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Ebb tide
When most folks think of cabaret, I expect the image that comes to mind is that of a single performer backed up by a piano, possibly augmented with bass or percussion. That's certainly the most common arrangement but, as singer (and visual artist) Dionna Raedeke and guitarist Mike Krysl will be demonstrating this Friday, it's by no means the only one.
A relatively new addition to the St. Louis cabaret scene, Ms. Raedeke has garnered raves for her singing and musical taste. "Dionna is one of my new favorite singers," says actor, singer and teacher Jason Graae. "Her voice has such a haunting beauty and it comes directly from her soul." New York-based singer, songwriter and music director Rick Jensen—who accompanied Ms. Raedeke for her 2011 show Sight – Sound—agrees, describing her as a "vocally compelling and consistently original in her performance."
For her new show, titled Ebb and Flow, Ms. Raedeke has put together an evening in which the sound will be acoustic, the mood mellow, and the song choices rather different from the Great American Songbook standards that are so often associated with cabaret. Expect 70s rock, contemporary singer/songwriters, and even some new tunes. Ms. Raedeke, with a nod to her visual artist side (and with tongue somewhat in cheek), describes the evening as a "carefully curated" one that features "everything from Pink Floyd to PINK."
Expect arrangements that will make you re-think familiar songs as well. An inventive musician who lists influences as diverse as Robin Trower, Django Reinhardt and Leonard Bernstein, Mike Krysl has often impressed me with both the ingenuity and virtuosity of his inventive and original takes on rock and pop standards. I remember being particularly blown away by what he and singer Shauna Sconce did with some of Pink Floyd's Dark Side of the Moon at their recently concluded monthly sessions at The Wine Press.
"Mike Krysl's sound is taut, deep and brilliantly soulful," says local cabaret artist Katie McGrath. "Dionna's voice is plaintive, joyous and straight-arrow true. My favorite musician with my favorite singer. And the angels smile." As someone who has been both a critic and performer on the local cabaret scene for many years and who has had the pleasure of seeing both Ms. Raedeke and Mr. Krysl in action, I heartily concur.
The one and only performance of Ebb and Flow is this Friday, August 9th, at 8 PM at The Chapel, 6238 Alexander Drive at the intersection of Skinker and Wydown. A not-for-profit music venue, performance space and art gallery, The Chapel has played host to a number of cabaret shows over the last few years. It's an attractive, unconventional space in a quiet residential neighborhood that provides its services free to local musicians as part of its mission to support the arts in St. Louis. I think that's pretty admirable and worth supporting.
Tickets, which are available at the door and at ebbandflow.brownpapertickets.com (along with some free sample music tracks), are $20 and include two free drinks. Parking is free as well. Come on down Friday and smile with the angels.
Concert review: Man Man (with Murder by Death and Damion Suomi) gets weird with a wild crowd at the Firebird, Monday, February 18
The Firebird stood near capacity as Damion Suomi took the stage with his indelible brand of Irish-inspired, booze-rocking acoustic tunes.
Typically performing as Damion Suomi and the Minor Prophets, Suomi unleashed a stack of songs that showcased his solo-acoustic ability. "City on a Hill," a Cash-fueled, state-by-state roll-call, culminated in a satisfying drop where Suomi sang, "Fuck it, Ian roll another and we'll be on our way."
"Burn the Pain" inspected the station of emotional compromise by way of a moon-lit gothic mystique. Suomi warmed the crowd well, slamming PBRs between songs. "Camel," "Sunday Morning" and a cover of Blitzen Trapper's "Furr" finished off Suomi's set with a flourish, though I felt the cover seemed unnecessary given the high-quality of Suomi's songs.
After a quick set change, Murder By Death appeared on stage. Small-framed, but big-voiced lead-singer/guitarist, Adam Turla, opened the set with the quick spiritual, "Kentucky Bourbon," from 2010′s "Good Morning, Magpie." The song slid into "As Long as There Is Whiskey in the World" aflame with an old-world Pogues feel. Sarah Balliet sawed heartily on her cello, creating a vibrant array of sounds that moved the song from crest to trough to well and back.
"On the Dark Streets Below," opened with the provision, "Slow down girl, you'll feel much better in the end," before bleeding into cello plucking and vibrant trumpet. Turla informed the audience that earlier in the day, the band's van had gotten broken into by thugs, its sound guy had to go to the hospital — "For some fucked-up spider bite" — and, finally, that its normal multi-instrumentalist, Scott Brackett, was home in Indiana enduring face surgery. Yikes! Nonetheless, Murder By Death's professionalism, perseverance and poise was only surpassed by an expert performance.
