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Israel, which has been embroiled in conflicts with several of its neighbors since its creation, is a far cry from Maine, which has one of the lowest crime rates in the United States, but Col. Robert Williams, chief of the Maine State Police, recently returned from a weeklong trip there to learn how their state-of-the-art anti-terrorism and policing techniques could be adapted here.
The trip may not yield any immediate changes in technique, strategy or hardware, Williams said, but the exposure provides valuable insight into different ways to approach complex policing problems.
"We won't be able to implement them in the true sense, but that doesn't mean we don't spin it off and do some things better," he said.
Maine paid for the $260 flight between Augusta and New York, but the remaining cost of the trip was funded by the Anti-Defamation League, a U.S. Jewish group that works against anti-Semitism and extremism. It is the largest nongovernmental provider of law enforcement training in the country, said Robert Trestan, the ADL's Eastern states civil rights counsel, who led the trip.
"When it comes to people putting their lives on the line fighting extremism, it's law enforcement," he said.
Trestan pointed out that even though Maine may not be in conflict with international neighbors, two of the Sept. 11, 2001, terrorists who attacked the World Trade Center boarded planes that originated in Portland bound for New York. The tour also showed visitors the psychological impact of terrorism on civil society.
Williams, who had turned down previous invitations, said he opted to go this time after hearing about the experience from chiefs in other states.
Williams said the group of 15 arrived in Israel at 5 p.m. and had its first presentation at 5:30 p.m. After that, each day started at 6 a.m. and ended between 10 and 11 p.m. The group visited numerous police stations, border crossings, a large shopping mall and Tel Aviv's airport, and accompanied a marine patrol unit on the coast.
Williams said he was impressed by what he saw, although not envious.
The challenge for the police precinct responsible for Jerusalem's Old City, which encompasses holy sites for Christians, Muslims and Jews, is to defuse conflicts between worshippers of different faiths quickly and without escalation. As a result, officers move quickly to disperse opposing groups and seek to make arrests later, based on the network of 200 surveillance cameras, he said.
"They can pinpoint where you entered the city and everything you did while you were there," he said.
Bomb shelters are ubiquitous. At the shopping mall, the manager explained how during a recent missile alarm siren, many of the 8,000 people in the mall couldn't fit in the bunker, which holds only 5,000, but the missile ended up destroyed by the country's missile defense system. Shoppers then returned to the stores, he said.
Even shoppers' cars are tested. At the mall parking garage, air samples are taken and processed to ensure no bombs are present.
The group visited a border crossing that processes some of the 80,000 Palestinians who walk into Israel to work each day. They are scanned to ensure they do not have weapons and to check that their passport belongs to them, he said.
At a major crime scene, such as a suicide bombing, police will work to gather evidence and clean the area within four hours, while in the U.S., it could take days.
"They said, 'We get back to normal as quick as we can. The whole purpose of terrorists is keep you on edge,' " he said.
Despite all the advanced technology, police do not have laptop computers in their cruisers and typically distribute information through pagers, he said.
Williams said there is a shared sense of mission among many of the police and the general public: the survival of the country — about the size of Connecticut — in the midst of many who dispute its right to exist.
In addition to a national force of 26,000 sworn police officers, there are 118,000 volunteer police who handle law enforcement duties like traffic control and investigations. All Israelis serve mandatory military service, and police carry military-style weapons, though the public generally does not carry guns.
Williams said he was startled by how open Israeli officers are to sharing intelligence. If their equivalent of the CIA learns of a possible terrorist attack, that information is distributed to all military and police agencies as well as private security at places like shopping malls and hotels.
The security officials told the U.S. police executives that they believe having all law enforcement coordinated and "on the same page" is essential to their survival, Williams recounted. Agencies in the U.S. are much less likely to share intelligence unless it's clearly necessary.
"They said, 'The more people that are looking for that suicide bomber, the better chance you have of catching them,' " Williams said.
"That will always subconsciously be with me the rest of my career. Maybe we don't have to have as many secrets within our profession."
Williams plans to meet with his command staff to review Israel's security approach and any possible applications in Maine.
Many Israeli techniques might never work in this country, he said, or would require congressional action.
"It doesn't mean you don't keep it in your mind," he said. "Rome wasn't built in a day."
Staff Writer David Hench can be contacted at 791-6327 or at:
Road conditions cited as factor in Hartland crash that injured two
Local & State
Saco 7th-grader wins Maine State Spelling Bee
Nation & World
Vintage plane, soon to become bar, tours Times Square
Men's lacrosse: Colby has the answers in win over Connecticut College
Nation & World
New Jersey attorney general sues California company over 'ghost guns'


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Start packing your bags because your dreams just become reality with a real puppy island!
On the beautiful island of Providenciales in the Turks and Caicos, a dog rescue charity called Potcake Place lets tourists bring puppies to nearby beaches and help them learn to socialize before they go to their forever homes.
The organization founder said she moved to the islands in 1997 and noticed a lot of puppies roaming the streets. That's when she decided to open the shelter.
All the puppies are up for adoption, but if you don't have room for your furry friend, you can still visit and play with them.
If you needed another excuse to visit the Turks and Caicos, we'd say this is all the convincing you need.
Thank you for the work you do @potcakeplacek9rescue . Potcake Place gives these pups a chance to sleep on a couch instead of the street... and tourists like us can play with them on the beach in the morning 😁🐶 #turksandcaicos #Providenciales #potcake #potcakeplace #baecation #beach🌊
A post shared by kim_terry🐘 (@kim__terry) on

subset: commoncrawl


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January 2007 Whoops! - Off-Road TrucksPosted in Whoops on January 1, 2007
Send us your wheeling foul-ups! Letters must be signed by the vehicle's owner. Due to the large volume of mail we receive, we regret that not all submissions can be used and none will be returned. Digital photos must measure no less than 1600 x 1200 pixels (or two megapixels) and be saved as a TIFF, an EPS, or a maximum-quality JPEG file.
Write to:
Whoops!, 4-Wheel & Off-Road
6420 Wilshire Blvd.
Los Angeles, CA 90048-5515
fax 323.782.2704
E-mail to:
My old '96 Chevy Tahoe had a 9-inch lift with 36-inch Parnelli Joneses and Weld Evo Cheyennes. Too bad you can't see them 'cause they're covered in clay. This is the last time I let my buddies talk me into this. It took two winches to pull me out.
Mike Harris, via 4wheeloffroad.com
This is a Bradley Fighting Vehicle (BFV). We got stuck out on a field prop near Camp Casey, Korea.
Spc. Dariek Dehn, U.S. Armyvia 4wheeloffroad.com
My dad and I were going to the back side of our place to go shooting when he said, "I smell gas."I replied, "We'll take a look at it when we get back to the house."
Moral of the story: Always listen to Dad.
Toby Roderick
Ignacio, CO


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Sorry, focus, so I head to Northboro, home of the first Massachusetts Wegman's. I take a left at the light and head up the very long road to the top where I find a gigantic shopping plaza with Wegman's, Kohls, BJs, and a bunch of other places. I park in front of the mega sized Wegman's and head in.
I head in and am surprised at the openness of it all. I dash into the "Market Cafe" which currently smells like barbecue sauce. I pass a soft pretzel cart, and some muffins that have been sitting out all day, and many of the same things I find at other stores. Sure I can't find Caribbean lime chicken at any old grocery store, but at the same time, I wasn't looking for it either. Oh there's sushi and kosher cooked chicken's (at double the cost), but again, don't care. Oh sure there is plenty of stuff here, but nothing I really want or that will safely survive the trip home.
I move onto the all natural section. It's a decent size that is bigger than a standard organic section, but no where near as helpful as a whole foods or trader joes, so I move on.
Next is chips, snacks, and all the other stuff. There are some good prices here and there.
Wow, there is a big candy store section, that's different, but again, don't care.
Found the freezer section, but I'm going to hit that last
I wander down to the end to find a caged in liquor section and what appears to be a wholesale club style pet section. If only I drank... or had a pet... I might care... still don't (notice a trend here?)
It's seems like Wegman's is trying to be everything to everyone without actually succeeding at anything. Sure, it would probably suffice if it was the closest thing to my house, but Market Basket is way more effective. Oh, I forgot to mention all the shelves are real short, I think I remember being able to see over them (felt like it anyway). Market Basket has big high shelves filled with lots of choices. Yes, Wegman's had pepperidge farm cookies on sale, but they had like 6 kinds of cookies total when there are over 2 dozen at MB. Selection is key for me no matter how foo foo you make your store look (I'm looking at you mister cool miniature train hanging from the ceiling)
Enough disappointment, you just want to know about ice cream don't you? Well, before I went to the 140,000 sq ft Wegman's, I envisioned an ice cream aisle as far as the eye could see filled with freezer after freezer of my favorite treats. Instead I got an ice cream section that reminds me of the small grocery store I went to as a kid. How in the bloody blue world can you build an ice cream section this small in a store this big? No it wasn't teeny tiny, but I wanted to be wowed, and that just didn't happen.
and guess what was in the second one?
Oh this is exactly what I was looking for! Oh I am thankful that this trip is not a total wash. Sure I was hoping for a much larger selection of Perry's, but what I got instead was 3 freezers full of Wegman's brand ice cream. Low fat, extra churned, premium pints... Oh, yeah, another bone to pick with Wegman's. So they've got several neat looking pint sized premium flavors like peanut butter and jelly, but they were all a mess. Every flavor I choose was leaking out the side. I drove all this way and your ice cream is a mess? not cool. Even worse, they are still trying to pawn this stuff off on people. Not everyone is going to notice the chocolate smudge on the side til they get home, and at that point they wont want to bring it back. It would have been one thing if it was one flavor (hey, stuff happens), but it was every single flavor I picked up.
Oh, to the people who drove in an RV for the opening of Wegman's two months ago? Soooo totally not worth the hundreds of dollars you spent on gas. Wegman's has it's good points, but I'll stick with Market Basket.
On Second


