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Fresh fish Head for Dashi 最高のお出汁! 無添加のお頭
It's a very high-quality fish head made from sashimi-class fish. You can use for miso soup, simmered fish head, and baking.
Large: This is great for baking "Kama-yaki", and also for miso soup, simmered fish, etc... A little bit larger than fist size. It made from a large size of fish, so you could enjoy seasonal fatty meat and making dashi with it!
Medium: This is about fist size. It's good for making fish based stock for miso soup. You can also enjoy some fish meat, too!
Small: This is under fist size. It has great dashi flavour. Please use it for soup stock, miso soup, and hot pot!
Size | Small, Medium, Large (all vacuum pack) |
Region | Japan |
Storage | Frozen |
Best Before | Consume within 2 months while frozen, same day after defrosting |
サイズ | 大・中・小 |
産地 | 日本 |
輸送保管 | 冷凍 |
賞味期限 | 冷凍状態で2ヶ月、解凍後はお早めにお召し上がり下さい |
All fresh/live seafoods arrive by air once per week. Before placing your order, please refer to this page for the latest information on the next available delivery/pickup dates, weekly order cut-off times, and other important information.
If you have any special requests or questions, please contact us
How do you guarantee the freshness of my seafood? (Hint: it's much more than just using the fastest air shipping)
Takuya has extensive experience working in the seafood industry, consistently handling high-end fish when he worked as an auctioneer at Tsukiji Market (now known as Toyosu Market) for over 10 years. From logistical solutions like oxygen-regulated water tanks to traditional Japanese techniques such as ikejime, Takuya will draw on his expertise to deliver you the highest level of freshness and quality. To learn more about how fresh seafood reaches your doorsteps, click here for an interesting read.
To share his love of seafood with you, Takuya hand-picks a fresh selection of the highest quality fish every week, and he hopes that you will enjoy them as much as he does. However, he also know that some expert foodies will want to explore and try even more seafoods!
Toyosu Market is full of Japan's rich culinary wonders (not just seafood, but also fruits and produce), and Takuya-san will be able to source any item that you are looking for on the auction floor. He has a lot of knowledge about the best season ('shun') for each species, fishing locations/towns, and varieties, so he would love to talk with you and share his passion for seafood. Just send him an email or use the contact form!
For example, if you are looking for the highest grade of uni that is exclusively found at Tokyo's top restaurants (these can go from $600-1000 per box), Takuya will get these for you at the auction. Or if you are looking for live kegani, he can arrange for them to be shipped from Hokkaido the moment they are pulled out of the water. If you are confident in your knife skills and have a lot of stomachs to fill, you could even try making sushi with a 3kg block of bluefin tuna.
If you're curious about how the whole process works, click here to learn more about the role of Toyosu Market (which acts as a central exchange location for seafood distribution in Japan) and how seafood reaches your door.
See below for examples and ideas of Japanese culinary wonders that you could try at home.
Why we launched Tsukiji Selections
After moving to Canada, I realized that there were many people who wanted to eat authentic Japanese fish, but did not have the chance to try them. Through Tsukiji Selections, I wanted to share delicious fish with as many people as possible, because people feel HAPPY when they discover delicious foods!
However, as much as tasty fish can make people happy, it can also be a huge burden on the environment. If we continue to capture a limited number of marine fish, the ecosystem will gradually collapse, making it impossible to return to its original balance. A huge part of my mission when starting Tsukiji Fish Market is to promote sustainable seafood. I want everyone to know that there are so many more types of fish out there, beyond the ones that people are already familiar with in BC. Adding these new fish to your diet not only makes a tasty addition to your family dinner table, but also diversifies our consumption patterns. If we are able to explore and enjoy an even larger variety of fish, we can reduce our strain on overfished populations.
With sustainability in mind, I am committed to introducing a variety of high quality fish which are hard to find in Canada, so that more people become aware of the thousands of seafood species that they are missing out on.
美味しい日本食を食べようとすると、なかなか本物 "Hon-mono" に出会う事ができない。バンクーバーでも、食卓で日本の味を気軽に愉しんでもらいたい、家族・友人で美味しさを共有してほしい、そんな想いが届けばとても嬉しいです。
築地セレクションズは、本物 "Hon-mono" を取り入れられるようなライフスタイルに貢献したいという想いから、魚のエキスパートである築地セリ人の疋田が始めました。また、食育の基本は家庭です。セレクションズを通して、食卓から次世代への架け橋をお手伝いし、魚を食べる楽しみを未来に繋いでいきたいです。


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In a little over a week, BUILD will be adding more miles to the travel log, this time by way of our cabinet shop, Special Projects Division. On April 24-26, the world of kitchen and bath design will descend upon the Windy City for the annual Kitchen and Bath Industry Show. It'll be our first appearance at KBIS as an exhibitor, and we're pretty excited about it. Reputed to be the world's largest international tradeshow event dedicated to its industry, this year's event has a roster of 500+ exhibitors and an expected 20,000-some attendees. That's a lot of eyeballs.
[All photos by BUILD llc]
SPD master woodworker at the helm of SPD operations, will be at KBIS to showcase the latest from the SPD Collection as well as some of his own stellar work. Since its launch in 2008, SPD has been creating elegant pieces of modern custom cabinetry and furniture, which are the direct products of rigorous R&D and the skilled craftsmanship of the entire SPD team. We stopped by the shop last week to snap photos of the pieces that will be going to Chicago. As usual, they're looking razor-sharp, and we can't wait to get some serious exposure for the work coming out of SPD.
Large Cabinet
3/4" sequenced vertical grain walnut veneer with 1/8" solid edge-banding
Paperstone "slate" countertop
Custom tile backsplash
Sugutsune 1600 series stainless steel pulls
Custom aluminum utility track
Hera under counter puck lights
Blum hardware: Intivo series stainless steel
The drawers contain every single organizer that Blum makes
Ebony Dowel Chair
Body: Curly Maple
Connections: Ebony dowels
Small Cabinet
Pomelle Sapele face
Paperstone "slate" wrap
Aluminum kerf joints
Blum hardware: Intivo with HL and HK Aventos lifts
Hafele inset pulls
Custom tile backsplash
Backlit Wine Rack and Full-Height Cabinet
Also, a heads up that we're giving away 3 individual passes (going rate is $480 apiece) to KBIS. Follow us on Twitter for the inside scoop.
For more on KBIS, check them out on Facebook and Twitter.
If you're planning on attending, stop by the SPD booth (#4228) and say hello.
And if you've been to the show in years past, we'd love to hear your thoughts.
Cheers, from TeamBUILD + TeamSPD

subset: commoncrawl


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With FasTrak in the news today, I thought it pertinent to share this documentary, Toll Plaza, which offers a behind-the-scenes look at an area toll plaza, provides insight into how to deal with FasTrak-related snafus, and ruminates on the societal implications of the system itself. The movie follows the plight of Malcolm M., frequent bridge tobogan hinchable user and fervent FasTrak naysayer. With music by the Modern Lovers.
Link to FasTrak homepage.


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Having outgrown its six leased headquarters buildings, Mercy Corps International—a team of 3,700 engineers, financial analysts, community organizers, project managers, public-health experts, administrators, entrepreneurs, and logisticians dedicated to fighting world poverty and hunger—purchased the historic (built in 1892) 42,000-sq-ft Packer-Scott building in Portland, Ore., to house its growing staff of professionals.
Early in 2006, Mercy Corps met with Thomas Hacker Architects Inc. and Glumac Engineering Inc. to forge plans for the building, which consisted of renovating half of the existing structure and building an addition, resulting in a combined space of 82,000 sq ft.
Because the project was part existing-building renovation and part new construction, U.S. Green Building Council Leadership in Energy and Environmental Design (LEED) for Existing Buildings and LEED for New Construction Energy and Atmosphere (EA) point thresholds were averaged. Each new point threshold was adjusted to 3.6 percentage points less than the LEED for New Construction threshold.
Using LEED and ANSI/ASHRAE/IESNA Standard 90.1, Energy Standard for Buildings Except Low-Rise Residential Buildings, rules, Rob Schnare, project engineer, Glumac Engineering Inc., outlined energy-cost-saving goals for the building. Without renewables, he calculated a budget baseline of $37,600 a year, or 35 percent. With the addition of an 80-kw photovoltaic array, the building should save an additional $5,000, increasing the total energy-cost savings to $42,000, or 40 percent. Overall, the building was designed to save 136 tons of carbon dioxide over the American Society of Heating, Refrigerating and Air-Conditioning Engineers baseline annually.
The team considered many HVAC-system options, including packaged gas/electric rooftop variable-air-volume (VAV) systems and low-temperature central VAV systems.
Glumac principal James Thomas recommended a variable-refrigerant-flow (VRF) zoning system from Mitsubishi Electric. He and Schnare identified the following benefits:
- Simplified application made possible by the packaged zone design.
- Extremely quiet fan coils.
- Fan coils and refrigerant piping adaptable to limited ceiling height or exposed structure.
- Availability of console units for wall mounting or horizontal fan coils for concealed locations.
- Extremely adaptable fresh-air ventilation system permitting adaptive control of indoor-air quality based on occupancy and demand while minimizing energy use.
- Moderate relative first cost.
- Flexible design.
- High relative control value of packaged zone controls for fan coils.
- High partial-load heat-pump efficiency.
Renovation started during the summer of 2006. All existing HVAC equipment was removed.
"The USGBC gave us 10 points in the Energy and Atmosphere credit," Schnare said. "EA Credit 4 limits the amount of refrigerant used on a per-ton basis. With the inclusion of (a) dedicated outside-air system, the overall building refrigerant was limited to meet this credit requirement with zero use of CFC-(chlorofluorocarbon-) based refrigerants. It allowed the building to easily split into five different tenant zones that aided EA Credit 5 measurement and verification. Combined with a dedicated outside-air system, we were able to achieve Environmental Quality Credit 1, where the building ventilation air is monitored and controlled."
LEED Platinum credits also were awarded because the project team reused 75 percent of the existing Packer-Scott Building; 75 percent of the construction waste was recycled; 7.5 percent on-site renewable power was generated through a photovoltaic array; a green roof was constructed, with bioswales treating stormwater runoff; and highly energy-efficient building systems operate 51.8 percent above the code baseline.
"The Mitsubishi VRF zoning system has been operating smoothly," Administration and Facility Manager Steve Zodrow said. "I have had very few complaints from building occupants, and the few adjustments that we have made have been effective. Our team is extremely pleased with (the) temperature and airflow. ... And most importantly, the HVAC system has been a lot easier to manage than I had imagined."
For Design Solutions author guidelines, contact Scott Arnold, executive editor, at 216-931-9980 or [email protected].


