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On behalf of the Panoramio team, myself and every Panoramio user who uses Panoramio in a language different than English, I wanted to thank everyone who helps and has helped with the translation of Panoramio, even if it has been with just one script. Thanks to all of you, more and more people can understand how Panoramio works and be part of it.
Right now we have Panoramio in 38 languages and this is growing everyday! Up to date status of translation files can be seen in this forum topic.
Those people who helped translating Panoramio are listed in the Panoramio Team Page as a recognition for their help. Please join me in thanking them by visiting their photo pages and leaving them a note. I am sure they will appreciate that.
If you want to help like them with the translation of Panoramio, feel free to join our Translators Community.
If you helped in the past and I forgot to add you in the team page (I hope not :P). Please send me an email at email@example.com and I will fix that immediately.
I wanted to take the advantage to apologize about not supporting right-to-left languages at the moment.
Thank you again for your help building Panoramio!


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Barcelona became the first team to reach five consecutive Champions League semi-finals, potentially setting up another meeting with Chelsea. A 52nd-minute goal from Andrés Iniesta and the two earlier penalties that gave Leo Messi 14 Champions League goals for the season, equalling José Altafini's 50-year-old European Cup record, took them to a 3-1 victory over Milan. As a bonus Barcelona took up their now familiar slot without suspensions and without the returning Zlatan Ibrahimovic scoring against them. Instead the Swede departed raging against the referee.
The night ended with songs and even an olé or two. "We had 21 shots; we made lots of chances and on a different day the result might have been much bigger," Pep Guardiola said. But it had not always felt so comfortable. Ibrahimovic caused problems and, at least until Iniesta struck, nerves invaded Camp Nou. The debate about the second penalty will run, too.
According to Massimiliano Allegri, it had been awarded "too easily" while Ibrahimovic went further. "Now I understand why [José] Mourinho behaves the way he does at the Camp Nou," he told Swedish television. "If Mr Ibrahimovic says that it's thanks to the referees, fine," responded Guardiola. "I have seen them on the television and they are two penalties. Sometimes they don't blow those but pulling someone's shirt in the area is a penalty. And it's five semi-finals in a row now. You talk on the pitch."
Guardiola said he was proud of that record but he was reluctant to be drawn on Barcelona's potential opponents. "It is too early," he said. "Benfica are a very good side who caused Chelsea problems in the first leg, so let's wait and see. Whoever it is, they will be very difficult opponents."
For almost an hour Milan, too, were. The 0-0 first-leg draw left the tie on an edge, a single goal meaning the greatest of swings. Barcelona had a dilemma: go for goals or go for control? Guardiola had insisted "our objective will be to create chances". The reason was simple: Milan, he said, would score. There was little point in protecting a slender and vulnerable lead.
Instead Barcelona had to pull Milan about and create space. Isaac Cuenca gave width on the left and Dani Alves on the right, effectively leaving a high three-man defence. Messi and Cesc Fábregas were part centre-forwards, part central midfielders, often creating a line of four up front: Cuenca, Fábregas, Messi, Alves. The plan was familiar: occupy space outside to create space inside. It was also risky. Milan spread three across the middle with Ibrahimovic, Kevin-Prince Boateng and Robinho ahead. When they progressed, there was space.
For Barcelona there were nerves, even after taking an 11th-minute lead. Messi blocked Ignazio Abate's pass and the rebound became a through-ball, the chase for it a straight sprint. Messi beat Philippe Mexes. He laid it to Xavi who nudged it to Iniesta. When the ball ran free to Messi, Antonini brought him down. Messi's low penalty squeezed in between the post and Christian Abbiati's hand.
Barcelona wanted an early goal, but they stAnd Guardiola was right: Milan did score. ill wanted another. Abbiati had made a handful of saves, even if few were outstanding. Just after the half-hour Ibrahimovic turned and assisted Antonio Nocerino, who side-footed past Victor Valdés. Barcelona had been looking for the second goal anyway but now desire became an obligation. They needed two, not one.
The second came from another penalty just before half-time and the initial reaction was surprise. Sergio Busquets was held by Alessandro Nesta at a corner and Bjorn Kuipers blew. At first it was not clear what the referee had given but Milan's shocked players surrounding the referee was a clue. The wait for Messi was a long one but he hit the other corner.
If Guardiola assumed the risk before, now he sought to minimise it, immediately sending Alves to full-back. Barcelona still attacked and so did Milan – in the first minute of the second half they were appealing for a penalty of their own when Alves lunged at Robinho. Soon, though, Messi's deflected shot squirmed to Iniesta, who controlled and shot past Abbiati to make it 3-1. At last Barça had the cushion they craved; they could step down off that knife edge and keep the ball. The sense of impending doom every time Milan attacked largely evaporated.
The control was Barcelona's and they pressed high, denying Milan the oxygen to attack them, refusing to let the Italians inject intrigue into this tie. The best chances fell Barcelona's way, Thiago Alcantara and Adriano shooting wide when clean through. There were few other opportunities. Barcelona no longer needed to seek them; they had earned the right not to. The European champions had sought out and earned their place in the semi-final – again.

subset: commoncrawl


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Wedding out West
I'm a midwesterner, but I had a friend who recently had a wedding in Portland, OR, so I decided to make the trip. She's a really good friend from college, and she was an absolutely beautiful bride. The wedding was a fantastic celebration, exactly what you want to have in a wedding. I hate going to weddings where you're not happy for the bride or groom, and you think they are making a mistake. This was nothing like that. Everyone was happy for them.
The church was gorgeous. It had amazing lighting, with stained glass windows. The sun was setting, so it was beautiful. The ceremony was lovely and not too long. Then, we were off to the reception. It had a beautiful cake, lots of people and a big dance floor. We partied all night. They used a Portland Wedding Photographer, who is supposed to be one of the best out there. I'll be excited to see her pictures later. Apparently, the company does more than just weddings as well. My friend looked beautiful all night. Her hair and dress were gorgeous, and she uses Alexandra de markoff makeup, which lasted throughout the night very well.
It was such a good time. I love being able to rejoice with my friends when they rejoice. Romans 12:15.


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Baseball Wins 40th Game of the Season
Communications Sr. Associate
BATON ROUGE, La. - Senior shortstop Austin Nola collected a career-best four hits and scored two runs Tuesday night, and junior first baseman Mason Katz launched his 10th homer of the year as fourth-ranked LSU posted a 9-6 win over Nicholls State in Alex Box Stadium.
LSU, playing its final regular-season home game, improved to 40-13 while Nicholls State dropped to 25-26. The Tigers posted a 40-win regular season for the ninth time since 1992, the first year the NCAA instituted a 56-game regular-season schedule limit.
"It's a significant accomplishment to win 40 games in the regular season," said LSU coach Paul Mainieri, "and I'm very proud of our team for reaching that mark. I thought we swung the bats pretty well tonight, and we had some good efforts on the mound."
LSU concludes the regular season at South Carolina beginning at 6 p.m. CT Thursday. The Tigers are one game behind Kentucky and a half-game behind South Carolina in the overall league standings. LSU has already clinched at least a tie for the SEC Western Division title, and the Tigers have locked up the #2 seed in next week's SEC Tournament in Hoover, Ala.
"Our players are very excited for the opportunity to go to Columbia and compete for the SEC championship," Mainieri said. "We have so much respect for (South Carolina coach) Ray Tanner and his program, and it should be a series the entire nation will be watching."
LSU (2009) and South Carolina (2010, 2011) have combined to win the last three College World Series titles. This week's series marks the first meeting between the teams since the Tigers defeated the Gamecocks in the second round of the 2009 SEC Tournament.
Nola, making his final regular-season appearance in Alex Box Stadium, was 4-for-4 at the plate Tuesday night with a double and two runs scored. Katz was 2-for-5 with four RBI, including a three-run blast in the sixth inning, and he scored two runs.
LSU starter Kurt McCune (3-4) earned the win, limiting the Colonels to two runs on six hits in five innings with one walk and one strikeout.
Nicholls State starter Mike Wisecarver (1-7) was charged with the loss as he surrendered five runs - three earned - on seven hits in five innings with four walks and no strikeouts.
Trailing 2-0, LSU erupted for five runs in the third inning. A run-scoring double by Katz and RBI singles by designated hitter Jackson Slaid, leftfielder Raph Rhymes and second baseman JaCoby Jones highlighted the rally.
LSU added three runs in the sixth off of reliever Brad Delatte when Nola single, Slaid walked and Katz unloaded his 10th dinger of the year into the left-field seats.
The Tigers extended the lead to 9-2 in the eighth on an RBI single by senior third baseman Tyler Hanover.
The Colonels rallied for four runs in the ninth inning, but LSU closer Nick Goody recorded back-to-back strikeouts with runners at second and third to end the game.
LSU 9, Nicholls State 6 (May 15, 2012 at Baton Rouge, La.)
Nicholls State...... 011 000 004 - 6 11 3 (25-26)
Pitchers: Nicholls State - Wisecarver, Mike; Delatte, Brad(6); McCoy, Jordan(8) and Dufrene, Cody.
LSU - Kurt McCune; Kevin Berry(6); Joe Broussard(7); Nick Rumbelow(9); Nick Goody(9) and Jordy Snikeris; Tyler Moore.
Win-Kurt McCune(3-4) Loss-Wisecarver, Mike(1-7) T-2:44 A-11183
HR LSU - Mason Katz (10).
Actual Attendance: 6,050


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Strata #4 – Site-Specific Installation from Quayola on Vimeo.
Strata #4 is a two channel video by the artist known simply as Quayola. For the video, Quayola used images of two grand altarpieces by Rubens and Van Dyck. He worked with an HDR photographer to obtain huge 20,000 by 20,000 pixel images of the work. Then using unbelievable computing power and algorithms Quayloa investigates each masterpiece's underlying structure, composition, and color. Strata #4 at turn resembles 20th century abstract renditions of the baroque work. Yet his video squarely part of a New Aesthetic, part of a 21st century sensibility.


