the perverted tastes of the bourgeoisie".
Prokofiev himself was attacked for his artistic outlook at this time - but he wasn't there, knew nothing about it and wasn't told the full story when he return. So instead of getting out while the going was good, he wrote Peter and the Wolf, enjoyed a huge triumph and settled happily in a nice apartment with his wife and family, just in time for Stalin's 'terror'. Fortunately he remained unscathed, though he incurred plenty of jealousy. Then he wrote an enormous cantata for the anniversary of the Bolshevik Revolution - only for it to be rejected out of hand.
He made his last foreign tour in 1938 and was offered a very nice contract in Hollywood to write film music. He turned it down: his sons were still in Moscow and he had to go home to them.
It was in the winter of 1938 that he began to write sketches for his first violin sonata. He had been working on film music with Sergei Eisenstein for Alexander Nevsky and was surrounded by the terrible purges of the Terror. Between 1936 and 38 about 7 million Russians were arrested, some half a million public figures were shot and hundreds of thousands more sent to the gulags. By the winter of 1940 Prokofiev found himself having to write celebrations of Stalin's glorious society even while some of his closest friends were arrested, tortured and killed.
When Germany invaded Russia in 1941, Prokofiev was evacuated with a number of other artistic figures, together with his mistress, the poet Mira Mendelson, for whom he had left his wife. They went first to the Caucuses, then to Tblisi in Georgia, and he took his violin sonata in progress with him.
The Violin Sonata No.1 is much less famous than its sibling no.2, but it is by far the more personal. It's an almost unremittingly dark piece and near the close of the first movement and again at the end of the entire piece there's an eerie scalic effect which he described as suggestive of a wind blowing through a graveyard. Here is a complete recording by Oistrakh with the pianist Lev Oborin.
Prokofiev's health was never the same again after the war. He was chronically ill for his last eight years and died in 1953 on the self-same day as Stalin. The first and third movements of his Violin Sonata No.1 were played at his funeral.
Think how much the world had changed. Debussy lived only long enough to trumpet his nationalist colours at the end of his life, but Prokofiev, born a prodigy with a pushy mother into the world of Tsars, Tchaikovsky and The Five, started off living the hopeful life of a composer who believed that politics and music could be separate, and paid the price by ending up in the wrong place at the wrong time even though he'd had the chance not to.
You could see him as a hero who stood by his inner convictions and followed his heart. You could see him as an impossibly naïve and blinkered artist, hoist on his own petard. You could forgive him everything, as he lacked the luxury of hindsight. Or you could see in him the tragic story of one who devoted a wealth of talent to ideals that were to prove doomed and deadly. The story, perhaps, of Russia itself.
Now, one person from tonight's programme has been missing and it's Arvo Pärt and his piece Fratres. I apologise for sidelining him in favour of the Debussy and Prokofiev narratives – and I am sure that Fratres will be familiar since there can be few contemporary pieces that have been conscripted so often for film and TV. But there is one little footnote to add that ties it to our other pieces. Diaghilev was largely responsible for turning ballet into a gesamtkunstwerk, with Debussy as occasional prop and Prokofiev as musical heir apparent. Last week I went to Covent Garden to see a brand-new ballet entitled Connectome, with amazing designs by Es Devlin, fine choreography by Alastair Marriott and dancing by today's greatest ballerina, Natalia Osipova. It really was a gesamtkunstwerk. And the music was four pieces by Arvo Pärt – beginning with Fratres. Do see it if you can.


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Tic Tac Toe 5 in a row
by chikulaev
Play Tic-Tac-Toe 5 in a row! For you, there are 5 levels of difficulty and the game over the Internet with other users! The first player to rank 5 of his pieces vertically, horizontally, or diagonally wins. In the game against a man for one turn have 30 seconds. If a player in the allotted time to come down, he loses. If there is no free player, you can hone your skills in a game against the computer, where you will not be limited to thinking. Let's become a master in this challenging game!
- This extension can access your tabs and browsing activity.