Murder By Death blazed through its set, which included the rustic, gypsy wobble of "You Don't Miss Twice (When You're Shaving With a Knife)," "No Oath No Spell," performed as a serenade, the drunk ramble of "Rumbrave," the somber "My Hill," "Lost River," "Brother," the Doo-Wop-ing "Spring Break 1899″ and "I'm Coming Home." As the set slid by, the crowd continued to tipple beers, sloshing suds over the floor and slipping in the hoppy puddles.
After Murder By Death, the stage was completely broken down and rebuilt. Man Man's eclectic and complex stage set-up (read spectacle) took about 30 minutes to set up. The band stood on stage twisting knobs, connecting cables, situating keyboards, setting up flowers, blocks, props and strobing LED light elements. During this time, the crowd spiraled further into a boozy delirium, apparently drunk enough to plunk down the requisite twenty dollars for a kitschy, mustachioed alien mask Man Man pushed at its merchandise table. As the band filed on stage wearing all black, I thought I had somehow stepped on a skunk, but it turned out to be a couple burning a jay to my left.
Concert review and set list: Cellist Ben Sollee (with Justin Paul Lewis) fights off stereotypes at the Old Rock House on Saturday, February 16
When most people think of the cello, they think of classical music or symphonies. Ben Sollee breaks those stereotypes and brings his instrument to a whole new level.
Show opener Justin Paul Lewis crept up onto the Old Rock House stage and began his solo-acoustic set without warning. Lewis' take on the singer-songwriter genre was drastically different from what I'm used to hearing. He treats the guitar as a percussion instrument, producing shucking beats and heavily muted chords with his finger-style technique.
Lewis treats his vocals as another form of instrumentation, delivering his stories with a mumbled rhythm as if he were talking in his sleep and describing his dreams in real-time. The only comparison I can really draw is that he sounds like Tom Waits without the ravages of whisky and poor life choices warping his vocal cords. He spent the majority of his set hunched over his guitar, bobbing around and crooning while playing and whistling the horn lines his trumpeter, who was not with him at this show, usually added to his set.
Lewis' motions were as mesmerizing as the songs themselves, almost a performance art piece in and of themselves. He got the crowd involved with the show by clapping the beat to a funky slow jam of Michael Jackson's "The Way You Make Me Feel" before bringing Ben Sollee up on stage for a great performance of "Salt" from his most recent recording "Rinse, Repeat, Rewind."
Ben Sollee was the next up, sharing the stage with drummer Jordon Ellis. I had not heard anything that he had performed before the show and opted to check him out based on a recommendation from singer-songwriter Erin McKeown, who occasionally raves about him on Twitter.
Sollee is a classically trained cellist that often forgoes the usual classical song structure to breathe new life into an old instrument. That was apparent from the first tune, which consisted of bowing and plucking a rhythm that would be equally at home on a New Order album. Every song seemed to shift in style from synth-pop to jazz to R&B and hip-hop grooves thrown in for good measure. Although there was a broad array of styles in play, the transitions were smooth as silk and nothing seemed out of place.
Over the course of the show, Sollee primarily kept to his cello with a change to octave mandolin for a couple of tracks halfway through the set. His vocals seemed to have a heavy lean toward the singing-storyteller style of Paul Simon, the words sung with a warm tenor that exuded wisdom beyond his years. When he was really getting into the groove Sollee would start to yelp and shout with joy, reminding me of the shouts that accompany "Better Git It in Your Soul" from the Charles Mingus album "Mingus Ah Um."
There was also a strong jazz influence in the drumming of Jordon Ellis, who has more beats than Schrute Farms. He was running from hip-hop grooves to jazz riffs and filling the air with sounds that accented Sollee's cello runs without stepping over or falling behind the beat.
Concert review: Kishi Bashi (with Plume Giant and Ross Christopher) works his looping magic at the Firebird, Saturday, February 16
Photo credit: Mark Runyon / ConcertTour.org
Kishi Bashi's personality seems to parallel his music, with joyful, lighthearted humbleness despite its complexity. His songs demonstrate an expert level of musical mastery, but he's still able to laugh and make jokes between songs, and even smile as he played. You could tell he enjoyed performing, and that made everyone enjoy watching him.
