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For manuals & product support, start typing the name of your product here. You can also browse by category and product below.
Register your product so you get the most out of your warranty and so we can assist you better if you call in for phone support.
Follow the steps below to find the right door for your dog or cat. Have multiple pets who will use the door? Choose a door sized for your largest pet.
You can find the dimensions for your door in your product manual and on product pages for individual doors in our online store.
Always use the Pet Door cutting template included in the package before cutting an opening in your door or wall. Radio Systems Corporation shall not be liable for any personal injuries or property damage as a result of not using the proper Pet Door template when installing a Pet Door.
Your pet door has two major parts: the frame and the flap. The inner and outer parts of the frame fit together in the cutout to hold the flap in place. The flap is the part that covers the cut-out hole in the door, the part your pet goes through to use the door.
Please note that all measurements are approximate and prone to user error, so don't worry if you measure your door and your measurements aren't exactly the same as the dimensions given online or in your manual. Your door's dimensions will also change over time; doors expand and contract, and flaps may shrink or warp.
Outer Frame: The outer measurements of the door's frame.
Flap Opening: The measurement of the part of the door your pet goes through. This is not the measurement of the flap itself, but the space your pet has to go into. This is measured using the interior door frame.
Flap Size: The overall measurements of the door flap.
Cut-Out Size: The hole you cut in your door to install the door. After installation, you can get this measurement again by taking the pet door out.
Replacement flaps can be purchased through our Customer Care Centre. To ensure we send you the proper flap we will need to ask some questions about your door. Please be near the door so that you can respond to these questions and call our Customer Care Centre.
It can be difficult to find a pet door that will match your old one exactly. First, you'll need to measure the cutout hole in your door. Note that this is the cutout in the door, not the pet door frame. Next, pick a door that is closest in measurement.
You might need to cut the hole in your door a little bigger to accommodate a slightly larger new door. To replace it with a slightly smaller door instead, add additional pieces of wood to the inside of the hole.
Contact our Customer Care Center for help with selecting and installing a new door.
If your door has a fixing nut, loosen the fixing nut and adjust the flap to the desired size. Please call our Customer Care Centre to verify the correct flap for your door.
Your Microchip Petporte smart flap® will only work if your cat has been fitted with a microchip or you have a collar key.
At present, some older and non-standard microchips may not work with this cat flap. You can check to see if your cat's embedded microchip will work by entering the microchip number in the box below and clicking the "check" button.
You will find your cat's microchip number on your microchip registration form from your vet.
Please note that chips with 10 digits, lettered characters, and those starting with 977xxxxxxxxxxxx and 98514xxxxxxxxxx are not currently compatible with the cat flap.
It can be very concerning to find a lost pet and most of us want to find the owner as quickly as possible. Unfortunately, at this time, there is not a way to match the collar with the owner. Please contact your local authorities to understand what services are available in your area to help locate the owner.
To set the timer, you need to set the unlock time and the lock time at the time when you want the door to lock and unlock. For example, if you want the door to unlock at 7:00, program the unlock time when it's 7:00. If you want the door to lock at 20:00, program the lock time at 20:00.
To set the open/unlock time
To set the close/lock time
Now set the unit into night mode by pressing and releasing the red button. The red light will stay on. The unit will now lock and unlock at the set times of days. Note the following about the timer.
If the cables are all plugged in correctly, there may have been a power surge. To power down and then reset the door:
The door will only run on battery power if it is unplugged.
The battery is meant to be a backup in case there is a power outage. Some functions will not work on battery-only mode, including night mode. In battery-only mode, the door goes to sleep to conserve battery life. It is not constantly scanning for your cat's microchip, so your cat will need to tip the door to wake up the door and allow it to open.
The green lock may be out of place or the spring connecting to the green lock may have been dislodged from the plastic teeth by a cat trying to force his way in. To check the lock and spring:
The red lock should look like this:
The green lock should look like this:
The green lock should not look like this:
If the spring or lock is not out of place, follow these steps to reset the door.
Unfortunately, there are some very clever cats that can get their claws under the door and pull the door towards them and then climb in under the door.
When your cat comes in, he has to lower his head to enter the flap. This allows the magnet to rest on the tunnel , which activates the see saw inside the cat flap, which in turn allows the door to pass over the latch.
When testing the unit, touch the magnet to the outside edge of the tunnel. You should notice the magnet
being attracted to the central part. Push on the door and it should open. When you remove the magnet and push on the door, it should not open. Note that the latch does not drop down when the magnet goes onto the tunnel; the see saw drops and allows the flap to slide over the latch.
Programme a key
Delete a collar key
Press the 'Manual ' and the 'Learn' button together for a couple of seconds. These buttons are located to the left of the circuit board on the flap. This will wipe out the previous memory.
The key activates from up to 20 centimeters away from the flap. While your cat is in this range, the latch will stay down to open the door, and when your cat is out of range, the latch will go into the up position and lock the cat flap.
You'll need to power down and reset the circuit board.
When considering a pet patio panel, you first need to determine the kind of sliding glass door you have. You can easily install a patio pet panel door into both exposed and recessed doors. An exposed sliding glass door frame is visible and exposed in the interior and exterior wall. You can see the track the door slides into. A recessed frame is flush with or barely visible in the interior or exterior wall. You can't see the track the door slides into. If you have a recessed door, you will need a Patio Panel Kit (not included) to install your pet door. Contact the Customer Care Centre to purchase a Patio Panel Kit for Recessed Doors.
Worn on your pet's collar, the Passport™ Key uses Radio Frequency Identification (RFID) technology by using a unique code to signal the Passport™ Intelligent Cat Flap or Passport™ Intelligent Dog Door to operate as programmed for your pet. The Passport™ Key does not require a battery to operate. One Passport™ Key is included, which you can program to operate with your door. The Passport™ Pet Doors can be programmed for up to 20 pets with additional Passport™ Key accessories (sold separately).
Checklist before Installing
Step 1: Assemble the Tunnels
Step 2: Determine the Pet Door Location
Step 3: Prepare the Wall
Step 4: Cut the Pet Door Opening
Step 5: Install the Pet Door
Passport™ Wall Entry Kit Tunnel Frame Guide
Minimum Wall Thickness | Maximum Wall Thickness | Tunnel Frames Needed | Tunnel Position |
95 mm | 130 mm | Interior only (A-B) | Interior Tunnel in Inner Tunnel Slot |
130 mm | 149 mm | Interior only (A-B) | Interior Tunnel in Outer Tunnel Slot |
149 mm | 265 mm | Interior (A-B) and Exterior (C-D) |
Interior and Exterior Tunnel in Inner Tunnel Slot |
265 mm | 284 mm | Interior (A-B) and Exterior (C-D) |
Interior Tunnel in Outer Tunnel Slot, Exterior Tunnel in Inner Tunnel Slot |
284 mm | 305 mm | Interior (A-B) and Exterior (C-D) |
Interior Tunnel and Exterior Tunnel in Outer Tunnel Slot |
Checklist before Installation
Before cutting any holes or installing your pet door, make sure that:
Installation Step 1: Determine the Pet Door Location
Installation Step 2: Prepare the Door
Installation Step 3: Cut the Pet Door Opening
Installation Step 4: Install the Pet Door
Screw Length | Cut-Out Thickness | Trimming Instructions |
88 mm screw | 4 – 25 mm | Trim screw to door thickness + 56 mm |
88 mm screw | 25 – 38 mm | No trimming needed |
100 mm screw | 38 – 51 mm | No trimming needed |
Installation Step 5: Insert the Screws and Plugs
The Passport™ Pet Door fits in most standard doors and walls 2.5 - 5 cm thick. You can purchase the Passport™ Wall Entry Kit for walls or doors 9 cm - 30.5 cm thick. The Wall Entry Kit frames out the wall cut-out, giving your door installation a clean, smooth, finished look. You can purchase a Passport™ Wall Entry Kit online or from our Customer Care Centre (currently only available in Canada and Europe).
You can use the optional rechargeable lithium-ion battery as a backup in case of mains power loss or as the primary pet door power source (instead of the power adaptor).
Charging the Battery
For safety reasons, the lithium-ion battery is shipped not fully charged. Fully charge the battery before using it.
Installing the Battery
The Passport™ Rechargeable Battery fits it in the battery compartment on the right side of the interior frame.
Removing the Battery
If you don't hear 3 beeps after trying to program your Passport™ Key or microchip or the pet door gives you a message that says programming was unsuccessful, try the following troubleshooting steps.
Light Color | Light Function | Sound | What This Means |
Green | 1 blink every 6 seconds | No sound | The door is receiving power from the adaptor or battery. |
Red | 2 blinks every 6 seconds | If the optional Low Battery Mode alert is on and the volume is on, you will hear a single beep. | If you're using the rechargeable battery, this means the battery is low. You should plug the door into the adaptor and charge the battery. |
Red | 1 blink every 6 seconds | If the volume is on, you will hear a single beep. | There's a problem with the door. Check the error message on the door's LCD screen. |
If the door has an ongoing problem or if you have issues after turning off your door, you might need to reset your door. The reset button reboots your door while keeping your programmed settings.
The Reset Button is the small, pin-sized button located on the control panel above the USB connection. Use a small push pin or paper clip to push the Reset Button, then release it. After your door reboots, the startup screen will appear and then return to Main Menu.
When powered by the optional Passport™ Rechargeable Battery, Low Battery Mode lets you choose to set the door to open or locked when the battery charge runs low and shuts down. You can also set an optional audible alert to notify you when the battery is low. The default factory setting is off for the beep alert and locked for the flap if the battery shuts down.
When the Passport™ Pet Door enters Low Battery Mode, "ATTENTION" will appear on the LCD screen, and the LED light will blink red twice every 6 seconds.
The wireless card for the Passport™ Pet Door will let you connect your pet door to your computer or smart device for remote programming. We apologize for the delay in releasing this product and hope to have it available soon.
The pet door has been designed to stand up to the toughest pets, with up to 45 kg of push-through strength. Because of the way our electronic pet doors are designed, flaps aren't available separately and can't be replaced. In the unlikely event that your flap breaks, you will need to purchase and install a new pet door. We apologize for any inconvenience.
00 800 1818 2020
Monday to Friday
09:30 - 18:00
Need help with your product?
Customer service is at the heart of everything we do. We're committed to giving you expert advice to ensure you always receive the very best.
The PetSafe® Microchip Cat Flap is designed to read the most common type of microchip FDX-B (15 digit). Use our Chip Checker to check for compatibility.
© 2024 Radio Systems Corporation All Rights Reserved. * Registered in the U.S. Patent and Trademark Office. Privacy Statement Cookies Policy