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Celebrating illustration, design, cartoon and comic art of the mid-20th century.
Tuesday, November 29, 2005
Call Me Ishmael
But the world knew him (as I did until yesterday) as "Woodi". Woodi Ishmael (1914-) always signed his magazine and advertising work with his first name. I have no idea why, but that distinctive signature graced countless ads, usually for something mechanical or industrial. Ishmael clearly found his niche by specializing in machinery, though he was just as adept with the human form and natural environments.
A web search turned up this dense site of biographical info, art examples and even audio clip interviews all courtesy of the U.S. Airforce. It turns out Woodi really enjoyed painting airplanes, and Uncle Sam had plenty of work for him. Go check it out.
2 comments:
beautiful posting!ReplyDelete
Woodi and Gwen Ishmael lived on our dead end street in Larchmont, NY, for many years. As a kid, I used to love going up to his studio, which had a huge picture window next to his drafting table. Woodi was the first pipe-smoker I knew. He did several paintings of my dad and the Larchmont volunteer fire department. My sister has them framed in her house. Recently on eBay I was able to get a copy of the Elks magazine that carried a self-portrait of Woodi at his drafting table. What a remarkable talent and a great American.ReplyDelete
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Assignemet – (Team Work)
A. The student should loacte the full text of a selected paper from the proposed papers list through the EBSCO online databases. The database can be accesed using the link http://search.ebscohost.com through
The Proposed Papers List:
Paper 1: Human-Computer Interaction: THE HUMAN AND COMPUTER AS A TEAM in Emergency Management Information Systems
Paper 2: Encyclopedia of Human Computer Interaction
Paper 3: Supporting information access in a hospital ward by a context-aware mobile electronic patient record
Paper 4: Developing a Usable Mobile Expert Support System for Emergency Response Center
Paper 5: The Multimedia User Inetrface: A Look at things to Come
Paper 6: Design Rules Based on Analyses of Human Error
B. The student should summarize and document what the result of the paper in 400 to 800 words report.
C. Each group will be expected to give a professional 15 minute summary of understanding of the selected paper (power point presenstaion is required).


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drlanda needed a new logo design and created a contest on 99designs.
A winner was selected from 25 designs submitted by 3 freelance designers.
the logo should symbolize the synthesis of the Torah (orthodox Judaism) and the practice of medicine
The website is for Orthodox Jewish physicians and Dentists. It is a forum for their interests, meetings etc.. The logo design should synthesize the 'Torah' and medical practice themes
- Item 1...a torah scroll ...open or closed
- Item 2...a caduceus? stethoscope ...or some other medical symbol(s)
- Item 1...the two items should not be separated
Find out how a design contest works or learn more about our logo design services.