Kishi Bashi, who used to tour as a backing musician for of Montreal and Regina Spektor, now makes solo music with live looping, mostly of violin, beat boxing and synths. He creates his songs right in front of you, but the loops come with such fluidity that if you close your eyes, it almost sounds like a full band.
When he played the Firebird on Saturday night, Kishi Bashi, born Kaoru, or K, Ishibashi, did have backing musicians for some songs. Elizabeth Ziman from Elizabeth and the Catapult added some intense, hip-hop style beats on and percussion and Mike Savino from Tall Tall Trees played banjo. I can't decide if I preferred solo Kishi Bashi, or the songs with a backing band more. Both were stunning.
Ross Christopher, a singer and violinist from St. Louis, opened the show with a quick, 30-minute set. Christopher sounds similar to Kishi Bashi, with layers of loops, but he has a deeper, raspier voice. I felt that he spent a bit too long setting his loops, extending songs that lasted three minutes on an album to seven minutes live, which mainly posed the problem of his beautiful set cutting off after just five songs.
Brooklyn's Plume Giant performed next, putting on a sweet, soft show that sounded like a campfire sing-along. Their songs varied from traditional Americana to poppier indie-folk, all with playful vocal melodies and delicate layering. They'd missed their sound check and had to tune their instruments as the show went, but provided some cute dialogue to keep the show moving. "We're actually playing a lot of new songs tonight, in case you're familiar with our collection and were hoping for the hits," joked Eliza Bagg, who sings and plays violin and harmonium.
At around 10:30 p.m., Kishi Bashi took the stage. He wore skinny grey pants and a black-collared shirt with two bowties, one around his neck and the other hanging from his pant pocket. He had suspenders, too, but they fell off a few songs in. "In a real world, my pants would have fallen down, but [my suspenders are] what I call 'decoration,'" he said as his perfectly planned get-up slowly fell apart.
Concert review: Jukebox the Ghost (with Matt Pond and the Lighthouse and the Whaler) let pianos lead the way at the Firebird, Friday, February 15
Youths swilled from various cans, glasses and cups as they awaited a night of synthy-indie tunes — featuring Jukebox the Ghost, Matt Pond and the Lighthouse and the Whaler — at the Firebird.
The Lighthouse and the Whaler's Michael LoPresti (wearing a sweet bandana) opened the five-piece's set with "This is an Adventure" from the 2012 release of the same name. LoPresti's nasally-twee delivery was supported by frenetic mandolin work and violin from his backing multi-instrumentalists.
"Venice," a breathy love song, found LoPresti crooning, "Why don't we fall in love?" On "Little Vessels" LoPresti taught the audience the song's "woah-o-oh" chorus, asking them to sing it back, which they did after some goading. While the band's folky, pop-outlook was refreshing and the players all put forth an impressive effort, the Lighthouse and the Whaler didn't do much to differentiate themselves form the legions of bandana-wearing, "woah-oh-oh-ing," modern indie-rockers.
Matt Pond, having recently ditched the PA from his name in favor of a solo career, played a colorful, uptempo set that ran the gamut between his new work from 2013′s "The Lives Inside the Lines in Your Hands," and his prolific eight-record back catalogue of "PA" tunes.
Pond opened with the jangly and fall-sun-dappled "Halloween" from 2005′s "Several Arrows Later." The song shined with cello, twinkling piano and Pond's characteristic relationship-based introspection. "KC" from 2004′s "Emblems" impressed with a catchy, stair-stepping pre-chorus and lyrics based in seasonal change, candle flame and loss. "From Debris" rocked with heavy drums, piano accents and Pond's lilting, whisper-soft vocals: "From debris you and me could start something."
At this point in the set, Pond moved into songs from 2013′s "The Lives Inside the Lines in Your Hands." The new sound represents a change for Pond who, after having broken his leg on tour last year, made a record fans could really groove-out to.
Yet another "Woah-o-oh" chorus somehow managed to stand out on "Let Me Live," while "Love to Get Used" served up break-neck hammer-ons, fusing Pond's old sound and his new, poppy direction as the tune moved from verse to chorus and back again. Pond rounded out his set with fan-favorite "New Hampshire" and the ephemeral "Wild Girl."
Jukebox the Ghost, appeared before a banner draped on the back wall of the Firebird that depicted the band's logo — a childish picture of a ghost with stick arms and googly eyes. Pianist and vocalist Ben Thornewill said a quick hello before guitarist/vocalist Tommy Siegel picked into the muted guitar of "Oh, Emily" from 2012′s "Safe Travels." Jesse Kristin's drumming was bombastic and chest rattling. The song served as apology to a girl for breaking her heart. "At Last" found Thornewill scaling up and down his piano, offering a ballad about a boy falling for a girl and doing his best to win her.