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The Eclipse Foundation is stepping up its developer challenge to Microsoft with a coordinated tools release calculated to attract vendors and IT shops targeting the delayed Windows Vista.
Eclipse, which is number-two in tools market share behind Microsoft's Visual Studio according to analysts, is today expected to announce 23 of its projects, run by 10 teams, have been simultaneously updated and released for the first time under its Callisto initiative. You can check out what's in Callisto here.
Eclipse has in recent years developed a habit of using June to deliver new versions of its underlying platform. Tools from Eclipse's 63 tools projects, though, would generally be updated by project teams during the following one to eight weeks.
This has produced reliability problems for developers who use different Eclipse tools. Callisto is designed to iron out version compatibility problems between the underlying Eclipse platform and tools, and also ensure developers no longer need wait for eight weeks for all the modules they use to become compatible.
Among the features in this latest edition of Eclipse are tools to build and deploy applications to Microsoft's Widows Vista platform. Eclipse is starting to nip at Visual Studio's heels according to analyst Evans Data Corp, and Eclipse earlier this year begain encouraging Windows developers to check out its Rich Client Platform (RCP) project on the basis that their applications will have backwards compatibility between Windows Vista and older versions of Windows.
No wonder then, with Windows Vista facing repeated delays, Eclipse is crowing about its reliability as a provider of new technologies to Windows developers.
Eclipse executive director Mike Milinkovic told The Register: "Eclipse wants to be a predictable supplier of technology. With a track record of three releases since the foundation was created we have a claim to make that we can be very predictable and reliable. We have a development process that works extremely well and governance model that allows coordination of 10 teams."
That's particularly important for Eclipse which has been trying to raise its profile among CIOs and CTOs. As far as Milinkovic is concerned, Eclipse has cracked the nut of successfully delivering projects because it uses an agile development methodology that churns out pre-release milestones every six weeks.
Microsoft has attempted to emulate this with Community Technology Previews (CTPs) - which Milinkovic dismissed as "an alpha by another name" - but CTPs have clearly failed to guarantee a timely or reliable delivery schedule for Windows Vista.
With Callisto delivered, Eclipse is already drawing up plans for next June's release which Milinkovic said would likely include additional Eclipse projects. "Frankly, Microsoft is demonstrating they have been having difficulty shipping software and they can learn a lot from a community based approach like Eclipse," he said.
In further news, it looks as if Eclipse could finally be getting some decent management capabilities. The proliferation of Eclipse projects and plug ins has produced problems in performance and managing of developers' Eclipse-based tools. Milinkovic said, though, a number of proposed management projects are now "coming down the pipe," but was unwilling to comment further.®


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New Video: Abortion Worldwide
An estimated 40 million abortions will take place in the developing world this year. Most of these procedures will be clandestine and unsafe, taking a terrible toll on women's lives. Every year, 47,000 women die from unsafe abortion and millions more are injured, some seriously and permanently. These deaths and injuries are almost entirely preventable.
To help ensure that the global debate about unsafe abortion and its consequences is informed by facts, the Guttmacher Institute has created a short video presenting key evidence on abortion worldwide.
Disponible en español
Disponible en français
The video aims to inform discussions by policymakers, the public and the media about the provision of safe abortion services—making clear that such services are essential to reproductive health care which in turn benefits women, their children and society. The video makes several key points:
- Women have abortions in all parts of the world and they have them for similar reasons, which include being unable or too poor to care for a child or additional children, not being in a stable relationship, and needing to finish their education.
- The frequency of abortion has much less to do with its legal status than with levels of unintended pregnancy, the root cause of most abortions. Unintended pregnancy rates have everything to do with whether a woman has access to quality family planning services.
- The best way to reduce the need for abortion is not by denying women access to safe and legal procedures, but by giving them the power to control their fertility and prevent unintended pregnancy. Today, 222 million women in the developing world want to avoid pregnancy but are not using a modern contraceptive.
Reducing the incidence of unsafe abortion is a public health imperative. It is the basic right of every woman to be able to make her own childbearing decisions without having to put her health or her life at risk.
You can watch the video on our YouTube channel. Please consider sharing it with others and tell us your thoughts on our Facebook page.
See here for more information:
- Video transcript
- Facts on Induced Abortion Worldwide
- Access to Safe Abortion in the Developing World: Saving Lives While Advancing Rights
- Costs and Benefits of Investing in Contraceptive Services in the Developing World
- Interactive media kit: Worldwide Abortion: Legality, Incidence and Safety
- Induced Abortion: Incidence and Trends Worldwide from 1995 to 2008
- Guttmacher's YouTube channel with additional videos on abortion and contraception