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The lineup for next week's UFC 133 event is again complete with 11 bouts.
The Aug. 6 event, which takes place at Philadelphia's Wells Fargo Center, underwent a shuffle on Monday following Alessio Sakara's withdrawal due to a torn ACL.
His opponent remains on the main card, and the prelims also have a confirmed new bout.
As MMAjunkie.com (www.mmajunkie.com) previously reported, Sakara's opponent, Jorge Rivera (19-8 MMA, 7-6 UFC), remains on the main card against replacement Constantinos Philippou (7-2 MMA, 0-1 UFC). Philippou originally was slated to fight Rafael "Sapo" Natal (12-3-1 MMA, 0-1-1 UFC) on the preliminary card. He'll remain there against replacement and promotional newcomer Paul Bradley (16-2 MMA, 0-0 UFC).
Natal vs. Bradley is part of a four-bout preliminary-card lineup that streams for free on Facebook, Two other prelims air on Spike TV as part of a "UFC Prelims" special.
The official UFC 133 card now includes:
MAIN CARD (Pay-per-view)
- Rashad Evans vs. Tito Ortiz
- Yoshihiro Akiyama vs. Vitor Belfort
- Brian Ebersole vs. Dennis Hallman
- Constantinos Philippou vs. Jorge Rivera
- Rory MacDonald vs. Mike Pyle
PRELIMINARY CARD (Spike TV)
- Alexander Gustafsson vs. Matt Hamill
- Chad Mendes vs. Rani Yahya
PRELIMINARY CARD (Facebook)
- Ivan Menjivar vs. Nick Pace
- Johny Hendricks vs. Mike Pierce
- Mike Brown vs. Nam Phan
- Paul Bradley vs. Rafael "Sapo" Natal
For more on UFC 133, stay tuned to the UFC Rumors section of MMAjunkie.com.
(Pictured: Rafael "Sapo" Natal)


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Home : For career seekers : Laws, your rights, and self-advocacy :
Evaluating Your Agency and Its Services: A Checklist for Job Seekers with Disabilities
ICI Tools for Inclusion #16
Agencies should have...
Checklist: Evaluating your agency and its services
How did your agency and its services measure up?
Strategy number one: Try and work it out
Strategy number two: Ask for a different counselor
Ted's story
Strategy number three: Consider switching agencies
Strategy number four: Use multiple agencies
Strategy number five: If all else fails, use a grievance or complaint procedure
State agencies that provide employment support or legal guidance
Additional ICI publications
You may be getting services from an agency for a variety of job-related reasons. Perhaps you are looking at what you may be good at, what kind of job you would like, or what is most important to you in a job. Maybe you want some job training or assistance finding jobs, preparing for interviews, following up on job leads, or contacting employers. You may have already found a job with the help of an agency, but you need some additional support at your job site. If you are currently using an agency for help with employment, this checklist can help you make sure you are getting what you need.
We at ICI developed this checklist because we talked to people with disabilities like yourself. ICI asked these individuals about their experiences using agencies that provide employment services as they searched for their jobs. They told us that agencies need five main aspects to be helpful.
Agencies should have:
1. A positive agency culture
The staff are friendly, the building and equipment are accessible, and the job seeker feels comfortable being there.
2. Consumer-directedness
The job seeker participates in all areas of the job search and makes all important decisions. Services are designed for each individual person.
3. Access to resources
The job seeker can use job listings, workshops, computers, and fax machines that match their particular needs.
4. Quality personnel
Staff who work at the agency are available when the job seeker needs them. Staff are also encouraging and make job seekers feel good about themselves.
5. Coordinated Services
When staff from more than one agency work together to try and help the job seeker. The job seeker can use different services to meet different needs.
From these five components, ICI developed the checklist on pages 3 & 4
What do we mean by an "agency"?
There are many different types of agencies that help people with disabilities with employment. These include both public (government) and private organizations that provide direct employment support.
Public Government Agencies: There are government agencies specifically for people with disabilities. These include Departments of Mental Retardation/Developmental Disabilities (MR/DD), Mental Health (MH), and Vocational Rehabilitation (VR), and Agencies for the Blind and Visually Impaired (BVI). Every state has an MR/DD, MH, VR, and BVI agency, although how these services are organized and the types of services they deliver can be very different from state to state. Other agencies provide employment-related services to a variety of people that include people with disabilities, but also other individuals as well. An example is each state's Temporary Assistance to Needy Families (TANF) agency.
Private Agencies: In addition to government agencies, there are also private agencies that provide services. These agencies are also called community rehabilitation providers, supported employment agencies, and private providers. These agencies usually receive much of their funding from government sources, including the agencies listed above.
In addition to public government agencies and private agencies, there are also One-Stop Career Centers.
One-Stop Career Centers: One-Stop Career Centers are not actually agencies, but instead consist of a variety of agencies and programs that deliver services at one location. There is a One-Stop Career Center in every major population area of the United States. One-Stops have basic services that are available to anyone, and other services that you may be eligible for as well. One-Stops are operated by both government and private agencies.
(See the resource section at the end of this article on how to find the agencies listed above in your local area.)
What do we mean by "services"?
Each of the agencies listed above provides services that help people with disabilities with employment. These services will be different depending on which agency you are using. In some instances, services may focus on finding a job, while other services may provide help once you already have a job. Others may offer career planning services. In some cases, staff will provide you with extensive help. In other cases, you will be expected to do much on your own, with only some assistance provided. Sometimes services may last only a short time, while other services may last longer. Regardless of what kind of services you are receiving, the most important thing is that these services be useful to you!
What do we mean by the word "counselor"?
In the following checklist, we use the term "counselor". When we use this word, it means the main person who is providing services to you at your agency. This could be your job developer, employment specialist, job coach, case manager, or caseworker. All of these titles mean the same thing as "counselor" when you are using this checklist.
Evaluating your agency and the employment services being provided
You should have high expectations concerning the services you are receiving from your agency! You should be able to evaluate these services and decide if you are getting the results that you are looking for. It is important to look at such factors as how long it has taken you to find a job or how involved you are in your services. How can you make sure you are getting what you should from your agency? How do you know that the services you are receiving are satisfactory? Maybe you have been thinking you might want to change agencies and you need help deciding. The following checklist can help you examine your current services as you sort through your specific situation.
Checklist: Evaluating Your Agency and Its Services
Instructions: Read each line. Put a check under the "yes" column if you think that line is true in your situation. Put a check under the "no" column if you think that line is not true. The column "NA" means not applicable. Put a check under this column when that line does not apply in your situation.
Positive agency culture--Is my agency a comfortable place?
It is easy to ask for help from staff (other than my counselor)
__Yes __No __NA
People who work in the greeting area are helpful and friendly
__Yes __No __NA
People who work at this agency (other than my counselor) treat me with
respect and like an adult
__Yes __No __NA
I feel like I belong at this agency
__Yes __No __NA
The agency's building is physically accessible
__Yes __No __NA
Consumer-directedness--How much control and "say" do I have about my services?
I have a choice of what kind of services I want to receive
__Yes __No __NA
I have a choice of which staff I work with
__Yes __No __NA
I have a choice of how I want to search for a job (calling employers
that I find in the phone book or want ads, going to job clubs, looking
at newspapers)
__Yes __No __NA
I can easily say yes or no to anything related to my job search
__Yes __No __NA
I am asked if services have been helpful to me
__Yes __No __NA
I make all important decisions in my job search
__Yes __No __NA
I get job leads that match my interests
__Yes __No __NA
I am able to do more on my own because I have learned a lot from the
services I have received
__Yes __No __NA
Access to resources--What services are available to me and are they useful?
All of the services this agency provides were described to me when I
first went there
__Yes __No __NA
I am able to find assistance with other things that may affect my being
able to work like Social Security benefits, transportation, health
benefits, or day care
__Yes __No __NA
This agency provides assistance with basic job search techniques such
as developing job leads, resume writing, interviewing, and others
__Yes __No __NA
I am able to access information about specific jobs through a variety
of methods such as networking, job postings, job clubs, newspapers, or
the internet
__Yes __No __NA
I am able to access training that teaches me new skills
__Yes __No __NA
I get chances to meet with employers to learn about possible jobs
__Yes __No __NA
Quality personnel--How happy am I with my counselor?
My counselor gives me the chance to learn about different kinds of jobs
__Yes __No __NA
My counselor thinks it is okay if I change my mind
__Yes __No __NA
My counselor takes the time to get to know me
__Yes __No __NA
My counselor helps me decide what the best job for me would be
__Yes __No __NA
My counselor helps me develop a plan for getting the best job for me
__Yes __No __NA
My counselor meets me whenever I want, even if it is at night or early
__Yes __No __NA
My counselor meets me at locations that are convenient for me (home,
coffee shops, etc.)
__Yes __No __NA
My counselor helps me look for jobs that match my interests and goals
__Yes __No __NA
My counselor calls me regularly just to check in
__Yes __No __NA
My counselor tries to make me feel good about myself
__Yes __No __NA
My counselor and I work well together in making decisions and plans
__Yes __No __NA
My counselor and I are on the same level, and s/he does not look down
on me
__Yes __No __NA
Coordinated services--Is my agency working with other agencies that can assist me?
Staff know about other agencies (support groups, advocacy, and
self-help groups) that can assist me outside of this agency
__Yes __No __NA
Staff help me find other assistance, outside of my agency, if I need it
__Yes __No __NA
Staff at this agency have asked about people from other agencies who
are currently assisting me
__Yes __No __NA
Staff at this agency talk on the phone with people from other agencies
to best help me find a job
__Yes __No __NA
Staff at this agency meet with people from other agencies to best help
me find a job
__Yes __No __NA
Staff only contact people from other agencies when I say it is okay
__Yes __No __NA
How did your agency and its services measure up?
Now that you have completed the checklist, look over the results. If you found yourself making quite a few checks under the "no" column, you might want to look at your situation a little further. Is the quality of your services acceptable to you? Has the agency helped you make satisfactory progress in reaching your employment goal? If after answering this checklist you feel that the services you are receiving have not helped you find the type of employment you want, or you are not getting enough or the right kind of assistance, there are some strategies to consider...First, determine exactly what you are not happy with
If the checklist helps you to realize that you are not happy with your services, you should determine specifically what you are not happy about. Take a closer look at the checklist, and identify your main area(s) of concern.
Strategy number one: Try and work it out
Once you have determined what aspects of the services you are not happy with, talk with your counselor about it. You need to be clear about what you want, and ensure that your choices and rights are respected. Get involved, take responsibility, and don't automatically assume that it is all the counselor's fault. However, while you must advocate for your needs, talk to your counselor in a way that is mature and respectful. Consider Ted's story (on the right).
Strategy number two: Ask for a different counselor
You may want to think about this strategy especially if you checked "no" quite a bit in the quality personnel section, but you checked "yes" a lot in all the other sections. This might mean you like the agency that you are using, but you are less satisfied with your counselor. You may need to speak to a manager in order to switch counselors. Requests for staff changes are not unusual. Sometimes a fresh start with someone new is a good idea. In discussing your situation, try to be specific about what you are unhappy with, and suggest ways to improve things and make you happier with the services you are receiving. In many cases the situation can be resolved simply by making the agency aware, and this is often the easiest and quickest solution for all involved.
Ted's Story
Ted is interested in the recreation field and yet his counselor kept giving him job leads not related to recreation. Ted wanted to communicate his feelings of frustration. He took some time and thought about his situation. He calmly said to his counselor, "Thanks for getting me job leads and for working hard. However, I really want a job in the recreation field. Is there a reason why you keep finding jobs in other fields?" Ted's comments are productive. He clarifies his interest in the recreation field. From there, he tries to understand why the counselor may be suggesting other options. Ted's approach is firm and direct, but still positive. This helps to create a better understanding between Ted and his counselor.
Helpful hint: If you need to talk to your counselor about something that is bothering you, practice role-playing with a friend or family member whom you can trust. Ask this trusted person for advice and suggestions to make your point in the most useful way possible!
Strategy number three: Consider switching agencies
You may want to think about this strategy if you checked "no" a lot in all the sections. This may mean that the agency, its services, and your counselor are not satisfying to you. Whether or not switching agencies is an option, and how simple or complicated this would be, depends on how services are being funded, what other services you may be eligible for, and what service alternatives are available. However, you may be pleasantly surprised to find that you can take the funding connected with your services and move it elsewhere, or that you are eligible for services from another agency. It is worth speaking to funding agencies and advocacy groups to find out what service alternatives may be available. See the attached insert for more information.
Strategy number four: Use multiple agencies
You may want to think about this strategy if you checked "no" in the coordinated services section. This may mean that you are not using all the services that are available to you. (A wide variety of service combinations are available. See the box on right.) You may not realize that more than one agency can assist you in finding employment. Receiving services from more than one agency can be helpful because one agency may not have all the services you are looking for. Some agencies have more expertise in one area than another, and you will not be "putting all your eggs in one basket." In addition, one agency may have a waiting list for services while another may not. If an agency states that services are not currently available, it's important to check alternatives. The more you reach out to different agencies, the more resources you will have available to help in your job search. (See page 7 for more information about what agencies are available to you.)
Strategy number five: If all else fails, use a grievance or complaint procedure
If all else fails and you still feel unsatisfied, or worse, that your rights have been violated, you can use a formal grievance procedure. The availability of these procedures should be discussed with you during one of your first meetings with the staff, and information about complaint procedures should be posted in the agency. If this information is not provided, feel free to ask for it.
Examples of grievance or complaint procedures include the Client Assistance Program (CAP) for the public Vocational Rehabilitation program (see page 7) and the Equal Opportunity Office and U.S. Department of Labor Office of Civil Rights in the One-Stop system. Typically such procedures involve an organization outside the agency that helps to resolve the situation. A private agency, they may have similar procedures, but you may have to contact the state agency that pays for the private agency's services.
It is important to think about the services you are receiving and whether or not they are useful to you. You can hold on to this checklist and refer to it at any point while you are receiving employment services from any agency. Remember, all agencies are there to help you, but you are responsibile for your part. If you are unhappy with your services, let someone know. You have the right to set up and receive services in the way that is most beneficial to you. Good luck in your job search!
A wide variety of service combinations are available. The following are some ideas and examples:
- Anyone can get basic job seeking assistance from a One-Stop Center. These Centers must have "core" services that are "universally accessible," meaning that anyone can use them. Although these services often are provided with a low level of staff assistance, they can be helpful to individuals who are good at locating resources and making choices on their own. One-Stop Centers also have more "intensive" services that you may be eligible for. You can use a One-Stop in combination with other services you are receiving.
- Some agencies may be better at helping to figure out the best type of job for you, while others may be better at helping to find a job or helping on-the-job. Some agencies provide other services besides employment, such as housing assistance. Many states have flexible funding arrangements that allow consumers to switch agencies for different services.
- Social Security Work Incentives (such as PASS & IRWE) can fund services for employment and career development, and can be used to fund specific aspects of services (such as assessment, training, or job support). These can be used in conjunction with all other types of services.
- The Social Security Administration's Ticket to Work Program is currently available in 13 states, and will be available across the country by 2004. Anyone receiving SSI and SSDI benefits can participate in this program and receive services from any other agency.
- You may want help understanding the effects of work on your SSI or SSDI benefits. Most areas have special benefits counselors available who can help you. You can receive this help no matter where else you receive services.
The following table lists state agencies that provide employment support. Remember, many of these state agencies will refer you to a community rehabilitation provider for services. In addition, there are legal resources that may be helpful. Each of the state agencies listed has local offices. You can also find these offices using the "Government" section of your phone book, or through your state's web site at www.state.__.us (replace the underline with the state's postal abbreviation).
State Agencies That Provide Employment Support
State Vocational Rehabilitation Agency (VR)
- Type of Services: Employment counseling for people with disabilities. Services are designed for each individual person. Often, VR can help by purchasing more intensive services.
- Contact Information: www.nchrtm.okstate.edu/resources/state_vr.html
State Mental Retardation/ Developmental Disabilities Agency
- Type of Services: Services may include help with finding jobs, transportation, and personal and living supports for people with mental retardation or other developmental disabilities. Mostly these services take place at a local service provider level.
- Contact Information: National Association of State Directors of Developmental Disabilities Services (NASDDDS), (703) 683-4202 (v) or www.nasddds.org/MemberAgencies/index.shtml
State Mental Health Agency
- Type of Services: Services may include help with finding jobs, transportation, and personal and living supports for people with mental illness and addictions
- Contact Information: National Association of State Mental Health Project Directors (NASMHPD), (703) 739-9333 (v) or www.nasmhpd.org/members.htm
One-Stop Centers and America's Workforce Network
- Type of Services: Employment resources such as job listings, job-finding workshops, and access to computers, copiers, and faxes that can help in the job search for all job seekers.
- Contact Information: America's Service Locator, 1-877-US2-JOBS (1-877-872-5627) or www.servicelocator.org
Social Security Administration (SSA)
- Type of Services: Provides health insurance and cash benefits to people with disabilities who meet certain qualifications. Current policy allows recipients to maintain some benefits while working. SSA can refer you to counselors who can help you understand your benefits.
- Contact Information:
- Office of Employment Support Programs: (410) 965-5381 (v), (410) 325-0778 (TTY)
- Office of Disability: (800) 772-1213 (v); (800) 325-0778 (TTY); www.ssa.gov/work
Agency for the Blind and Visually Impaired
- Type of Services: Services may include help with finding jobs, transportation, and personal and living supports for people who are visually impaired.
- Contact Information: www.nchrtm.okstate.edu/resources/state_vr.html
Department of Veteran's Affairs
- Type of Services: Services assist veterans with disabilities with employment.
- Contact Information: Department of Veteran's Affairs Vocational Rehabilitation and Employment, (800) 827-1000 (v) or www.vba.va.gov/bln/vre/index.htm
Legal Resources
State Protection & Advocacy Programs
- Type of Services: Provides protection of the rights of people with disabilities through legal advocacy. Helpful for when questions arise about disability rights and legal issues.
- Contact Information: Natl. Assoc. of Protection and Advocacy Systems (NAPAS), (202) 408-9514 (v); (202) 408-9521 (TTY); www.protectionandadvocacy.com
Client Assistance Programs
- Type of Services: Provides advocacy to people who are not satisfied with services from their public Vocational Rehabilitation agency.
- Contact Information: Go to your state's website at www.state.__.us (insert your state's postal code) or www.nchrtm.okstate.edu/resources/state_vr.html
Disability Rights Education & Defense Fund
- Type of Services: Provides general information and resources on the legal rights of people with disabilities.
- Contact Information: (510) 644-2555 (v/TTY); ADA Hotline: (800) 466-4232 (v/TTY); E-mail: firstname.lastname@example.com www.dredf.org
Additional ICI publications
Additional ICI publications can be found on the web at www.communityinclusion.org
- Understanding the SSI Work Incentives. Fact Sheet (November 2001)
- Quality Employment Services: Will You Know It When You See It? Institute Brief (January 2001)
- One-Stop Centers: A Guide for Job Seekers with Disabilities. Tools for Inclusion (November 2000)
- Networking: A Consumer Guide to an Effective Job Search. Tools for Inclusion (January 1999)
- Helpful Hints: How to Fill Out a Winning PASS Application. Tools for Inclusion (July 1999)
The authors would like to thank Doris Hamner, Lara Enein-Donovan, John Butterworth, Margot Birnbaum, and Mark Hutchinson from the Institute for Community Inclusion as well as the research participants for their efforts in this project.
For more information, contact:
Jaimie Ciulla Timmons
Institute for Community Inclusion
UMass Boston
100 Morrissey Blvd.
Boston, Massachusetts 02125
(617) 287-4300
This is a publication of the Working Solutions project at the Institute for Community Inclusion, funded by the US Department of Education (grant #H235A980216). This publication was also supported by the National Institute on Disability and Rehabilitation Research (NIDRR) of the US Department of Education (grant #H133B980037). The opinions contained in this publication are those of the grantees and do not necessarily reflect those of the US Department of Education.
This publication will be made available in alternate formats upon request.
Written by:
Jaimie Ciulla Timmons
Melanie Jordan
David Hoff