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About Ben CrenshawAlthough some professional golfers have won more major tournaments and others have collected more in winnings, Ben Crenshaw remains one of the most popular and talented players in golf, and now continues his contributions to the game as a golf course architect, partnered with Bill Coore. His all-American looks, charisma, and grace under pressure have made him a gallery favorite from his days at the University of Texas, where he was heralded as the next Jack Nicklaus, to the 1984 Masters Tournament, where he ended a decade of frustration to capture his first major championship title. His second victory at Augusta in April of 1995 secured his place in golf history. Ben Daniel Crenshaw was born on January 11, 1952 in Austin, Texas to Pearl (Johnson) Crenshaw, an elementary school teacher from Tazewell, Virginia, and Charles Edward Crenshaw IV, an attorney who had worked as an assistant to State Attorney General Price Daniel. The Crenshaws gave Ben his middle name in honor of Daniel, who later became a United States senator and governor of Texas. Ben Crenshaw has two siblings: Bonnie, who is ten years his senior, and Charles Edward V, who is one year older. Members of the family treasured Pearl Crenshaw, and her death of a heart attack in 1974, during Ben's second year on the Professional Golfers Association (PGA) tour, traumatized them.
A scratch golfer himself, Charlie Crenshaw introduced his son to the game at the Country Club of Austin. "I got exposed to golf by riding around in a cart while Dad played," he told Louis Sabin in an interview for the Washington Post's PARADE magazine (June 2, 1974). "When I finally got to play regularly, all my dad said was I'd have to learn how to play the right way, and by the rules." Ben learned those lessons quickly, winning his first tournament - the Casis Elementary Open - in the fourth grade with a score of 96. Continuing to improve, he shot a 74 for eighteen holes when he was ten, and three years later qualified for the state junior tournament - a major event in Texas - with an impressive score of 69. Perhaps overly confident, he then neglected golf in order to spend more time with his girlfriend, but after failing to make the cut for the next year's state junior tournament he applied himself more diligently to his game. At fifteen he won that championship, a feat he repeated in 1968, as well as the first of three consecutive Austin City championships, and in 1968 he took his first national title when he outperformed the field at the Jaycees Junior Championship. Read more... |


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Scholtes Auto is a fourth generation family-owned auto business, servicing SW Minnesota, NW Iowa and SE South Dakota since 1932 in Worthington, MN.
Even in this age of Internet buying, we still stress the importance of personal service you can trust. We know our most important advertising and promotion still comes from customers like you.
At Scholtes Auto our policy is to treat every visitor to our dealership as an honored guest in our home. Our reputation and your goodwill mean everything to us and we will strive to earn your business. Our family of visitors include Brewster, Rushmore, Jackson, Adrian, Fulda, Luverne, Windom, Fairmont, Pipestone, Slayton, Mountain Lake, Edgerton & St. James, MN; Spirit Lake, Estherville, Milford,Spencer, Sheldon, Sibley & Sanborn, IA; as well as Dell Rapids, Brandon & Sioux Falls, SD.
Visit Us Today


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limoncello and basil popsicles
- ¼ cup basil leaves
- 1 small lemon, thinly sliced
- ⅓ cup (80ml) limoncello
- ⅓ cup (80ml) lemon juice cordial
- 1½ cups (375ml) water
- Divide the basil and lemon between 8 x ⅓-cup-capacity (80ml) popsicle moulds. Place the limoncello, cordial and water in a jug and stir to combine.
- Divide between moulds, cover with aluminium foil and insert popsicle sticks. Freeze for 3–4 hours or until frozen. Makes 8
Photography: William Meppem