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A friction fighting premium synthetic lubricant that molecularly coats all metal surfaces, not just engines. This heavy duty formulation is proven to treat metal on metal wear in any mechanical part. It creates a surface layer by bonding to metal, reducing friction and heat.
This reduction in friction saves you money. It can be used in Petrol or Diesel engines, as well as Gearboxes, Diffs and Power Steering. As a premium synthetic liquid, it contains no solids such as Teflon, Molybdenum or Graphite.
- Reduce fuel consumption
- Reduce wear
- Reduce operating temperatures
- Protects at start up - Contains no harmful solids
- Single product for all applications
- Bonds to the metal surface
- Wont change the SAE rating of your oil
- Suitable for use with either mineral or synthetic oils
Use Less!
- In your engine, use 60ml per litre of oil (6%) and only re-use every 3rd or 4th oil change.
- In most other applications, use 30ml per Litre of oil (3%) and re-use every 80,000km to 100,000km or every 12 months.
- 946ml Treats 15 Litres of engine oil or 30 Litres in other applications.
You may also be interested in the following product(s)
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UCL/Injector Cleaner 946ml (Treats 600L)
Hyper Lubricant - X-Large (18.9L Treats 300L)


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Online Resources
This Web was compiled from a variety of sources including the online resources listed below, but is not intended to substitute or replace the professional medical advice you receive from your physician. The content provided here is for informational purposes only, and was not designed to diagnose or treat a health problem or disease. Please consult your physician with any questions or concerns you may have regarding your condition.
This page contains links to other World Wide Web sites with information about cardiovascular diseases. We hope you find these sites helpful, but please remember we do not control or endorse the information presented on these Web sites, nor do these sites endorse the information contained here.
- American Heart Association
- American Society of Bariatric Physicians
- American Society of Bariatric Surgery
- Centers for Disease Control and Prevention (CDC)
- Dietary Guidelines - MyPyramid.gov
- Heart Failure Online
- Medline Plus
- My Pyramid Plan
- National Heart, Lung, and Blood Institute (NHLBI)
- National Institute of Diabetes and Digestive and Kidney Diseases (NIDDK)
- National Institute of Neurological Disorders and Stroke
- National Institutes of Health (NIH)
- Office of the Surgeon General of the United States - Overweight and Obesity


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Don't Have an Account? Sign Up to Save Favorite Listings, Save Searches & More...
This is an excellent riverfront lot located in Clay County, Florida. The parcel is 0.34+/- acres in size. It is located on the south side of the mouth of Black Creek, approximately 550 feet east of U.S. Highway 17. The parcel has approximately 78 feet of direct frontage (fully bulkheaded) along the water. The lot is accessed from River Lane, which is a privately maintained road. The site has a excellent view to the north along the St. Johns River. The parcel is proximate to Knights Marina.
The data relating to real estate for sale on this web site comes in part from the Internet Data Exchange (IDX) program of the Northeast Florida Multiple Listing Service, Inc. Real estate listings held by brokerage firms other than Engel & Volkers are marked with the listing broker's name and detailed information about such listings includes the name of the listing brokers. Information deemed reliable but not guaranteed.
©2020 Northeast Florida Multiple Listing Service, Inc. All rights reserved.
Listing information last updated on July 3rd, 2020 at 6:38pm EDT.