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This page is intended to help packagers manage existing or future packages that embed font files. It was written at the occasion of the Fedora 11 fonts packaging guidelines change and answers most questions asked during the subsequent distribution-wide fonts audit and repackaging.
- 1 Is this page a Fedora guideline?
- 2 What is a font file?
- 3 What does Fedora require of me?
- 4 Do I need to change my package in stable releases in addition to Rawhide/devel?
- 5 Can I import my new package in stable releases in addition to Rawhide/devel?
- 6 What is a compliant font (sub)package?
- 7 What is this font family thing?
- 8 How many font files can I put in a font (sub)package?
- 9 I can not comply, the tools my package uses force a specific font file installation!
- 10 But my application crashes if I remove the font file(s)!
- 11 Where should my fonts symlinks point?
- 12 Should I use package name or file name dependencies?
- 13 My dependency does not work in Rawhide, I'll try later!
- 14 Why should I bother, my font use is limited/private/controlled/hidden/etc?
- 15 How can I check if my fonts present a legal risk?
- 16 How can I identify a font file?
- 17 How can I check if a font file is already available in the distribution?
- 18 What if my package bundles Bitstream Vera, Arev, DejaVu LGC or another Bitstream Vera font derivative?
- 19 What if my package bundles FreeSans, Linux Libertine, Droid or Liberation fonts?
- 20 What if my package bundles a modified version of an existing Fedora font?
- 21 What if my package bundles the same font in several different formats?
- 22 But I really do not want to take part in this fonts packaging business!
- 23 Is there a simpler way?
- 24 I activated fontconfig in my application, should I remove font package dependencies? That feels unsafe!
- 25 But what if the fonts needed by a script are not installed?
- 26 The fontconfig stuff the font guidelines suggest seems complex. Can I avoid it?
- 27 Can I just put all my fonts in a -fonts subpackage?
- 28 How should I name my fonts (sub)package(s)?
- 29 But my package has always worked this way!
- 30 But other distributions do not bother!
- 31 This is too much work!
- 32 Getting new font packages reviewed is going to take ages!
- 33 How can I get a new font package included in Fedora/OLPC/EPEL?
- 34 The %_font_pkg macro is forcing choices on me!
- 35 Where is the rest of the subpackaging bits in spectemplate-fonts-multi.spec?
- 36 What happened to the fc-cache scriptlets listed in previous guidelines?
- 37 Where are the %files sections of my font (sub)packages?
- 38 rpmbuild complains of font files being listed twice!
- 39 rpmbuild fails with Package does not exist: %post fonts[-…]-fonts
- 40 The templates must be wrong, rpmbuild crashes/fails!
- 41 I have unowned directories!
- 42 If I make my font subpackage noarch koji crashes!
- 43 rpmlint complains of absolute symbolic links!
- 44 No font (sub)package is created in mock/koji!
- 45 How about console/X11 core fonts/TEX/ghostscript fonts packaging or registration?
- 46 Fedora fonts are broken anyway, my application crashes!
- 47 Why all naming churn, font packages got renamed twice?
- 48 Why did the %_font_pkg macro behaviour change after fontpackages version 1.13 ?
- 49 Why did the multi-fonts-families template change after fontpackages version 1.13 ?
- 50 What font packaging changes are needed with post-1.13 fontpackages ?
- 51 Do I need to Obsolete my old package names?
- 52 But my old package is replaced by several new packages!
- 53 Can't I use my old package name instead of a -compat subpackage?
- 54 Do I need to Provide my old package names?
- 55 What if the new naming guidelines require me to rename my source package?
- 56 How can I check if my upgrade path work?
- 57 Why is the common subpackage in the multi-font-families templates named foo-fonts-common and not foo-common-fonts?
- 58 What's the point of the common subpackage?
- 59 How can I help test and QA the fonts packaging changes?
- 60 I have other questions/who can help me?
Is this page a Fedora guideline?
Even though this page is not itself an official Fedora guideline, it was written to explain the rationale behind our current guidelines, and should not conflict with them. In case of conflict the guidelines pages always take precedence.
What is a font file?
For the purposes of this page a font file is a file using the .ttf, otf, .ttc, .pfa, .pfb or pcf extensions[1].
What does Fedora require of me?
Fedora guidelines require packaging of every font file in the distribution in a font package or subpackage complying with our fonts packaging guidelines.
Do I need to change my package in stable releases in addition to Rawhide/devel?
You should only perform fonts guidelines conformance changes of existing packages in Rawhide, unless you identify a licensing problem that needs to be taken care of in all branches.
Can I import my new package in stable releases in addition to Rawhide/devel?
Importing new packages will work in all branches. Our guidelines are compatible with the font stacks available in all our current supported releases[2].
What is a compliant font (sub)package?
- A guidelines-compliant font (sub)package contains a single font family, packed with the %_font_pkg rpm macro, and no other material (except for eventual directory ownership and licensing or other documentation files).
- It is named according to our naming guidelines for fonts.
- It is referenced in the appropriate comps group.
- It has a page in the wiki we can reference in release notes. To create such a page use this template.
What is this font family thing?
- A font family corresponds to one entry in GUI font lists. For example, DejaVu Sans, DejaVu Serif and DejaVu Sans Mono are three different font families.
- A font family is subdivided in faces or styles. DejaVu Sans Normal, DejaVu Sans Bold, DejaVu Sans Condensed Italic are three faces of the DejaVu Sans font family.
- A font-metadata aware tool such as gnome-font-viewer[3] or fontforge[4] can be used to check the font family name and the font face/style declared by a font file.
How many font files can I put in a font (sub)package?
You can put as many font files in a font (sub)package as you want, as long as they correspond to the same font family. If your srpm includes files associated to different font families, you need to create one subpackage per font family.
See also our official font package splitting guidelines.
I can not comply, the tools my package uses force a specific font file installation!
Tools have bugs and limitations and this has never been a good reason to ignore distribution guidelines. You are responsible for your packaging and all the scripts and other tools involved in this process. If their operational mode conflicts with Fedora guidelines it's your responsibility to report the problem upstream to get it fixed, and work around the problems in your package in the meanwhile.
But my application crashes if I remove the font file(s)!
Then add dependencies on the guidelines-compliant font (sub)packages that provide the files you need, and either patch your application to look for them here or add symlinks with the filenames it expects in your package. See also this question.
Where should my fonts symlinks point?
A properly packaged font file will be installed in a subdirectory of %_fontbasedir. %_fontbasedir is defined by the fontpackages-devel package.
Should I use package name or file name dependencies?
It seems package names are preferred right now.
My dependency does not work in Rawhide, I'll try later!
Many font packages were reorganised in Rawhide during the Fedora 11 cycle so dependencies on pre-Fedora 11 package names are likely to fail. It won't get better later, just check the package names in Rawhide and adapt your package.
Bundling of font files falls into one of the following categories:
- private copies of font files already packaged in the distribution. Since fonts are bulky and compress poorly, you're wasting precious Fedora and user resources (bandwidth, mirror/disk space, etc). Also, application authors tend to copy fonts once and forget about them, so your copies are unlikely to be up to date, and will miss the fixes present in the dedicated Fedora font package.
- private copies of font files that could be packaged in Fedora, but aren't yet. This is the right time to package those fonts properly so your application is not the only one benefiting from them. No font cant be assumed beforehand not to be useful to someone else.
- private copies of font files that could not be packaged in Fedora, usually for legal reasons. You need to remove those at once as they are just as dangerous hidden inside a package as they would be exposed in a dedicated package.
Basically there is no good reason to pack fonts in non-font packages, and lots of drawbacks, which is why our guidelines are written the way they are. The deeper a font file is hidden inside an application the more likely it is to have escaped auditing so far and thus to present problems.
How can I check if my fonts present a legal risk?
You can't without identifying the fonts and tracing their source and licensing, which is the hard part of packaging fonts. Once you've done it packaging the fonts properly is only a little step, that will get you a review by people with more fonts licensing experience than you.
Do not assume the licensing of your fonts is the same as the rest of the package. It is almost never the case (besides software licenses do not apply well to fonts anyway).
How can I identify a font file?
When it works the gnome-font-viewer command will tell you the font family name declared by a file, its style/face, and some copyright information. The fontforge font editor may provide more complete info if necessary[5].
Use this information to check if the font is already packaged, and if not what the actual font upstream is and if it is suitable for packaging (web search engines are your friends).
How can I check if a font file is already available in the distribution?
If you're lucky your project didn't rename the font files and a simple repoquery on rawhide will find other packages that include them:
$ repoquery --repoid=rawhide -f '*DejaVuSansMono.ttf' dejavu-fonts-sans-mono-0:2.28-1.fc11.noarch
You need to have the rawhide/fedora-devel repository configured and enabled for this command to work.
Also, repoquery won't distinguish between actual files and symlinks. When a font file is symlinked in several packages you need to look inside them to check which one ships the symlink target.
Unfortunately font file renaming is common, so repoquery won't always be enough. In that case you need to look inside the files themselves to know their content. Once you've identified a font a yum or web search will help you find eventual packages already shipping it.
What if my package bundles Bitstream Vera, Arev, DejaVu LGC or another Bitstream Vera font derivative?
In that case it is a good idea to replace the font files with symlinks to the corresponding DejaVu (full) packages. DejaVu (full) is the most complete fork of Bitstream Vera. It should include all the material present in Vera and its other derivatives, plus multiple fixes. Since we install the DejaVu (full) packages by default, dependencies on them will usually not pull in new packages on user systems.
What if my package bundles FreeSans, Linux Libertine, Droid or Liberation fonts?
Those are all general-purpose fonts. Replacing them with symlinks to the corresponding DejaVu (full) packages is usually the best solution, as the DejaVu (full) packages are our default general-purpose font set.
Nevertheless, do check with upstream if it had a specific reason to bundle those particular fonts (other than using the first general-purpose fonts on hand).
What if my package bundles a modified version of an existing Fedora font?
Assuming the modifications complied with the original font license and that you need them you can create a separate (sub)package for this font variant. fontconfig can manage several versions of the same font.
Though it's much better to convince the upstreams working on the same font to work together, or at least use different font names for each of the fork.
What if my package bundles the same font in several different formats?
If your application needs all those different formats, and you can not consolidate on a single one, you should probably package each different format in a separate (sub)package, so applications that do not have this limitation can only install one of them.
But I really do not want to take part in this fonts packaging business!
You're right that most packagers should not have to bother about font problems. And, actually, they don't! Any application that uses fontconfig will discover automatically where the fonts its author wanted are on system, and fallback transparently without crashes or breakage to other fonts if they're not present. Our fontconfig-aware packages do not need to bundle font files, symlinks, or dependencies on font packages.
If your upstream bundles specific font files, it is not using fontconfig. This will be a problem for you as fontconfig is the main *nix font system and the only one Fedora does heavy QA on. Alternatives are very prone to failure, each one of which will result in a bug open against your package.
Save yourself some work and convince your upstream to use fontconfig instead of other font discovery methods. And since fontconfig is a low-level library, upstream will usually want to use it through a higher-level library such as pangocairo.
Is there a simpler way?
See here.
I activated fontconfig in my application, should I remove font package dependencies? That feels unsafe!
You do not need any special font package dependency or symlink in a fontconfig-aware application. fontconfig is a very resilient system and will only fail if there is no font at all on-system that provides the glyphs needed to render your text. And in that case it will just not display text instead of crashing. Besides the fonts comps group is part of the default Fedora base install and should provide enough fonts to display most world scripts.
However, if your application has a preference for the style or metrics of a particular font, you can add a dependency on it to make sure it is installed and fontconfig does not have to fall back on another font.
But what if the fonts needed by a script are not installed?
Then Fedora will prompt users to install them. No need to add a specific dependency to your package.
The fontconfig stuff the font guidelines suggest seems complex. Can I avoid it?
There are good and simple commented fontconfig templates in the fontpackages-devel package. They only require you to fill in your font name and its category (so fontconfig and CSS aliases just work). So adding a fontconfig file should really be trivial (don't forget to send it to the font usptream for inclusion afterwards). We also have a wiki documentation page on the subject.
Nevertheless, this part is optional in the guidelines, to take into account the fonts which are already configured in the upstream fontconfig ruleset.
Can I just put all my fonts in a -fonts subpackage?
No, our actual requirements are deeper than that. Just moving font files in a separate subpackage, without making this subpackage comply with guidelines, is useless.
How should I name my fonts (sub)package(s)?
See requirements.
But my package has always worked this way!
Fedora fonts handling has long-standing problems but is slowly getting fixed. Please contribute to this fixing by bringing your package into line.
But other distributions do not bother!
Fedora is not other distributions. It is intended to lead[…] the advancement of free, open software and content[6].
This is too much work!
The amount of work necessary to make a package conform to our font guidelines is usually proportional to the amount of problems in a particular package, so if there is a lot of work to do that indicates a problem package we should really not ship in its current state.
Getting new font packages reviewed is going to take ages!
Packagers that follow our font packaging workflow get reviewed by a dedicated team in days, and will get merged just as fast if the submitter is responsive to the review comments.
How can I get a new font package included in Fedora/OLPC/EPEL?
Just follow the process outlined here.
The %_font_pkg macro is forcing choices on me!
This is the intent. We added this macro to purge all the custom font scriptlets in the distribution, since the variations packagers introduced almost invariably produced unforeseen bugs.
Where is the rest of the subpackaging bits in spectemplate-fonts-multi.spec?
The %_font_pkg macro is taking care of this for you.
What happened to the fc-cache scriptlets listed in previous guidelines?
The %_font_pkg macro is taking care of this for you.
Where are the %files sections of my font (sub)packages?
The %_font_pkg macro has an integrated %files section. It starts in the macro itself and continues till the beginning of the next rpm section. You can add additional content to a (sub)package created with %_font_pkg by listing it after the %_font_pkg call line[7].
rpmbuild complains of font files being listed twice!
You probably listed the font files in a manual %files section instead of letting %_font_pkg take care of them for you. Read this.
rpmbuild fails with Package does not exist: %post fonts[-…]-fonts
You've been bitten by this change. The fix is documented here.
The templates must be wrong, rpmbuild crashes/fails!
It is unfortunately rather easy to make rpm crash when using macros. The documented syntax works and has been tested on dozens of packages. Trying to change it, however, will likely lead you to rpm crash land.
Try to not deviate from the documented syntax[8]:
- for new packages, make sure you've added all the elements required in the templates.
- when adaptating existing packages, make sure you've removed all the old %files %post %postun etc parts that may conflict with the new templates.
- in all cases, check you've not cut and pasted the same subpackage name twice. rpm really does not like that
I have unowned directories!
You should not. If you follow our guidelines carefully, the font (sub)packages should own their font directory (if there is a single font family in the srpm) or depend on a common subpackage that owns it (if there are several font families in the srpm, resulting in multiple font packages).
If I make my font subpackage noarch koji crashes!
Don't do that. Our infrastructure is getting fixed to support this case, but can not handle it (yet).
rpmlint complains of absolute symbolic links!
The future of this particular warning is being discussed by FPC right now (ideally rpmbuild should convert absolute symlinks to relative ones transparently). You can ignore it for now.
No font (sub)package is created in mock/koji!
You've forgotten to include the template (build)requires on fontpackages-*.
How about console/X11 core fonts/TEX/ghostscript fonts packaging or registration?
No one cared enough about those so far to write corresponding Fedora packaging guidelines[9]. You are free to add whatever you want about them to your packages, as long as it's not in the guidelines-compliant font (sub)package.
To add the overlay corresponding to another font system to a Fedora fonts (sub)package, create a separate (sub)package that contains this overlay and depends on the corresponding fonts guidelines-compliant (sub)packages (and not the reverse)[10].
Fedora fonts are broken anyway, my application crashes!
A crashing application is a symptom of an application not converted to fontconfig yet. Save yourself some grief and have your upstream/ISV convert it to fontconfig now.
Since the vast majority of our applications started using fontconfig quite long time ago, Fedora does not install the complete legacy X11 core fonts set by default anymore. If your application or package depends on it it has to request the associated packages explicitly[11].
Why all naming churn, font packages got renamed twice?
FPC unexpectedly refused to approve a proposal that put into writing the package naming rules for fonts we had been using in the past years[12]. Those rules were implied by packaging macros and templates FESCO and FPC had previously approved.
The revised naming rules adopted after taking into account the changes requested by FPC required renaming of several font packages, including recently created ones.
If you'd already complied with previous fonts packaging guidelines, you only need a small additional fix.
Why did the %_font_pkg macro behaviour change after fontpackages version 1.13 ?
See here.
Why did the multi-fonts-families template change after fontpackages version 1.13 ?
See here.
What font packaging changes are needed with post-1.13 fontpackages ?
|Example, for the foo font family
|Old pattern
|New pattern
|Single-font-family fonts packages
|No changes
|Multi-font-families fonts packages
%package foo […] %description foo
%package -n %{fontname}-foo-fonts […] Obsoletes: %{name}-foo < thisversion-thisrelease %description -n %{fontname}-foo-fonts
|Fonts subpackages of non-font source packages
%package fonts-foo […] %description fonts-foo […] %_font_pkg -n fonts-foo …
%package foo-fonts […] %description foo-fonts […] %_font_pkg -n foo …
Do I need to Obsolete my old package names?
Yes, you do need to obsolete your old package names to provide Fedora users a working upgrade path. When one of your new (sub)packages replaces one or several previous packages, you only need to add:
%package -n %{fontname}-foo-fonts […] Obsoletes: myold(sub)packagename1 < thisversion-thisrelease Obsoletes: myold(sub)packagename2 < thisversion-thisrelease […] %description -n %{fontname}-foo-fonts
…to the metadata of your new (sub)package.
But my old package is replaced by several new packages!
When implementing our packaging guidelines requires the splitting of one package into several new (sub)packages things are a bit less easy. In that case you need to create a -compat subpackage corresponding to the (sub)package that was split, that obsoletes the old (sub)package and requires the new split (sub)packages. Please make it clear in its description that this is a utility package people should not depend on that will be eventually retired. Do not declare this compat package in comps.
%package compat […] Obsoletes: myold(sub)packagename1 < thisversion-thisrelease Obsoletes: myold(sub)packagename2 < thisversion-thisrelease […] Requires: mynew(sub)packagename1 = thisversion-thisrelease Requires: mynew(sub)packagename2 = thisversion-thisrelease […] %description compat This package only exists to help transition <mypackage> users to the new package split. It will be removed after one distribution release cycle, please do not reference it or depend on it in any way.
DejaVu, Bitstream Vera and MGOpen use this upgrade path pattern.
Can't I use my old package name instead of a -compat subpackage?
If you use your old package name you do not communicate to your users this is a temporary transitional metapackage to help upgrades. They'll keep referencing the old package name and even add more references to it, and you'll get stuck with it forever.
Plus, the existence of a metapackage with a -fonts naming similar to new packages but not following the new packaging rules is only going to confuse users.
Do I need to Provide my old package names?
Providing your old package names is not necessary to create working upgrade paths[13] Providing old package names is useful if you have other packages that depend on your old package name and you don't want them to change. In any way Fedora packaging best practices are to clean up old Provides and Obsoletes after two releases, so those other packages will have to change eventually.
Thus, you have the choice between:
- doing a clean break, and having other packagers adapt now, when they'll blame the whole font audit and repackaging operation, or
- keep providing your old package names, till you eventually remove them, and people blame you because by this time they'll have forgotten about the operation.
You can check what package is depending on your old package names with the following command, if you have the rawhide repository configured and activated in yum:
repoquery --repoid=rawhide --whatrequires myoldpackagename
Whatever your decision it is polite to notify the maintainers of those other packages you've changed or going to change one of their dependencies. Please file the corresponding bugzilla tickets and make them block the audit tracker.
What if the new naming guidelines require me to rename my source package?
Follow the usual procedure to remove your current package from rawhide, and post a renaming review request for the new package.
For maximum efficiency this review request should:
- depend on the previous review ticket of your package,
- block the audit tracker,
- include the reference of the rel-eng ticket blocking your previous package and
- CC the fonts SIG bugs mailing list.
Renaming review are only required to check the sanity of the upgrade path, so they can be pretty quick.
If your font is referenced on our packaged fonts list, please do not forget to update its wiki page accordingly.
How can I check if my upgrade path work?
- install your old packages on a Fedora system,
- adapt your spec file and mock/koji-build the result,
- copy your new packages to a local directory,
- run createrepo on this directory,
- point yum to it,
- try a yum update.
- if that fails, rpm -e whatever yum update installed and repeat from step 1.
You can also use:
rpm -qp --obsoletes mypackage
… to check the obsoletes declared by one of your new packages and,
yum list obsoletes
before the yum update to check what yum thinks about your new packages[14].
Why is the common subpackage in the multi-font-families templates named foo-fonts-common and not foo-common-fonts?
This subpackage is a normal utility subpackage with no fonts inside so there's no reason not to name it srpmname-common as usual (it's not a font package with a font family named Common inside).
What's the point of the common subpackage?
It's here to own the common directory font files are installed into, and to own other files common to all the fonts subpackages (documentation…).
How can I help test and QA the fonts packaging changes?
See Features/Repackaging_of_Fedora_fonts#How_To_Test.
I have other questions/who can help me?
If this page does not answer all your questions you can always ask for help on the Fedora fonts mailing list.
- ↑ .pfa or .pfb Type1 fonts may have other companion files.
- ↑ At this time Fedora 9 and 10.
- ↑ Simple, but sadly not available in each and every Fedora release.
- ↑ Type <CTRL> + <SHIFT> + <F> to open the font metadata window in fontforge.
- ↑ CTRL + SHIFT + F, then look at Names, TTF Names, etc.
- ↑ Though Debian for example started auditing its fonts in 2005, so we have to do some catching-up first.
- ↑ This is how the basic template handles %doc and ownership of the font directory
- ↑ Package reviewers will thank you, especially if a visual diff between your spec and the official template is minimalistic.
- ↑ Volunteers would be very welcome!
- ↑ For example, since the fonts guidelines will put all the fonts provided by the same srpm in the same directory, and core fonts only allow one fonts.scale index per directory, you can not have a core fonts overlay per subpackage, but only one per srpm.
- ↑ Via package dependencies for Fedora packages, or in whatever it uses as installation procedure for third-party software.
- ↑ For example, by the Stix fonts package.
- ↑ Yes, we know rpmlint will ask for Provides. Use your common sense and do not follow rpmlint warnings blindly.
- ↑ But that won't check scriptlets and other packaging bits so do check yum update works afterwards.