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JULY New Users Contest WIP Thread
This thread is intended to be used to share your progress or possible final submissions with the members of the community as well as those running the contest. Please feel free to post your images for advice and tips, to get feedback, or to even just simply show off your hard work! :) Throughout the month myself and others will be popping in to give help and advice as you work to make your creative visions for the contest come to life.
To start things off I wanted to give you all an example as well as some tips on helping fine that perfect pose for your image.
Finding the Perfect Pose (Reference and a Game Plan are Everything)
When working on this image it will probably be best to start by either picturing the type of image you would like to make or by browsing the net and seeing what inspires you.
Searches Terms that may prove useful include:
PLEASE NOTE: Any searches on Google etc can bring up some nudity in the search results. Remember there is no nudity allowed for the contest.
Vintage Pin Up Artwork
Movie Posters
Album Covers
Paintings of People
Any of you that find a good term to search that could inspire ideas, please feel free to add them to this thread as well :)
Once you have found that perfect pose that ignites your creativity then it is time to go into your favorite app and try to recreate that pose as best as you can. If you need help along the way, please post and we will gladly help and give you advice along your way! :)
For an example of using a photo reference to create the perfect pose for an image, please see the images below. The first was the reference I found and the second was the image I created....attempting to recreate the pose and in my case the entire general mood of the image (cuz I just liked it that much LOL) Granted this is an older image of mine but I thought one that should illustrate the intent of the contest :)
JasmineSkunk Posts: 1,897
This looks like sooo much fun!! I can't wait to see what you all come up with this month, and Good Luck to Everyone! :)
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Szark Posts: 10,634
Ann that is pretty good for a begineer.... :)
Gees so many ways to pose where does one start. ;)
Jaderail Posts: 0
Oh goody two great artist have already popped in. It looks like plenty of help will be on hand to offer up tips for this contest. I'm not too bad at posing so I plan to pop in from time to time also. Let the fun begin.
Sasje Posts: 835
I'll give it a try :)
I used this picture as an example with a little bit own twist
Used Daz 4 both are Genesis V5 and M5dance_1_bew.jpg800 x 599 - 67Ktango-dancers_bew.jpg300 x 201 - 46K -
Jaderail Posts: 0
OH Yes! A Great start just a few tweaks and it will be perfect! One hint the camera angle is off just a tad. That's not posing but will help get the images to match better.
Szark Posts: 10,634
I have been at this game for only 3 years and it still takes me a few days to properly pose figures. I am well impressed.
Jaderail Posts: 0
I think that the hardest part to understand is that the pose BASE is the HIP. If the hip needs an angle to it then it must be done first then you pose the rest of the figure. IF you pose the HIP properly the rest will follow up and down the bones as needed. You can not pose the Upper or Lower Body and then pose the Hip. All your work will be off once you change the Hip's position.
Post edited by Jaderail on -
DAZ_ann0314 Posts: 2,839Jaderail said:I think that the hardest part to understand is that the pose BASE is the HIP. If the hip needs an angle to it then it must be done first then you pose the rest of the figure. IF you pose the HIP properly the rest will follow up and down the bones as needed. You can not pose the Upper or Lower Body and then pose the Hip. All your work will be off once you change the Hip's position.
Wonderful tip Jaderail and so VERY VERY true. I won't tell you just how many times starting out I did that backwards and would end up with this rather beautiful pose that then shifted LOL
On topic, for those using Poser, there is a wonderful video tutorial that covers Poser's posing tools here:
For those using DAZ Studio there is a wonderful tutorial covering DS4's Posing tools here:
If anyone is using another application and needs some help, please just let me know and I will see what I can find in your app of choice :)Post edited by DAZ_ann0314 on -
JasmineSkunk Posts: 1,897
WOW, Sasje!!! That's so Awesome! Great job! :)
(...and Szark.... lol.... thanks, but I'm sure he meant YOU and Ann! ;-) Thanks, though! :) )
....ps....YAY!!! The edits show up now...AND I don't have to put an extra space between lines of text I want to space!! Woo HOO!!!
Hip, hipp!! :)
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Sasje Posts: 835
Thank you every one.:red:
Jaderail you're right about the camera so I chanced the camera a little bit
And chanced the shoulder and the arm.dance_N1_bew_800.jpg800 x 599 - 77Ktango-dancers_bew.jpg300 x 201 - 46K -
Scott Livingston Posts: 4,340
Sasje, this is looking amazing! But I think the camera angle was better (closer to the original) in your first image. Look at the woman's face, in particular...it's almost a profile in your reference pic.
I've got an idea for this contest...will post something when I have time to work on it. Posing is definitely a weak point for me, so this should be a good experience. -
frank0314 Posts: 13,758
That is a great job Sasje. You've learned so much over the last few months. We are all very proud of you.
Szark Posts: 10,634
I was shown this sometime ago by a fellow Dreamlight member tugpsx_gfx. This works for Daz Studio only as far as I am aware.
Get yourself a cool picture of a pose. Here I grabbed one off Google and it is small about 300 x 200.
With Daz Studio open load a figure first and then go to Edit > Backdrop ( See image 1) I have found that loading Genesis after the backdrop the backdrop image gets removed.
This will open the Backdrop Options window (See image 2)
At the top where it says Image: None click on the word None and Browse to where your pose image is stored. (see image 3) Select your Image and click Open.
You should end up with something like Image 4. Looking though the camera the image stays in the same place and doesn't move around when you move the camera. This is true for all the Orthographic cameras, front, back etc. Also the aspect ratio of your rendered image will have an impact on how much your reference image stretches. I used a Portrait aspect ratio which reduced the sideways stretch.
Line up your figure following Jaderail's advice on page one, get the hip in place first and the rest should follow. You may have to zoom in or out to match the size of the figure in your reference image.
This is what I got after an hour of tweaking. (See Image 5) I did have to turn off limits to get the arms in the right place
Just remember to remove the Backdrop before rendering. :)
I suppose you could do this with a Plane in any software, applying your pose image to the plane.Backdrop4.jpg800 x 805 - 183KBackdrop3.jpg800 x 759 - 186KBackdrop2.jpg321 x 182 - 61KBackdrop1.jpg323 x 179 - 50KBackdrop.jpg245 x 370 - 72K -
Szark Posts: 10,634
It is not perfect but it does show what can be done which is the main point. The Collars need to be adjusted so it closely matches the reference image.
kurisu2112 Posts: 198
The tip with the image as a backdrop is genius, hats off to tugpsx_gfx for telling you as well.
Will have to try this very soon. -
DAZ_ann0314 Posts: 2,839
WOW lots and lots of good tips here and Sasje it look wonderful thus far!
I wanted to add an answer to a question I got the other day by e-mail since others may have the same question....
Q: Does the image or girl need to look exactly like the image we use for the reference for Posing?
A: This contest is just about the Pose itself so please feel free to experiment with the camera angles, the characters, the environment and anything else you would like to. Even if the camera angle is changed we will still be able to tell how the pose looks and often times one of the big things people forget when Posing is that a Pose in 3D like this can be looked at from all angles so experimenting especially with things like the camera angle is a good way to be sure the Pose works all the way around so please feel free to experiment as much as you like with every other part of your composition :) -
DAZ_ann0314 Posts: 2,839
In keeping with Szark's wonderful tutorial for DS....here is the equivalent for Poser.
I am using Poser Pro 2012 so please keep in mind you may not need some steps and some things may look a little different for you depending on the version you use though most options and menu locations should be pretty much identical.
STEP ONE: Load in your reference image by going to File - Import - Selecting the little Arrow - then Selecting Background Picture
STEP TWO: Once leading Poser to the image you would like to import, a dialog box may pop up asking if you wish to change your window size. In most cases I tend to select no though you can experiment with this setting.
STEP THREE: Once you have imported your background the only thing left is to decide whether or not you wish to leave the ground plane in place (The ground plane is only visible in Poser 8, Poser 9, Poser Pro 2010, and Poser Pro 2012 I believe) If you would like to make the ground plane invisible (or visible) simply select GROUND from one of the two dropdown arrowed menus shown in image three and then go to Properties and either check or uncheck off visible depending what you want. If you cannot see the Properties Panel then go to Window - Parameter Dials in the upper menus and that will show both the Parameter and Property Editors for you.
STEP FOUR: Start working on your Pose. If after loading the figure you would like to Pose you find the figure is very small or very large compared to the image, you can use the camera menus to zoom in or out in 3D Space till you get it to a size that matches that way you don't change the scale of the original figure.Step4.jpg753 x 885 - 112KStep3.jpg797 x 1080 - 180KStep2.jpg446 x 322 - 30KStep1.jpg504 x 519 - 116KPost edited by DAZ_ann0314 on -
Jaderail Posts: 0
I should have remembered that tip myself. I learned it in the early MDC pose sets. Great that it is up for both programs.
Sasje I think your new Image is great the only little tweak I see is the females arm, I'm not sure if it is toward the legs enough. Other than that I think you are spot on. -
frank0314 Posts: 13,758
I didn't even think about loading an image into the programs and doing it like that so they are ahead of me.
Szark Posts: 10,634
That was what I was talking about in the contest idea thread. I think it is a great tool for posing. I also have the image showing in Irfranview for extra reference.Frank0314 said:I didn't even think about loading an image into the programs and doing it like that so they are ahead of me.
Now I know how to do it in Poser if needed, thanks Ann.Post edited by Szark on -
Miss B Posts: 3,071DAZ_ann0314 said:Jaderail said:I think that the hardest part to understand is that the pose BASE is the HIP. If the hip needs an angle to it then it must be done first then you pose the rest of the figure. IF you pose the HIP properly the rest will follow up and down the bones as needed. You can not pose the Upper or Lower Body and then pose the Hip. All your work will be off once you change the Hip's position.
Wonderful tip Jaderail and so VERY VERY true. I won't tell you just how many times starting out I did that backwards and would end up with this rather beautiful pose that then shifted LOL
Great tips and info in this thread, but I have a question. I haven't reloaded DS 4 on this newish laptop as yet, but I seem to remember when playing with Genesis in DS 4 on my old laptop that the base is the feet and not the hip. I assumed it was the hip from days using Poser 5, and I remember when I wanted to have my key (main) spotlight in DS 2 and/or DS 3 shining on say V4, I chose V4 for the Point At feature of the light and it shined the light on all but the lower parts of her legs until I moved the light outwards so it would light up her whole body.That said, when I did the same with Genesis in DS 4, it seemed to light her lower body. Also, if you selected V4 in the Scene Tab of DS 2 and/or 3 the movement control arrows were at the base/hip of the character, but with Genesis in DS 4, the movement control arrows seemed to be at the feet, so I'm wondering if the base is indeed different for Genesis. As a general rule I usually take a similar pose I have in my vast collection and go from there, so I haven't actually tried to "pose from scratch" as you folks are talking about here, but I just want the clarification of what I'm assuming. Or am I totally wrong in my thinking?
Szark Posts: 10,634
Nope the Pivot point is still at the feet Miss B I am sorry to say. But selecting the hip does allow, in a way, to be the pivot point.
My advice is when use the "Point At" feature is to load a NULL and Point At that. Then you will have more control over where the light hits.
Jaderail Posts: 0
As far as Genesis goes yes the pivot point is the Feet. As far as posing goes you must still Pose the hips properly first if you do not wish to change all of the upper or lower body positions once you Pose the Hips. Example: If you pose the legs and feet first and then rotate the Hip left or right all the posing in the legs and feet will also now be rotated in the same direction. Requiring you to re-pose the Legs and Feet.
Wilmap Posts: 2,917
Just the Pose so far. It's harder than I thought! Had to turn off limits to get arms and leggs in the right position. V4 and rendered in DS3.
ballet_2.jpg425 x 356 - 46KBallet_Pose_3.jpg800 x 800 - 96K


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Steven Spielberg Will Direct 'Indiana Jones 5' Before 'West Side Story'
The call has gone out, for actors to star in a new version of West Side Story directed by Steven Spielberg. But just because Spielberg is moving forward with his remake of the classic musical doesn't mean he's given up on his long-developing plans to make a fifth Indiana Jones films. According to THR, Spielberg will make both movies, with Indy 5 shooting first, followed by West Side Story.
Sources tell The Hollywood Reporter that Spielberg plans to shoot what would be the fifth Indy installment in 2019 with a goal of having it released in 2020. That, however, is not stopping him from actively working on West Side Story, which started its casting search this week. The move, which prompted speculation that West Side could be his next movie, is expected to take some time since Spielberg is planning an extensive search to find the right actors.
This fits with Spielberg's pattern of production. He likes to develop several projects all at once, and let the ones that show the most promise rise to the top of the pack; if something fails to come together to his liking, he moves on to something else. Indy 5 was officially announced back in March of 2016. If this news is right, then the screenplay is looking good and Spielberg is ready to move forward with it. If it's not, we'll know if West Side Story jumps the line and winds up going into production first. I still think Indy 5 will wind up getting buried in some unmarked crypt for all mankind, but let's see.
Gallery - Amazing Movie Theme Park Rides That Were Never Made:


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Multilayer inner foam system with inner wrist padding offers superb hand and wrist protection for training.
Featuring a clima cool technology which helps with the gloves breath-ability and drying out times
Specially designed wraparound closure system for a secure fit and easy on and off.
Made in Thailand from the highest quality cowhide leather.