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Additional information
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Suck Bang Blow is a Myrtle Beach biker bar, restaurant and retail clothing store located in Murrells Inlet, South Carolina. The Original Suck Bang Blow opened in 1996 and became a known motorcyclist and biker hangout for burnouts, great live music, hot girls, ice cold beer and mixed drinks. The SBB store sells men's, women's and children's t-shirts, hats, helmets, patches, stickers and much more. The SBB restaurant offers delicious appetizers, entrees and desserts like chicken wings, burgers and other fried happy hour food. Live music consists of country music, metal, rock and roll, and pretty much every other genre.
3393 Hwy 17 Business
Murrells Inlet, SC 29576
843. 651. 7960
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Rasputin: Russian Love Machine
A crush of Russian fabulousness touches down in West Hollywood every Saturday night at Luke Nero and Andres Rigal's Rasputin: Russian Love Machine on Robertson Boulevard, which is by far the hottest Saturday night party in the area. On any given night, there may be a tiger in residence or a Scissor Sister spinning in the DJ booth, but you can always expect a capacity crowd of model-pretty hipsters, thumping grooves, dreamy bartenders, burlesque models posing behind glass walls and a stable of resident "Russian Dolls" that includes Candice Cayne, William Cullen and Miles Davis Moody. Hint: Arrive early and stay late.