Concert review: Twenty One Pilots (with New Politics) crash land at the Firebird, Wednesday, February 13
It was a surreal experience walking up to the Firebird at 7:15 p.m. to find a line of 200 people waiting outside to get in. The Twenty One Pilots show started at 7:30 p.m. — the earliest start time for a show I've ever been to — and the place was absolutely packed.
I've been to sold out shows at the Firebird before, but at this one, everyone seemed to be pushed up as close as possible to the stage, which made it seem a lot fuller than when a portion of the crowd is hanging out by the bar. For a lot of the night, I couldn't move, but then there were other times when everyone seemed to jump in perfect unison and find pockets to throw their arms up in the air through.
Twenty One Pilots play a mangling of genres, with a bit of rap, a pinch of synths, some pianos and a ton of drums. I spent a good 10 minutes trying to think of who they sound like and searching the Internet for comparisons, but I really couldn't find any that I agreed with. Many of the reviews I read described the band as "schizoid-pop," if you have any idea what that would sound like.
After the show, I spent some time thinking about why we go to concerts. Obviously, it's because we like the music, but the primary reason is to be entertained. I've been to concerts before where I didn't necessarily like the music, but it came across in such a way that it was exciting to watch and I was glad to be hearing it. Twenty One Pilots are one of those bands. There's so much to see that the music sometimes became secondary, almost like a soundtrack to the performance. That definitely isn't how all concerts should be, but sometimes it works.
Before Twenty One Pilots came New Politics, a three-piece from Copenhagen, Denmark. They reminded me of Rage Against the Machine, partially for musical reasons but mostly just because of the political angst that ran through their lyrics. Half their songs were about starting revolutions. The set seemed like Occupy the Firebird.
During the third song, when frontman David Boyd asked the crowd to open up a circle, the floor became like a mosh pit without the moshers. He jumped down from the stage to break dance amidst the people. The move showed he was really performing for the crowd instead of just in front of us.
Twenty One Pilots actually exceeded my expectations in many ways, especially in the smart organization of the set. The biggest surprise came when they broke into their biggest single, "Holding Onto You," only about 15 minutes into the show. I worried they'd just go downhill from there, but to follow it they covered Montell Jordan's "This Is How We Do It," which I think is the only song that wouldn't have been a downer to hear next.
In addition to acrobatics, like lots of jumping and handstands, a big part of a Twenty One Pilots show is the costumes they wear, full-body skeleton onesies for the first song, "Ode to Sleep," and later bank-robber style ski masks for a few songs. By the encore, frontman Tyler Joseph was shirtless.
The Firebird's stage is pretty small, and Twenty One Pilots were limited in some ways with what they could do, so they followed New Politics' lead and took to the floor. For the encore, the packed crowd opened up again into a circle, probably about 15 feet in diameter, and the band carried three snare drums onto the floor. Joseph and drummer Josh Dun led a 300-plus-person drum circle inside the Firebird. The way the two jumped around the drums, hitting drumsticks against each other, felt almost spiritual, despite the theatrics.
I think if you're going to listen to Twenty One Pilots, it has to be live. On their recorded album, "Vessel," you don't get the same energy and franticness of their concerts. Their live show is the kind that you need to keep thinking about for a while afterwards to make sure you didn't forget anything (and admittedly, I probably did).
It's the kind of show that leaves a mark, both in the form of crazy memories and bruises from crashing into the crowd around you.
Concert review and set lists: Yo La Tengo and Calexico contrast sounds and styles at the Pageant, Thursday, January 31
I arrived at a sedate Pageant night club at around 7:40 p.m. on Thursday and comfortably found a spot on the floor in the front row right up against the railing. With 20 minutes to go before Calexico took the stage, I passed the time by counting instruments.
There were six guitars (seven if you count the pedal steel), 10 microphones, two trumpets, a standing bass, a xylophone, a few pairs of maracas, a few keyboards, an accordion and a drum set. When my game of musical I Spy ended, I turned around to realize that the venue was now almost full. The area in the back of the Pageant by the bar was almost as crowded as the stage.