text:
From Goggle Balls to Sun Glasses (Jul, 1939)
From Goggle Balls to Sun Glasses
THE craze for gayly colored sun glasses that swept the country last year and is booming again with even greater fervor as summer comes on again, has revived to full capacity one of the most remarkable and least – known branches of the glass-making industry. Although tens of thousands of the familiar "smoked" and amber glasses, for beach and sporting wear, had been made and sold regularly each year, the new fad sent the demand skyrocketing to millions, while lens glass of half a dozen new tints and colors had to be created almost overnight.
How could millions of colored convex glass lenses be made finely enough, quickly enough, and cheaply enough to meet this challenge? Grinding was far too expensive and slow, and molding too crude. The only way out lay in making huge "goggle balls," fantastic bubbles of blown glass, polished by fire and later cut by means of heated electric wires and diamonds into the small convex disks and other shapes required for lenses. Leon J. Houze, a master glass worker from Belgium, started the goggle-ball business in this country during the World War, when the importation of colored glass for eye protection became impossible. Beginning with amber, he later developed blue, green, fieuzal (a yellow-green glass for absorbing ultra-violet light), smoke, and many special tints for sun glasses and welding goggles. Soon, the Houze company supplied lenses of any required color to the United States Navy and to almost all the industrial goggle and sun-glass makers in America. Needless to say, these manufacturers turned straightway to Houze to solve their lens problems in the sun-glass boom of last summer.
The accompanying photographs, published for the first time in a popular magazine, were all taken in the factory at Point Marion, Pa., where nine out of ten of the lenses in the millions of pairs of goggles in use in this country today were made. They show the amazing process, step by step, from crude material to finished glasses. The goggle balls, blown in the process, are nearly three feet in diameter, and are certainly among the largest pieces of mouth-blown glassware ever produced for any purpose.
Starting with a ball of white-hot, molten glass on the end of a blowpipe, a skilled glass blower puffs the tinted crystal into a gleaming bubble, just as a child blows a sphere from soapy water. After a while, compressed air takes the place of human breath to blow the bubble up to its full size. Set out in rows to cool, the globes present a fantastic appearance. Sliced into halves by the electrically heated wires, they are further subdivided by cutting into curved plates with diamond tools. From these, girls cut lenses of the desired shapes with rotary scoring machines. The last stage of the process is to insert the lenses into heated frames. As the frames cool and contract, the lenses are gripped firmly. Curvature of the bubble walls gives the glass the desired convex shape, which could otherwise be obtained only by grinding or molding.


text:
Object Movie
Object Movies are "inverted panoramas" where you see a scene from outside. Object Movies consist of a series of images and they do not need further manipulation like stitching or remapping.
The simplest form is single row of images around and object. A multi row object movie consists of multiple rows normally with different tilt angles.
Since Object Movies only consists of images they are not limited to turning objects.
Please see Create object movies and Self-made object turntable for details.


text:
LONDON (Reuters) - One of the most dominant records in sport came to an unblemished conclusion when Dutch wheelchair tennis player Esther Vergeer hung up her racket after an unbeaten decade on Tuesday.
The 31-year-old, who claimed four Paralympic singles gold medals and three in doubles, won 470 consecutive matches and 120 successive tournaments, dropping only 18 sets during that time.
Her career record stands at 700 wins and 25 defeats.
She won every grand slam singles event she ever entered, racking up 21 singles and 23 doubles titles.
"Esther Vergeer is a tremendous ambassador not only for tennis but also for disability sports," ITF President Francesco Ricci Bitti said in a statement.
"She is an inspiration to many. Wheelchair tennis owes her a huge debt of gratitude for her professionalism and her quality as a player."
Vergeer, who took up wheelchair tennis because of complications after spinal surgery at the age of 12, rose to world number one in 1999 and remained there ever since.
Reporting by Martyn Herman, editing by Justin Palmer