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May a pet owner recover for emotional distress when another intentionally injures his pet? It depends. While in other states pet owners may recover for emotional distress, up until last month California courts only allowed juries to award economic damages to a pet owner and refused to award an owner for his emotional distress including pain and suffering related to his pet's physical injuries. But recently, the Court determined that an owner can recover under a theory of trespass.
Under the law of trespass, dogs are considered personal property and trespass to personal property allows recovery for intentional interference of personal property causing injury including emotional distress. In the recent case the jury awarded the dog owners about $2800 for the amount of the veterinarian bills and an additional $50,000 for emotional distress to the dog owners. This decision stated: "the affection of a master for his dog is a very real thing and . . . the malicious destruction of the pet provides an element of damage for which the owner should recover, irrespective of the value of the animal."


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Home » Practical Information » Indonesian Customs and Culture » Handicrafts » Batik
Batik, the Traditional Fabric of Indonesia
It would be impossible to visit or live in Indonesia and not be exposed to one of the country's most highly developed art forms, batik. On your first visit to a batik store or factory you will undoubtedly experience an overwhelming stimulation of the senses - due to the many colors, patterns and the actual smell of batik. Only through repeated visits and a bit of study will the types of designs and their origins become apparent.
The word batik is thought to be derived from the word 'ambatik' which translated means 'a cloth with little dots'. The suffix 'tik' means little dot, drop, point or to make dots. Batik may also originate from the Javanese word 'tritik' which describes a resist process for dying where the patterns are reserved on the textiles by tying and sewing areas prior to dying, similar to tie dye techniques. Another Javanese phase for the mystical experience of making batik is "mbatik manah" which means "drawing a batik design on the heart".
A Brief History
Although experts disagree as to the precise origins of batik, samples of dye resistance patterns on cloth can be traced back 1,500 years ago to Egypt and the Middle East. Samples have also been found in Turkey, India, China, Japan and West Africa from past centuries. Although in these countries people were using the technique of dye resisting decoration, within the textile realm, none have developed batik to its present day art form as the highly developed intricate batik found on the island of Java in Indonesia.
Although there is mention of 'fabrics highly decorated' in Dutch transcripts from the 17th century, most scholars believe that the intricate Javanese batik designs would only have been possible after the importation of finely woven imported cloth, which was first imported to Indonesia from India around the 1800s and afterwards from Europe beginning in 1815. Textile patterns can be seen on stone statues that are carved on the walls of ancient Javanese temples such as Prambanan (AD 800), however there is no conclusive evidence that the cloth is batik. It could possibly be a pattern that was produced with weaving techniques and not dying. What is clear is that in the 19th century batik became highly developed and was well ingrained in Javanese cultural life.
Some experts feel that batik was originally reserved as an art form for Javanese royalty. Certainly it's royal nature was clear as certain patterns were reserved to be worn only by royalty from the Sultan's palace. Princesses and noble women may have provided the inspiration for the highly refined design sense evident in traditional patterns. It is highly unlikely though that they would be involved in any more than the first wax application. Most likely, the messy work of dyeing and subsequent waxings was left to court artisans who would work under their supervision.
Javanese royalty were known to be great patrons of the arts and provided the support necessary to develop many art forms, such as silver ornamentation, wayang kulit (leather puppets) and gamelan orchestras. In some cases the art forms overlap. The Javanese dalang (puppeteer) not only was responsible for the wayang puppets but was also an important source of batik patterns. Wayang puppets are usually made of goat skin, which is then perforated and painted to create the illusion of clothing on the puppet. Used puppets were often sold to eager ladies who used the puppets as guides for their batik patterns. They would blow charcoal through the holes that define the patterns of clothing on the puppets, in order to copy the intricate designs onto the cloth.
Other scholars disagree that batik was only reserved as an art form for royalty, as they also feel its use was prevalent with the rakyat, the people. It was regarded an important part of a young ladies accomplishment that she be capable of handling a canting (the pen-like instrument used to apply wax to the cloth) with a reasonable amount of skill, certainly as important as cookery and other housewifery arts to Central Javanese women.
Selection and Preparation of the Cloth for Batik
Natural materials such as cotton or silk are used for the cloth, so that it can absorb the wax that is applied in the dye resisting process. The fabrics must be of a high thread count (densely woven). It is important that cloth of high quality have this high thread count so that the intricate design qualities of batik can be maintained.
The cloth that is used for batik is washed and boiled in water many times prior to the application of wax so that all traces of starches, lime, chalk and other sizing materials are removed. Prior to the implementation of modern day techniques, the cloth would have been pounded with a wooden mallet or ironed to make it smooth and supple so it could best receive the wax design. With the finer machine-made cotton available today, the pounding or ironing processes can be omitted. Normally men did this step in the batik process.
Strict industry standards differentiate the different qualities of the cloth used today, which include Primissima (the best) and Prima. The cloth quality is often written on the edge of the design. A lesser quality cloth which is often used in Blaco.
Batik Design Tools
Although the art form of batik is very intricate, the tools that are used are still very simple. The canting, believed to be a purely Javanese invention, is a small thin wall spouted copper container (sometimes called a wax pen) that is connected to a short bamboo handle. Normally it is approximately 11 cm. in length. The copper container is filled with melted wax and the artisan then uses the canting to draw the design on the cloth.
Canting have different sizes of spouts (numbered to correspond to the size) to achieve varied design effects. The spout can vary from 1 mm in diameter for very fine detailed work to wider spouts used to fill in large design areas. Dots and parallel lines may be drawn with canting that have up to 9 spouts. Sometimes a wad of cotton is fastened over the mouth of the canting or attached to a stick that acts as a brush to fill in very large areas.
For close-up pictures of canting.
The wajan is the container that holds the melted wax. It looks like a small wok. Normally it is made of iron or earthenware. The wajan is placed on a small brick charcoal stove or a spirit burner called an 'anglo'. The wax is kept in a melted state while the artisan is applying the wax to the cloth.
Different kinds and qualities of wax are used in batik. Common waxes used for batik consist of a mixture of beeswax, used for its malleability, and paraffin, used for its friability. Resins can be added to increase adhesiveness and animal fats create greater liquidity.
The best waxes are from the Indonesian islands of Timor, Sumbawa and Sumatra; three types of petroleum-based paraffin (white, yellow and black) are used. The amounts mixed are measured in grams and vary according to the design. Wax recipes can be very closely guarded secrets. Varying colors of wax make it possible to disguise different parts of the pattern through the various dying stages. Larger areas of the pattern are filled in with wax that is cheaper quality and the higher quality wax is used on the more intricately detailed sections of the design.
The wax must be kept at the proper temperature. A wax that is too cool will clog the spout of the canting. A wax that is too hot will flow too quickly and be uncontrollable. The artisan will often blow into the spout of the canting before applying wax to the cloth in order to clear the canting of any obstructions.
Creating batik is a very time consuming craft. To meet growing demands and make the fabric more affordable to the masses, in the mid-19th century the . cap. (copper stamp - pronounced chop) was developed. This invention enabled a higher volume of batik production compared to the traditional method which entailed the tedious application of wax by hand with a canting.
Each cap is a copper block that makes up a design unit. Cap are made of 1.5 cm wide copper stripes that are bent into the shape of the design. Smaller pieces of wire are used for the dots. When complete, the pattern of copper strips is attached to the handle.
The cap must be precisely made. This is especially true if the pattern is to be stamped on both sides of the fabric. It is imperative that both sides of the cap are identical so that pattern will be consistent.
Sometimes cap are welded between two grids like pieces of copper that will make a base for the top and the bottom. The block is cut in half at the center so the pattern on each half is identical. Cap vary in size and shape depending on the pattern they are needed for. It is seldom that a cap will exceed 24 cm in diameter, as this would make the handling too difficult.
Men usually handle the application of wax using cap. A piece of cloth that involves a complicated design could require as many as ten sets of cap. The usage of cap, as opposed to canting, to apply the wax has reduced the amount of time to make a cloth.
Today, batik quality is defined by cap or tulis, the second meaning hand-drawn designs which use a canting, or kombinasi, a combination of the two techniques.
Traditional colors for Central Javanese batik were made from natural ingredients and consisted primarily of beige, blue, brown and black.
The oldest color that was used in traditional batik making was blue. The color was made from the leaves of the Indigo plant. The leaves were mixed with molasses sugar and lime and left to stand overnight. Sometimes sap from the Tinggi tree was added to act as a fixing agent. Lighter blue was achieved by leaving the cloth in the dye bath for short periods of time. For darker colors, the cloth would be left in the dye bath for days and may have been submerged up to 8 - 10 times a day.
In traditional batik, the second color applied was a brown color called soga. The color could range from light yellow to a dark brown. The dye came from the bark of the Soga tree. Another color that was traditionally used was a dark red color called mengkuda. This dye was created from the leaves of the Morinda Citrifolia.
The final hue depended on how long the cloth was soaked in the dye bath and how often it was dipped. Skilled artisans can create many variations of these traditional colors. Aside from blue, green would be achieved by mixing blue with yellow; purple was obtained by mixing blue and red. The soga brown color mixed with indigo would produce a dark blue-black color.
Design Process
The outline of the pattern is blocked out onto the cloth, traditionally with charcoal or graphite. Traditional batik designs utilize patterns handed down over the generations. It is very seldom that an artisan is so skilled that he can work from memory and would not need to draw an outline of the pattern before applying the wax. Often designs are traced from stencils or patterns called pola. Another method of tracing a pattern onto a cloth is by laying the cloth on a glass table that is illuminated from below which casts a shadow of the pattern onto the cloth. The shadow is then traced with a pencil. In large batik factories today, men usually are in charge of drawing the patterns onto the cloth. Click here to see the step-by-step process of making batik.
Once the design is drawn out onto the cloth it is then ready to be waxed. Wax is applied to the cloth over the areas of the design that the artisan wishes to remain the original color of the cloth. Normally this is white or cream.
Female workers sit on a low stool or on a mat to apply the wax with a canting. The fabric that they are working on is draped over light bamboo frames called gawangan to allow the freshly applied wax to cool and harden. The wax is heated in the wajan until it is of the desired consistency. The artisan then dips her canting into the wax to fill the bowl of the canting.