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above 395 € free of charge (within Romania)
The Glockenklang Duo Cab 8 Ohm Bass Guitar Amplifier Speaker Cabinet is ideal for use on its own at smaller gigs or as part of larger rig for use at big venues.
The Glockenklang Duo Cab is equipped with a pair of specially developed Volt 12" speakers that are joined by a fully adjustable tweeter, a setup that is rated to handle a powerful 400 watts at 8 Ohms. This setup is housed in a front ported Birch-ply cabinet that helps to produce an even frequency response across its 40Hz – 18KHz range.
The cabinet of the Glockenklang Duo is also fitted with recessed carry handles and interlocking corner protectors to aid both portability and stability.
The main features of the Glockenklang Duo Cab 8 Ohm Bass Guitar Amplifier Speaker Cabinet include:


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Get started with Google Drive
You can store and access your files anywhere with Google Drive — on the web, on your hard drive, or on the go. Here's how it works:
- Create a Google Drive account at drive.google.com.
- Install Google Drive on your Android device, iPhone/iPad, and computer.
- Upload and sync files in Google Drive.
Google Drive on the web
Use Google Drive on the web to store and organize all your files. You get 15 GB of free storage across Google Drive, Gmail, and Google+ Photos. If you run out, you can buy more storage.
With Google Drive on the web, you can:
- Create, add, or upload a file with a single button.
- Easily find and add shared files.
- Single-click a file to select it and double-click to open it.
- Drag and drop files and folders, just like you do on your desktop.
- Share files with others and choose what they can do with them: view, comment, or edit.
- Access your files even when you're not connected to the Internet.
Google Drive on your mobile device
If you're on the go, you can still access all of your files. Just download Google Drive on your phone or tablet and you're all set.
With Google Drive on your mobile device, you can:
- View, share, and organize your files.
- Upload and store new files directly from your phone or tablet.
- Print files from your mobile device.
- Scan important documents using the camera on your mobile device.
- Access your files even when you're not connected to the Internet.
Google Drive on your computer
Download Google Drive on your Mac/PC to keep files on your desktop synced with your files stored on the web. This means that anything you share, move, modify, or put in the trash will be reflected in Google Drive on the web the next time your computer syncs.
With Google Drive on your Mac/PC, you can:
- Drag files into and out of the folder.
- Rename files.
- Move files and folders around.
- Edit and save files.
- Move files to trash.
- Access your files even when you're not connected to the Internet.


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Job Seekers, Welcome to Mississippi State College of Veterinary Medicine Career Center
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Download this article in .PDF format
This file type includes high resolution graphics and schematics when applicable.
The DC-9 aircraft was designed in the early 1960s and introduced into commercial service in 1965. The original version had a maximum takeoff weight of 76,000 lb and could carry 80 passengers. Growth versions of the DC-9 increased the aircraft capacity to 121,000 lb maximum takeoff weight in the Series 50. Today's airplane, the MD-80, at 160,000 lb, has a takeoff weight more than double that of the first DC-9s.
The original aircraft hydraulic design principles were to keep the hydraulics:
• simple
• reliable, and
• easy to operate and maintain.
The concept of the DC-9 hydraulic system was very simple: a minimum number of components and maximum of efficiency. The DC-9 required only half as many hydraulic components as were used in the DC-8, and substantially fewer than used in contemporary small jets. Simplification of mechanisms paid off in a corresponding improvement in reliability and ease of operation and maintenance.
Component improvement
Historic hydraulic system problems were analyzed and either solved or greatly minimized. For example:
• packing failure problems were virtually eliminated by Douglas' pioneering in the development of ethylene propylene compounds for use with phosphate ester fire-resistant fluid
• backup rings used with all static and dynamic seals greatly reduced O-ring nibbling
• elimination of positionable, universal-type fittings in boss connections increased reliability
• while flareless-type tube fittings were offered as an optional feature, flared fittings were recommended as standard and accepted by virtually all DC-9 operators
• corrosion-resistant tubing was used in all pressure applications and in return lines smaller than in OD
• coiled tubing replaced hoses where possible
• where hoses were used, they had Teflon-lined, stainless steel wire braid construction, and
• careful attention to design detail greatly reduced the ever-present problems of system surges and corrosion.
Family overview
The family of DC-9 aircraft has two independent and completely separate hydraulic systems, Figure 1. Fluid from one system is never allowed to mix with fluid from the other. The systems are known as Right or Left; each receives its primary power from an 8-gpm variable displacement pump mounted on the respective right or left engine. The Right system is also equipped with an 8-gpm electric-motor-driven auxiliary pump. The Left system received auxiliary power from two fixed displacement, mechanically connected pumps to provide a reversible drive between the two systems. Each system also contains a hand pump for ground servicing.
The engine pumps are dual-range-compensated and may be selected to either 3000 psi or 1500 psi. During normal takeoff and landing operations, all pumps are switched ON and the engine pumps are in the 3000-psi mode. During cruise, after cleanup, the electric pump and reversible pumps are switched OFF and the engine pumps are switched to the 1500-psi mode. This reduced pressure greatly increases component life.
Hydraulic systems
The systems are as air-free as modern technology permits. Closed system, boot-strap reservoirs are used with ample air trap volume, and simple pushbutton bleeding valves purge air quickly, Figure 2.
Excellent return filtration is achieved with identical 15-µm absolute disposable-element system filters. All return fluid is filtered as it enters the reservoir. Fluid from the electric and engine pumps is filtered on the pressure and case drain lines. All fluid entering the system is filtered, whether a ground service connection or hand pumps is used. Each filter incorporates a visual, differential pressure indicator pop-up button to signal when an element must be replaced.
The hydraulic and landing gear systems for the DC-9 family have changed as the aircraft grew. Series 10 established the baseline design. Series 30 added a hydraulically-driven wing leading edge slat system, increased reservoir capacity, and strengthened the landing gear. Series 40 retained the series 30 hydraulic system but changed the wing incidence angle. The size of the main landing gear was increased, repositioned in the wing, and used a new rolling assembly. Series 50 required only a change to the elevator system to increase hinge moment capability.
The MD-80 represents more substantial change. The wing span was increased, adding to both the leading edge slats and trailing edge flaps. The main landing gear is re-positioned in the wing, has a larger diameter and length, and a new rolling assembly. Also added is a new inboard ground spoiler system. Reservoir capacity was increased again and most hydraulic components were re-designed or re-located. The auxiliary pump was changed to the DC-10 air-cooled unit; a new reversible power transfer unit was added. Through all of the system evolution, the engine hydraulic pumps remained the same.
Subsystem design features
This description of some hydraulic features on the 80's subsystems emphasizes designed-in safety and redundancy of components and subsystems, and also included mechanisms and subsystems that fail safe, fail neutral, provide for manual reversion, or the use of stored energy in an accumulators, Figure 3.
Note that hydraulic components are identical in many left and right subsystems, simplifying repair and maintenance. Also, stocking of spare parts is simplified and cost minimized.
The elevator hydraulic system is equipped with two hydraulic control valves and two actuators to provide a power boost for stall recover; it is powered by the Left system. Each elevator surface is independent; there are no mechanical connections.
To prevent inadvertent power operation, both control valves are connected in series and both must be shifted open to get hydraulic action. When both valves are open, pressurized fluid flows to the actuators and the elevators are driven down to the position commanded by annually-controlled tabs. When the elevators have reached this position, the valves close and the system "floats."
The elevator actuators are balanced and connected hydraulically to pass fluid from one side of the piston to the other to prevent hydraulic lock when the valves are closed. The entire subsystem, which is isolated from the main system by a check valve, contains an accumulator large enough to provide actuation for an extended time should a main system hydraulic failure occur.
The flight spoilers consist of two hinged segments in the top of each wing. A single hydraulic-valve-and-cylinder assembly controls each segment.
Each of the spoiler hydraulic systems operates at 1500 psi; pressure fluid delivered to these two systems is automatically reduced to this value. This feature was chosen to avoid any change in spoiler response when the general aircraft hydraulic systems decrease to 1500 psi during clean flight. Reducing pressure also results in a more reliable installation because it is strength-designed for high pressure but operates at low pressure. Should one hydraulic system fail, the remaining set of spoilers plus the manual ailerons provide ample lateral control
All four flight spoiler valve-and-cylinder assemblies are identical, no Left and Right parts, simplifying stock and minimizing spare parts cost. The 1500-psi pressure reducing valve in each system also acts as a relief valve, to limit spoiler cylinder loads to a safe level.
The shutoff valves in the pressure supply are operated only on the ground and serve three purposes. In the first (normal) position, they direct pressurized fluid to the spoiler system. In the second position, the spoiler pressure line is blocked. This position can be used for troubleshooting, maintenance, or to dispatch the aircraft even if one system is inoperative. The third position blocks pressurized fluid to the spoiler and bypasses general system pressurized fluid to return. This position can be used to dump system pressure and to fill the reservoir.
The wing trailing edge flaps consist of two large segments hinged to each wing rear spar; each segment is driven by two hydraulic cylinders, one powered by each system. To simplify supply and maintenance, all eight cylinders—four per wing—are identical. Pressurized fluid from both systems flows into one DC-10 tandem control valve. Hydraulic system separation is maintained in the control valve and each hydraulic system provides power to ne cylinder on each flap segment.
A two-speed restrictor valve in each flap system limits the rate of retraction for go-around conditions or inadvertent retraction conditions. The flap segments on each wing are connected to the opposite wing by a heavy-duty mechanical cable system to prevent asymmetrical operation.
Each of the two thrust reversers is of the target type, actuated by two hydraulic cylinders connected in parallel, with each receiving power from its own hydraulic system. During flight, with the reversers stowed, each reverser hydraulic subsystem is automatically isolated from its main aircraft hydraulic system by a shutoff valve.
Three sources of power are available to operate ach reverser. During a landing, the engine-driven pump is the normal source of power; the electric motor-driven pump is its backup. In the event of a general hydraulic system failure, reversing is still attainable with the energy stored in the reverser accumulator.
Two control and isolation valves are identical, as are the four actuating cylinders; there are no Left and Right parts. Power for the main wheel brake is supplied by both hydraulic systems. Each brake has two separate sets of power pistons and passageways; each can operate separately. Adequate braking is provided by each of the two hydraulic systems to stop the aircraft in the event of one hydraulic system failure. In addition, braking accumulators provide adequate braking capacity to stop the aircraft in the event of hydraulic system failure, Figure 4.
The tricycle gear extend/retract system consists of two dual main gears and one steerable dual nose gear. The gear and gear doors are normally retracted and extended hydraulically. In the event of loss of hydraulic power, an emergency handle in the cockpit allows the pilot to unlatch the gear manually and operate a dump valve. This lets the gear free-fall and lock in the down position with the help of gravity, air loads, and spring-loaded bungee links.
Dashpots and restrictors control the actuation rate and soften the end positions: the main wheels brake automatically during the initial phase of gear retraction; the nose wheels brake automatically during the last phase of gear retraction.
Each main gear uses identical detail parts, the only difference between left and right gear being in assembly positioning.
The nose wheel steering system is identical to that in the DC-9s. It consists of two cylinders trunnion-mounted to the top of the nose gear shock strut. Each cylinder receives pressurized fluid from a separate hydraulic system and is controlled by its own steering valve. Each cylinder can steer the aircraft in the event of a hydraulic system failure. Each of the hydraulic steering components for the two systems is identical and is interchangeable from right to left hand.
The rudder is powered from the Right system only. However, for redundance, it has tab control reversion, and is common with all DC-9 models.
The system incorporates a manually-controlled shutoff-and-bypass valve, controlled by pilot action. This valve also will automatically shut off if system pressure drops below a predetermined level, thereby reverting the rudder to manual tab control, to insure uninterrupted rudder operation.
The leading edge slat system differs from the DC-9 models: the MD-80 uses a single drive station to operate both wing slats; prior models had individual drive systems for each wing.
Both Left and Right hydraulic systems provide power: pressurized flow from both systems flows into one DC-10 tandem control valve. System isolation is maintained in the control valve, and each system provides power to a left or right slat actuating cylinder, respectively.
The ground spoiler system is new for the MD-80 and consists of one panel in each wing inboard segment. One tandem cylinder operates each panel, and each cylinder is sized so that either hydraulic system can provide enough power in case of a hydraulic failure.
The control valve requires a mechanical input and an electrical input to open. If the two signals do not agree, the valve remains in the stow mode. When both valve signals command deploy, the panels are driven to the full deploy position. The drive linkage provides an overcenter lock in the stowed position to prevent float in the unlikely case both hydraulic systems should fail.
The ventral stair is a standard feature on all MD-80 aircraft to provide a rear exit, in addition to the forward exit. The stairway is actuated hydraulically by a simple cylinder and manual control valve which receives power from the Right hydraulic system. The stair can be unlatched manually and extended by gravity in case hydraulic power is not available. Its control valve is spring-loaded to the neutral position to provide system isolation when the stair is not in use.
The author, Robert T. Madison, was unit chief—design, DC-9/MD-80 Hydromechanical Systems, Mechanical Engineering Subdivision, Douglas Aircraft Co., McDonnell Douglas Corp., Long Beach, Calif., when this article was originally published in Hydraulics & Pneumatics.
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Meredith Model & Talent Agency LLC located in Minneapolis, Minnesota is one of the most prominent modeling and talent agencies in the Mid West. Meredith has over 50 years of combined business between both its Minneapolis, Minnesota and New Jersey/New York offices. The agency represents women, men and children of all ethnicities. The St. Paul office has over 25 years of experience with casting and booking print advertising, featured film, television commercials, radio, internet, new media, make-up artists, parts models and live fashion. They are a union franchised agency and represent non union talent as well.
Meredith's philosophy is to nurture, educate and empower all talent on the fundamentals in an ever changing and competitive industry. In addition, the company's distinct professionalism, progressive vision and cool, hip and trendy agents strive for perfection and will always go above and beyond for all their talent and client needs.
Meredith Model & Talent Agency appreciates all the clients that choose them for their talent needs and the talent they represent that continually redefine the industry standard.