text:
I have loads of KOH glycerin and recently we made some soap at home.
Soap is fine and all, but my wife would like to make it more beautiful.
I would also like to know if there is any way to make BAR soap from KOH glycerine ?
there is a soap guy rick knicely, I think his web site is linked on utahbiodieselsupply he has instrctions in his book on making different colored soaps. To make bar soap you will have to add some type of fat back, we used some coconut oil and something else from one of his receipes and made lots of bar soap. Sold as uncle bobs olde fashioned soap for a couple of years in Missouri
2006 Duramax, B100 200k Acadiana Biodiesel
US Army Retired
He that can have Patience, can have what he will
- Benjamin Franklin
You will have a difficult time trying to make a hard bar of soap from KOH glycerin.
As far as making it more "beautiful", what does that mean exactly?
We wish to make the soap base transparent and then add some colour to it.
So that it would be more attractive.
The only beauty I have found for our raw glycerin liquid soap is fragrance.
And the fact that it Really Works!
My soap also work really good and the added fragrence gives it a nice smell. But we want to improve the looks of it. As I know that it is possibile to get clear glycerine in the shop.
I found out that it is possibile to distile it but you need to get it up to 290 C which means high cost and time consuming.
Is there any other way ?
Let's start at the beginning. Glycerine is a naturally occurring product in the soap making process. In our case that glycerine is taken from a used cooking oil, and is therefore dark.
You can get glycerin that is clear but that is stuff that has been removed from the soap making process and acid treated. You can also get a light coloured soap by using chemicals and synthetics, which is the way Rick does it. When you see soap that has swirls ect in it it is because it has been loaded with chemical agents to make it do that.
Natural soap, unless directly from animal fat, is brown in colour. That is just the fact. Animal fat, like rendered pig fat, will give a harder than nails whiter than snow bar that will lather big time. This is why I use organic rendered pig fat as a binding agent in my bar soaps.They come out brown, but lather exceptionally well and I use absolutely NONE of the health damaging chemicals and synthetics that some others do.
If you want a WalMart bar I won't help you do it, although I have seen that the reasoning for such things is that it is more "appealing to the eye and more commercially viable". I don't compete with WalMart, I have built my own clientele of people who appreciate my soaps for being what thy are, natural and free of health damaging ingredients.
Even Pears glycerin soap, which is somewhat transparent, does not contain all that much of a percentage of glycerin as our soaps do. And ours last in the shower whereas commercial glycerine soaps have the reputation of melting away quickly.
You have to chose your market and what you want in the quality of the product you produce. A well known poster to this site once confirmed what his wife thought of our soap, calling it "poop soap". This same person was all awash (!) in the commercial grade stuff filled with chems and phony ingredients though. It all depends on what kind of standard you set, both for yourself and those who will use your product.
** Biodiesel Glycerine Soap - The Guide
- on 5 continents helping people make & sell soap from the Biodiesel Glycerine.
2x I just used the old brown poop color stuff and had to give some away to get them to use it. Once your wife uses it on her face or hands she will sell most of it for you. Nurses and folks that have to wash their hands many times during the day with harsh chemicals and bacterial wash will love this soap, they will overlook the color when they see how it restores that "old" leather they have been working with. BTW, clean your saddles with it and see how it restores old leather for real.
2006 Duramax, B100 200k Acadiana Biodiesel
US Army Retired
He that can have Patience, can have what he will
- Benjamin Franklin
OK thank you guys for the explanation. We only wanted to make some beautiful soap for gifts.
But if you really need all those chemicals than it is not ok.
They will have to accept the poop soap
You can get rick knicely's book from utah or nebraskabiopro for 20 bucks, it has quite a bit of useful info on how to make batches that dont have to cure, etc. He also is a great guy to email about questions and his basic receipe for hardening soap included using stearic acid, which he goes on to explain the pro's and con's. I tried both ways, found the stearic acid receipe reasonable considering the amount of chemicals I come in contact with each day and enjoyed the soap with a rosy fragerance or lemon zeel fragerance. Good Luck, I would send you a bar if I had any but just moved and have some glycerin but havent started making soap yet. Also I think you can go to ricks website and buy a couple of bars from him.
2006 Duramax, B100 200k Acadiana Biodiesel
US Army Retired
He that can have Patience, can have what he will
- Benjamin Franklin
2014 Sponsor
I believe the brownish color of the glycerol byproduct can be removed through distillation.
Since glycerin has a boiling point that is in the range of several hundred(s) degree's, this is not practical for a backyard do-it-yourself project.
Short of that, I think Titanium Dioxide (kind of bad for your health) will lighten its color and make it white-r but you didn't hear that from me because Legal Eagle would bash my head in for telling you...
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Nope. All natural soap made with a vegetable base is brown. If you want white use rendered pig fat; white as snow and hard as nails. The colour of the glycerin is actually a very deep amber reflecting it's high glycerine content. Glycerine is a naturally occurring substance in all natural soaps, it is simply part of the process. Commercial interests remove the glycerine in order to put it in their creams and lotions you will need when their full-of-chemicals-and-synthetics junk soap dries out your skin.
Titanium Dioxide is a chemical bleaching agent whose inhaled powder can cause cancer. TD is also known under the name of Mica and a few others. It's soap making great fun for the whole family, especially young children (<- high level of sarcasm).
If you have no qualms about exposing yourself to harmful chemicals (like others have told me) then why not just go to your local pharmacy or WalMart and load up? You do not have to bastardize a perfectly good product just 'cause you personally don't care.
I've been chided with the seemingly reasonable idea that people should be allowed to chose for themselves about personal hygiene products. And on the surface this is a most reasonable approach; the thing is though that those making those claims are not educating people about the potential health hazards of the junk ingredients they use so that people can then make an EDUCATED choice; they just put it out there and say nothing except when I step in an expose the junk stuff (of course) screaming how unjust it is to insist that people be properly educated about junk ingredients. The people who use the soap I make have made sure it doesn't contain any of the nefarious junk commercial (or "commercial grade") soaps do. They just don't want it.
** Biodiesel Glycerine Soap - The Guide
- on 5 continents helping people make & sell soap from the Biodiesel Glycerine.
Glycerin, glycerol, glycerine, is a clear, colorless, odorless viscous liquid in pure form. C3H8O3,
Any color is an impurity. Wvo is degrated as it was heated for the purpose of cooking, mixed with all manner of vegetable, animal, minerals and additives (NaCL,MSG, etc). Much of this is in solution with the glycerine byproduct of biodiesel manufacture, therefore brown, amber, tan. Only by distillation or other chemical process can you purify glycerine. If it is not colorless, you have more than glycerine. It may only be parts per billion, but it is not pure by definition.
Not sure where you get that information from but it is innaccurate. Murphy is correct that the brownish color can be removed by distillation and as mentioned in a recent post, pure glycerine is a colorless liquid not a "deep amber".
The amber is likely to be from color compounds/impurities which are removed in the distillation process.
In order to get that clear glycerine from a solution of glycerin by product it must be acid treated. You cannot find natural glycerine on it's own, it has always been extracted from an animal or vegetable base.
And the information about vegetable and animal based soaps is accurate. If you find it in any other colour than that stated it has been modified using a chemical process. Natural vegetable based soap will NEVER be anything but brown.
The world's first bar soap, still made today, is from Aleppo Syria when it was part of the Babylonian empire. It was originally made using animal tallow but when the Romans showed up they started using olive oil and then mixed in laurel (sweet basil) oil, which gave the soap a greenish colour until it cured and then, as today, it turns brown. The recipe hasn't changed in a couple thousand years; but has been copied by the French (and others) in their Marseille Soap , made of 100% olive oil and cold processed.
Even this vegetable oil based soap is brown, maybe not AS brown as some others but brown nevertheless.
Ours is an even deeper colour due to it being a concentrated version of it's mother oil, once the esters part (biodiesel) has been removed.
When I say acid treatment I am assuming we are all talking about the same thing, the by product of the biodiesel production. You CAN get pure glycerine another way; when making soap in the traditional way (can't vouch for the modernist, chemical laden synthetic stuff though) and it is liquid soap the method is simple on the surface;you add salt, lots of salt to the soap. This will cause the soap to curdle and then you remove the soap curdles and what you are left with is glycerine, salt and any other impurities that the original soap contained. You then have to distill the glycerine to remove these impurities and salt and the end result is pure glycerine. Only thing is that distilling glycerine is not as simple as it sounds and can be quite dangerous if you do not know what you are doing, which is why the mainstay is still acid treating as a method of separating glycerine from it's soap base.
Glycerine is a by product of saponification, there is no other way to get it; it either comes from animal tallow or vegetable oils that are being turned into soap.This message has been edited. Last edited by: Legal Eagle,
** Biodiesel Glycerine Soap - The Guide
- on 5 continents helping people make & sell soap from the Biodiesel Glycerine.
So back to the original question. Can you make transparent soap and or add color to our biodiesel glycerin soaps.
The answer is yes.
There are several ways to get there. And yes Titanium Dioxide and Micas are one way of doing this. To clarify these are harmful if you inhale them, just as NaOH, KOH and methanol are. I don't inhale Titanium Dioxide or any other chemical.
That being one way here are some other ideas on color. Since our soaps are brown "out of the box" deep colors work well. Dark purple, Dark Red, Dark Green etc. One trick I have had success with is using crayons with deep colors. The wax in the crayons also helps to harden the soap.
Another thing that helps is adding other ingredients. Lard, Tallow, Coconut Oil and Palm Kernel oil all work well to lighten the soap just enough to accept coloration. The main benefit is that these ingredients also add hardness and some add lather to your soap. Fatty acids such as steric acid, palmitic acid, lauric acid and myristic acid also help. These fatty acids are the fatty acids that are in the Lard, Tallow, Coconut Oil and Palm Kernel oils. These fatty acids can be used in addition to the whole oils mentioned. They work a bit better than the whole oils in some cases because they do not add any additional glycerin -- our soaps are 30% - 60% glycerin already.
Transparency is obtained by adding extra solvent to the soap. When I say solvent I am not talking about paint thinner or any dangerous chemical. The solvents that I like to use to add transparency to bar soaps are water, glycerin and ethanol. These also dilute your soap and the more diluted our soap gets the more it shifts from brown to gold. The real trick is having enough hardening ingredients to make up for the excess solvent used to get the transparency.
You can absolutely make hard soap from the KOH BDG. This is because there are saponifiable ingredients left in the KOH BDG that become NaOH based soaps. Just obtain the SAP value for your KOH soap and use NaOH to saponify. You will need to add hardening ingredients to get a nice firm bar. Any of those mentioned above will help out. Another trick is to slightly acidify the BDG turning some of the KOH soaps to fatty acids. This will increase your SAP value but then you can shift the soap balance towards NaOH. I use Hydrochloric acid as to not add any sulfates or phosphates to the soap like using sulfuric acid or phosphoric acid will do.
A note about acidifying your BDG. If you take it too far you will end up with a "glycerin brine" solution that will separate from the soap, a brine solution is one commercial way to separate the glycerin from the true soap. This glycerin can be distilled into pure glycerin leaving the salts behind, but that takes very high temperatures and vacuum.
Another helpful tool is your glycerin ratio, this will tell you how much soap and how much glycerin you BDG has. It can help you determine how much acidification is needed for KOH BDG and will also help you determine how much hardening ingredients you will need to make a more solid bar of soap.
Another Hardening hint. Use Olive oil. The main fatty acid in olive oil is oleic acid. The soaps made with olive oil or oleic acid are soft shortly after saponification but after 6-8 weeks become hard as a rock. Castile soap is a good example.
Another transparency trick is castor oil. And it adds some great lather! Because the soaps from caster oil are a bit soft in nature you will have to use more hardening ingredients. Castor oil works to add transparency because it acts as a solvent as well as becoming soap.
http://www.knicenclean.com your single-most largest free BDG soaping content on the internet.
SAP Testing, Ingredient Properties, Soap Glossary and Recipes just to name a few.
Making Biodiesel Byproduct Soap Learn how to use your biodiesel byproducts to make great bar and liquid soap!!!
"Closing the loop on biodiesel production one bar at a time!"
Beware of the Dunning–Kruger effect.
yes you can,
1.- put some acid ( i use muriatic HCl) in you BDG mixing it until you get a PH from 3 to 1
That will separate in 3 phases, on the top, Free Fatty Acids (FFA), in the middle acid water mixed with glycerin, in the bottom salts
2.-remove the FFA, they will float
3.- filter the acid water for removing salts
4.- neutralize the acid water ( i use NaOH mix in water) you must hit Ph7
5.- again you can se salts , remove them
6.- boil until you have no water and remove salts
7.- that will give you a 90 to 95% pure glycerin
it will be color like maple syrup , for clarification, i tried a lot of things, close but no cigar
the only that helps a lot its adding a lot off methanol the putting activated charcoal and filter
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The kind heads at Arthur Magazine have featured the track "Harmonic Convergence" by Enumclaw on their new mixtape, Blackout! So says Arthur…
Arthur's new 49-minute mixtape, specially designed to accompany (or simulate) a human-plant interaction, is now available as a digital download, featuring a high resolution JPG of the Arik Roper artwork (above), some additional art and text, and the following sequence of songs, as selected by Arthur editor Jay Babcock and sewn together by engineer/mixer Bobby Tamkin:
1. MOON DUO "Into the Trees" (from the Escape LP on Woodsist)
2. WHITE HILLS "Three Quarters" (from the White Hills LP on Thrill Jockey)
3. WHITE NOISE SOUND "Sunset" (from the White Noise Sound LP on Alive Naturalsound)
4. LORDS OF FALCONRY "Osiron" (from Lords of Falconry on Holy Mountain)
5. ENDLESS BOOGIE "Pack Your Bags" (from the Full House Head LP on No Quarter)
6. MASTERS OF REALITY "Johnny's Dream" (from the Pine/Cross'd Over LP)
7. MESSAGES "Tambura" (from the After Before LP on De Stijl)
8. ENUMCLAW "Harmonic Convergence" (from the Opening of the Dawn LP)
Pay what thou wilt, starting at $4.20. All proceeds go towards keeping the Arthur community garden alive through the fall season. Details here, travelers: BLACKOUT—Arthur's new 49-minute mixtape digital download