For the next hour, Calexico somehow managed to use every single instrument they brought with them, playing a game of musical chairs by running around to different spots when the music started and stopped. I think the only members who stayed with the same instrument the whole night were drummer John Convertino (though he did take up tambourine and maracas) and vocalist/guitarist Joey Burns, and even he switched between three different guitars. The set's opener, "Epic," was truly that, building to the point where it had so many layers that I really didn't know who I should be watching play. The Spanish lyrics of songs like "Roka" and "Inspiración" added to the music that's rightly described as "indie mariachi."
My favorite song of Calexico's set was "Fortune Teller," a fairly new composition with smooth vocals, a tango vibe and ghostly "oohs" throughout that almost echoed the Shins' "New Slang." Calexico played an impressive set on all scales, and it was just the perfect length.
As for Yo La Tengo, I think I need to approach the set from two different perspectives. First, I'll address the show I saw; then I'll explain what I wish it could have been.
The songs Yo La Tengo chose to play sounded spectacular. At times, Kaplan let loose on his beaten-up guitar and exploded into screeching dissonance; that was simply a joy to watch. I loved that the band decided to invite members of Calexico on stage for a good number of songs, adding trumpets and keyboards to songs that are usually just guitar, bass and drums.
Another one of my favorite moments was Kaplan's quirky dialogue — including the "parental" advice to not be like Ellie Goulding's fans and instead to bundle up against the cold — as he introduced the band. "Obviously, we're old," he said. "Our bands almost 30 years old. Of course we're old." I didn't realize it when I first got to the Pageant, but Yo La Tengo has been a band a decade longer than I've been alive. Kaplan and drummer Georgia Hubley are old enough to be my parents.
So, I don't want to say I left Yo La Tengo's set feeling disappointed, but I did feel like it was missing something. I had done some research by reading old show reviews, and each one talked about the unexpectedness and creativity of a Yo La Tengo show. For a few shows last year, they brought a game show-styled wheel on stage and used that to pick what songs they played. I didn't need that wheel, but I still hoped for a greater sense of spontaneity.
One of two covers played, a rendition of the Nightcrawlers' "Little Black Egg," came in the encore and actually turned out to be one of my favorite songs of the night. Another moment of unexpectedness came when I looked over at the merch booth during Calexico's set only to find Kaplan himself manning the table. As a whole though, instead of the chaotic show I thought I'd get, the set came off as pretty controlled.
Concert review: A sometimes weird, sometimes wonderful night with Tristen, Local H and Rollercoaster Club at the Firebird, Saturday, January 19
After an inebriated fan hollered, "We love you, Tristen!" the Nashville, Tenn. resident deftly avoided being inundated with drunken proclamations of love by returning the fan's adoration with, "All right, everybody hug their neighbor! C'mon!"
Tristen would proceed to have interactions like this throughout the night.
There was a pocket of legitimately drunk patrons situated stage front. They seemed to appear just before Tristen Gaspadarek walked on stage, thus missing opening band Rollercoaster Club's tepid set. The St. Louis natives sounded out of place in the Firebird's basement-like atmosphere. The FM-lite acoustic arrangements did little to pull patrons from their seats, and Adam Henrichs' mellow stage demeanor caused his vocals to sound eked out. Their set would have been better suited for a coffeehouse open mic, somewhere patrons could sit Indian style, surrounded by cups of steaming black coffee, and await their turn to take a stab at spoken word.
Local H's Scott Lucas had an easier time corralling the audience. To be fair, he has been performing for over 25 years, ample time for him to feel comfortable enough that his onstage behavior would evoke the impulsiveness found when one is home alone. I must mention he wore a navy blue sweatshirt with a black and white French Bulldog illustration ironed to the chest. I was seized with sweater envy, and, more importantly, felt clued in to Lucas' psyche. His first words were, "Hi. Hello. I'm Scott Lucas and I am very clever," followed by a cover of "Last Caress" by the Misfits. He appeared a little deranged at that point. How many grown men wear sweaters with lapdogs emblazoned on the front and sing about killing babies?
During "All the Kids Are Right," a Local H song/audience request, a girl walked in with some hair appliance attached to her cranium that gave her the look of a disco Predator. A dozen individual tubes of pastel shades of blue, green and phosphorescent white projected from her skull. As she bounced around the Firebird, her tendrils shook back and forth like organ-pipe coral in a sea storm.
After she appeared and disappeared into the Firebird's tables near the bar, Lucas called out the couple sitting to my left. If you ever want to be scared for your life, cradle a notebook in your lap while conspicuously writing about everything within a 50-foot radius, then listen as the principal subject castigates a couple on the cusp of necking. I waited for him to call me out, and thankfully it never came. Instead, Lucas said twice to the lovers, "Hey. How are you? You. There. TO MY LEFT." When they finally came to, he told them to enjoy the steak.