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Australian Bollards range of compliance Speed Bumps are environmentally friendly and manufactured from recycled rubber.
*** Each Product can be custom made based on specific requirements.
FREE Written quote, specific to your needs.
FREE Quick & easy over the phone advice.
FREE Downloadable specifications and drawings.
ENQUIRE TODAY Credit cards, EFT welcome, Fast delivery and installation for both single & bulk orders Australia Wide.
We make, we stock, we supply, we deliver, we install & we maintain!
Welcome to Australian Bollards, aesthetically pleasing architecturally designed, functional, high quality, strong and durable, "One Stop Shop" comprehensive range of products that provide you the perfect economic and cost effective, must have budget solution, for your specific needs. Our Bollards are designed to protect Infrastructure, traffic management, car parking system & asset protection. We design, manufacture, stock, install, deliver and maintain our Bollards, to exact specifications with complete attention to detail, to provide excellent protection, for personnel, business commercial and or Federal, State or local council assets and security. Since its inception in 1992, in excess of 22 years the Australian Bollards team, has been successfully been providing a wealth of knowledge and expertise, guiding many thousands of customers on the correct Bollards selections, appropriate to their specific projects applications.
Our Australian made and developed Bollards, have come a long way from the simple rigid post construction of yester year and are ideal for a wide range of environments, application, uses and duty type options, in all Australia wide conditions. Our company prides itself in being innovative and solutions orientated Australian based manufacture, working with Australia's largest commercial and government authorities, providing services which range from bollards, handrails and general engineering services, to building maintenance from our experienced team, all over the country over the past twenty three years, based on our two word philosophy of "Service & Quality". They are all manufactured and installed, by our expertly trained and experienced professional installers.
Whether it be for
Pedestrian & Vehicle Control Bollards, Medium Duty "Energy Absorbing" Control Bollards Vehicle No Parking & No Entry Control Bollards, Medium or Heavy Duty "Energy Absorbing" Control Bollards, Property & Asset Protection Bollards, Heavy Duty "Energy Absorbing" Protecting Bollards, Security & Defence Bollards or High Duty "Impact Attack" Defence Bollards.
Types of bollards
Permanent bollards, Powder coated bollards, Galvanised steel bollards, Steel bollard, Stainless steel bollards, Yellow bollards, Control Bollards, Protection bollards, Defence bollards, Security bollards, Safety bollards, Lighting bollards, Solar lighting bollards, Bollards with LED lights, Emergency bollards, Utility bollards, Bank bollards, High energy impact absorbing bollards, My space bollards, Shock absorbing bollards, Energy absorbing bollards, Fold down bollards, Lockable bollards, Flexible steel bollards, Bollard marine, Mooring bollards, Maritime bollards, Marine kidney bollard, Marine dock bollards Marine single bitt Bollards, Marine Double bitt bollards, Staghorn bollard, Marine cleats, Steel pipe bollards, Metal post bollards, Metal bollards, Outdoor bollards, Standalone bollards, Decorative bollards, Streetscape bollards, Movable bollards, Rising bollards, Heavy duty bollards, Medium duty bollards, Light duty bollards, Mitre top stainless steel bollards, Ball bollards, Large diameter ball bollards, Anti-ram bollards, Concreted heavy duty bollards, Ornamental bollards, Neck bollards, Round top bollards, Bowler bollards, Fin bollards, Casting bollards, Cast metal bollards, Outdoor cast metal bollards, Sand casting bollards, Casting steel bollards, Casting iron bollards, Ductile iron bollards, Cast iron decorative bollards, Cast iron traffic road bollards, Casting aluminium bollards, Flat top bollards, Round top stainless steel bollards, Rectangular bollards, Square bollards, Round bollards, Reflective stainless steel bollards, Warning bollards, Bollards and barriers, Road bollards, Road traffic bollards, Road traffic safety products, Road traffic equipment, Parking barrier system, Automatic rising bollard, Various types of bollards, U type safety bollards, Street security bollards, Aluminium bollards, Aluminium street bollards, High security bollards, Solid bollards.
Action Types
Fixed Bollards, Removable Bollards, Foldable Bollard, Retractable Bollards, Flexible Bollards, Rebounding Bollards.
Mounting Types
Surface Mount Bollards, Sub-Surface Mount Bollards, In Ground bollards, Below surface bollards, Below ground bollards, Embedded base bollards.
Control Types
Manual Bollards, Semi-Automatic Bollards, Automatic Bollards.
Locking Types
Pad lockable Bollards, Key Lockable Bollards, Locking bollards, Non Lockable bollards.
In a range of application and locations from
Unwanted access bollards, Traffic bollards, Parking bollards, Driver awareness bollards, Regulating pedestrian traffic flow bollards, Indicating & marking pedestrian walkways bollards, Indicating & marking hazard areas bollards, Restricting access bollards, Temporary access bollards, Vehicle access bollards, Illegal Parking deterrent bollards, Personalised reserve parking bollards, Designated parking spots bollards, Vehicle entrance point bollards, Vehicle exit point bollards, Barrier free passing bollards, Property protection bollards, Assets protection bollards, Security protection bollards, Parking space protection bollards, Frequent impact areas, protection bollards, Boom gate protection bollards, Card reader stand protection bollards, Intercom stand protection bollards, RAM raiding attack bollards, High impact vulnerable zone bollards, High energy impact zone bollards, High risk area bollards, Road way access points bollards, Driveway bollards, Parking area bollards, Foot path bollards, Walk way bollards, Roller door bollards, Entry door bollards, Shop front bollards, Wash bay bollards, High voltage transformer bollards, Utility appliance bollards, Car park bollards, Public area bollards, Fast food drive way bollards, Gas meter bollards, Below ground car parking bollard, Indoor car parking bollards, Outdoor car parking bollards, Commercial car parking bollards, Private car parking bollards, Government car parking bollards, Multi-tenant car parking bollards, Apartment car parking bollards, Driveway bollards, Road bollards, Street bollards, Laneway bollards, Bicycle path bollards.
We also manufacture and supply
Access Control System Housing stands for keypads, Intercoms, HID, Proximity, Swipe & Smart Card Readers, Car park safe & secure over car bonnet storage box cabinet lockers, Handrails, Steel staircases, Structural beams, Bike Racks, Bike hoops, Speed Humps, Wheel Stops, Boom gates, Security fencing, Variable Rate Boards, Convex Mirrors & Street furniture.
Working with Councils
Alpine Shire Council, Ararat Rural City Council, Ballarat City Council, Banyule City Council, Bass Coast Shire Council, Baw Baw Shire Council, Bayside City Council, Benalla Rural City Council, Boroondara City Council, Borough of Queenscliffe Council, Brimbank City Council, Buloke Shire Council, Greater Bendigo City Council, Campaspe Shire Council, Cardinia Shire Council, Casey City Council, Central Goldfields Shire Council, Colac Otway Shire Council, Corangamite Shire Council, Darebin City Council, Greater Dandenong City Council, East Gippsland Shire Council, Frankston City Council, Gannawarra Shire Council,, Glen Eira City Council, Glenelg Shire Council, Golden Plains Shire Council, Greater Bendigo City Council, Greater Dandenong City Council, Greater Geelong City Council, Greater Shepparton City Council, Hepburn Shire Council, Hindmarsh Shire Council, Hobsons Bay City Council, Horsham Rural City Council, Hume City Council, Indigo Shire Council, Kingston City Council, Knox City Council, Latrobe City Council, Loddon Shire Council, Macedon Ranges Shire Council, Manningham City Council, Mansfield Shire Council, Maribyrnong City Council, Maroondah City Council, Melbourne City Council, Melton City Council, Mildura Rural City Council, Mitchell Shire Council, Moira Shire Council, Monash City Council, Moonee Valley City Council, Moorabool Shire Council, Moreland City Council, Mornington Peninsula Shire Council, Mount Alexander Shire Council, Moyne Shire Council, Murrindindi Shire Council, Nillumbik Shire Council, Northern Grampians Shire Council, Port Phillip City Council, Pyrenees Shire Council, Borough of Queenscliffe Council, Greater Shepparton City Council, South Gippsland Shire Council, Southern Grampians Shire Council, Stonnington City Council, Strathbogie Shire Council, Surf Coast Shire Council, Swan Hill Rural City Council, Towong Shire Council, Wangaratta Rural City Council, Warrnambool City Council, Wellington Shire Council, West Wimmera Shire Council, Whitehorse City Council, Whittlesea City Council, Wodonga City Council, Wyndham City Council, Yarra City Council, Yarra Ranges Shire Council, Yarriambiack Shire Council