Artisans use the wax to retrace the pencil outline on the fabric. A small drop cloth is kept on the woman. s lap to protect her from hot dripping wax. The stem of the canting is held with the right hand in a horizontal position to prevent any accidental spillage, which greatly reduces the value of the final cloth. The left hand is placed behind the fabric for support. The spout does not touch the fabric, but it held just above the area the artisan is working on. To ensure the pattern is well defined, batik is waxed on both sides. True tulis batik is reversible, as the pattern should be identical on both sides.
The most experienced artisans normally do first waxings. Filling in of large areas may be entrusted to less experienced artisans. Mistakes are very difficult to correct. If wax is accidentally spilt on the cloth, the artisan will try to remove the unwanted wax by sponging it with hot water. Then a heated iron rod with a curved end is used to try and lift off the remaining wax. Spilled wax can never be completely removed so it is imperative that the artisans are very careful.
If the cap method is utilized, this procedure is normally done by men. The cap are dipped into melted wax. Just under the surface of the melted wax is a folded cloth approximately 30 centimeters square. When this cloth is saturated with wax it acts like a stamp pad. The cap is pressed into the fabric until the design side of the cap is coated with wax. The saturated cap is then stamped onto the fabric, leaving the design of the cap. This process is repeated until the entire cloth is covered. Often cap and canting methods are combined on the same piece of cloth.
Better quality batik may be waxed utilizing canting in one part of Indonesia and then sent to another part of Indonesia where the cap part of the process is completed. On better quality cap fabric great care is taken to match the pattern exactly. Lower grade batik is characterized by overlapping lines or lightened colored lines indicating the cap was not applied correctly.
After the initial wax has been applied, the fabric is ready for the first dye bath. Traditionally dying was done in earthenware tubs. Today most batik factories use large concrete vats. Above the vats are ropes with pulleys that the fabric is draped over after it has been dipped into the dye bath.
The waxed fabric is immersed in the dye bath of the first color. The amount of time it is left in the bath determines the hue of the color; darker colors require longer periods or numerous immersions. The fabric is then put into a cold water bath to harden the wax.
When the desired color has been achieved and the fabric has dried, wax is reapplied over the areas that the artisan wishes to maintain the first dye color or another color at a later stage in the dying process.
When an area that has been covered with wax previously needs to be exposed so that it can be dyed, the applied wax is scraped away with a small knife. The area is then sponged with hot water and resized with rice starch before it is re-immersed in the subsequent dye bath.
If a marble effect is desired, the wax is intentionally cracked before being placed in the dye bath. The dye seeps into the tiny cracks that create the fine lines that are characteristic of batik. Traditionally, cracks were a sign of inferior cloth especially on indigo color batik. On brown batik, however, the marble effect was accepted.
The number of colors in batik represents how many times it was immersed in the dye bath and how many times wax had to be applied and removed. A multicolored batik represents a lot more work that a single or two-color piece. Numerous dye processes are usually reflected in the price of the cloth. Nowadays, chemical dyes have pretty much replaced traditional dyes, so colors are endless and much more liberally used.
Special Treatments to the Batik Cloth
Prada or Gold Cloth
For special occasions, batik was formerly decorated with gold lead or gold dust. This cloth is known as Prada cloth. Gold leaf was used in the Jogjakarta and Surakarta area. The Central Javanese used gold dust to decorate their Prada cloth. It was applied to the fabric using a handmade glue consisting of egg white or linseed oil and yellow earth. The gold would remain on the cloth even after it had been washed. The gold could follow the design of the cloth or could take on its own design. Older batiks could be given a new look by applying gold to them. Gold decorated cloth is still made today; however, gold paint has replaced gold dust and leaf.
Batik Designs
Although there are thousands of different batik designs, particular designs have traditionally been associated with traditional festivals and specific religious ceremonies. Previously, it was thought that certain cloth had mystical powers to ward off ill fortune, while other pieces could bring good luck.
Certain batik designs are reserved for brides and bridegrooms as well as their families. Other designs are reserved for the Sultan and his family or their attendants. A person's rank could be determined by the pattern of the batik he/she wore.
In general, there are two categories of batik design: geometric motifs (which tend to be the earlier designs) and free form designs, which are based on stylized patterns of natural forms or imitations of a woven texture. Nitik is the most famous design illustrating this effect.
Certain areas are known for a predominance of certain designs. Central Javanese designs are influenced by traditional patterns and colors. Batik from the north coast of Java, near Pekalongan and Cirebon, have been greatly influenced by Chinese culture and effect brighter colors and more intricate flower and cloud designs.
High fashion designs drawn on silk are very popular with wealthy Indonesians. These exceptionally high-quality pieces can take months to create and costs hundreds of dollars.
Kawung is another very old design consisting of intersecting circles, known in Java since at least the thirteenth century. This design has appeared carved into the walls of many temples throughout Java such as Prambanan near Jogjakarta and Kediri in East Java. For many years, this pattern was reserved for the royal court of the Sultan of Jogjakarta. The circles are sometimes embellished inside with two or more small crosses or other ornaments such as intersecting lines or dots. It has been suggested that the ovals might represent flora such as the fruit of the kapok (silk cotton) tree or the aren (sugar palm).
Ceplok is a general name for a whole series of geometric designs based on squares, rhombs, circles, stars, etc. Although fundamentally geometric, ceplok can also represent abstractions and stylization of flowers, buds, seeds and even animals. Variations in color intensity can create illusions of depth and the overall effect is not unlike medallion patterns seen on Turkish tribal rugs. The Indonesian population is largely Muslim, a religion that forbids the portrayal of animal and human forms in a realistic manner. To get around this prohibition, the batik worker does not attempt to express this matter in a realistic form. A single element of the form is chosen and then that element is repeated again and again in the pattern.
Parang was once used exclusively by the royal courts of Central Java. It has several suggested meanings such as 'rugged rock', 'knife pattern' or 'broken blade'. The Parang design consists of slanting rows of thick knife-like segments running in parallel diagonal bands. Parang usually alternated with narrower bands in a darker contrasting color. These darker bands contain another design element, a line of lozenge-shaped motifs call mlinjon. There are many variations of this basic striped pattern with its elegant sweeping lines, with over forty parang designs recorded. The most famous is the 'Parang Rusak' which in its most classical form consisting of rows of softly folded parang. This motif also appears in media other than batik, including woodcarving and as ornamentation on gamelan musical instruments.
Washing Batik
Harsh chemical detergents, dryers and drying of fabrics in the sun may fade the colors in batik. Traditionally dyed batiks should be washed in soap for sensitive fabrics, such as Woolite, Silky or Halus. Fine batik in Indonesia is washed with the lerak fruit which can be purchased at most traditional markets. A bottled version of this detergent is also available at batik stores. Be sure to line dry batik in a shady area and not in direct sunlight.
Modern Batik
Modern batik, although having strong ties to traditional batik, utilizes linear treatment of leaves, flowers and birds. These batiks tend to be more dependent on the dictates of the designer rather than the stiff guidelines that have guided traditional craftsmen. This is also apparent in the use of color that modern designers use. Artisans are no longer dependent on traditional (natural) dyes, as chemical dyes can produce any color that they wish to achieve. Modern batik still utilizes canting and cap to create intricate designs.
Fashion designers such as Iwan Tirta have aggressively introduced batik into the world fashion scene. They have done much to promote the Indonesian art of batik dress, in its traditional and modern forms.
The horizon of batik is continuing to widen. While the design process has remained basically the same over the last century, the process shows great progress in recent decades. Traditionally, batik was sold in 2 1/4 meter lengths used for kain panjang or sarong in traditional dress. Now, not only is batik used as a material to clothe the human body, its uses also include furnishing fabrics, heavy canvas wall hangings, tablecloths and household accessories. Batik techniques are used by famous artists to create batik paintings which grace many homes and offices.
Fine quality handmade batik is very expensive and the production of such works is very limited. However, in a world that is dominated by machines there is an increasing interest in materials that have been handmade. Batik is one of these materials.
During your stay in Indonesia, take advantage of your time here to learn more about the fascinating world of batik. Have a batik dress or men's business shirt made for you by a seamstress or tailor. Visit batik factories in Jogjakarta, Surakarta or Pekalongan to see for yourself how the intricate process is conducted or ask questions of batik artisans giving demonstrations in stores such as Sarinah or Pasaraya in Jakarta. You will come away with sense of wonder over the time, effort and patience put into the creation of each batik cloth. You too may soon grow to love the distinctive waxy smell of batik and your batik acquisitions will provide many memories of your stay in Indonesia. Your support of the batik industry will also ensure that this art form grows to even greater peaks.
Batik Home Furnishings
One of the distinct pleasures of living in (or visiting) Indonesia is the opportunity to purchase some truly magnificent home furnishings made of batik. As the fabric is truly unique to Indonesia, this is definitely the best place to purchase authentic batik! Batik factories can product batik to your order, with custom colors and designs in large rolls, ready to use for your home decoration projects. The 100% cotton fabric is usually preshrunk in the batik dying process and other fabrics are usually available with the batik design, should your design requirements warrant. Higher end shops also have design consultants who can help you with the layout of the room you are planning to design with your batik fabric and work with you on additional furnishings (pillows, bed covers, and cushions) to complete your color scheme.
If you are unable to visit Indonesia, but are still interested in batik fabric, the best place to start is by looking for batik prints in major fabric stores, or shop online for batik fabric. With the beautiful batik designs available, you will be on your way to creating your own batik creations for your home. The timeless designs of beautiful batik motifs have been utilized by skilled fabric designers around the world who want to share the beauty of batik with an even wider audience across the globe. You'll soon be getting compliments from visitors to your home about the beautiful home furnishings made of batik, or your new wardrobe pieces!
Tailored Batik Clothing
Tailors and Dressmakers throughout Indonesia can custom tailor clothing made from batik for office wear, daily wear or elegant occasions. See Men's and Women's Tailoring in Indonesia for more information.
Additional information on Batik in Indonesia
Batik Designs: A Cultural Development
Influenced by Changes in Time & Environment
Batik Canting - beautiful wall hangings
from antique batik
Canting Batik - traditional hand
batiking tool from Indonesia
Kebaya - Indonesian Traditional Dress for Women - read about the blouse that is worn with the batik kain (sarong) in much of Indonesian traditional dress.
Watch a YouTube video by Piet Verboven of the batik making process!
Hand Dying - tips for dying batik
This page was awarded the Golden Crane Creativity award for its contributions towards providing instructional information on batik.