text:
April 10, 1889
Dr. Holmes left on Saturday for Florida, where he goes for renewed health.
At the Sycamore city council meeting on Monday, Mayor Lattin suggested that raising the saloon license to $1,000 might be an advisable thing to do.
Of the 20 candidates for West Point military academy examined at Geneva Monday, 11 were found physically incompetent.
Report from Cortland is that Mr. Boyer, the hotel man, has suddenly left the country, and that numerous creditors are mourning his departure.
The part of Indian Territory that is to be opened to settlement April 22 is about 50 miles square and contains 10,000 quarter sections. Each settler can claim one quarter section, and there are 20,000 people on the Kansas border ready to rush in as the clock strikes 12 of the appointed day.
In New York state, 1,362,252 persons have an average of $384.25 saved in banks. That speaks well of the economy and prudence of the masses.
While the engineer of a train was making his way downgrade toward a river on a Georgia railroad recently he saw a woman standing on the track waving her handkerchief. He stopped, imagining there was some danger, when the woman scrambled aboard and asked him to take her across the bridge, as it made her head dizzy to walk across. He didn't swear.
April 8, 1914
The Sycamore Fence company is about to erect a large additional building and begin galvanizing wire by a new process that makes wire practically indestructible by the elements.
After four years "wet," the pendulum has swung the other way and Sycamore will be without saloons the next two years.
Tuesday was the first time women were allowed to vote, and many persons stood about polling places to witness the unfamiliar spectacle. ...According to the Chicago papers, Mrs. Margaret Swinbank of Sycamore was the oldest voter in Illinois Tuesday. She is 101 years of age.
A sweeping order from the chief of police in Aurora placed a ban on roller skating on pavements following an accident which may result in the death of a 7-year-old boy.
A small building in the rear of C.W. Steenrod's furniture store caught fire, apparently from a nearby bonfire of rubbish. The building damaged was valued at about $2, although it cost the city $50 to get out the fire department in response to the alarm that was turned in.
Fifty years after his faithful service in the Civil War, Stephen Nichols has had his record cleared, and on Thursday received the papers entitling him to a most welcome and deserved pension.
April 12, 1939
More and more money is being spent on relief projects in Illinois. In DeKalb County, 1,921 people obtained assistance checks for general relief, 1,340 obtained WPA assistance, 634 received old age assistance, 161 received checks from other's pension, and 61 received assistance for the blind.
The scarlet fever epidemic which struck Sycamore and surrounding communities last winter has begun to abate. There are about 35 cases of scarlet fever in Sycamore, with 12 persons about to be released from quarantine and but one quarantine established since last Saturday.
Granny, a 23-year-old hen who was the oldest hen in the world, died of old age recently. She was frequently exhibited at shows, and up until a year ago laid an occasional egg.
DeKalb County taxing units received the first distribution, $175,000. This distribution, which all taxing bodies of the county share, is the first of either four or five that will be made this year.
John Terry, 28, arrested after a posse of officers and Leland citizens chased him six miles, was sentenced to serve six months at the Vandalia state penal farm on a vagrancy charge.
Plans are being made for the city of Genoa to take over the rubbish dump west of town.
April 8, 1964
A new idea for Sycamore High School graduation has been proposed by several citizens. It is suggested the exercises be conducted out of doors. One of the chief reasons is the memory of some well-nigh suffocating hours on warm June graduation nights. The annual graduation exercise is to be held June 8.
Money will buy a pretty good dog, but it won't buy the wag of his tail.
Deco Porcelain has purchased George Steere and Sons in Chicago and are moving everything to Sycamore except the building.
– Sycamore True Republican
April 5, 1989
A $1 million bond has been set for a Dixon man arrested Sunday by DeKalb police on drug charges. It is believed to be the highest bond ever set in DeKalb County.
Traffic accidents handled by the DeKalb County Sheriff's Office in 1988 increased 14 percent, but alcohol-related accidents dropped to their lowest level in years.
A hearing on the expansion of the DeKalb County Landfill was continued until April 13 to give operator Rodney Engstrom more time to provide information requested by the landfill hearing committee.
The busiest intersections in DeKalb are Annie Glidden Road and Lincoln Highway and Lincoln Highway and First Street. The intersections with the highest accident count last year were Annie Glidden Road and Lincoln Highway, Lincoln and Tenth Street, and Annie Glidden and Hillcrest Drive.
– The MidWeek


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Getty Images Entertainment
David "Deacon" Jones, a Hall of Fame defensive end credited with terming the word sack for how he knocked down quarterbacks, has died. He was 74.
The Washington Redskins say that Jones died of natural causes at his home in Southern California. Redskins general manager Bruce Allen, whose father, George, coached Jones with the Los Angeles Rams, calls Jones "one of the greatest players in NFL history. Off the field, he was a true giant."
Jones was the leader of the Rams' Fearsome Foursome unit from 1961-71, and then played for San Diego for two seasons before finishing his career with Washington in 1974. He was inducted into the Pro Football Hall of Fame in 1980 and was voted to the league's 75th anniversary all-time team.