subset: commoncrawl


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This is a column of 256 images of the 256 Floors within Galaxy 128. Each Floor represents 65536 IP Internet Protocol Addresses, which comprise the 16,777,216 Internet Addresses in one Galaxy. There are 256 Galaxies in the Internet IPV4 UMAP Universe Map, for a total of 4.3 Billion addresses, each mapped to Cubes on The Map of the Internet. - Scroll down to see the entire Galaxy. - Large areas may be blank or un-mapped. - Click on any area to launch the Map at that location. |
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Legend Galaxy Map 128 MapoftheInternet.com |


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Simplicity and convenience at a moment's notice, on any road or trail.
Ideal for stashing food, sunglasses, gloves, or a cold drink, the Backcountry Food Pouch is a convenient and easy-access storage pocket for frequently used items.
Attached firmly with a versatile three-point system, the bag easily fits on either side of a stem (or both), as well as a range of other places, including aerobars and Jones bars. The bag's contents are kept secure by a simple one-handed open and closure system, and a subtly tapered design prevents knee contact while pedaling out of the saddle.
While the body fabric of this bag is waterproof, due to the stitching process used to assemble the product, there is the possibility for water to enter through the seams when exposed to sustained rain. We recommend using an internal dry bag for contents that must remain absolutely dry.
- Easy-access, one-hand opening and closure system
- Versatile three-point attachment system adapts to different bar and stem combinations
- Subtly tapered design prevents knee contact
- Hard-wearing, all-weather Dimension-Polyant VX21
- The Backcountry Food Pouch is made from Dimension-Polyant VX21, a four-layer laminated fabric originally developed for the maritime industry. Designed to fit the demands of off-road riding, the material combines waterproofing, light weight, low stretch, and high abrasion and tear resistance.
- Wash the Food Pouch by hand, using a mild diluted soap if necessary. Afterwards, let it air dry.
- Do not machine wash, machine dry, or iron.
Part Numbers
Option | UPC | MPN |
Grey/Black / 0.8L | 05060422140161 | ABP-0000-000 |


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There's nothing like taking to the open road on a trip to Jette, MT in a motorhome! Traveling in an RV gives you flexibility most other forms of travel don't. If you're in a spot you love, you can linger longer. If you're not thrilled with your spot for the night, you can pack up and move on the next day. Traveling in a motorhome allows you to see the country, and Jette, MT in a way that many people don't have an opportunity to experience.
The fact that you don't own an RV doesn't need to stop you, either! Renting a motorhome or camper can be a great introduction to RV life. If you rent with RVshare, you'll have 24-hour roadside assistance available to you, with someone on-hand to answer any questions you have at any time.
Browse 50 roomy Class A RVs and motorhomes, smaller Class B campervans, or Class C campers that are the perfect middle ground between the two. Jette, MT also has 5th wheels, toy haul trailers if you want to bring along ATVs, boats, or other fun equipment, and so much more.
While you're considering a camper rental, keep in mind that many renters also offer a discount the longer you rent. If you're renting a motorhome for a week-long, or month-long, trip, your cost per night could end up being less than the price listed on the main page. Simply click on the vehicle you've chosen, and scroll down to see weekly and monthly rental rates for that vehicle.
You can search for the perfect option for you, and narrow your search by price, RV type, or year of vehicle. You can look for vehicles that are pet-friendly. You can even choose between a one-way rental that you drop off at your destination, or a round-trip rental. If you don't want to drive all the way from your home to Jette, MT, you can also consider flying into town and renting an RV there to use on your trip.
As you plan your trip, be sure to check our top picks here to help you decide on your activities. Whether you're looking for an outdoor getaway, a trip steeped in the area's history, or an upscale vacation with world-class dining and shopping, there's something for everyone in our guide! Get suggestions on nearby national and state parks to visit and campgrounds where you can stay close by. Also, get guidance on local restaurants, art galleries, and shopping - you're sure to find something to interest you! Be sure to check the Events & Entertainment section for live music, sporting events, festivals, and other timely events while you're in town. Our practical help includes ideas on road trips starting in Jette, MT, and offers information on RV Dump Stations to help you with facilities while you're there.
Happy trails!
Motorhomes are divided into Class A, B, and C vehicles. On average expect to pay $185 per night for Class A, $149 per night for Class B and $179 per night for Class C. Towable RVs include 5th Wheel, Travel Trailers, Popups, and Toy Hauler. On average, in Jette, MT, the 5th Wheel trailer starts at $70 per night. Pricing for the Travel Trailer begins at $60 per night, and the Popup Trailer starts at $65 per night.
Do you need to be a certain age to rent an RV in Jette?Yes. The minimum age is 25 to be eligible to get an RV Rental in Jette from RVshare.
Does RVshare have emergency roadside assistance?Yes. Every RV rental booked through RVshare receives 24/7 emergency roadside assistance.
Does RVshare offer one way RV rentals in Jette?Yes. Prior to renting any RV, check with the owner since not all will offer this particular option.