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1953 was a heady year for Chevrolet. Work had begun on an all-new full-size car slated for the company's '55 model line-up, a young engineer named Zora Arkus-Duntov was hired by GM Research and Development, and the GM skunkworks was quietly working on a new V-8 powerplant that would revolutionize the automotive industry.
Also in January of 1953, Harley Earl unveiled what would become one of the most storied car lines in American history. The Corvette, America's first European-inspired sports car, dazzled people at the GM Motorama display at the Waldorf Astoria hotel in New York. After a 1951 concept-car appearance as a Nomad wagon, the '53 model debuted as a white convertible featuring a Blue-Flame 235 six-cylinder with three carbs, a Powerglide transmission, and dual exhaust. Though the car left some wanting more, it wouldn't be until 1955 that Duntov and Earl would put the new 265 V-8 in the fiberglass roadster, starting a tradition of horsepower and performance in GM and Chevrolet's flagship nameplate.
Flash forward 50 years to 2003. The half-century anniversary of the Corvette had Vette enthusiasts eagerly anticipating what Chevrolet would unveil to mark this historic moment. Those eager with anticipation soon became nauseous with disappointment, as the 50th Anniversary Corvette was unveiled as nothing more than a C5 with special red paint, badges, and some other unimpressive additions. Many Corvette loyalists thought the 50th year should have been marked with a Corvette reminiscent of the '53, something that paid proud tribute to the first true American sports car.
Cover Thoughts?
We had a bit of a cover dilemma with the May issue, two great covers but we could only use one. So, we wanted to know what Vette readers and enthusiasts think. Which cover do you like best? Click the pics below for a larger view, then vote adn tell us which cover you like best. Watch vetteweb.com for the results when the poll is finished!
Which Cover Do You Like Best?
The Results Are In!
Out of 155 votes, 97 Vette readers preferred Cover 2 over Cover 1. Thanks for taking the time to vote and helping us make Vette a better magazine!
During the months leading up to 2003,
a small group of people had been working on a special show-car prototype in the hopes GM would adopt their new design as the 50th Anniversary Corvette.
Using common and easily manufactured parts and a C5 chassis, former GM designer Bill Pasteiner
and designer Bill Miller of Magna Steyr
came up with a stunning piece of Corvette workmanship.
When the car was unveiled to the public for the first time,
it was met with great enthusiasm and excitement.
But when 2003 came, Corvette fans were greeted with Chevy's more conservative
approach to celebrating the historic landmark.
Pasteiner, seeing the interest, obtained the rights from Magna Steyr to produce a limited-edition series of these unique cars, and started Advanced Automotive Technologies to build them in Rochester Hills, Michigan. Using a C5 chassis and drivetrain, AAT fits new front and rear fenders, hood, decklid, headlights, taillights, bumpers and trim pieces, blending together the two styles for a car that pays tribute to its heritage. Named the 1953 Commemorative Editions, these cars feature all of the modern underpinnings and power of the C5, but with the classic lines and look of the '53 Corvette. Today, 124 of the '53 Commemorative Editions have been built, with production still underway.
Buzz Nielsen was one of those people wanting more. Having a great collection of Vettes already--a '98 Pace Car, a 2000 yellow convertible, an '01 yellow Z06, and an '04 Commemorative Z06--Buzz and his wife Jackie wanted something unique to add to their stable. With an '03 Anniversary Vette on order, the couple saw a '53 Commemorative Edition while on a trip to California and fell in love with the car. Soon after, Buzz shipped his '98 convertible to Michigan for Advanced Automotive Technologies to begin turning the '98 into the 12th '53 CE Corvette.
"We love the '50s look, but we wanted to keep our teeth in our mouths," says Buzz, referring to the stiff suspensions of '50s-era Vettes
About eight weeks later, the couple saw their newly transformed Vette and were ecstatic. A car that combined the looks of the original Corvette with all the modern features and power of a newer edition now sat in their driveway. Since then, the '53 CE has won numerous awards at various car shows, and whenever Buzz drives it around town, he gets looks of awe and excitement, drawing thumbs-up waves from passersby.
Not just for show, this '53 CE gets driven regularly. One of the more interesting trips Buzz and Jackie have made was a Route 66 caravan with another '53 CE after the 2004 Corvette Birthday Bash in Bowling Green. Starting in Chicago where Route 66 begins, the two couples followed the route all the way to the Santa Monica Pier in California. Then Buzz and Jackie drove all the way back to Florida!
Having grown up in a GM household, I've always had an affinity for the classic styling cues of '50s and '60s Chevrolet cars. From the Ferrari-inspired egg-crate grille of the '55 Chevy to the racing-inspired style of the C2 Corvettes, these cars go beyond just being things to drive to attain the status of automotive and cultural icons. With nostalgia-inspired styling becoming the latest craze in Detroit, this car is one of the best examples of taking the looks of old and blending it with the freshness of today. Sharing my passion for older Chevrolet iron, and particularly Corvettes, is our model for this shoot, Amanda King. Amanda took a day off from her job at SeaWorld to add some spice to our session with Buzz's '53 CE.
For more information, pictures, and pricing on the '53 Commemorative Edition, visit www.aatcars.com and www.50thcommemorative.com. To read about some of the road trips and adventures Buzz and Jackie have had with their particular '53 CE, visit www.buzzandjackie.com.


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I couldn't resist the title. After the Denny/Harvick incident I actually tweeted that. But I am getting ahead of myself. Bristol is one of my favorite tracks to watch on television; it and Martinsville. I guess I am a just a short track racing girl at heart. Jeff Burton was again piloting the #14 Bass Pro Chevy for our driver Tony Stewart. He qualified the #14 25 for the race- I wasn't able to catch ANY of practice or qualifying so I couldn't gauge how the car was running and had no idea what to expect from our team 14.
I was pleased to see that once the green flag flew Jeff Burton was able to move up through the field, slowly and steadily picking off positions one at a time fairly methodically and patiently- a feat that is not easy at a track that known to ignite the tempers of even the most mild mannered of drivers. Crew Chief Chad Johnston made an interesting call during a caution at lap 198 and that put the 14 car up in the top four of the race! That right there was a BEAUTIFUL thing to see. (more…)


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In the early 90's we listened to Bertha Reppert, founder of The Rosemary House talking about some simple home remedies, and within a few days, several of the actors at the Renaissance Festival where we had an herb shop showed up covered with poison ivy. Bertha had talked about steeping sage in apple cider vinegar, and we'd gone home and started a batch. It was very effective for the poor sweaty, suffering actors, and we were impressed. This couldn't be simpler, and is just wonderful as is. Just fill a jar with sage from the garden (or grocery store) and cover with vinegar. If you're in a hurry, heat the vinegar and steep the sage in it as you would an herbal tea.
The following year we added plantain and jewelweed to the original brew, to add even more healing properties to the vinegar. We've used it ever since.
I just made a quart up today.
The ingredients are shown below.
If you don't have or know how to identify jewelweed, her cousin – garden impatiens is a good stand-in. We like to harvest jewelweed in the spring while the stems are succulent and full of juice. After it flowers, the stems get woody and aren't worth much. Some people like to harvest the leaves and flowers after it blooms, but this is how we do it.
The sage we grow here is Bergarten, which has a very high essential oil content. That's really what we want to come through in the vinegar, so any garden sage is fine, but we like this one. In a pinch, you can even use the dried stuff in the spice aisle at the grocery store, but fresh will have more punch.
Even city dwellers most likely have plantain in their midst. Plantain is exceptional for skin irritations, bug bites and stings, and all kinds of rashes. We have both types here, the long strappy lanceolata, and the large major, and use them interchangeably.
All of the plants are chopped up and placed into the jar. Cutting them up (or even placing them into a blender with a little vinegar to get it going) helps release their properties into the vinegar.
After all the plant matter is chopped and placed into the jar, it is covered with vinegar. I reserved some large plantain leaves and some jewelweed stems. The plant matter is carefully covered with the leaves, and then the stems are inserted in such a way as to hold everything below the surface. Be careful not to enclose air pockets under the leaves, though.
All ready to sit and age for a couple of weeks. It is perfectly fine to leave everything as it is until needed.
Then, just strain it out and apply to any area that has been exposed to poison ivy (preferably before a rash appears!). It stings slightly when applied, but will really help dry up a rash in a hurry.
The other best remedy is to learn how to identify poison ivy and avoid it.
We make a soap with jewelweed, plantain, and the essential oils of lavender and tea tree that works well after exposure = Happy Wanderer Soap
and also have the vinegar spray on our website, but we're very happy to encourage you to make it yourself.