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Material: Goldplated brass, zirconia crystal
The Bliss Goldplated Ring Snake Pink All Clear is made from high-quality brass. For more information about the materials, click here. This beautiful ring is part of our Bliss collection. We celebrate the joy of life with this collection of earrings. We have a thing for all the shiny, pretty things in life. Therefore we embellished the earrings with Zirconia Crystals, which symbolize the colors of joy! Wear them in the way you prefer, separately or combined.
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er the direct supervision of a licensed pharmacist, you play a critical role in ensuring a safe and effective Retail Pharmacy work environment that delivers exceptional care to each patient. This includes but is not limited to:
Patient Safety
Pharmacy Professional Practice
Regulatory Requirements
Quality Assurance
Customer Service
Inventory Management
Workflow Management excluding final prescription verification
Primary Roles and Responsibility:
A key component of the pharmacy intern role is keeping your customers and patients healthy through adoption and management of patient care programs. Additionally, you will:
Lead with Heart - display empathy and compassion for your patients, customers, caregivers, and colleagues on your team
Seek new ways to grow, collaborate with others, and deliver better outcomes
Align others around our purpose to bring your heart to every moment of your health and gain support and commitment
Facilitate a team culture that promotes caring, energy, enthusiasm, and pride
Accepted into or actively enrolled in an ACPE accredited college or school of pharmacy
Required Qualifications:
Have regular and predictable attendance, including nights and weekends
Be mobile and remain upright for extended periods of time
Lift, scan, and bag items
Finger Dexterity: Picking, pinching, typing or otherwise working primarily with fingers rather than whole hand or arm
Reach overhead; able to stretch or reach out with the body, arms, and/or legs to grasp items
Extend hand(s) and arm(s) multiple directions to place, move, or lift items
Precision control: able to adjust machines to exact positions
Stoop to a considerable degree and requiring full use of the lower extremities and back muscles to move items between low and high positions, including bending spine at the waist
Visual Acuity: Close visual acuity to perform activities such as: transcribing, viewing a computer terminal, reading, visual inspection involving small parts
Able to orally communicate information and instructions to colleagues and customers
Occasional lifting of up to 20 lbs; exerting up to 20 lbs. of force occasionally and/or up to 10 lbs. of force frequently, and/or a negligible amount of force constantly to move objects
Ability To:
Have regular and predictable attendance, including nights and weekends
Complete any additional tasks as directed by supervisor or manager
Complete all required training and obtain required licensure (if applicable) within state guidelines
Preferred Qualifications:
Immunization eligibility
Proficiency in Microsoft Office Suite (Outlook, Excel, Word, PowerPoint, etc.)
Once state regulations are met, pharmacy interns should be striving to provide patient immunizations as this is an essential pharmacist function
Whether in our pharmacies or through our health service offerings, we are pioneering a bold new approach to total health care. As health care innovators, we are making quality care affordable, accessible, simple and seamless. We await your fresh ideas, new perspectives, and the unique contributions you will make to our organization.
We anticipate the application window for this opening will close on: 09/25/2024


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According to various Russian state media accounts, former Soviet leader Mikhail Gorbachev has died at the age of 91 after a long illness. Gorbachev played a pivotal role in ending the Cold War, and many blame him for the collapse of the Soviet Union, which he had tried to reform. He was awarded the Nobel Prize in 1990.
NPR's Moscow correspondent Charles Maynes joins us to discuss his life and legacy. Hi, Charles.
CHARLES MAYNES, BYLINE: Hi there.
SHAPIRO: Remind us of Gorbachev's role in Soviet political life.
MAYNES: Yeah. You know, he was the last Soviet leader, both as general secretary of the USSR and the only president of the Soviet Union before it collapsed in 1991. I mean, when he ascended to the post of general secretary, it was 1985. The Soviet Union had just lost three leaders in short succession, all older men who died in office. And, you know, Gorbachev seemed the remedy to that.
He was just 54 years old when he was nominated. He was the youngest member of the Politburo. And he was very aware of the shortcomings of Soviet life and the political system and had ideas how to fix it. You know, he believed in the Soviet Union but as a country that had lost its way and - but was yet redeemable.
SHAPIRO: And so what was his solution to helping the USSR find its way?
MAYNES: Well, you know, he introduced the concept of glasnost. It was an opening up of Soviet society that brought with it new freedoms - you know, in the press, in academia, music, cinema, talking about the repressions in Russia, the Stalinist legacy of repressions. And many, of course, will remember his word, perestroika, that we would hear a lot in the U.S. in this period. It was a policy that amounted to a push to restructure the Soviet economy and make it more dynamic. He negotiated key arms control deals with the U.S., working very closely with President Ronald Reagan at the time to bring down the temperature of the Cold War and genuinely made the world a safer place with arms control deals.
You know, but in the end, he was overtaken by history. I mean, he opened up Soviet society and many Soviets wanted even more, even as Soviet hardliners wanted less. They tried to overthrow him in 1991, but ultimately his great rival, Boris Yeltsin, who later became Russia's first elected president, came to seize the mantle of reform in Russia, really, by dismantling the Soviet Union. And that left Gorbachev president of a country that no longer existed.
SHAPIRO: That all was more than 30 years ago. So what had he done since then?
MAYNES: You know, he's remained active in public life to a degree. He helped found Novaya Gazeta. This is one of Russia's great independent newspapers, very much under threat these days. He had his Gorbachev Foundation, which tended to his legacy and promoted many of his ideas of world peace and trying to preserve the arms control deals of the late Cold War period. There were also signs of difficult times that followed the collapse of the Soviet Union. Gorbachev famously did this commercial for Pizza Hut, which many thought was very unbecoming of a figure of his stature.
But he was also a doting husband. You know, family was important to him by all accounts. His wife, Raisa, was the love of his life, and they were a very public couple, which was unusual for Russia. And Raisa passed away in 1999. But even last year, Gorbachev recorded an album of romance songs dedicated to her, which just, you know, tells you how keenly he felt her absence.
SHAPIRO: How do you think he's going to be remembered?
MAYNES: Well, he's clearly one of the giant figures of the 20th century. I mean, you know, he oversaw the peaceful withdrawal of Soviet forces from Eastern Central Europe. The Cold War, you know, essentially ended really without any bloodshed, for which he was awarded the Nobel Peace Prize. His willingness to negotiate on arms control helped lower the temperature of the Cold War. And I think a lot of people forget now just how nervous everybody was about the idea of a nuclear exchange between the U.S. and the USSR. Those fears really evaporated under his watch. And, you know, for many around the world, that makes him a hero.
But inside Russia, it's more complicated. You know, a lot of people would say he gave up the empire for nothing. They blamed him for the breakup of the USSR and some of the economic chaos that ensued. And those resentments are really important because they're at the heart of Vladimir Putin's ideology today. You know, his passing - or Gorbachev's passing, excuse me, comes as, you know, Putin seems determined at great cost to essentially reassert Russian power and turn the clock back in many ways politically, culturally and, of course, in terms of global influence and empire. And in many ways, you could argue that Putin is harkening back to a vision of Russia before Gorbachev introduced all these changes.
SHAPIRO: That's NPR's Moscow correspondent, Charles Maynes. Thank you.
MAYNES: Thank you. Transcript provided by NPR, Copyright NPR.