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The 17 Perils
The word "peril" invokes different images for different people, although the reaction is usually the same for everyone: avoid, avoid, avoid.
Despite your best efforts, sometimes perils to your home and property cannot be avoided. That's where a good homeowner's insurance policy comes in. Homeowner's policies are defined by the perils that they insure against. The average homeowner's policy helps protect you, up to the policy limits, not only from common hazards like fire or wind, but from perils that you might think would be more likely to see in exotic locales than in your own neighborhood. Like volcanic eruptions and explosions.
Although there are myriad choices confronting policy shoppers, there are essentially three main categories of perils that you can insure basic dwellings against. Most policies cover the first 11, and you may have to purchase additional coverage for the others. Here's a breakdown of the basic perils as covered by standard homeowner's insurance policies.
The 11 basic perils:
- Fire and lightning
- Windstorm and hail
- Explosion
- Riot and civil commotion
- Aircraft
- Vehicles
- Smoke
- Vandalism and malicious mischief
- Theft
- Damage by glass or glazing material that is part of a building
- Volcanic eruption
The next step up in coverage usually includes the 11 basic perils plus six more:
- Falling objects
- Weight of ice, snow, and sleet
- Three kinds of water-related damage from home utilities or appliances
- Electrical surge damage
A third type of coverage protects against the above perils plus any other peril not specifically excluded by the policy. Examples of common exemptions include:
- Damage to the land on which your house is built
- Floods
- Earthquakes
- War
- Nuclear accident
- Intentional damage
- Businesslosses
- Wear and tear
- Damage caused by pets
- Theft from a house under construction
- Freezing of pipes in an unoccupied or vacant house
- Vandalism of a house vacant for over 30 days
- Weight of water or ice on a fence, patio, pavement, swimming pool or dock.
- Losses to property belonging to tenants
- Losses due to animals, birds, and fish
You can purchase protection against some of the excluded perils through endorsements or additional policies. For example, earthquakes are excluded in most basic polices, but you can purchase earthquake coverage separately
The information in this newsletter is not intended as tax, legal, investment, or retirement advice or recommendations, and it may not be relied on for the purpose of avoiding any federal tax penalties. You are encouraged to seek guidance from an independent tax or legal professional. The content is derived from sources believed to be accurate. Neither the information presented nor any opinion expressed constitutes a solicitation for the purchase or sale of any security. This material was written and prepared by Broadridge Advisor Solutions. © 2020 Broadridge Investor Communication Solutions, Inc.


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Dog: Ruby (Dachshund) – Seattle, WA. Pet memorial.
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McHenry County Illinois Divorce Mediators
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In accordance with Article VIII - Illinois Rules of Professional Conduct of 2010, The Supreme Court of Illinois does not recognize certifications of specialties in the practice of law and that the certificate, award or recognition is not a requirement to practice law in Illinois.
While divorce is an emotional process, it is also a legal process. To aid in making informed legal decisions and prepare for your divorce there are several things you should know and do as part of that preparation. Because divorce is a legal proceeding the Illinois rules and statutes of divorce must be followed. If children are involved you should know what the Illinois child support services are. An important step in the process is to finding a competent, reliable divorce attorney or mediator. All Illinois lawyers have Rules of Conduct that they must adhere to. Another valuable resource would be the Illinois Bar Association. The proper professional can help you explore your options and reach a conclusion that is best for you and your family. Educate yourself and refer to the many useful resources found online. Find out where your local family court is and familiarize yourself with it. You can do this by checking out the Illinois court system website. All divorce mediator listings are a paid advertisements, and do not in any way constitute a referral or endorsement by an approved or authorized referral service. Prior results do not guarantee a similar outcome. The information provided is not intended to be legal advice, but merely conveys general information related to divorce issues commonly encountered. Click on any IL county below to find a divorce mediator in your area. |
THIS WEB SITE IS PROVIDED FOR INFORMATIONAL PURPOSES ONLY Do not take any actions based upon the information contained within this web site without first consulting an attorney or an appropriate professional depending upon the content of the information. |


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Which topics should I add to my community?
That depends. If you support several products, you might add a topic for each product. If you have one big product, you might add a topic for each major feature area or task. If you have different types of users -- end users and API developers, for example -- you might add a topic or topics for each type of user.
A General Discussion topic is a place for users to discuss issues that don't quite fit in the other topics. You could monitor this topic for emerging issues that might need their own topics.
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For this month's The Cake Slice Bakers selection, we voted to make Chai Cake! I made this cake right after I got the fantastic book, Sky-High Cakes by Alisa Huntsman (see post here) and was delighted to make it again. It was a fan favorite at the library back then, and it continues to be one of my absolute favorites. It's on page 152 of the Sky-High Cake book and I'm sure you can find the recipe on other Cake Slice Baker's blogs.
Last time, I used regular Chai tea and gave away the extra tea bags because I don't drink caffeine (I get headaches). So this time I picked up decaf Chai at Fresh & Easy so I could enjoy the extra tea bags!
Next time (of course there will be a next time! I love this cake!), I'm thinking of trying the Good Earth Sweet and Spicy tea that you can pick up at Trader Joe's. I think that combo of spices will be delicious as well! :)
Topped with a honey, ginger, cream cheese frosting...all made in the food processor. That is brilliant! True to the name of the book, this cake is SKY-HIGH. Three 8-inch layers...I hope it doesn't topple over in the car on the way to work! :)
Thanks Alisa for writing such a fantastic book! If you don't have it yet, please, please pick it up - you won't be disappointed! Check out the other Cake Slice Bakers!
P.S. Today is the last day to enter my 5 giveaways for National Library Week. See the five posts below! Good luck and please check out your local library! :)


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Changes To The FMCA Constitution
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COLUMBUS, Ohio — All Lenzelle Smith Jr. wanted was to see his teammates happy for a change.
They hadn't been for the past 19 days.
LaQuinton Ross scored 18 points and Smith had 16 — and each added critical points down the stretch — to help No. 17 Ohio State end a four-game skid with a 62-55 win over Illinois on Thursday night.
"You want to see your team smile as much as possible," said Smith, a senior. "I can tell you that prior to this game there were no smiles, there was no laughter. Guys were kind of in their shells. Now I feel like everybody's out now and I'm looking forward to playing the next game with a lot of confidence."
Aaron Craft added 11 points, six rebounds and five assists for the Buckeyes (16-4, 3-4 Big Ten), who had lost four in a row for the first time since 2007-08.
"This was a big win," coach Thad Matta said. "We told our guys this was a one-game season just from the standpoint that we knew we had six days off afterward. To their credit they did a tremendous job of laying it all on the line."
Over their win drought, the Buckeyes had wilted in the final 5 minutes, had shot poorly and hadn't been able to stop opposing teams.
Against another team stuck in a four-game slide, they finally found some answers.
Illinois (13-7, 2-5) pulled to 41-40 on 3s by Jon Ekey and Joseph Bertrand and pulled even at 46 on Tracy Abrams' slash through the lane. He missed the cap on a possible three-point play, however, and at the other end Shannon Scott fed Ross for a 3 from the left wing.
The teams traded missed chances until Smith stepped in front of a bad pass by Tracy Abrams and fed Scott for a left-handed layup with 3:50 remaining for a 51-46 advantage.
With the Buckeyes hanging on 52-50, Ross drove the lane against the Illinois zone and was fouled, banking in a shot and adding the accompanying free throw with 2:07 left.
"It was everybody being connected tonight," Ross said of the difference for the Buckeyes. "We had a lot of togetherness. You saw guys jumping up and down. It was just a group effort. Everybody did what they had to. We pitched in."
The Illini then turned it over on an offensive foul by Rice before Smith poured in a 3 from in front of the Ohio State bench for a 58-50 lead with 75 seconds remaining.
Illinois never threatened again.
"I thought Ross' and-1 was huge. I thought Smith's 3 was huge," said Illini coach John Groce, a former Ohio State assistant. "Those were two big plays."
Bertrand had 19 points, Ekey 11 and Nnanna Egwu 10 for the Illini (13-7, 2-5), who haven't won since Jan. 4 and play three of their next four games against ranked opponents.
Rayvonte Rice, averaging 17.4 points a game, was 0 for 8 from the field and went scoreless. The Illini have lost their last six Big Ten road games and fell to 1-4 against ranked teams this season.
The Buckeyes won their first 15 games and were ranked No. 3 when they suddenly spiraled down the polls and the Big Ten rankings. They fought back to score 20 of the final 23 points to force overtime at No. 5 Michigan State before losing. Then they blew a nine-point lead in the second half in a home loss to Iowa.
In a tough, two-game road trip they fell by 10 at Minnesota and, thoroughly discouraged, they lost again at Nebraska, which hadn't won a conference game until then.
Surrounded by doubters, they had their season slipping away.
But then they shot 54 percent in the second half on Thursday night and forced nine second-half turnovers to regain some momentum.
"We tried to do our best to put the losing streak behind us," Craft said. "This game wasn't about that. It was about trying to come out and find a way to be better than Illinois. We were a tougher team down the stretch than we have been. That's what matters."
Ross, Smith help No. 17 Ohio State end four-game losing streak
College Basketball
Professional Sports
Kansas State guard Markquis Nowell signs with Raptors
Kansas State star Keyontae Johnson continues his comeback story as NBA Draft pick
From Wichita to KU, and now NBA, Gradey Dick aims to rep Kansas well
Sam McDowell: How Patrick Mahomes has forever changed the game — and his legacy — in Kansas City