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Jada Fire is a busty black porn star who was born and raised in L.A. As one of the best-known ebony stars in the business, Jada's claims to fame are her gorgeous 36DD breasts with perfectly large areolas, a large bubble-butt, and of course her amazing squirting ability.
While still in college, Jada began working as a phone sex operator and making adult films was not far behind. She has starred in well over 600 films since her debut in 1998, doing anything from anal to girl on girl. Jada has been nominated for many awards and has brought home the trophy a few times, including Ass of the Year at the 2007 Porn World Awards and the 2008 AVN Award for Best Squirting Series for her Jada Fire Is Squirtwoman movies. The Urban X Awards named her Best Anal Performer in 2009. She was inducted into the XRCO Hall of Fame in 2010.
Tattoos: Lower back; right shoulder; two five-pointed stars on shoulder blades
Non-ear piercings: Tongue


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WGOLV provides several services through some of our partners in the Lehigh Valley.
WGOLV provides several services through some of our partners in the Lehigh Valley.
What's going on in the Lehigh Valley has nearly 50,000 fans and a reach averaging at least 300,000 monthly on social media as well as a well-designed web site!
WGOLV – What's going on in the Lehigh Valley, LLC is a very unique publication serving the Lehigh Valley. Now with over 50,000 fans on social media alone and an extremely large reach of thousands daily, it's become a well-loved publication! It's unique and very popular! In addition, fans who recently moved to the Lehigh Valley find it a very valuable resource and those who relocate enjoy keeping in touch.
WGOLV offers a little bit of everything in one place – weather, news, events, music, sports and so much more. WGOLV is also very supportive of our First Responders and our Veterans.
I have been truly blessed in finding this incredible social media outlet – WGOLV, and I am so very thankful for the expedite news forum they provide for the Borough of Bath, and to so many others here in the Lehigh Valley and beyond. Truly #1 in my book!"
— Mayor Mirabito, Borough of Bath, PA
"I LOVE WGOLV because it is the BEST and most informative site on a daily basis!!! It's my go to site when I want to know what's happening in the Valley! I also share their posts regularly. Thank you WGOLV for the Great job you do every day!"
— Kathy Mills
"What's Going On Lehigh Valley is the perfect place to post your Lehigh Valley event. I love reading their posts for my personal life so I knew they would be a great place to advertise our event. The process was quick and easy, and they were able to add our post at the last minute. Stay up to date on all the best Lehigh Valley happenings – If you're not already following on Facebook – you should be!
— Christine Burke – Manager, Marketing & Events – Dutch Springs
"I follow your page and check it every day to see what's going on in the area and I absolutely love it! "
—Liz Oleksa


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AAA predicts 43.6 million Americans will be traveling this Thanksgiving. Will YOU be one of them? Share with us your Thanksgiving travel tips or past travel horror stories that you're thankful are in the past. Send them email@example.com
with the hashtag #TurkeyTrek518 in the subject line. Best tip or best, worst memory will win a gift card on Black Friday.


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Shirt: c/o Karen Kane, Shoes: Old Navy, Laces: Payless, Skirt: UO, Watch: c/o Mimi's
I must five-thirty seriously kicked my rear end this morning. (Don't laugh or shake your head. Waking up is hard.) And the worst part is, I have to do it again tomorrow. Meh. So if you have any tips for my staying conscious through the entirety of an hour and fifteen minute Evidence class first thing in the morning, please don't keep them to yourself. Fortunately, the rain decided to hold off until just now, so it looks like it will be an early bedtime for Ramsey. Hopefully complete with raindrops on my window.