Tristen's headlining set was permeated with appreciable flubs and charm. For every mistake she made — and I hesitate to call them "mistakes" as her reactions worked so well in her favor — she cursed audibly, shook her head at no one but herself and slunk towards her band while she rolled her shoulders forward under the weight of embarrassment.
Opening song "Red Lava Flows" was initially hampered by a forgotten vocal pedal. After taking up her guitar, she sang the first note with an off-key howl, hissed the word "Shit!" with a smile on her face and stomped out her mistake with one swift movement of her heel. She would later begin "Heart and Hope to Die" by singing into a mic-less stand.
On "Heart and Hope To Die" she demanded, "Show me how your mama and daddy made you," Blithe and vulgar, she sang it accordingly. Her sweet rasp entered the voice in coo form, a suggestion, then morphed into persistent declaration, leaving her suitor with no choice. She abandoned both guitar and keyboard (which she played on "Frozen" and "Winter Night") for "The Anti-Baby," her set's eighth song. The mid-tempo number had a troll-like momentum, with Tristen condemning codependency. It was the song Tristen was prepared to inhabit. She sounded detached in previous songs, even during "Frozen," which buzzed with impulse and featured a drum pad and synthesizer; still, she never seemed to get into it.
While the song played, Tristen danced: She would keep her feet planted, slightly bent at the knees, but without moving her legs, and then do the running man with the upper half of her body. She moved like an elderly boxer, all the while with an enormous grin on her face and singing to her touring guitarist, drummer and bassist. Her guitarist danced with her and their movements appeared romantically, not platonically inspired. When she did move the lower half of her body, it was in a series of off-kilter pirouettes. She turned on her heels 180 degrees while making a waltz motion in the shape of a circle. When she finished the song, she exclaimed, "Music is fun!"
Her three-song encore would end with "Doomsday." Having been alone for the first two songs, and after saying goodnight twice, she called her band up to the stage. The Firebird cut the overhead music. Tristen and company began "Doomsday" by playing the chorus to Young MC's "Bust a Move." Fun, indeed.


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This is a great go to fish recipe. I think it needs a bit more seasoning. Otherwise its healthy, easy, fast and delicious. Sea bass works wonderfully in this style of preparation. Delicious! Ive made this many times and it works every time. You can change up the veggies for different flavour but the bok choy and celery stay nice and crunchy.
Gulf Fish en Papillote
Photo: Randy Mayor; Styling: Cindy Barr
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Nutritional Information
Amount per serving
- Calories: 264
- Calories from fat: 26%
- Fat: 7.6g
- Saturated fat: 3.3g
- Monounsaturated fat: 1.7g
- Polyunsaturated fat: 1.6g
- Protein: 33.2g
- Carbohydrate: 15.4g
- Fiber: 3.8g
- Cholesterol: 80mg
- Iron: 1.2mg
- Sodium: 518mg
- Calcium: 77mg
- 1 cup matchstick-cut carrots
- 1 cup vertically sliced red onion
- 3/4 cup (2-inch) julienne-cut celery
- 1/2 cup red bell pepper strips
- 1 teaspoon chopped fresh chervil
- 1 teaspoon chopped fresh tarragon
- 1/4 teaspoon salt, divided
- 1/4 teaspoon freshly ground black pepper, divided
- 2 (6-ounce) white sea bass fillets
- 2 teaspoons butter, divided
- 1/4 cup dry white wine, divided
- Preheat oven to 350°.
- Combine first 6 ingredients, 1/8 teaspoon salt, and 1/8 teaspoon pepper in a medium bowl.
- Sprinkle fish evenly with remaining 1/8 teaspoon salt and 1/8 teaspoon pepper. Cut 2 (15-inch) squares of parchment paper. Fold each square in half, and open each. Place half of vegetable mixture near each fold. Top each serving with 1 fillet, 1 teaspoon butter, and 2 tablespoons wine. Fold paper; seal the edges with narrow folds. Place packets on a jelly-roll pan. Bake at 350° for 18 minutes or until parchment is puffy. Place on plates, and cut open. Serve immediately.