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Traditional Naxi folk figure in Dayan Old Town, Lijiang, Yunnan, China
Original digital inkjet print made with high quality heavy paper and archival inks.
The price will update as you make your selection below. Use the currency dropdown in the main menu to select your currency for a quick conversion. Your order will be processed in HK Dollars; some variation may occur from the converted price as displayed here due to FX fluctuations.
The security watermark on the image will not appear on your print!


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Interviewer: > Julie Lazar & Kathy Rae Huffman & Sarah Cook Interviewee: > Julie Lazar & Kathy Rae Huffman
Part One: The Problem with Museums Today. We began by discussing the shifts in curatorial practice brought about by the advent of new media art, and that both Kathy and Julie had begun their careers in institutions and then had moved to do work independently (Kathy in 1991, Julie in 2000). Kathy Rae Huffman: It must be really frightening to you if you think you know your work and you know your job and someone says to you, 'you've got to find out about THAT.' Julie Lazar: In 1997, I was instructed by the museum's director to conduct research for a year to ascertain how The Museum of Contemporary Art in Los Angeles should approach new media art regarding its programs, collections, staff, buildings, audiences and so forth. That's all of the guidance or direction that was provided. I was to deliver a white paper to the Trustees and the staff on the subject. On the one hand, it was an exciting assignment, and on the other, a very daunting one. Keep in mind that the curatorial department only acquired word processors to do their normal work approximately four years ago, and the full staff went on-line about two years ago (with the exception of a few people: two of us in the department of experimental programs, the publications editor and a couple of people in the fund raising department, as I recall). Sarah Cook: I worked at the Walker Art Center in the visual arts department but was really interested to see what was happening upstairs in New Media Initiatives and I would run up and down the stairs telling each department what the other was doing. There was no infrastructure to create that kind of position permanently though. JL: Unfortunately, most museums in the US have hierarchically differentiated departments whose staff members don't regularly communicate early enough in the planning stages of their operations (capital improvement initiatives, for example, exhibitions and education programs, or collection, marketing, fund raising, and administrative management). As a result, in-depth conversations about artistic or other developments that impact the entire organization - like those in new technology - are rarely debated or considered in an intra-departmental, interdisciplinary way. New technology and media art impact each of these functions within a museum. In US museums, you will usually find one maverick whose interests have led him or her to, in essence, appoint themselves as advocates for, or curators of new media art. Steve Dietz, at the Walker Art Center, and Jon Ippolito at the Guggenheim Museum are two examples of people charting this territory within larger museums. A few contemporary museum directors have taken up the charge as well. Small artist-run spaces are another matter. Even with very few financial resources, they lead the way because of their direct, supportive relationships with young and developing artists. KRH: It's very interesting to me that the whole thing - if we're talking about new media art being art on the Internet, and multimedia - it happened despite the fact that museums and galleries couldn't get it. One of the reasons that it was so exciting was that it happened at all. Artists took it into their own hands, they just did it and they created their own spaces, their own structures. They built up the centres - it happened - outside the system in Europe, at first. And, despite it seeming logical, it didn't necessarily come out of a media tradition. It's not necessarily people who worked with video. Some net_artists were in the music scene. Some of them were in publishing. Some of them in performance. But very few in video. In fact I think video artists have been most resistant to working with new media. In part because they lose control. They spent so many years taking control and making their medium do exactly what they wanted, and coming to terms with how to edit so the medium did exactly what they wanted. When you put your work on the Internet, like TV, you lose control. JL: Advancements in this field are very speedy. Curators have to assume a very brisk pace in order to stay in tune with what new media artists are doing. The time required to become familiar with individual art works, and the large number of artists in the field pressurizes the situation by sheer volume. When curators who exhibit new media art have no formal art historical background, or at least experience with, other media like photography, film, video, radio, sound, graphic design, or performance, etc., connections to the progressions of artists' ideas risk getting overlooked or lost. The situation is further complicated because new media art creation, and conceptual strategies are also being derived from a much wider arena including engineering, biology, behavioral science, politics and so forth. No art is made in a vacuum. Curatorial practice in new media art - especially at such a critical time - shouldn't depend upon only a curator's immediate response, reaction, intuition, and guesswork. To be more responsible curators need to be better informed of - and better versed in - these diverse histories, theories and converging practices. Think of the kind of time that involves! KRH: I experienced net_artists, working in new media early on, to be opposed to the kind of hierarchical structures of museums. That opposition is one of the things that attracted artists to the medium in the first place. They're opposed to somebody saying this is good and that's bad. JL: Recognition from museums is still desirable to most artists in my opinion, if not immediately in their careers, then later on down the road. KRH: Some people want status, yes, but more likely net_artists want to change the system. When they change the system, their position as interventionist is recognized. But status for status sake is by and large irrelevant to most of the people working in new media and net_art. JL: I don't know anyone who wouldn't say yes to having a show in a museum. SC: Well that was the issue that came up in regards to the Whitney Biennial regarding their exhibition of net art - some artists did say no. And this came up again at the Sins of Change conference: Chrissie Illes said what we have to remember is that galleries bought artists video camera recorders, and that there was some complicity between the artists and the gallery in the production of that work, which hasn't happened as much with new media. KRH: Right. It is also happening now with new media art: commissions, access, hosting of projects and big bandwidth is being promised. JL: New media art is attracting people's attention. With so much hype about technology, dot com businesses, get-rich-quick schemes and the stock market (even with the recession), people seem less threatened by the 'lingo' of new media art and the world wide web. People find it 'sexy.' They can find out about the work unguided, on their own. It also helps that over the years, audiences have gotten more familiar with video art and media installations available in galleries and large international festivals. New media doesn't seem as threatening to general audiences as video art once did when it was first emerging onto the scene. As with anything 'new' in art, there are curators who see themselves as trendsetters. And with US museums requiring so much public financial underwriting, arts administrators have visions of attracting 'big bucks' from technology business. Funding potential becomes quite alluring to museum directors charged with keeping their institutions doors open, and increasing the numbers of 'patrons,' (visitors). Curators are being pushed to create exhibitions that are more accessible (read: commercial), so that marketing schemes; packages and products are devised to increase income from all sources (corporate underwriters, gift shop sales, restaurants, box office revenue, parking, memberships, symposia, screenings, performances, openings, tours, etc.). The recent Armani show at the Guggenheim Museum is illustrative of this phenomenon. On the brighter side of this equation, some very interesting work is being commissioned or acquired by museums for their websites. Even so, most museums in the States don't value their virtual spaces as much as their on site galleries, thus web supervision rarely falls within the purview of the curatorial domain. Planning and programming museum websites should be handled intramurally between departments, and curators should care for