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Special equipment: 1 to 1 1/2 tablespoons hickory, alder or oak wood chips, soaked 2 tablespoons hickory or mesquite wood chips, soaked
Smoke the skirt steak according to the directions below.
To make the marinade: while the steak is cooling, toast the cumin seeds in a small skillet over medium-low heat, shaking the constantly so they don't burn or stick, just until they are fragrant, about 3 minutes. Let them cool, Squeeze the juice from the limes into 1-gallon heavy plastic resealable bag. Add the cumin seeds, garlic, salt, and the pepper flakes and swish the marinade around to dissolve the salt. Slip the cooled steaks into the marinade, press out most of the air from the bag, and seal the bag very tightly. Refrigerate the beef for at least 4 hours or up to 1 day, turning the bag several times.
To prepare the accompaniments, heat the vegetable oil in a large, deep, skillet over medium heat. Stir in the red onions and cook, stirring often, until they are wilted, about 5 minutes. Add the green peppers and cook until they are wilted enough t make room for the red peppers. Add the red peppers, season the vegetables lightly with salt and adjust the heat to low. Cook, stirring often, until tender, about 20 minutes. The vegetables can be prepared several hours in advance. Reheat them over low heat just before serving.
To prepare the fajitas indoors: Preheat the oven to 350 degrees F. Wrap the tortillas in aluminum foil. Reheat the vegetables if necessary. Drain the steak well and discard the marinade. Heat a lightly oiled large grill pan or heavy skillet over medium-high heat until smoking. Cook the steak, turning once, just until seared on both sides, about 5 minutes. At this point the steak will be about medium-rare. Turn off the heat and continue cook in the hot pan for a more well-done steak. Remove the steak from the skillet to a carving board and let it rest about 5 minutes. Pop the tortillas into the oven and let them warm while the steak is resting.
To prepare the fajitas on a charcoal or gas grill: Wrap the tortillas in aluminum foil. Reheat the vegetables if necessary, using a corner of the grill if there is room. Drain the steak well and discard the marinade. Cook the steak on the hottest part of the grill until both sides are well browned, about 6 minutes. The steak at this point will be about medium-rare, move the steak to a cooler part of the grill and continue to cook it for a more well-done steak. Remove the steak to a carving board and let it rest about 5 minutes. Set the tortilla on a moderately hot part of the grill and let them warm, turning once or twice, while the steak rests.
To serve: Cut the steak crosswise into thin slices and pile the slices on a serving plate. Serve the vegetables directly from the skillet or scoop them into a serving bowl. Pass the tortillas, salsa, sour cream, steak, and vegetables around the table and let everyone dress their own fajitas as they like.
Prepare stovetop smoker with soaked wood chips according to manufacturers' instructions.
Trim any excess fat from the surface of the steak and cut the steak in half crosswise.
Season the skirt steak with a generous rubbing of kosher salt and freshly ground black pepper or Southwestern rub.
One end of the steak will be considerably thinner and cook faster than the other half. If you would like to cook both halves to the same doneness, add the thinner pieces to the smoker after the thicker pieces have been smoking for about 8 minutes. If you are not planning to finish the steak on the grill as described above, smoke the halves until an instant-read thermometer inserted into the thickest part of each half registers 125 degrees F. for a medium-rare steak, about 24 minutes after closing the smoker lid, longer for more well done steaks. (Skirt steaks are a little tricky to check for doneness with an instant-read thermometer. Poke the thickest part of the steak with the thermometer in a few places, aiming for the center of the steak.) If you do plan to grill the steak after smoking, cook the steaks to a temperature of 100 to 105 degrees F, which will take about 18 minutes. The steaks can be smoked up to 2 days before grilling them.
Smoke the tomatoes according to the directions below. Cool them to room temperature.
Peel off as much of the skins as will come off easily. Chop the tomatoes coarsely and toss them together with the chiles, red onion and cilantro in a bowl. Season with salt to taste. The salsa improves if it stands at room temperature for about half an hour before serving. You can refrigerate the salsa for up to one day. Bring it to room temperature and drain off any liquid before serving.
Prepare stovetop smoker with soaked wood chips according to manufacturers¿ instructions.
Cut the cored from the tomatoes with a paring knife then cut the tomatoes in half through the core end. Squeeze out the seeds and juice. Line the tomato halves side by side and cut side up on the smoking rack.
Season the cut side of the tomatoes with a generous sprinkling of salt and pepper.
Smoke until the tomatoes are softened, but not mushy; 10 minutes over the heat after closing the smoker lid and about 20 minutes off the heat with the smoker lid closed.
Check the tomatoes for doneness after they've been standing off the heat for 10 minutes.
Serve smoked tomatoes as a side dish with just about any grilled or roasted meat, or seafood dish.
Snap the stems off the dried peppers, if using them. For a milder rub, tap out and discard the seeds. Crumble all the peppers into a small saucepan and add the coriander and cumin seeds. Toast the mix over low heat, stirring constantly, until the seeds are lightly browned and little wisps of smoke rise from the pan. Pour the spices onto a plate and cool them to room temperature. Grind them to a powder in a spice mill. Store the rub in an airtight jar in a cool, dark place for up to two weeks.
Recipe courtesy of Christopher Styler, Smokin', HarperCollins, 2004


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Do you feel your are purposely trying to not be loved? What makes you think you aren't loveable?
Sent from my SAMSUNG-SM-G900A using Tapatalk
I'm 27 with three beautiful daughters and share a happy life and home with a wonderful man. A kind, intelligent, forgiving and patient man. Brought up with teachings of the Lord and strong moral values. I was raised as an only child by a single parent who strugged with a painful past of abuse and couldn't focus on parenthood. We moved a lot and I basically raised myself since I was 10. We never had good family bonds or close friends that I could look up to. Up until a few years ago I was looking to feel love in the wrong ways. Basically ruining this current relationship and damaging it irreversibly. We eventually reconciled and it's better than I could have ever imagined.
I feel as though no one ever trusts me, or has faith in who I am, and are still becoming because of choices I had made when I was younger. I don't feel as though I'm very book smart, and that is always one of my biggest flaws and issues when meeting new people. I never feel like I'm going to fit in. I'm not tech savvy, or up with the latest trends in style or music. I can be pretty random and weird. And I actually don't mind who I am. Trying to maintain and create relationships has become an increasingly big problem in my life though. I'm currently still trying to learn and be someone that should have been molded years ago. But because I made so many mistakes on the way here I have no one. No one to trust my feelings with because I get made fun of, or get advice that doesn't really benefit my well being because, idk theres just something about me people don't want. I'd give the shirt off my back and drop whatever to be there for the people I love, but I don't feel the same love in return.
Maybe I haven't finished this process of growing and healing but I've made so many great strides to feel the love I'm so desperate for.
Idk how much longer i can go at it like this...How could I be so unlovable?
There are currently 1 users browsing this thread. (0 members and 1 guests)


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Another batch of court documents was released Wednesday in the case of slain Marine wife Brittany Killgore, providing more details about the investigation that led to three people being charged with murder.
Louis Ray Perez, 46, Dorothy Grace Marie Maraglino, 37, and Jessica Lynn Lopez, 25, have each pleaded not guilty in connection with Killgore's death. At some point, all three lived at a house in Fallbrook, where Killgore is believed to have died.
Sheriff's investigators searched the home in April and seized several items, including prescription drugs, toys and paraphernalia related to sadomasochism, a note titled "slave rules," and a slave contract.
They also confiscated power tools, a stun gun, knives, duct tape and clothing.
"Based on my training, experience and investigation, I believe that Perez, Maraglino and Lopez were involved in sexual behavior which included bondage, torture, and master, servant and slave role playing," said Detective Susan Fiske in a search warrant affidavit.
The detective said she believed Killgore, 22, was an "unwilling participant" in those activities.
Her body was found in a roadside ditch near Lake Skinner in southwest Riverside County a few days after she was last seen on April 13. She appeared to have been strangled.
According to the affidavits, financial records obtained by investigators show that Maraglino and Lopez had a debit card tied to the same account. They hoped the information would help pinpoint the suspects' whereabouts around the time the crime was committed.
Last week, the District Attorney's Office filed new charges against the defendants, including conspiracy, kidnapping and torture. They pleaded not guilty in Vista Superior Court.
In an eight-page amended complaint, prosecutors outline 42 acts they say support a theory that the defendants conspired to kidnap Killgore, including acting out parts of fantasies they had shared online with the bondage, discipline, sadism and masochism — or BDSM — community.
According to the document, Perez said in online posts he was planning on having a BDSM session the weekend of April 13. He showed up at Killgore's home in Fallbrook and tried to persuade her to go with him on a dinner cruise.
When he told Maraglino — his girlfriend — in a text message that he was unsuccessful, she responded: "Tomorrow's another day."
Later that day, Killgore asked Perez in a text message if he knew of anyone who could help her move. He told her: "Party with me tonight & you'll have five guys there in the morning."
She agreed to go, but only after Maraglino said it was OK.
Perez, a Camp Pendleton Marine, returned to Killgore's apartment shortly after 7:30 p.m. Minutes later, Killgore's friend received a text message that read: "Help."
Although Perez told authorities he took Killgore to the Gaslamp Quarter and eventually lost track of her, investigators believe she never left Fallbrook, until the defendants dumped her body.
Three days before she disappeared, Killgore filed for divorce from her husband, who was deployed to Afghanistan at the time.
Search warrant documents released last month said that Killgore apparently had been strangled with some kind of ligature. There were injuries on Killgore's wrist and leg that were consistent with someone using a tool, such as a saw, in an attempt to dismember her, investigators said.
Some defense attorneys in the case have objected to the news media's request that the search warrant documents be made public, saying it could have a "chilling effect" on witnesses.
Judge Runston Maino reviewed the documents and ordered their release.


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369 Main Street
West Haven, CT 06516
Have you ever considered natural-looking, permanent dental implants instead of uncomfortable dentures? Incredible recent advances in technology allow West Haven area dental implants dentist Dr. Joseph Tartagni to create tooth implants just for you that can be permanently anchored to your jaw. This is a great option to consider if you've had negative experiences with dentures in the past.
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Many bite corrections require orthodontics or restorations. Let Dr. Joseph Tartagni perform an evaluation to determine what treatment plan is best for you or your child. Here at Shoreline Dental Care in the West Haven, Connecticut area, we offer many solutions to bite problems. You won't believe the difference this simple treatment can make to your overall health and wellbeing.