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Virtual world experiences …
Do SL memories have same
quality as RL memories?
A "personal" view
A question of memory … sailing on the Dreaming Sea, Daedelus, in SL
There is no question one can use a virtual world to learn or train but there is a question still hanging over what educational benefits MUVES can provide when compared with other educational electronic learning techniques and face-to-face Real Life teaching.
There also is the question whether virtual worlds can be separated from Real Life as a stand-alone teaching aid, particularly in distance education, or whether they are just another useful tool in the education toolkit; just another classroom/space on the Real Life campus?
These thoughts were brought to mind by the recent blog by SLENZ co-leader Terry Neal (SL: Tere Tinkel) on "The barriers to using Second Life" and the PookyMedia machinima promoting midwifery student use of the SLENZ Project's pilot Second Life midwifery education programme at Te Wāhi Whānau, The Birth Place, on Kowhai, being run in conjunction with Otago Polytechnic.
The conjunction of the two sparked a discussion with my three-year, virtual-world, travelling companion, Wendy Steeplechase (pictured right), who believes that the "memories" created in Second Life, because of the nature of virtual world "immersion", have the same "feel, qualities and weight of real life memories" when compared with the memories created by more passive entertainment/information delivery such as reading a book or watching television or a movie.
This is important when one considers the role of memory in learning.
"For me," Wendy said, "those more passive forms of information input don't create the strength of the memories created by Second Life. I would never confuse a memory I have of reading something in a book with me doing it in Real Life. But it does happen to me in Real Life that I sometimes don't know whether the conversation took place, I saw the place, or the event happened in Second Life or Real Life.
"Everybody talks about Real Life versus Second Life as though the two can never meet but in actual fact Second Life is a part of Real Life. The interaction between Real People in the virtual world means the memory you create, the programming that goes into your head is more permanent: you perform the action or interaction and it becomes part of you, part of your Real Life memory."
But that's because of the 3 Dimensional, graphical quality isn't it?
She bridled. "Actually the 3D graphics and animations are a bit of a red herring because the great value of virtual worlds like Second Life lies in the realtime interaction between people/individuals remotely."
"In business I have found people very leery about the use of web cams," Wendy who is "immersed "in Second Life but also controls large Telecons in Real Life on an almost a daily basis, said. "People do not like to do live video in a science/business environment. But the level of anonymity and the artificial, perceived (safety) barrier one gets with an avatar within a virtual world makes people more comfortable with a virtual world than with video conferencing, where everyone sits rigid and doesn't really dare to relax or move naturally.
"This comfort level is evidenced by the relationship situation in virtual worlds where people get so close to each other so quickly. It is also evidenced by the fact that virtual world residents are comfortable exploring alternative lifestyles and places they would never even consider doing or visiting in a million years in Real Life.
"It's less scary to interact with other people in here (SL)," she said. "They (we) think, "People can't really see the real me so how scary can it be?'
"The ability to interact with this 'safety barrier' in place makes virtual worlds far more compelling and palatable than doing the same thing in Real Life or watching videos or movies," she said.
The big negative of virtual worlds for Wendy is the fact that avatars, except for walking, can only move in prescribed animations. For instance they can't point at things with their hand or fingers; and their arms, except in prescribed animations, cannot be moved. This, she believes, works against true roleplay learning in Second Life for many applications. For instance, she said, as a pregnant woman having a baby she would want to be able to point to where the pain is and the Real Life midwife would need to understand this.
For her – and she is at pains to point out she is not an educator – one of the most compelling training uses of Second Life is the international border crossing simulation created by Loyalist College, of Ontario, Canada.
It works, she believes, because the two partipants in the roleplay are fixed in space and time and do not move very much. She views the interview room of the SLENZ Project's Foundation Learning pilot, with its fixed avatar and fixed interviewer, in the same light, although neither Loyalist College nor the SLENZ pilot takes great advantage of the 3D environment for their roleplay.
Critical of my view that academics need to be "immersed" before they can "champion" Second Life as an educational tool or teach in Second Life, Wendy believes that not everyone is capable of becoming "immersed" in a virtual world.
"Just as there are different learning styles," she said, " there are different styles of being. Not everyone will 'get' virtual worlds, no matter how hard they try. I've come across many, many residents who have spouses or partners who think it is absolutely stupid and a waste of time, even after they try it, and even if they really want to share the experience.
"It's unfortunate in those cases but that is the way it is: for educators/businesses virtual worlds can only ever be one tool in a toolkit which might suit some and not suit others.
"Virtual Worlds are just another room of Real Life and a useful adjunct to it, if needed," she said. "I think considering them separate from Real Life limits their usefulness." – Johnnie Wendt/John Waugh
Memories of departure … a Rollo Kohime performance
at Wellington Station in SL
Filed under: Education, Education in Second Life, Education in virtual worlds, Second Life, Virtual Worlds | Tagged: Otago Polytechnic, PookyMedia, Terry Neal, The Birth Place, Virtual Worlds, Wendy Steeplechase | 2 Comments »