electronic galleries as seriously as they do their tangible real estate. At this point in time the greatest amount of theoretical activity and historical analysis of 'new media art' is being conducted mostly by artists and writers in arts schools and universities, and not within curatorial departments of museums. Curators with the greatest expertise in media and performance arts are not being tapped well enough, and are sometimes being replaced by very young, trend setting 'streaming media' curators, for example. An intergenerational mix of media curators within major art museums would be more useful and productive team. KRH: If we learned anything in the 1980s, it is that the media business is interested in only the most high profile projects, artists and institutions. At the same time, costs in institutions are rising constantly, and the demand for accessible work that pleases the public is obvious. That is one reason that freelance curators are better positioned to move around and organize the more aggressive exhibitions, curate those research-heavy shows. SC: So you're advocating more communication between what you see as essentially two generations of curators? JL: Yes. I am also advocating that curators update their training (and that museums support their re-education) to include media art and technical studies (which will aid staff in developing up-dated collections and conservation policies, as well as in communicating with artists and the public). I am hopeful that the newest media and visual arts organizations will encourage cross and inter-disciplinary practice between the arts, sciences, and the humanities. KRH: Don't you remember when any artist you were interested in, or any topic involving media, was research? Curating was learning about something, making discoveries, learning through art about things. JL: Yes, of course. KRH: It should be about coming to new understandings which you then want to share or take into a public context, a dialogue with artists who have enough confidence in the work to speak to these larger ideas. Part Two: The Pitfalls of Curating in an Institution. KRH: I don't think that curating is limited to museums. I think the museum takes just the very tip of what curating is. And I say that ten years after leaving the museum. I realize now what a small amount any museum can contribute to the big picture of curating. JL: And why do you think that is? KRH: Because you have to take a lot of things into consideration in a museum that you don't have to take into consideration in other situations. You work with marketing people, sponsors, the director's goals, and with other curator's interests. You have to build up power in your institution in order to get your ideas approved. You can be the most intelligent and sensitive curator in the world but if you don't have power in your own institution - and that's something most artists don't understand; it's not power in the world, it's power in the institution - you don't get a damn thing. You don't get a cent of the budget, you don't get good space, you don't get money for your artist's catalogues, and you don't get the PR attention. JL: As long as museums are so heavily influenced by their weighty financial needs, time-based art and its curators will probably suffer. Collectors and corporate executives (who are on the boards of governors for U.S. museums and whose bank accounts are tapped for support) are confused by, or are less interested in, things that can't be collected or are readily reproducible. Most are scared off by the technology (What part is the art? The computers? The playback equipment? How do I turn this stuff on?). They often don't see what a museum's role is in collecting such temporal art. Of course there are notable exceptions to what I'm saying. Collectors are interested in video sculptures and media installations. Until the 'value' (in every sense of the word) of non-object media art increases in their minds, support for new media curators and acquisitions will be meted out sparingly. There is progress on these fronts within museums but not as significant as I believe the field requires. The change is too organic and not strategic enough at present. KRH: This started very early in the video movement. One of the very first video installations to gain merit was Bruce Nauman's corridor, in his one man show at the LA County Museum of Art, an institution which also showed Bill Wegman's video work in the same period. The Everson Museum in Syracuse, and the Long Beach Museum of Art in Southern California, began video programs during this initial phase of media art - this strong experimentation phase started in the early seventies. It started off with widespread critical response (not all positive), too. JL: My question to you Kathy is, do the artists you have been in contact with the most over the past ten years care much about museums? KRH: Generally no. They see the relationship museums have to those important artists and recognize that they might get a chance one day, but they basically don't have the same relationship to the power system as those artists do who have things to sell ... JL: What role, if any, do you think museums should play for new media art and artists? KRH: To deliver a new audience, a different kind of audience to the work, rather than just people who are already interested in it, who know where to find it, is important. A museum can do this. But it is bringing a critical audience who brings some sort of informed understanding of what the new art is capable of ... that puts the art to the test! JL: I'd venture to guess that new media artists who shun museums now will want to see their work put into a context there in the future. When MOCA mounted Out of Actions, a large and somewhat controversial exhibition about performance art around the world, so many 'anti-institutional' artists from the 1960s and 1970s were almost falling over themselves to be in that show. Even being represented by only fragments, basic documentary videos or photographs of their performance, there were only a couple of exceptions that withdrew their work for aesthetic, conceptual or ethical reasons. To the rest, being included in some kind of art historical museum framework was important even though the curatorial perspective was a little myopic and particular (in my opinion). KRH: Well there are those artists who feel bitter and left out because they've seen people, maybe even who theythink are charlatans, get really big reputations and bought by collectors. But when you have nothing to sell, there is a different issue, issues are at stake. JL: I agree with that. KRH: But there are other people who still are laughing at the whole thing and say 'pfftt, you lose your integrity completely when you jump into this pot.' JL: Often artists make the most interesting and lively curators. Their initiatives have a kind of zealous energy to them. I'm thinking of what happened in artists' spaces in the 1970s and early 1980s. It's discouraging to see the 'disconnect' between the current and earlier generations of media artists today. The historical continuum seems like it is being interrupted, or brushed aside. Even an exchange of technical and conceptual knowledge would be great. Woody and Steina Vasulka are taking time now to put a lot of their art on the Internet as well as to catalogue tapes of artists of their generation as an accessible resource. Most museums in the States have failed to collect media art in depth, with rare exceptions. Those omissions hinder curators and artists' ability to formulate historical exhibitions because they lack the tools (art) necessary for retrospection and introspection. And I think that preservation of art works may continue to be the key role for museums. SC: The idea that museums are just the very tip of the curating world and of what curators are doing - is that a recent development or do you think that was the case in the 60s as well? JL: Museums are only now catching up with the work that so-called artists spaces accomplished. If only the larger institutions valued those efforts more, and acknowledged their contribution to the stream of activities in their communities. Artists spaces gave so many people their first place to show and begin establishing their relationships directly with the public. KRH: They are where people of colour got their first shows, women, radical artists.... JL: Exactly. Now that early work gets shown in big international festivals, then museums and some winds up in their permanent collections. KRH: And artists have a lot more fun in artists' spaces than in museums. The biggest complaint I would hear was from artists working in museums, who couldn't touch their work because of union contracts. They just have to stand there; they can't even touch their own work in the exhibition space! So that can't be too much fun for people who are tinkering and tw
installation media art dance design documentary time space audience video streaming money press education festivals museums publishing technical radio
Sarah Cook Kathy Rae Huffman Julie Lazar Steve Dietz Jon Ippolito