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I promised Dana, of the late Number One Hit Song, the recipe I used for my home version of Pegu Club's Earl Grey Marteani. It's important to note that Audrey Saunders and her staff infuse gin with loose tea leaves. I did not do this. Instead I used some cold Earl Grey tea that we had previously brewed, and shook that up with the other ingredients.
After the break is my recipe, adapted from Difford's Guide to Cocktails, but I should also link out to Gary Regan's adaptation of this fine drink. Regan goes to the source and does the infusion; his article contains instructions and tips for doing the infusion at home.
So you can mock it up like I did, or you can go balls out like Audrey and Gary.
Earl Grey Marteani
This recipe makes two 5-oz. drinks.
- 3 oz. gin
- 2 oz. strong, cold Earl Grey tea
- 1 oz. fresh lemon juice
- ¾ oz. simple syrup
- 1 egg white
Technique: Shake over ice and strain into a chilled cocktail glass.


text: H. Res. 221 - Waiving a requirement of clause 6(a) of rule XIII with respect to consideration of certain resolutions reported from the Committee on Rules, and providing for consideration of motions to suspend the rules. Read More » View Copy of Bill View Rule » Hearing[not scheduled] Amendment Process StatusRule Agreed to by House Created: Mar 22, 2017


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From the '30s through the '50s there had been countless movies with singing cowboys, rural appeal comedies (usually from Republic), sometimes with some big country stars (Roy Acuff, Ernest Tubbs, Eddy Arnold) and cowboy movies with western swing stars (Bob Wills, Spade Cooley). The first high profile country musicals were as much about rock and roll (Country Music Holiday) and folk music (Hooteanny Hoot) as they were about country. 1964 to maybe '66 were the golden years for real country music musicals. Most of these features are gold mines of performance footage. Whether they're "good" movies or not simply doesn't matter. These are often the only opportunities to see the greats of modern country music in their prime. Also, though most of these features used lip-synched performances, the pre-recorded tracks are often different than the common hit or LP versions.
In '58, the year that Billboard finally started a Hot Country & Western Sides chart, Paramount released COUNTRY MUSIC HOLIDAY. Ferlin Husky stars as Vern Brand, a small town Tennessee singer who faces the temptations of big evil Manhattan. He sings seven songs, all mediocre and written for the movie (some are by Hal David and Burt Bacharach!). Obvious Elvis connections (Paramount was Presley's studio at the time) include Vern being in the army and his TV star rival Clyde Woods (played by Faron Young), selling out to be an embarrassing Elvis type. The best (rockabilly influenced) songs are by Presley's back up singers, The Jordinaires, ("Ruby") and The Ladell Sisters, an obscure trio who do a pretty wonderful "Wang Dang Do." Other tunes are by comic Grand Ole Opry stars Lonzo and Oscar and Drifting Johnny Miller, a one man band. June Carter plays Vern's adoring gal back home. The unfunny comedy team of Al Fisher and Lou Marks (from 1957's Mr. Rock & Roll) play his managers, Rocky Graziano and Jesse (TV's original Maytag repairman) White run the record company and Zsa Zsa Gabor (as herself) wants to know all about that "American peasant music."
The next (part) country musical was HOOTENANNY HOOT ('63), a Sam Katzman production from MGM. It centers on jaded, fast talking New York TV director Ted (Peter Breck) who decides to broadcast a small town "Missouri Hootenanny Circus" show. This awkward movie must be where the Stones got the idea for their Rock And Roll Circus five years later. One folk act (The Gateway Trio) actually sings while bouncing on a trampoline! The (more or less) country acts are Sheb Wooly (several songs), Johnny Cash ("Frankie and Johnnie"), and George Hamilton IV (the classic "Abilene"). They're mixed in with other folk acts (including The Brothers Four and the black duo Joe and Eddie) and the incredible, deep- voiced Judy Henske, who easily steals the show. She does the twist while singing "Wade in the Water" in the circus tent, and sings the stirring "Ballad of Little Romy" (the kind of old-time murder ballad Fairport Convention would later record) while in a bathing suit. Too much time is spent on Ted's relationships with the ringmaster (Pamela Austin) and his ex-wife/boss (Ruta Lee). ABC's HootenannyTV show debuted the same year, but the folkie fad was soon thankfully wiped out by the British invasion.
After these two black & white misfires from major studios, it was up to small, hungry, mostly non-Hollywood indy companies to make the real country musicals-in color. These movies, produced primarily to play in Southern drive-ins, were low budget, but most of them packed in top acts doing prime material. Then-current hits were often mixed with classics from the past. Some of these opened in the North (Cincinnati!), but were rarely reviewed and are not in many review books now. In '62, the year Garth Brooks was born, Ray Charles' popular Modern Sounds in Country and Western MusicLP had helped expand the appeal of country music. It took until '64 for Billboard to start its Top Country LPs chart, however. That same year Johnny Cash first recorded some Dylan songs and the conservative Grand Ole Opry fired a dozen top stars (they had also fired Hank Williams and told Elvis to keep his day job). This probably caused some acts looking for more exposure to sign up for the following features.
COUNTRY MUSIC ON BROADWAY was the first, released in April '64, and it's 95 mins. of almost non-stop country music heaven (in color) - with no plot at all! It was distributed by Howco, the company that brought us The Brain From Planet Arous('58) and The Undertaker and his Pals('66). A bunch of stars play a theater in New York on 42nd Street (!), obviously actually a Grand Ole Opry style barn dance set in Nashville. Audrey Williams (who sings-terribly), used this to introduce her teenage son Hank Williams, Jr. and some acts do Hank Sr. songs. Black & white TV footage of Hank Sr. ("Hey Good Lookin') is shown to a sad Hank Jr. by Hank Snow, who claims it's his 16mm "home movie" (!). Some of the many highlights are George Jones ("White Lightning" and "She Thinks I Still Care"), Hank Snow ("I'm Movin' On" and "A Fool Such as I"), Buck Owens ("Act Naturally"), and Porter Wagoner ("Satisfied Mind"). You also get Ferlin Husky (as himself and his comic character Simon Crumb), Skeeter Davis, Flatt and Scruggs, The Wilburn Brothers, Wilma Lee and Stony Cooper, Roy Drusky, Bill Anderson, Stonewall Jackson, Merle Kilgore, The Stoney Mountain Cloggers, comedy from The Duke Of Paducah, and host Ralph Emery (now on TNT). MGM and producer Sam Katzman continued the Hank Williams revival in November with the semi-fictional Your Cheatin' Heartstarring George Hamilton. It was directed by the same guy as Hootenanny Hoot(Gene Nelson).
In September, a company called Colorama Roadshows released two color musicals that I'd love to own and see. They were obviously shot back to back. COUNTRY MUSIC CARAVAN featured "27 performers," including the female stars Jean Shepard, Goldie Hill, and June Carter, Marty Robbins, Ernest Tubbs, Ray Price, Jim Reeves, Carl Smith, Faron Young, The Jordinaires, Billy Byrd, lots of comedy (Lonzo and Oscar, Minnie Pearl, and The Duke Of Paducah), and The World's Champion Square Dancers. TENNESEE JAMBOREE also had Carter, Hill, Robbins, Tubbs, Price, Reeves, Smith, The Jordinaires, Lonzo and Oscar, and Pearl, plus Webb Pierce, Little Jimmy Dickens, Chet Atkins, Benny Martin, Rita Fay, and The Carolina Cloggers.
1964, the year of the British Invasion, was also the year of Hershell Gordon Lewis' Moonshine Mountain(with Chuck Scott as a country star) and his Southern gore classic 2000 Maniacs, two Elvises in Kissin' Cousins(also by Gene Nelson), and Russ Meyer's Lorna. In 1965 a "Country Music Boom" was declared. Many new syndicated country TV shows debuted, The Beatles recorded "Act Naturally," and new-look country bands, with modern electric instruments starting becoming popular; Buck Owens and The Buckaroos (formed in '64), Merle Haggard and The Strangers (signed to Capitol Records in '65), and Waylon Jennings and The Waylors (formed in '64, to Nashville and RCA in '65).
In August '65, FORTY ACRE FEUD, by exploitation showman genius Ron Ormond (Please Don't Touch Me!, The Monster and the Stripper)was released featuring "25 hits." It starred Ferlin Husky as Simon Crumb of Shagbottom, Del Reeves as his amateur singer friend Del, and Minnie Pearl (who talks to the camera) as Del's mother. There's a comic plot concerning a State election and a Smokey Mountain Jamboree Show, aired "from Bradley's Barn." Ferlin appears in one scene as Simon watching Ferlin sing his '57 teen appeal ballad "Gone." Besides several songs each by the two singing stars, you get two songs each by George Jones (an unbilled Johnny Paycheck sings with him), Skeeter Davis with her incredible hair (including "End of the World"), Loretta Lynn (the earliest and best footage you're likely to find of her), Ray Price, Bill Anderson and The Willis Brothers, and one each from Hugh X. Lewis (a comic talking blues about "this atomic age"), and Roy Drusky. (See interview the Ormond family in Psychotronic Video #26for the whole incredible story.)
SECOND FIDDLE TO A GOLD GUITAR followed in September, from Marathon (which had produced Country Music On Broadway). Comedian Arnold Stang (!) is a country fan with a social climbing wife (Pamela Hayes) who is backing an Italian opera and former Bowery Boys Huntz Hall and Leo Gorcey play comic stage hands. It's another winner with incredible performances by Bill Monroe ("New Mule Skinner Blues" and "Blue Moon of Kentucky") Lefty Frizzel ("If You've Got the Money, Honey"), Kitty Wells ("It Wasn't God Who Made Honky Tonk Angels"), lap steel guitar session great Pete Drake (using a voice tube like Peter Frampton later did), Webb Pierce, Dotie West, Connie Smith, Homer and Jethro, Sonny James, Del Reeves, Faron Young, Little Jimmie Dickens, George Hamilton IV, Jimmy Wright, Carl & Pearl Butler, and Minnie Pearl who sort of sings. Everyone performs on the same set, complete with Grand Ole Opry style "just folks" hanging out. The "score and musical arrangement" credit goes to the (thankfully offscreen this time) Audrey Williams, so, as in On Broadway, many Hank Williams songs are featured.
In '66, Buck Owens played at Carnegie Hall (a big deal at the time), Nashville session men played on Dylan's Blonde on BlondeLP, and Rick Nelson recorded his album Bright Lights and Country Music. It was another good year for country musicals.
Woolner, a company known for importing Italian horror movies, released LAS VEGAS HILLBILLYS in May. Famous to some as the only movie with both Jayne Mansfield and Mamie Van Doren, this actually stars Ferlin Husky, this time as Woody. I guess Ferlin is an acquired taste but after seeing his movies, I appreciate him as kind of like Jim Varney but with a good singing voice. Woody inherits a run-down out-of-the-way casino, and ventures to Las Vegas with friend Jeepers (actor Don Bowman), and finds it being being run by Boots (Mamie). Comic situations involve gangsters (Luis Quinn and Richard "Jaws" Kiel) and bikers. Ferlin's rocking "White Lightning Express" starts things off right, Connie Smith ("Nobody But a Fool") is my favorite singer here but I also like Jayne and Mamie singing. Besides Ferlin, other songs are by Sonny James, Roy Drusky, Del Reeves, Bill Anderson, and Wilma Burgess. The Jordinaires, The Duke Of Paducah, and some kid cloggers also appear. JOHN LAIR'S RENFRO VALLEY BARN DANCE, from Kentucky, was a no star, but probably great to see musical feature, released in July.