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One of the biggest frustrations of being a photographer when traveling is often being at the mercy of others around when and where and for how long you can stop. This is particularly true when you're traveling for work, not fun. And the frustration only grows when the landscape you're passing through is visually spectacular.
The key to any good picture, and definitely true to landscape photography, is the need to move yourself into a position to make the most of a scene. Is that tree better placed on the left or the right? Should I get in close and use a wide angle, or stand off and zoom? If I wait here another five minutes, is the sun going to break through and hit that particular part of my composition and make it take off? Photography is the art of scribing light. You need to be in the perfect position, and the perfect moment.
And that perfect position and perfect moment is almost never through a car window. Or a car windshield. Or, for that matter, an airplane seat.
I've sadly had to score my fair share of shots from car windows. I hate it. They are always sub-standard to what I would like, or the vision I have for the scene, and unless you're very fortunate, there's almost invariable motion blur, particularly in the foreground. On my most recent trip through north-western Ethiopia, it was doubly painful. Not only was the landscape glorious, but the lighting was spectacular. It was variable and changing, we were on the road early and late as the light turned golden, and you really would have struggled to find more dramatic combinations of scenery and sunlight at times. I just wanted out of that vehicle and to be taking my sweet time framing up the shots I wanted to take.
Alas, there are only so many times you can ask the driver to stop and your colleagues to wait patiently in the car while you grab your snaps.
And the toilet-break excuse has a ceiling.
Sometimes you just make do with what you've got, however, and in this case, several of this little series of light-captures were snapped from the moving vehicle, the others grabbed during brief moments when we were stopped at the side of the road. Not my favourite option, and given the quality of the light, I wish I could have positioned myself better- there were some epic opportunities. But thems the breaks. Here's what I got out of them though, and I quite like how some of them turned out. As much luck as anything. One of these days I hope to be out on the road myself here, able to stop whenever I feel like it. In the meantime, I hope you enjoy these ones.
1. The Golden Hour: Morning haze gathers in folds of the landscape lit by a morning sun just on the Amhara side of the border with Benishangul-Gumuz
Note: If you click on this image, I've included the link to a larger size of this image which is worth linking through to- the small frame doesn't capture the landscape well.
2. Traveling Light: Shooting straight into the sun, hanging out of the side window of the Land Cruiser
3. Out of the Burning Dawn: A man walks along a road at sunrise not far from Chagni, in SW Amhara Region; shot through the car windshield into full sun.
Note: Same for this one- click through for larger image.
4. A tree, captured out of the side window of the truck, stands silhouetted against the overexposed sky, smoke and dust from the road swirling at its roots
5. Metalled road west of Chagni, Amhara Region, at dawn
6. A painted truck, caught with the rising sun ahead of it, through the windshield of our four-by-four
7. Truck headlights at dusk in Mandura Woreda, Benishangul-Gumuz
8. Smoke and clouds blend at dusk above a burning rubbish tip on the outskirts of Bahir Dar