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11038-2070 Air Filter Case Assembly a Genuine Kawasaki Part. Not sure if 11038-2070 is the correct Kawasaki part for your Model? Search by Kawasaki Part Number or Engine Model Number in our Kawasaki Engine Parts Lookup.
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Product Detailed Description
Features: 1)keychain
Packing:1pc/ OPP bag. 600pcs in a carton(37*35*28cm)
If you want to make custom keychain with compass with your logo,slogan,telephone,website,email , please send us your design or give us instructions about your imprint.We'll send a free virtual art proof for your approval,you can ask a real sample with logo before production too.
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Imprint Colors
Standard Silk-Screen ColorsSET UP CHARGE
$40.00(G) per color, per side. $25.00(G) on re-orders.
Multi-color Imprint
Add .20(G) per extra color, per side, per piece. (2 Color Maximum) Second Side Imprint: Add .20(G) per color, per piece.
You can send CWSGift your logo or give us instructions about your imprint by simply replying to the enquriy or quotation email.
You should receive a free virtual art proof for your approval before production.
You can ask a real sample with logo before production too
Imprint Artwork
We accept high-quality laser prints, or digital art on CDs or by e-mail. For faster serviceand better imprint quality, we recommend providing artwork via e-mail. Artwork shouldnot need any additional touch-up, design, color separation or rearranging for use.
The use of licensed artwork requires a written release. Artwork when submitted isassumed to be in full compliance with laws governing copyrights, trademarks, etc.We are not responsible for typographical errors incorporated into submitted artwork.Factory reserves the right to make slight alterations in copy and logos to adapt to imprinting processes.
Please Note: CWSGift reserves the right not to print any logo or message that isdeemed inappropriate.
QR Codes: QR codes are most readable when printed on flat surfaces using a highcontrastimprint [such as a white imprint on dark surfaces or a black imprint on lightsurfaces]. QR codes may not be readable when printed on coarse-weave materials orcurved surfaces. For the best results, the QR code should be black with a white border.A pre-production proof is recommended to test the functionality of the code.CWSGift is not responsible for the quality, accuracy or usefulness of QR codeoperations or content. CWSGift does not police or endorse any QR code content.
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Artwork will be accepted digitally from the following programs:- Adobe Illustrator® (all fonts converted to outlines)—preferred format
- Photoshop® (black-and-white .tiff, .pict, .jpeg files scanned or created at 1200 DPI[high resolution] and at approximately the actual size of the imprint area)
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CWSGift are committed to working with our vendors and employees to incorporate environmentally friendly business practices into our daily operations. These measures benefit our local communities, states and society at large.
We will continue to identify and act on opportunities to minimize our impact on the environment.
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Please submit this form to start the donation process. If you don't currently have a Friends with Benefits number, please signup and get a number. All donations will be received in person at the 9:30 Club. For more information, email firstname.lastname@example.com.
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.70 Carat Natural Princess Cut Diamond
Carat: 0.70
Item #VWDFVQ06
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A lot can depend on how complicated the design is, but rule of thumb is from start to finish is 3-4 weeks, but more complex customizations can take up to 6+ weeks. However, it is possible to complete a project much sooner than this. If you are interested in a custom jewelry project and have a shorter time frame we encourage you to get in contact with us today!
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If for any reason you are not satisfied, we will gladly accept items for refund or exchange within 30 days of purchase. All refunds will be issued to the original form of payment. All returns must be unworn and in sale-able condition. Returned merchandise should include all packaging. Please note used merchandise will not be accepted for refund or exchange unless defective.
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At Tidewater Diamond, we strive to not only help you find the piece or pieces that you love at an affordable price, but we strive to get your orders out quickly. Most orders ship out within 24-48 hours 7 days a week from our physical location based out of Virginia.
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The Romance Engagement Collection
Romance Engagement Rings
Our rings are manufactured in our own state of the art facility- ensuring the quality of each meticulous, highly detailed design. From the initial sketches from our designers, we create the ring utilizing the latest scientific methods in CAD and CAM processes. Our team follows through with incredible attention to detail and exacting standards, so we can deliver a true piece of art. From our metals to our diamonds, the quality is unmistakable. Romance utilizes our own special RomanceWhite™ gold alloy, which offers the pristine whiteness of platinum without the high cost. This advanced white metal can easily be finished and is not as brittle as other white metal alloys for lasting brightness and durability.
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Home » ReR Label » DOCKSTADER, TOD/JAMES REICHERT: Omniphony
DOCKSTADER, TOD/JAMES REICHERT: Omniphony
The legendary collaboration between a leading American Musique Concrete composer and an instrumental ensemble directed by James Reichert where, for I think the first and to date only time, there was full integration of the written, played and manipulated sounds. The instrumental parts were derived from Îcells' of concrete sound and in turn were electronically transformed (in Robert Moog's then state of the art studio), Then the whole mass of material was organised together. A true hybrid, and a one-off. Long out of print since it's appearance on vinyl in 1966. With two extra pieces by Tod Dockstader a new stereo version of No.7 (from the 1961 Î8 Electronic Pieces' and very late and very different - piece from 1990 which has never escaped his studio until now. A classic and a milestone in the evolution of electronic, mediated sound. L
Only available at this price as part of the ReR Sale Offer (minimum) 4 titles)
Code: ReRTODD1
Price: £5.00


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Stories of Mumbai
Friday, January 4, 2013, 3 pm–5:30 pm (+1 more date)
Dr. Bhau Daji Lad Museum
The Dr. Bhau Daji Lad Museum invites you and your family to a puppet show that explores the urban history of Mumbai through the stories of its citizens and the development of trade, migration, opportunity, and cosmopolitanism.
Professional puppeteer Meena Naik will present two sessions: the first will narrate the story of Mumbai's urban development through the lens of a traveling trader, following the city from its origins as a group of seven islands to its modern megalopolis state, through the lens of a traveling trader; the second will address environmental issues and their effects on contemporary Mumbai.
See what happened at the Puppet Show: Stories of Mumbai event—view our slideshow.
Photo: UnCommonSense