MUSIC CITY U.S.A., released by Gemini Pictures in August, seems like several shorts edited together, which is fine because no plot gets in the way of the almost non-stop performances. Most songs are live (most of these movies are lip synched to recordings) on various stages with an audience of visiting disc jockeys. The first part is an interesting tour of Nashville including Ernest Tubbs' record shop and features Webb Pierce singing in a moving car (it's like a rock video). Dave Dudley does the speed classic "Six Days on the Road" and a pro 'Nam war song. Other acts include Charlie Louvin, Jean Shepard (who yodels), excellent fiddler Gordon Terry, The Wilburn Brothers, Loretta Lynn, Cajun singer Jimmy Newman, The Osborne Brothers, Justin Tubbs, Autry Inman, and Warner Mack. Producer/director Preston Collins had worked on H. G. Lewis' early nudie film Living Venus('61). THE GOLD GUITAR released the same month features Del Reeves, Roy Drusky, Hugh X. Lewis, Margie Bowes, Skeeter Davis, Bill Anderson, and Charlie Louvin. It was "filmed in Atlanta."
ROAD TO NASHVILLE came from Crown International (a long time rival to A.I.P.) in September. Comic Doodles Weaver (once with Spike Jones) claims to be a movie producer, so Connie Smith shows him around and we see non-stop great acts doing auditions and shows. Road has many top female acts including the incredible high energy bluegrass Stoneman Family, The Carter Family, Connie Smith, in silver lame pants ("Nobody But a Fool"), Norma Jean ("I Wouldn't Buy a Used Car From Him"), Dottie West, and Kitty Wells. Top billed Marty Robbins (also a producer) does five songs including "Devil Woman" and "El Paso." A very cool Waylon Jennings and his rock style band do an intense "Anita," Hank Snow does "I've Been Everywhere," and Webb Pierce does a great non-hit ("You Ain't No Better Than Me"). Also with Lefty Frizzel, Johnny Cash, Bill Anderson, The Osborne Brothers, Porter Wagoner, and others. Will Zens directed, Ralph Emery does intros and the cinematography is by future Oscar winner Vilmos Zsigmond (The Last Waltz). The same month Howco released COUNTRY BOY starring Randy Boone and Sheb Wooley with guests Skeeter Davis, Grandpa Jones, Lonzo and Oscar, The Glaser Brothers, The Stoney Mountain Cloggers, and others. Majel (Star Trek) Barrett also has a role.
Earl "Snake" Richards starred in two '66 releases. In August, Ron Ormond's THE GIRL FROM TOBACCO ROW featured the one-time (post Buddy Holly) Crickets singer Richards as an ex-con (not a bad guy, though), with Tex Ritter as a reverend, and Ralph Emery, this time acting. The country drama features some impressive gospel singing. THAT TENNESEE BEAT, made by Lippert and released by 20th Century Fox in Oct, stars Earl as a no-good country "punk" who is eventually reformed by a wheelchair-bound gospel singing reverend (Minnie Pearl!). It's a bit plot heavy, and Earl sings too many times, but you do get unique performances by The Statler Brothers ("Flowers on the Wall," later heard in Pulp Fiction) at a country picnic, Pete Drake (doing a cool blues number with his voice tube), Boots Randolph ("Yakety Sax," AKA The Benny Hill Showtheme!) and more dancing from The Stoney Mountain Cloggers. Actors include Dolores Faith (The Phantom Planet) and Merle Travis. In November, A.I.P. released NASHVILLE REBEL starring Waylon Jennings, who sang and acted. It also features Tex Ritter, Sonny James, The Wilburn Brothers, Faron Young, Loretta Lynn, Porter Wagoner, Cousin Jody, Archie Campbell, and Henny Youngman! Despite better distribution than most of the movies mentioned here, it was not a hit.
The number of country musicals decreased in number and quality in '67, the year The Country Music Hall Of Fame was founded and Gram Parsons recorded with his International Submarine Band. In The Woolner Brothers' HILLBILLYS IN A HAUNTED HOUSE (released in May), Woody (Ferlin Husky) and Jeepers (Don Bowman) returned to visit a haunted mansion. As a long-time reader of monster movie magazines, I had always read that this was beyond horrible, but it's actually fun to see Basil Rathbone, John Carradine, Lon Chaney, Jr, a dragon lady (Linda Ho), and a gorilla mixed in with comedy and country stars. Merle Haggard is the musical highlight doing two numbers ("Closing Time" and "Someone Told My Story in a Song") and other songs are by Sonny James, Molly Bee, Marcella Wright, and also, unfortunately, ex-burlesque stripper co-star Joi Lansing, and comic relief Bowman.
COTTONPICKIN' CHICKENPICKERS, released by Southeastern Pictures in May, is a cheap-looking (even by cheap country movie standards) moonshine musical, that makes the Woolner Hillbilly...movies look like classics. It stars another comic pair (Del Reeves and Hugh X. Lewis). They both sing cheatin' songs and and so do Mel Tillis, Margie Bows (she's pretty good), Little David Wilkins (a big guy, actually, who does Brenda Lee's "Comin' on Strong") and David Houston, who plays the sheriff.
HELL ON WHEELS from Crown, in June, was a better moonshine movie starring John Ashley as the moody, bitter, jealous brother of a famous Nashville stock car driver (Marty Robbins as himself). Robbins and Connie Smith both sing several good songs and The Stonemans appear. The Will Zens movie co-stars Gigi Perreau and future crazed right-wing California Congressman Robert Dornan as a federal officer. Other '67 releases were WHAT AM I BID? (in July) starring LeRoy Van Dyke, with performances by Al Hirt, Tex Ritter, and Faron Young. November brought COUNTRY MUSIC HOEDOWN starring Pee Wee King and "14 other acts filmed at 7 barn dances."
In '68 Sweetheart of the Rodeoby The Byrds (with Graham Parsons) was released and The Stones (under the influence of Parsons) recorded country sounding tracks for Beggars Banquet. Elvis and Jerry Lee Lewis were both back on the country charts (country fans had rejected Presley since 1960) but Glen Campbell and Bobby Goldsboro were also making country hits. George Wallace ran for president with General Curtis LeMay as his running mate. Marty Robbins was a celebrity backer. Hank Williams Jr. starred in Sam Katzman's A Time To Singfor MGM and AIP released Killers Threeco-starring Merle Haggard and Dick Clark (!?).
FROM NASHVILLE WITH MUSIC ('69), which I haven't seen, was the last of the country musical comedies but is has a great line-up. The Craddock Film release features Merle Haggard, Buck Owens, Tammy Wynette, George Jones, Marty Robbins, Don Gibson, Carl Smith, Bill Anderson, Wynn Stewart, Bonnie Owens (then married to Merle), The Jordinaires, comedy from Cousin Jody, and other acts. Charlie Pride (Hank William's "Ka-Liga") was the first (and last) black person to appear in a country musical. Leo G. Carroll (from The Man From U.N.C.L.E.) and '40s singer/ actress Marilyn Maxwell star as a couple vacationing in Nashville who think they have tickets to the "opera." Eddie Crandall, who had been in Hell On Wheels,directed.
That same year, the long lasting (in syndication) Hee Haw(based on the Canadian show Hot Diggity) debuted (on CBS), and the short-lived The Johnny Cash Show(on ABC) became the first prime-time network country show. The guest were more often Joni Mitchell, Eric Clapton, Neil Young, Linda Ronstadt or The Guess Who than country acts, though. Cash was everywhere and his excellent documentary JOHNNY CASH! THE MAN, HIS WORLD, HIS MUSIC also featured Dylan (and Carl Perkins). Nashville Skyline(with guest singer Cash) was Dylan's least impressive LP to date, but it set the stage for country rock by The Flying Burrito Brothers (with Parsons), Poco, Ronstadt (backed by the future Eagles), and others. Meanwhile the new (Vegas) look Elvis was setting country fashion trends with big sideburns and out-of-control leisure suits, and younger country musicians started to resemble rock and boogie bands with long hair and beards. This was the perfect time for the first country hits by Kenny Rogers.
THE NASHVILLE SOUND ('70) was a documentary directed by Robert Elfstrom (who had also made Johnny Cash!...) partially live at The Grand Ole Opry. It's good, but I miss the comedy and lip-synching! It features female stars Dolly Parton ("Blue Ridge Mountain Boy"), Loretta Lynn ("Don't Come Home 'a Drinkin'", "To Make a Man"), and Jeannie C. Riley, ("Harper Valley P.T.A.," The Girl Most Likely"), old timers Roy Acuff ("Wabash Cannonball," "The Great Speckled Bird" with yo-yo tricks), Bill Monroe ("Body and Soul"), Tex Ritter ("High Noon"- he sounds awful), and Lester Flatt and Earl Scruggs (but not together) plus Charlie Pride, Porter Waggner, Bob Luman, and of course, Johnny Cash. Tracy Nelson and Mother Earth rehearse (she sounds great) and Doug Kershaw records in a studio. Ralph Emery hosts, The Stony Mountain Cloggers do their thing and others were interviewed and/or were seen doing parts of songs.
By 1970, more acts were doing country (Workingman's Dead, Phil Ochs Greatest Hits...) and Anne Murray was big on the country charts. COUNTRY MUSIC JAMBOREE was a no-star movie from Arkansas with director Gene Williams as an aspiring country singer. Merle Haggard was in Chisumand Waylon Jennings recorded the soundtrack for Ned Kellystarring Mick Jagger. The next year CBS canceled Hee Hawand all their country appeal sitcoms (Beverly Hillbillies, Green Acres) and ABC canceled The Johnny Cash Show. Roy Acuff recorded with The Nitty Gritty Dirt Band and John Denver was high on the country charts. In '72 The Ryman Auditorium closed and was nearly torn down. By '73 Marie Osmond and Olivia Newton John (!) were considered country. Several other country movies are worth mentioning. THE NASHVILLE STORY ('73) uses many interviews and behind-the-scenes segments. SWEET COUNTRY ROAD ('81), from Canada, stars the late Buddy Knox and features Johnny Paycheck, Boxcar Willie, Ronnie Stoneman and others. THE OTHER SIDE OF NASHVILLE ('84) has performances by Willie Nelson, Carl Perkins, Emmylou Harris, and many others.
From here on the definition of "country music" gets fuzzier. By the '80s country had (temporaily) lost its twang and Juice Newton and Eddie Rabbit (from Brooklyn!) were on the top of the charts. Dolly Parton, Randy Travis and Dwight Yoakam all have serious movie and TV acting careers, and we now have at least one cable channel devoted to country music videos and live performances.
It took me years to find VHS copies of these movies and I'm still searching for the others. Some show up occasionally on TNT or on local Southern TV stations. It would help if you had a friend with a VCR in Dixieland. Try these companies: H. Butram Entertainment of Nashville (615) 242-0377, Something Weird Video (206) 361-3759, and Movies Unlimited (800) 4-MOVIES.
° ° °
Michael J. Weldon is author of the invaluable Psychotronic Encyclopedia of Film and Psychotronic Video Guide.
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© 2000 WFMU. All rights reserved.