My Notes
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Gulf Fish en Papillote Recipe at a Glance
- COURSE: Main Dishes
- CONVENIENCE: Entertaining
- CUISINE: French
- MAIN INGREDIENT: Fish
- COOKING METHOD: Bake
- OCCASION: Autumn, Spring, Summer, Winter
- PUBLICATION: Cooking Light
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subset: commoncrawl


text:
I'm going to make this for my hubby as part of my Valentine's Day meal this year. He absolutely loves snicker bars and cheesecake!
Snickers Cheesecake
Photo: Kate Sears
This layered dessert recipe starts with an Oreo crust, then a layer of chopped Snickers, then cheesecake batter and, finally, caramel sauce and peanuts. Creamy, sweet, and with a crunchy crust, this cheesecake is a dream dessert.
Yield: Serves 10
Cost per Serving: $1.17
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Recipe Time
Prep Time:
Bake: 1 Hour, 5 Minutes
Nutritional Information
Amount per serving
- Calories: 576
- Fat: 40g
- Saturated fat: 21g
- Protein: 10g
- Carbohydrate: 48g
- Fiber: 1g
- Cholesterol: 152mg
- Sodium: 417mg
- Crust:
- 24 chocolate sandwich cookies (such as Oreos)
- 4 tablespoons unsalted butter, melted
- Filling:
- 3 8-oz. packages cream cheese, at room temperature
- 3/4 cup sugar
- 3 large eggs, at room temperature
- 2 teaspoons vanilla extract
- 1 teaspoon lemon juice
- 1 tablespoon cornstarch
- 3 regular-size Snickers bars, cut into 1/4-inch slices
- 1/4 cup caramel sauce, optional
- 1/4 cup chopped roasted and salted peanuts, optional
- 1. Make crust: Preheat oven to 350ºF. Mist a 9-inch springform pan with cooking spray. Wrap bottom and sides with 2 large foil pieces. Pulse cookies in a food processor until crushed. Pulse in butter. Press into an even layer in pan. Bake until firm, 8 to 10 minutes. Let cool.
- 2. Make filling: Place a roasting pan filled with 1 inch hot water on oven's center rack. Beat cream cheese until smooth. Add sugar; beat for 1 minute. Beat in eggs. Scrape down sides and bottom of bowl. Beat in vanilla, lemon juice and cornstarch.
- 3. Sprinkle Snickers over crust. Pour batter into pan; place in water bath. Bake until cake is set around edges but still jiggles in center, about 55 minutes.
- 4. Remove cake from roasting pan; remove foil. Place cake on a rack to cool. Cover and chill until firm, 4 hours or up to 1 day. When ready to serve, drizzle top with caramel sauce and top with chopped peanuts, if desired.
My Notes
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Snickers Cheesecake Recipe at a Glance
- COURSE: Desserts
- CONVENIENCE: Entertaining, Kid-Friendly, Make-Ahead
- MAIN INGREDIENT: Cheese
- COOKING METHOD: Bake, Food Processor
- PUBLICATION: All You
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This 3 day program is aimed at first year students who expressed an interest in starting off their first year with a focus on success, involvement and meeting people.
EMERGE is based off the Kouzes and Posner "Leadership Challenge." Participants will leave the seminar with an understanding of the 5 basic practices of quality leadership as well as an understanding of their current abilities in regard to each practice.
Want to get involved but not sure how or in what way? A consultation assists students increasing an involovment and success plan that includes activites and leadership positions.


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Forever a fav.
Crush - The Portfolio Theme
Crush is a first-class portfolio WordPress theme which presents your work in an appropriate and stylish manner.
Download the Crush portfolio WordPress theme for low budget on ThemeForest
More about the Crush portfolio WordPress theme on WE AND THE COLOR
Imagery from the intro to HBO's phenomenal new show True Detective.
The Work of Patrick Clair of Antibody
Ive blogged his work before, some of the best motion graphics I have seen. Very inspiring.
Ahoy - Playing Cards
A nautical themed deck of poker-cards, made with handcrafted stamps.
Follow asbradesignblog on Facebook
— Rust Cohle; True Detective.