text:
Taylor back on Dolphins' side of rivalry with Jets
Jason Taylor expects to hear a familiar sound when he walks out
of the tunnel at MetLife Stadium on Monday night.
And, it won't be warm, friendly cheers.
"I'm sure I'll be booed," the Miami Dolphins linebacker said.
"I was booed for a lot of years in that stadium or in that
That's because Taylor was perhaps the most disliked opposing
player among New York Jets fans, and the feeling was certainly
mutual. But in an unexpected twist to one of the NFL's top
rivalries, Taylor signed with the Jets in the 2010 offseason and
fans gradually embraced him as one of their own. He helped New York
reach the AFC championship game.
Now he's back behind enemy lines – in Jets' fans minds – and
will try to help the winless Dolphins (0-4) send the struggling
Jets (2-3) to their fourth straight loss Monday night.
"I tried to do my best to make them cheer last year, but being
back on the other side of the coin now I'm sure I'll get my fair
share of boos, which is to be expected," he said. "They're Jets
fans and they should be and they're very passionate about their
team and that's the way it's supposed to be."
Taylor is the NFL's active career sacks leader and eighth on the
all-time list with 133 1/2, including one this season. He's far
from the dominant force he once was, when he was sent quarterbacks
to the turf in bunches, but he had his moments in his one season in
green and white.
"I'll say this," Jets coach Rex Ryan said, "we would've loved
to have had Jason back."
Moments after the Jets lost to the Pittsburgh Steelers in the
AFC championship game, Taylor fought back tears as he talked about
his time in New York and getting that far in the playoffs for the
first time. He had put aside his hatred for the Jets and their fans
– he once called them "classless" – for a Super Bowl run. Taylor
also acknowledged he didn't know if he would ever take the field
New York appeared to help make that decision when it released
him in March. But Taylor still wanted to play, and was hoping for
another year with the Jets, who also had interest in bringing him
back, but at a lesser salary. Taylor, who had five sacks with the
Jets, headed back home to Miami for his third stint with the
Dolphins a few months later.
"He was great, a real professional about the way he went about
his business, about the way he interacted with other players on the
team," Jets quarterback Mark Sanchez said. "He was respectful
with the trainers and equipment staff. He was the ultimate pro. We
loved having him, and it's going to be fun to face him."
Sanchez took the high road after Taylor recently said he thought
Dolphins quarterback Chad Henne had more overall talent than the
Jets' signal caller. Sanchez said that's what Taylor has to say; he
has to support his own guy.
Taylor did offer this about Sanchez: "He's a darn good
Ryan often praised Taylor last season and talked up his
everlasting ability to rush the passer, something the Jets could
use now.
"I thought Jason was great for this football team, his presence
on the field and in the locker room, as well," Ryan said. "He's a
class act all the way, so I don't regret signing Jason Taylor here
for one second."
Even though Taylor has firsthand knowledge of how Ryan runs his
"We're not just a 'This is the defense we run each week,"'
Ryan said. "But I'm sure he can help some."
No doubt about it, according to Dolphins linebacker Cameron
"Him going away to an unnamed team and having him come back,
the wisdom is something you can't get anywhere," Wake said. "You
can't coach that. It's invaluable."
For years, Taylor talked about his dislike for the Jets and
their fans, but he doesn't hate them anymore. He said his one
season changed his perspective on the rivalry, not that his
approach on the field will be any different, of course.
"I'm not going to play any easier because I know them and am
friends with them," Taylor said. "They aren't going to take it
easy on me, either. I'm sure they want to make me regret not going
there or whatever. It'll be a fun game, a game that both teams need
to win. It'll be a typical New York-Miami heated, intense
And there's plenty on the line with this one, too. The Jets are
a team in near-crisis as players have taken jabs at each other in
the locker room, with wide receiver Santonio Holmes calling out the
offensive line for not giving Sanchez enough time to throw, and
guard Brandon Moore saying Holmes' comments were out of line and
have a "fragmenting effect" on the locker room.
Some Jets added it's a "must-win" game, even just six weeks
into the season.
For the Dolphins, they're trying to avoid their second 0-5 start
in five seasons and will have Matt Moore at quarterback with Henne
out for the season with a separated shoulder.
Coach Tony Sparano might feel the pressure intensify with
another loss; some folks already are calling for his job. Wide
receiver Brandon Marshall said he's going to show more passion,
with his goal to be ejected in the second quarter after maybe
getting into a fight with the Jets' Antonio Cromartie or Bart
Yep, just another ho-hum Dolphins-Jets game on Monday night.
"It's not desperation," Taylor said. "There's no reason to be
desperate. You start being desperate, you do things outside of
yourself and you start to take too many risks. You end up making
mistakes because you're playing with desperation. Have that sense
of urgency and, trust me, we fully anticipate that they will have
that sense of urgency in focus, and we're going to have the same
AP Sports Writer Steven Wine in Davie, Fla., contributed to this


text:
- Inside Athletics
- Tickets
- Fan Zone
- Media Zone
- Social
- Shop
- Donate Now
JOHNSON CITY, Tenn. (Feb. 11, 2009) - Tickets are now available for the 2009 Atlantic Sun Men's and Women's Basketball Tournament. The tournament is being hosted by Lipscomb University, and will be held March 4th through March 7th on campus at Allen Arena.
Tickets are available only through the Lipscomb Ticket Office and online at www.ticketmaster.com. Simply search for "Atlantic Sun Championships". Full Tournament Ticket Books are $50 each. This season, the entire arena is general admission, with no reserved seating. This �festival seating' approach allows fans of teams playing to move and sit behind their team's bench during games.
Single-Session Tickets may be purchased on game day at the Allen Arena box office for $15. A $5 discount ticket is available to children 18 and under, or college students with a valid college ID.
For more information, contact the Lipscomb Ticket Office at (615) 966-5899 or 1-800-333-4358 ext. 5899. Information can also be found online at www.lipscombsports.com/tickets .


text:
DNS Made Easy offers enterprise managed DNS and geographical load balancing services on a global IP Anycast DNS network with a 100% uptime guarantee.
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DNS Made Easy has better usage coverage in more websites categories. Including Business & Industry, Arts & Entertainment, Shopping, Sports and 21 other categories.
MasterName hasn't got a lead over DNS Made Easy in any websites category.
DNS Made Easy is leading in most countries, including United States, United Kingdom, Canada, Australia and 197 other countries.
MasterName is leading in Russia.


text:
If you're looking to pick up an iPhone 5 or an iPhone 4S this holiday season, RadioShack is offering $50 off. While it isn't a huge discount, considering the iPhone 5 has only been released for a few months, it's a decent one.
The offer is valid in any RadioShack location and for any carrier of your choosing. On top of giving you $50 off, RadioShack will also give you $10 off for every $50 you spend so if you need to pick up some accessories for the holidays, it may be a good time to do so.
If you're interested in purchasing one for yourself and currently have an iPhone 4S or other iPhone, RadioShack will also take your trade-in for credit towards your new purchase. They're currently offering $195 to $260 for the iPhone 4S.
If you happen to find the iPhone 5 or iPhone 4S cheaper elsewhere on-contract, RadioShack will also price match with their low price guarantee. Anyone tempted to pick up an iPhone 5 or iPhone 4S from RadioShack?
Source: RadioShack


text:
Q-Mark CRA1512T2 Electric Wall Heater
- 1500 Watts of Heating Power
- Electric Wall Heater
- Heats Up to 150 Sq. Ft.
- Reviews
- Description
- Specifications
- Benefits
- Resources
Q-Mark CRA1512T2 Electric Wall Heater
The Q-Mark CRA1512T2 Electric Wall Heater can be easily installed and has different fan speeds for the most customized comfort. It is the perfect heater for the cold winter months. This heater features a three piece construction for easy installation and fan speeds for customized comfort. It works well in almost any room or space and can provide heat for up to 150 square feet. It has a heat output of 5,118 BTUs per hour, which makes it both efficient and powerful. The heater has four fan speeds to choose from for added convenience. It is perfect for small spaces such as in a home or office. The Q-Mark CRA1512T2 Electric Wall Heater can be used in many areas such as:
- Bathroom
- Office
- Trailers
Dual Protection
The Q-Mark CRA1512T2 Electric Wall Heater has dual protection in the form of a thermal cutout for automatic protection against overheating, a pilot light and a one-time thermal fuse.
Special Features of the Q-Mark CRA1512T2 Electric Wall Heater
- Three piece construction for ease of installation
- Dual protection in the form of a thermal cutout
- Chip-N-Flip feature
- Safety certified
- Quick heat and low maintenance
- Beautiful white finish
Safety Certified
The Q-Mark CRA1512T2 Electric Wall Heater has been UL tested and certified for high quality safety. This heater is one of the safest units available, which makes it stand out from similar heaters. The Q-Mark CRA1512T2 Electric Wall Heater also has both an automatic cutout as well as a thermal cutout.
Clip-N-Flip Feature
The Clip-N-Flip feature is a state of the art feature that is top of the line. With this feature, the electric heater is factory wired for maximum wattage; however, the excellent Clip-N-Flip technology allows the user to change the wattage of the heater to a lower output without moving the jumper wire. This particular feature sets it apart from the other similar heaters.
User Friendly and Extras
The Q-Mark CRA1512T2 Electric Wall Heater is one of the most user friendly units on the market. It has a rapid response coil heating element so it is extremely quick to heat. It is very simple to install with the three-piece construction. When it comes to assembly, it can either be semi-recessed or surface mounted on walls with the assistance of a surface mounting frame. The Q-Mark CRA1512T2 Electric Wall Heater also has an indicator light and automatic reset. It also has a built in thermostat. This particular unit is one of the most popular ones available.
Guaranteed Satisfaction.
- Up To 30 days to return your purchase
- Money back guaranteed
- Free return shipping
- No restocking fees
- Model: CRA1512T2
- Product Type: 120 Volt Electric Wall Heater
- Product Dimensions: L: 4.50" x W: 10.50" x H: 12.25"
- Product Weight: 11.00 lbs.
- Application: Ideal for bedrooms and bathrooms
- Warranty: 5-year limited manufacturer's warranty
- Type: Wall Heater
- Fuel Type: Electric
- Coverage Area: 150 square feet
- Voltage: 120 volts
- Watts: 1500 watts
- Amps: 12.5 amps
- Frequency: 60 Hz
- Certifications: UL
- Heating Capacity: 5118 BTUs
- Heating Method: Fan-Forced
- Built-In Thermostat: Yes
- Thermostat Type: Integral double-pole thermostat
- Timer: No
- Automatic Shut-Off: Yes
- Thermal Cut-Out: Yes
- Automatic Reset: No
- Fan Delay: No
- Frost Protection: No
- Indicator Light: Yes
- Number of Fan Speeds: 4
- Construction: Steel
- Finish: White
- Mounting Options: Recessed
- Includes Wall Bracket: No
- Energy Star Rated: No
- Hard-Wired: Yes
- Heat Range: 40-85°F
- Digital Display: No
- LED Touch Screen: No
- Automatic Temperature Control: No
- Installation Requirements: Can be Recess Mounted or Surface Mounted with additional purchase of a surface mounting frame
- The QMarks's northern white finish complements any decor
- 1500 watts of fan -forced heating quickly warms the room and eliminates cold spots
- The QMark CRA1512T2 features a thermal cutout with indicator light and one time thermal fuse for dual protection.
- The QMark CRA1512T2 wall heater includes easy to use controls
- The QMark CRA1512T2 wall heater is perfect for heating bathrooms, bedrooms, offices, or even trailers
- Three pice contruction includes a surface mounting frame for quick and easy installation