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Wednesday, December 1, 2010
Southwestern Skillet Chicken with Rice and Black Beans
From the kitchen of One Perfect Bite...November in Oregon is no stroll on the boardwalk. It's almost always wet and it's hard to escape the pervading damp that penetrates and chills the bones. What's different this year is the temperature. It's been cold and we are spoiled. Locals here call any spell of weather that falls below freezing an Arctic Express. It's our version of the Mistral and, I am here to tell you, it passed through the valley last week. Our temperatures, which are normally quite moderate, plunged and we even had a sprinkling of snow. Foul weather and holiday preparations interrupted my usual exercise regime and I never got out for my daily walk. I was determined to get back with the program today. I rushed through my morning chores, anticipating what I call a sun break. While we have lots of rain, it rarely rains all day and there are usually intermittent periods of sunshine.When the sun broke through I was ready and headed out the door, full of vim, vigor and enthusiasm, despite admonitions from the Silver Fox who thought it was a bad idea. I had walked about a mile when the sky turned a steely gray and dumped its core. Within seconds I was drenched and began the trek home. You know who met me at the door and, fortunately, did not say what he was thinking. He did, however, have an insufferable grin on his face. Once warmed, I sat down to think about dinner. When the children were small, this would have been a chili day. Unfortunately, my chili recipe makes enough food to feed a small country and I didn't want to deal with leftovers. That thought, however, set me to thinking about other recipes that fall into the category I call "good grub." They're completely lacking in refinement but absolutely delicious and perfect for family and very good friends. I settled on this recipe because it's easy to do and I guarantee delicious. It's very loosely based on a recipe that appeared in Cook's Country magazine. It, sans chicken, would also be a great meal for Meatless Monday. I hope you'll give it a try. Here's the recipe.
Southwestern Skillet Chicken with Rice and Black Beans...from the kitchen of One Perfect Bite, inspired by Cook's Country magazine
8 boneless, skinless chicken thighs
1/4 cup all-purpose flour
2 + 1/2 teaspoon salt, divided use
1/2 teaspoon pepper
2 tablespoons vegetable oil
1 cup chopped onion
1/4 teaspoon red pepper flakes
4 teaspoons minced garlic
1-1/2 cups long grain white rice
4 cups low-sodium chicken broth
4 ounces Colby or Monterey Jack cheese , shredded (1 cup)
1 (15.5-oz.) can of black beans, drained, and rinsed with water
1 (10 to 12-oz.) package of frozen corn, thawed and patted dry
1/4 cup chopped cilantro
Optional: Salsa for serving
1) In a plastic bag, combine flour with 2 teaspoons salt and pepper. Add chicken and toss to coat. Shake off excess flour and set aside.
2) Heat the oil in a large skillet over medium-high heat until just smoking. Add chicken, skin-side down, and cook until golden, about 4 minutes per side. Transfer chicken to a plate.
3) Add onion, red pepper flakes, and 1/2 teaspoon salt to skillet and place over medium heat. Cook, scraping up any browned bits, until onion is softened, about 5 minutes.
4) Stir in garlic and cook until fragrant, about 15 seconds. Stir in the rice and cook until edges turn translucent, about 3 minutes. Stir in broth and bring to a simmer.
5) Cover, reduce the heat to low, and cook for about 15 minutes. Place chicken on top of rice in skillet and cook, covered, for another 10 minutes.
6) Transfer chicken to a serving platter. Stir in black beans, corn, cheese, and cilantro. Let cheese melt for 1 minute. Season rice mixture with salt and pepper to taste. Serve with salsa. Yield: 4 servings.
You might also enjoy these recipes:
White Turkey Chili - Inspired to Cook
Navajo Tacos - Kitchen Gypsies
Southwestern Steak and Grits - The Shoe Box Kitchen
Baked Shrimp with Tomatillos - Simply Recipes
Sizzling Southwestern Flank Steak with Creamy Salsa Verde - One Perfect Bite
Southwestern Chicken Tacos - The Corn Bread Kitchen
39 comments :
- JG said...
This chicken dish would taste so good on a chilly day! I am saving this recipe - Thanks!
~Judy - December 1, 2010 at 11:00 AM
- Valérie said...
"Good grub" really sums it up. This looks so comforting on a cold day!
- December 1, 2010 at 11:37 AM
- Jamie said...
Mary! Hello dear! I've been away too long! This chicken dish is indeed the best meal for these cold, rainy days. Bookmarked!
- December 1, 2010 at 11:38 AM
- StephenC said...
Lately I've become very fond of rice dishes of this type. Everything in your recipe is much to my liking.
- December 1, 2010 at 11:38 AM
- Mel said...
I love Cook's Country skillet dishes and this version looks incredibly delicious. Thanks for posting!
- December 1, 2010 at 11:54 AM
- Priya Suresh said...
Very tempting and rice dish..
- December 1, 2010 at 11:57 AM
- Unknown said...
Though clear across the country, from your description of Oregon, when I look outside my window... I feel like I am right there with you!
This looks like such a comforting, awesome meal! Wonderful photo! I can taste that chicken! - December 1, 2010 at 12:05 PM
- GLENDA CHILDERS said...
I have just added this good grub to my menu for this week. It has all of my favorite ingredients and I love rice dishes that you don't have to cook the rice first.
Your lucky man . . . you got rained on and inspired to make a yummy cozy dinner. You rock, Mary.
P.S. I forgot you lived in Oregon. - December 1, 2010 at 12:22 PM
- Katerina said...
I bet this rice will taste really good since it is cooked in the same skillet you did the chicken, plus you add all these fragrant ingredients.
- December 1, 2010 at 1:01 PM
- Monet said...
This looks like the type of meal to warm you up after a cold and dreary day! I love the Northwest, but I have been spoiled living in Colorado. I don't know if I could handle so little sun. Thank you so much for sharing with me. Happy Hump Day!
- December 1, 2010 at 1:04 PM
- PeggyR said...
This sounds really good!
- December 1, 2010 at 1:27 PM
- Faith said...
I absolutely love warm, cozy meals like this! Great combination of flavors in there! Hope you're having a wonderful day, Mary!
- December 1, 2010 at 1:35 PM
- Big Dude said...
Sounds delicious Mary
- December 1, 2010 at 1:40 PM
- Flavia Galasso said...
I'm going to try this recipe...just a question...how can I substiture Colby or MAnterey JAck cheese here in Italy?? Thanks ...hugs, Flavia
- December 1, 2010 at 1:55 PM
- tinyskillet said...
Mmmm...this looks really good.
- December 1, 2010 at 1:55 PM
- We Are Not Martha said...
Yum! Way to kick up some chicken and make it way more fun than usual. Love it!! :)
Sues - December 1, 2010 at 2:28 PM
- Hayley said...
nice chicken dish...
- December 1, 2010 at 2:49 PM
- Ginny Hartzler said...
Oh you poor thing!! Your hubby was a good sport to avoid temptation and not say I told you so!! I think you were already miserable enough! The dinner looks great, it's the simple things that are usuually the best, I don't like very fancy sfood usually.
- December 1, 2010 at 2:55 PM
- Diane said...
This looks a really good dish for a chilly day. It sure is that here in the UK, lots of snow and a very chilly wind. The roads are icy as are the pavements. I hate it. Diane
- December 1, 2010 at 3:03 PM
- Kim said...
What a great meal with lots of flavor! I really like it! Have a nice day!
- December 1, 2010 at 3:26 PM
- Rita said...
I love this recipe; full of flavour and good healthy combination.
- December 1, 2010 at 4:21 PM
- Flavia Galasso said...
I will try with sweet provolone chesse ...thank you...I'm going to sleep....blessings, Flavia
- December 1, 2010 at 4:59 PM
- Claudia said...
I'm freezing in MN! Just looking at this mouth-watering,comforting dish wards off the chill.
- December 1, 2010 at 6:27 PM
- From the Kitchen said...
When the weather turns, I turn to the bolder flavors of the southwest a lot of the time. We had a skiff of snow today but the weekend holds the promise of a snow "event"! This could very well end up on our snowbound table. Well, that's a great exaggeration but I'm having a pity party over the loss of a lovely fall.
Bonnie - December 1, 2010 at 6:37 PM
- Gloria Baker said...
This look really yummy Mary, blessings dear, gloria
- December 1, 2010 at 6:52 PM
- Ann said...
This dish looks wonderful. I'm getting hungry just looking at it!
- December 1, 2010 at 6:53 PM
- flying eagle woman said...
Oh Mary - I'm at the eastern side of Oregon...it was a horrific month (for more reasons than a blog comment can stand) but this I know, comfort food IS exactly what it says COMFORT FOOD...this dish looks both yummy and doable!
Shawna - December 1, 2010 at 7:12 PM
- Kath said...
Wow! I love chicken and rice dishes, and your Southwestern version looks outstanding! Thank you for sharing it.
- December 1, 2010 at 8:13 PM
- Julie said...
This looks delicious for those cold winter days. Love the southwestern flair on black beans a rice.
- December 1, 2010 at 8:37 PM
- Unknown said...
Ugh! Don't you had it when they are right :) At least you made it home safely, even if a bit wet!
The chicken dish looks wonderful. I love "good grub"! - December 1, 2010 at 9:11 PM
- Rhonda said...
I'm originally from Washington State so I can sympathize with your weather. Of course as a Montanan now, I laugh at how I used to panic at a little snow...we have 2 feet now and expecting 6 more inches this weekend.
BTW, rice, chicken and beans...perfection! - December 1, 2010 at 11:00 PM
- penny aka jeroxie said...
Cheese makes everything better!
- December 1, 2010 at 11:26 PM
- Marguerite said...
This dish looks wonderful and I especially like the beans and rice combo! Thanks for another great recipe!
- December 2, 2010 at 12:44 AM
- Elin Chia said...
Mary...this is perfect rich dish for dinner on a chilly nite..mmm I can imagine how good those chicken are with the rice and black beans. Looking at it now makes me salivate :) Thanks for the recipe .
Have a great day,
Elin - December 2, 2010 at 3:11 AM
- Faith said...
In the almost four years I have lived here I have become a cold pansy :) Last week we went outside when it was snowing and I was shivering so bad! I was all about the soups and the warm stuff last week! This surely would of fit the bill!
- December 2, 2010 at 3:28 AM
- cocoa and coconut said...
This type of meal will definitely keep you warm and hearty during the cold. You poor thing getting so wet!
- December 2, 2010 at 4:48 AM
- Angie's Recipes said...
I am a sucker for such dishes! Perfectly golden encrusted chicken!
- December 2, 2010 at 6:45 AM
- tata | bonitafood said...
This dish sounds heaven Marry :D
- December 2, 2010 at 8:05 AM
- Bunny said...
Bookmarking this for sure to make! It sounds wonderful, just the kind of meal my husband and I love!
- December 2, 2011 at 9:28 AM


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Type: Mesh Sneakers Wading Shoes
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