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Since we've spent part of the past few days on this site discussing lousy journalism, including the Baseball./American Football centric American sports writers and commentators, it's time to focus on recent inaccurate reporting in the European press.
Over the past ten days numerous stories with no factual basis whatsoever have appeared in the Italian and English press. These stories were wholly inaccurate and served a purpose of making Milan appear to be closer to signing David Beckham that they actually have been.
My suspicion is that these stories were not planted by AC Milan but in fact by Beckham and his handlers in an effort to put the Galaxy on the defensive and force a quick resolution to the matter. It's no coincidence many of these stories have appeared in British media outlets. We repeatedly heard how close the sides were to an agreement, that negotiations were ongoing and that the Galaxy were eager to resolve the situation.
Based on these published reports I actually questioned what I was hearing from my sources in Southern California. I had been told that the Galaxy were insulted by Milan's initial offer and that no offer had been made in several weeks. What I was hearing was directly contradicted by PUBLISHED reports in the European press.
Well now we know the Galaxy was being "taken for a ride" to use the words of team President Tim Leiweke. Everything I was hearing was accurate. Milan was not offering anything close to what the Galaxy required to part with Beckham's services.
David Beckham has not only acted in an unprofessional manner but had he simply communicated with the Galaxy, his contract employer he may have understood the club's resolve in this matter. Instead Beckham and his handlers have seemingly resorted to a proxy negotiation using the press in Europe to the players advantage.
No one questions Beckham's recent accomplishment of tying the late great Bobby Moore's England cap record (although it is insulting to Moore that a player of his class should be compared Beckham who probably ranks outside of the top 10 English players of the last 20 years). But at the same time Becks has engaged in what can only be described as gamesmanship through the press. That does not reflect well on sportsman of David Beckham's reputation.


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Wearing Audi's brand new exterior appearance philosophy, the A6 and now the smaller A4 enters the 2012 European market under the optimism they are providing vehicles the customers want. While the four-door sedans are the hot commodity of almost any automotive marketplace, the European marketplace for Audi for the A4 and A6 includes the Avant wagon model. Picked as one of the favourite cars from 2011 by Motors.co.uk, the Audi A6 Avant was appreciated by the reputable British on-line marketplace site for its superior build, performance choice and larger size. Some would definitely think that the A6 Avant could be a hot seller in the United States premium car community. Unfortunately, the entire Avant line is on a hiatus from the United States market through the 2012 model year.
A prized automotive marketplace that had completely divested from wagons during the late 1990s, North American appetites first turned to minivans evolving into the sport utility craze. Thanks to the car-based crossover vehicle, the wagon has made a recovery of sorts undercover of all-wheel drive propulsion and taller rooflines. Returning in a similar manner as the five-door hatchback to United States, the wagon configuration is seen in a less conventional form.
In the mainstream auto marketplace, vehicles like the Nissan Juke, Kia Soul and Toyota Versa has been romancing the typical wagon family crowds. Luxury motorists also demand a car with extended cargo capacities mobilizing cars like the Mercedes-Benz R-Class and the Lexus CT200h as elegant yet creative approaches to premium utility. As buyers seek the unique interpretations of crossover utility motoring, the traditional wagon configuration of the Audi Avant models places the vehicles in a sub-category less likely to be success. Even though quattro all-wheel drive would play a part through the acceptance of both the A4 and A6 Avant, these wagon's face a tough American automotive audience.
Traditional wagon vehicles based on the Cadillac CTS Sport Wagon and the Acura TSX have fought with mixed success for automobile market share against the premium crossover utility products. Existing as the Honda Accord Tourer in Europe, the Acura TSX Sport Wagon was introduced to the North American product line-up for 2011 has sold 2,915 examples (accounting for less than 10 percent total TSX model produced in 2011). Acura had initially released the TSX Sport Wagon with the anticipation of selling 4,000 a year in North America. Along with sales difficulties for new releases, add to equation reduced competition in the segment with the fact Mercedes-Benz and Volvo have either decreased or completely eliminated their conventional looking wagons from the United States car line-up.
Another obstacle to the prompt appearance of the Avant versions of the Audi A4 and Audi A6 in North America comes directly from their own four-ring badged vehicles. Audi's own crossover vehicles (the Q5 and Q7) are already entrenched in the North American sale plans. Audi is still mulling over whether the compact crossover Q3 will arrive stateside. For American premium car buyers desiring more usable cargo room, Audi believes that their newly released A7 Sportback captures the intentions of utility without the stigma of a wagon.
The Avant's return to the United States marketplace will be guided by customer demand. Based on the arrival of the Audi TT RS and the upcoming US arrival of the RS5 in 2012, the Germany luxury badge has developed a good track record for recognizing the allure North American consumers have for their European vehicles. Perhaps with enough coaxing, the Audi A6 Avant could be a matter of a few requests away.
Information source: Audi AG, American Honda Motors
Photo source: Audi AG