text: Has anyone here ever heard of a "Genica GN-788" fast ethernet chipset? Is it any good? I recently ordered 13 inexpensive low profile (short) fast ethernet cards using the "ADMtek Chipset (AN983B)", which a Google search told me is Tulip compatable. Now, the vendor is shipping me different cards, model "GN-788" with "Genica GN-788" chipset, and claiming that "the chipset is different because the ADMtek Chipset have been recalled by the factory for chipset error. GENICA works the same." Which sounds awfully suspicious since I've never heard of this Genica chipset, and it seems to sell on the net for c. $3 or so per card. Basically, I plan to ask for my money back, but first I'd prefer to know for sure whether this cheap Genica card is actually any good. The vendor (found on Ebay) in question is: http://www.underhere.com/ This "Genica" white box operation seems to have a website, but the ethernet card in question isn't listed: http://www.genica.com/ Some other places selling this cheap-o Genica card are: https://www.emaxasp.com/ikordesign/details.asp?item=GN%2D778%2D20BOX http://www.compgeeks.com/details.asp?invtid=GN-788 Thanks for any info or advice! -- Andrew Piskorski <atp at piskorski.com> http://www.piskorski.com


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Naples Woodcraft Map
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Size: 13.5" x 43"
Starting with a bathymetric chart (the underwater equivalent of a topographic map), we use laser-cutters to carve the contours into sheets of Baltic birch and glue them together to create a powerful visual depth. We hand stain select layers blue so it's easy to discern land from water, etch major byways into the land, then frame the whole thing in a custom, solid-wood frame and protect it with a sheet of durable, ultra-transparent Plexiglas.
California residents: please see Terms and Conditions (bottom of the page) for important information.
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The following crimes are from the week of August 18 to August 24, 2013.
Aug. 19. 8000 block Roanoke Street. Complainant states that between midnight and 7:30 a.m., an unknown person opened door to a 2013 Kia and went through glove compartment and pulled off panel that houses the fuses to alarm system. Alarm system did not go off. Reported at 12 a.m.
Aug. 19. 200 block E. Willow Grove Avenue. Complainant was walking and texting on his iPhone and dropped it. Black male picked up iPhone and ran off with it going towards Mermaid Lane. Taken was iPhone with orange case. Offender, dark skin, early 20's, with tear under eyes, numerous other tattoos on face and hands. Offender was wearing a red hoodie and black sweats, riding a BMX bike. Occurred at 5 p.m.
Aug. 21. 8800 block Germantown Avenue. Male was brought to Chestnut Hill Hospital in his silver Chevrolet Impala with a gunshot wound to his left shoulder. Happened in an unknown location of Germantown.
Aug. 21. 200 block Northwestern Avenue. Complainant states she returned from walk to find scratch marks on her black Chevy Sonic and car broken into. Taken was a Capital One Card, Master Card and a PNC debit card.
Aug. 22. 200 block E. Mermaid Lane. Complainant called police after seeing unknown males attempting to take bicycle from inside courtyard complex area. Complainant stopped males, recovered bike and called police. Police arrived at Mermaid Lane and Ardleigh, one half block from complainant's house and observed a group of males (one on bike and three on feet) walking northbound on Ardleigh from Mermaid Lane. Two black males were stopped by officers in the 7600 block of Germantown Avenue and two others fled but were stopped in the 7500 block of Germantown Ave. Four black teenagers, one wearing a white T-shirt and one with a red shirt over black pants or shorts.
Aug. 24. Unit block Waterman Avenue. Complainant states that he was moving from 21 Waterman Avenue to the 8000 block of Crefeld Street. Complainant states that he last saw his property at 5 a.m. on Aug. 21, and he noticed something missing on Aug. 22 at 5 p.m.
Summary – Six crimes for week: one aggravated assault, four thefts and one theft from vehicle.
Town Watch.
If you have been the victim of a crime and would like information, service or support, call Northwest Victim Services, 6301 Germantown Ave., Second Floor, Suite Zone, 215-438-4410. The service is free.


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Thursday Morning Study - Part 05 w-005
This is a message that Judy Slaughter gave at our Thursday Morning study in 2012.
Judy Slaughter
Judy oversees the women's Bible studies and meets with the women of Athey for prayer, counsel and fellowship. She also works with a small team of women leaders who minister to the ladies of our church throughout the week. Judy has four children and is 'Grammy' to eight grandchildren and one great grandchild.
© 2006–2019 • Athey Creek Christian Fellowship • All rights reserved. • Some photos courtesy of John Carey.


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1 Jelly Roll of Dark Bella Solids
1 yard Bella Purple
2 yards Bella Aubergine for the top
3 yards Bella Aubergine for the backing
Out of the scraps cut three 2.5 inch squares.
Out of the Purple cut:
- four 10.5 inch squares (corners)
- six width of fabric (WOF) strips 1 inch wide (flange)
- seven WOF strips 2.5 inches wide (binding)
- two 10.5 x 40.5 inch rectangles (top border)
- two 10.5 x 48 inch rectangles (side border)
- two 8.5 x 48 inch rectangles (inner strips)
To cut the 48 inch long rectangles, carefully fold your fabric selvage to selvage. Square up the right hand side at the 0 inch mark.
Draw a line at the 24 inch mark with chalk or washable pen.
Carefully move the fabric to the right and place your marked line on the 0 inch mark.
Take one 2.5 inch square and line it up with the end of one of the 7.5 inch strips.
Sew together.
Open and press.
Lay another 7.5 inch strip perpendicular to the first and sew together.
Keep sewing strips on alternating sides until the braid is 48 inches long.
Fold the braid in half and line up the folded end at the 0 inch mark at the end of the cutting mat.
Square off the end at the 24 inch mark. The braid is now 48 inches long.
Keeping it folded, carefully square up the sides.
The braid should measure 8.5 inches wide. Repeat for all three braid sections.
The exposed sides of the braid are cut on the bias and prone to stretching. To avoid unnecessary handling and stretching, carefully fold the braid into a bundle until you are ready to continue sewing.
Piecing the Middle
Sew the three braid and two 8.5 x 48 inch Aubergine pieces together length wise. Alternate the strips (Braid, Aubergine, Braid, Aubergine, Braid).
The Flange
Sew the 1 inch lengths of Purple fabric together. Press seams open. Then press the strip in half lengthwise. Cut the strip into two 48 inch and two 40.5 inch pieces.
Attach the flange to each side of the pieced middle. Line up the raw edge of the flange with the edge of the middle section. Using a wide stitch, zig-zag along the edge.
When you attach the next side, simply overlap the ends and sew along the side as before. All of the loose ends will be enclosed when the borders are added.
The Borders
Sew the 10.5 inch Purple squares to each side of the the two 10.5 x 40.5 inch Aubergine strips. Press in towards the Aubergine.
Sew the 10.5 x 48 inch strips of fabric to each side of the flanged middle section. When you are done a neat 1/4 inch flange will nicely frame the middle. Press toward the Aubergine.
Sew the Purple/Aubergine strips to the top and bottom.
You did it!
Now is the time to put on your creative thinking hat. This is a project that really lets the quilting shine. I quilted the middle strips with cables and the sides with simple piano key lines, but the sky is the limit.
One beautiful 60 x 68 inch Amish-inspired quilt.
If you are new to quilting and want to learn more, stop by my blog and check out the We Can Do It! Skill Builder Sampler. With weekly quilt block tutorials covering all of the basic quilting skills, you will be a pro in no time. 🙂
Happy Quilting!