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My fiancé A loves any food that is super sour. He sucks on lemons. This must be part of the whole opposite attracts thing, since I'm about as happy to suck on lemons as he is to eat a scone. He's very picky about his sweets, but one of his favourite lollies are Fruit Tingles. I'm not sure if anyone outside of Australia has had these, but they are these tart, pastel-coloured tablet candies, which have fizzy sherbet powder in them, hence the tingly part of Fruit Tingles. These are one of the many sweets that we have to bring along with us on any car or plane trip, in fact I recently pulled out one of my hand-luggage bags and found a fruit tingle rolling around the bottom of the bag. Also A insists that only the multi-coloured fruit tingle in the pack (there's usually only one in each pack) is THE fruit tingle, and none of the other colours should be called fruit tingles. But whatever, I crushed up all the different colours to make this Fruit Tingles Icing, isn't it pretty??? It is. It's pretty, and very tingly. That might sound a bit wrong but it tastes so right heehee...
I've been having a bit of a drought in baking inspiration recently. I'd been sort of toying with the idea of doing an orange sherbet cake but I couldn't quite figure out how to make it my own. Then Regex Man suggested that I make something with Fruit Tingles, remembering the Fruit Tingles Milkshake he once had Bells Milk Bar. It had to be done! I immediately decided to do a layered orange cake with a butter icing that had crushed up fruit tingles mixed into it. A bit of research also happened to find me these amazing fruit tingle macarons on Flickr which I think is just as awesome an idea. But I really wanted to slather an entire cake with loads of this fruit tingle icing. Don't worry if you can't get Fruit Tingles where you live, any fizzy hard candies will do. Suze tells me that the US equivalent is Bottle Caps or Smarties (not the chocolate covered candy with the same name) or SweeTarts, but since I haven't had these myself I can't say for sure that they're the same or similar enough. (Or Barratt's Refreshers for those in the UK?)
Since I know that icing a layered cake is always going to be messy and will take me ages to get it nice and neat, I was glad to have a super easy cake recipe that I could whip up in a few minutes. Stephanie Alexander's orange tea cake has got to be one of the easiest, yummiest cake recipes I've ever used. It's the same recipe that I ended up adapting to use for my foolproof cupcake recipe. You literally throw the ingredients into the food processor, whizz it up and bake it. I adapted it in this recipe so it could be baked as three separate cake layers, but you could always bake it in one deep cake tin and slice it up. I also reduced the amount of sugar since it was going to be covered in heaps of icing. I used salted butter in the icing which stops it from being so sweet that it makes your teeth hurt. But I wouldn't make this cake if you're scared of sugar or butter. There's a LOT of sugar and butter in the icing. Though if you're really scared of butter and/or sugar you probably shouldn't be reading my blog most of the time.
The icing is most definitely the star of this cake. I've been making a lot of awesome simple butter icing recipes recently, they're the ones that I love to eat on cakes and they're the easiest to get right. The little nubbins of Fruit Tingle bits give this icing that beautiful speckled pastel coloured look, and add the sour fizzy sherbet flavour that A is so fond of. It goes really well with the orange cake, and you could easily adapt this recipe into a cupcake recipe too. I am pretty sure this recipe would be a winner at a birthday party, especially if the kids (or adults) love Fruit Tingles as much as A does.
Fruit Tingles Cake (Orange Cake with Fizzy Sherbet Icing)
(makes one 3-layered 20cm round cake, cake recipe adapted from Stephanie Alexander's The Cook's Companion)
For the cake:
1 1/2 large oranges
3 eggs
165g (about 1.5 sticks) unsalted butter
3/4 cup caster sugar (superfine white sugar)
300g (approx 2 cups) self-raising flour
For the icing:
350g butter (I like to use salted butter for this)
750g (about 6 cups) icing sugar, sifted
4 rolls (about 140g) Fruit tingles, or any other fizzy tablet candies like Bottle Caps or Smarties (not the chocolate covered candy with the same name), SweeTarts or Barratt's Refreshers, plus an extra roll to decorate on top if you wish
Preheat oven to 190°C (375°F) (if fan-forced use 180°C (350°F)) and grease, line the base and dust with flour three 20cm round baking tins. If you're like me and only own one tin, you can re-use the tin and bake three cakes, one after the other. Zest and juice orange (I ended up with about 1/2 cup of juice). Combine all cake ingredients in a food processor and blend for 2 minutes. If you have extra time and are worried about over-mixing the flour like me, blend the orange juice and zest, butter, sugar and eggs together first for one minute, then add the flour and blend for another minute. If you don't have a food processor, cream butter and sugar together using an electric beater until light and smooth. Add eggs at a time and beat in well. Add the juice, zest and flour and quickly mix until combined, avoid overbeating the flour. Split the batter into three equal portions (I used a scale to measure it exactly), and pour into prepared tin(s) and smooth with a spatula. Bake in the oven for 10-15 minutes or until golden and a skewer inserted into the centre comes out clean. Cool in tin for 5 minutes and then carefully remove and cool cake on wire rack completely. (Cakes can be made a day ahead and wrapped in cling film in the fridge overnight before icing)
When all 3 cakes are completely cool, start preparing the icing by removing the salted butter from the fridge 30 mins before starting. Place butter in a large mixing bowl and beat until smooth and fluffy with an electric mixer on high. Gradually add icing sugar with the mixer on medium, then when it is combined beat on high until light and fluffy. You may need to adjust the amount of icing sugar to obtain the right consistency of icing, you want it to be smooth but not holding its shape, not runny. Crush fruit tingles in a food processor or by smashing it up in a zip lock bag and beat crushed lollies into the icing until even. Sandwich the three cakes with an even layer of icing between them, crumb coat cake and then chill for about half an hour, then cover then cover the entire cake in another layer of icing, smoothing out with a spatula or palette knife. Top cake with extra fruit tingles and chill for about 20 mins to set the icing. Serve at room temperature, can be stored in an airtight container in the fridge for several days.


text: On Tue, 14 Aug 2001, Trond Erik Vee Aune wrote: > different conditions? I'm looking for a list of the concentration of > different mRNAs in an exponential growing culture at 30 degrees celsius. > > Perhaps someone have used microarray to do this? > > Regards, > Trond Erik Vee Aune Consider this my shameless attempt to repay this list for all the help I have been given (this is not my expertise)... The potential for shifting to different mRNA is vividly shown by the papers of Studier 1990 and 1986 describing IPTG induction of T7 RNA polymerase to express proteins coded on plasmids bearing the T7 promoter. You can find the complete refs in Sambrook text Molecular Cloning in the T7 bacteriophage protein expression sections. The papers above show very clearly that E coli is capable of shifting from complete expression of cellular protein prior to IPTG induction to nearly ALL of the cell protein content being target protein coded by the plasmid. The papers show both nucleotide and protein gels. The shift from cellular protein expression to target protein expression happens in just 2-3 hours! I would expect this to be the extreme case, but could say much about E coli upon infection with phage, in which case cell resources might end up producing more phage. There is also a paper in another species that shows very clear shifting of expression of metabolic gene expression that is triggered by various culturing conditions... Nakajima K. Kunihiro S. Sano M. Zhang Y. Eto S. Chang YC. Suzuki T. Jigami Y. Machida M. Comprehensive cloning and expression analysis of glycolytic genes from the filamentous fungus, Aspergillus oryzae. Current Genetics. 37(5):322-7, 2000 May. I hope this is helpful. It is about all I can offer. Dominic


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Welcome to Old Listings, your source of Australian historical advertised property prices.
Old Listings has one of the largest historical collection of advertised property prices dating back to 2006. With a dataset of over 12 million property prices, it is a valuable resource tool that can help property buyers and renters search for your next home.
Begin by searching for a suburb, and with new filters it is now easier to search for more historical advertised property prices.
You have the ability to filter via street, property type, beds, baths and car spaces.
Optimised for use on the go, you can now experience the site on your mobile, tablet and desktop.
The data is collected from inactive property listings from Suburb View, the Australian Real Estate search engine.
The displayed prices and dates are the last recorded advertised price when the property was last seen on the market.


text:
Requirements: Android 2.1 and up
Overview: A camera app designed to help serious photographers take better photographs. Shot Control allows photographers to better control, monitor, and manage the Android photography experience.
It's so easy to use and equally functional." - Comment From Zac
"Everything you need from a camera app on screen and in easy reach. This is the best. " - Comment From Jason
"The Shot Control interface is very intuitive, and having the "roll" integrated into the main screen makes things even easier." - Comment From Mitch
"I love that I don't need menus to get to the adjustments and filters. Great work!" - Comment From January
"Shutter button remapping alone is worth the purchase." - Comment from kvn
"Really complements the Galaxy Nexus camera. Giving the user more control of the camera which will result in better photos." - Comment from Stephen
Key Features:
- Multiple Touch Focus/Meter regions on ICS (on supported devices with Android 4.0)
- Direct access to exposure control and zoom
- One tap access to ISO, White Balance, Scene Modes, Focus Modes, and Flash Mode Settings (based on device abilities)
- Custom mapping for hardware buttons (like volume down for focus, volume up for shutter)
- Pre-focus function
- 35mm style film roll integrated with the viewfinder display
- Star your favorite photos, which will be added to their own "Stars - Shot Control" group in the stock gallery app on most phones.
- With "Instant Upload" enabled in Google+, photos with stars will be "instant uploaded" to G+/Picasa as if they were taken with the stock camera app.
Please use the "Submit Bug Report" if you have issues on your device, available by pressing the menu button. I can't reply to comments posted in the market.
What's in this version:
(frogwalloper - please email me, I have no way to contact you.)
v2.5.7 - Ability to hide zoom controls (a popular request), ISO fix for Droid Charge
v2.5.6 - ISO fix for Galaxy Note GT-N7000
v2.5.5 - ISO fix for Galaxy S3.
v2.5.4 - Improved exposure controls, critical Jelly Bean fix for Nexus S.
v2.5.3 - Saturation & Sharpness support for many HTC devices. Force close fixes. Histogram default is off.
Download Instructions:


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I love making pork in the slow cooker, it's so easy and literally falls apart once cooked. Here it's cooked with balsamic and honey which gives it a slight tang that I thought was lovely.
Whenever I happen to see a small pork roast in the supermarket, I always pick one up because I know it's an easy dinner. I usually find myself gravitating to the Slow Cooker Kalua Pork[1] each and every time because it's so good and easy to make, but I wanted to switch things up and came across a slow cooker recipe for this balsamic pork recipe on Add A Pinch[2].
I met Robin just a few months ago while I was in Oregon so I was happy to try one of her recipes. This was so easy to make, and although my husband generally isn't much of a balsamic fan, my toddler and I thought it was great! This recipe is slightly modified from her original but for the most part I followed it pretty close.
I served this with Broccoli and Cheese Twice Baked Potatoes[3] but this would also be great with Roasted Parmesan Green Beans[4].
Crock Pot Balsamic Pork Roast
Servings: 8 • Size: 3 oz pork • Old Points: 5 • Weight Watcher Points+: 5 pt
Calories: 214 • Fat: 12 g • Carb: 4 g • Fiber: 0 g • Protein: 21 g • Sugar: 3 g
Sodium: 196 mg • Cholest: 72 mg
- 2 pound boneless pork shoulder roast (sirloin roast)
- kosher salt, to taste
- 1/2 tsp garlic powder
- ½ teaspoon red pepper flakes
- 1/3 cup chicken or vegetable broth
- 1/3 cup balsamic vinegar
- 1 tablespoon Worcestershire sauce
- 1 tablespoon honey
Season the pork with salt, garlic powder and red pepper flakes and place it into the slow
cooker. Mix together the broth and vinegar and pour it over the pork,
then pour the honey over and set the timer for 4 hours on High or 6-8
hours on Low.
Once the pork is cooked and tender (it should shred easily with a fork),
remove from slow cooker with tongs into a serving dish. Break apart
lightly with two forks and put back into the slow cooker and ladle 1/2
cup sauce over the pork and keep warm until ready to eat.
Adapted from Add A Pinch[5].
- ^ Slow Cooker Kalua Pork (www.gordon-ramsay-recipe.com)
- ^ Add A Pinch (addapinch.com)
- ^ Broccoli and Cheese Twice Baked Potatoes (www.gordon-ramsay-recipe.com)
- ^ Roasted Parmesan Green Beans (www.gordon-ramsay-recipe.com)
- ^ Add A Pinch (addapinch.com)


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Researchers from Mount Sinai School of Medicine have identified reliable predictors of pain by surveying patients throughout their hospital stays about the severity of their pain and their levels of satisfaction with how their pain was managed by hospital staff. Using this data, interdisciplinary teams treating patients were able to identify patients at higher risk for pain prior to, or immediately upon, their admission to the hospital, and create and implement intervention plans resulting in patients reporting lower levels of pain and higher levels of satisfaction with their pain management. The study is published online in the American Journal of Medical Quality.
"To our knowledge, this is the first time hospital-wide data on pain severity and levels of satisfaction with pain management have been reported. While the factors that predict patients likely to experience higher levels of pain may not be surprising, we were able to show that awareness of and targeted responses to those factors decrease pain and increase patient satisfaction," said David L. Reich, MD, Professor and Chair of Mount Sinai's Department of Anaesthesiology and lead author of the study. "The important point here is that institutions that use their available data and take an interdisciplinary approach to pain management can be successful in improving the patient experience."
Researchers found patients who identified their pain during their hospital admission as moderate or severe were more likely to be younger, female, admitted for longer hospital stays, or using psychoactive medications. Level of pain was also found to vary depending on the department of the treating physician.
Patients treated by surgical services reported greater pain severity. Prior to identifying the predictors, patients undergoing lower extremity joint replacement in the Department of Orthopaedics reported an average pain level of five, on a scale of zero to 10, on the first day after surgery. After analysing the predictive data, the interdisciplinary team introduced new protocols that altered the types of oral and intravenous medications given, and allowed use of epidural morphine outside of intensive care settings. The average reported pain level decreased to three.
"The involvement of our nurses and doctors at the bedside in this study is a strength and demonstrates our commitment to understanding and improving pain management," said Carol Porter, DNP, RN, Chief Nursing Officer and a participating author of the study.
For the initial phases of the study, the researchers evaluated clinical and administrative data stored at Mount Sinai on 38,544 adult inpatients from January 2008 through April 2009, to identify a numeric scale of pain severity associated with patient satisfaction. They then developed a model to predict that metric of pain prior to or immediately upon admission to the hospital.
Using the results of the predictive model, an interdisciplinary pain management team developed and implemented practice-based and evidence-based intervention. The researchers then analysed the responses to those interventions from January 2009 through March 2011, to determine the effect on pain severity and patient satisfaction.
Overall, reported pain levels decreased by 3.6 percent per quarter in 2010 compared with 2009, and patient satisfaction increased. In five of 11 departments, the decrease in pain severity was statistically significant in 2010 compared with 2009. No department reported that their patients experienced increased pain during that time.


text:
Your cart is empty
Mfg Item #: 187020
Action: Striker Fire - Caliber: .40 S&W - Capacity: 6/7 - Material: Polymer/Steel - Finish: Black - Grip: Polymer - Sights: White Dot/2-Dot - Barrel Length: 3.1 - Overall Length: 6.1 - Weight: 19 oz - Tactile Loaded Chamber Indicator - .40 S&W CA Compliant - Magazine Safety - Single Sided Thumb Safety - Smith & Wesson's new M&P SHIELD is a slim concealable lightweight striker-fired polymer pistol. Available in 9mm and .40 S&W the new M&P SHIELD features a slim design combined with the proven and trusted features found in the M&P Pistol Series. From the pistol's easily concealed one-inch profile to its optimized 18-degree grip angle the M&P SHIELD offers professional-grade features that provide consumers with simple operation and reliable performance. Chambered in 9mm and .40 S&W for proven stopping power the M&P SHIELD features a high-strength polymer frame with a black durable corrosion resistant finish coated stainless steel slide and barrel. Both models are standard with a 3.1-inch barrel which contributes to an overall length of 6.1 inches and an unloaded weight of 19 ounces. For fast tracking and smooth target acquisition the M&P SHIELD is standard with a 5.3-inch sight radius and has been enhanced with a short consistent trigger pull measuring 6.5 pounds. Featuring a quick and audible reset made possible by the striker-fired action the M&P SHIELD allows multiple rounds to be placed on target both consistently and accurately.
Action | striker fire |
Finish | Black |
Weight | 19 oz |
Caliber | .40 S&W |
Barrel Length | 3.1 |


text:
Dimensions: 15X15X3.5 inches (Sizing might vary slightly)
Weight: 7.5 lbs
Liven up your your home with a beautiful Nashi Serving Piece. All our products are designed in unique shapes and sizes that are easy to mix and match for home decor and everyday entertaining.
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Colours that are displayed on our website vary from screen to screen. Although we try to best depict the correct colour form, please keep that in mind while selecting your product.


text:
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Washington County (Maryland, USA)
Washington County, Maryland, is the third county from the western end of the state. The Mennonite community is located in the vicinity of Hagerstown, the county seat, where Mennonites had settled as early as 1776. By the late 1950s they numbered about 850, all members of the Mennonite Church (MC). This includes those who are members of the Washington County (Maryland) and Franklin County (Pennsylvania) Mennonite Conference, together with a small group who have united with the Ohio and Eastern Mennonite Conference. Most are descendants of settlers from Lancaster County, Pennsylvania; there are also some converts resulting from missionary efforts. There are six churches in the district, three mission projects in the county, and one at Flintstone in Allegany County, Maryland; the Mennonite Old People's Home is located at Maugansville.
Author(s) | Moses K Horst |
Date Published | 1959 |
Cite This Article
MLA style
Horst, Moses K. "Washington County (Maryland, USA)." Global Anabaptist Mennonite Encyclopedia Online. 1959. Web. 21 Jul 2024. https://gameo.org/index.php?title=Washington_County_(Maryland,_USA)&oldid=170534.
APA style
Horst, Moses K. (1959). Washington County (Maryland, USA). Global Anabaptist Mennonite Encyclopedia Online. Retrieved 21 July 2024, from https://gameo.org/index.php?title=Washington_County_(Maryland,_USA)&oldid=170534.
Adapted by permission of Herald Press, Harrisonburg, Virginia, from Mennonite Encyclopedia, Vol. 4, p. 892. All rights reserved.
©1996-2024 by the Global Anabaptist Mennonite Encyclopedia Online. All rights reserved.