Nooka, a New-York fashion brand has created an advertising campaign transforming the famous New York yellow cabs into a back to the future deloeran taxi. Designed by Michael J Lubrano
Kyunghwan Kwon, Concept Drawing, 2010


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Tagsalgorithmic penalties, Content optimization, directory submission, directory submission package, directory submissions, Directory Submission Service, Forums Posting Service, Free Search Engine Submission, Free SEO analysis, Free SEO report, Free Website Search Engine Submission, Google Algorithm Update, Google Disavow Tool, Google Guidelines, Google Latest Update, Google Panda Update, Google Panda Update March 2013, Google penalties, Google Penguine Update, Google Update Panda, Google Updates, keyword competition analysis, manual penalties, Matt Cutts, Matt Cutts video, Mobile Commerce, Mobile Searchers, mobile SEO, Pay after results, Penguin 2.0 Update, Performance based SEO, press release submission, Remove Unnatural Links, Search Engine Submission, SEO campaign, SEO Company, SEO Experts, SEO Mistakes, SEO services, SEO tips, Smartphones, top search engines, Web Directory submission, Website Search Engine Submission, White Hat SEO Services
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Category Archives: Social Bookmarking
Best Social Bookmarking with linkbullets!
Posted on January 25, 2011 by admin
Social bookmarking is the rage today. It is one of the easiest things to do and actually can be done by anyone. The only thing is the slightest of mistake in making a social bookmark can actually create more damage than any of the good that it could have done. The whole concept of social bookmarking is the ability to be able to keep a record of your favorite sites and bookmark them with a social bookmark site on the internet rather than bookmarking them on your computer. This way those sites are… Read More
Posted in Social Bookmarking | Leave a comment
Benefits Of Social Bookmarking!
Posted on January 20, 2011 by admin
Social Bookmarking is actually not a new concept and not a very difficult one to understand either. It is one of those things that people use and do and yet don't realize that they have participated in a seo process, which is one of the easiest ways, towards link building. If you think carefully, when you surf the internet and come across a very interesting website what do you do? You either copy the web address of the page and store it under your bookmarks folder or send… Read More
Posted in Social Bookmarking | Leave a comment
Benefits Of Social Bookmarking
Posted on November 24, 2010 by admin
Social bookmarking entered the online world few years back and bought with it a new concept of tagging. Earlier most of the internet users saved their favorite pages on web browsers but the primary limitation to it was: we can access that information from our browser only and if your computer is down due to some reason you lose your links. The concept was unique; we can save the favorite pages online and hence can access our links from anywhere. We can keep them public or private and even we can suggest them through mail to our friends and colleagues.
Posted in Social Bookmarking | Comments Off


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JR Dessert Bakery® Cinnamon Streusel Bundt Cake
Item # WX2-191899
- Google+
This item is shipped directly from the factory. To see the expected shipping date, please add to your Shopping Cart. Sorry, no express shipping available. We are unable to ship factory direct items to Alaska, Hawaii, Puerto Rico or APO or FPO addresses.
This item cannot ship to Canada.
This item cannot ship internationally.
- Details & Specs
JR Dessert Bakery® Cinnamon Streusel Bundt Cake. Handmade with the finest quality, 100% natural ingredients!
A great dessert leaves a lasting impression! Give the gift of a sweet treat folks'll remember well after the last bite! JR Dessert Bakery's Cinnamon Streusel Bundt Cake is a deliciously soft and buttery treat rippled and smothered in a cinnamon brown sugar and walnuts. Resistance is futile! 4 lbs. Serves 12.
- Reviews
Customer ReviewsNo reviews exist for this item....
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No display please help
Last response: in Graphics & Displays
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Deadline has reported that ABC Studios has given Joss Whedon the green light to start working on a pilot episode for S.H.I.E.L.D (Strategic Hazard Intervention Espionage Logistics Directorate), which he is to be co-writing and possibly directing.
You don't need to be an avid comic book reader to have heard of S.H.I.E.L.D, as the organisation has made appearances in movies such as Ironman and The Avengers (in which Samuel L. Jackson played Nick Fury, the director of S.H.I.E.L.D).
This news has me particularly excited, as Joss Whedon was the man behind some of the best television series to ever hit our screens (Firefly for example). I'm just glad Fox isn't involved.


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An excellent international resource for the laboratory equipment industry.
Asteroids, Meteorites Light Up the SkyStargazers can spot the two brightest objects in the asteroid belt this month and throughout autumn.Both Ceres and Vesta can be found near Jupiter, among the stars of the constellations Taurus and Gemini. People should look to the eastern sky in the late evening this month. You can't miss Jupiter. These two objects shine at a magnitude of 7 and 8, making them challenging but rewarding objects to find in a telescope.Read more: http://www.laboratoryequipment.com/videos/2012/10/asteroids-meteorites-light-sky
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> return to the clayton county library system home page
Summer Reading Program!
"There's too much sky, and the farther out of London we go, the more of it there is."
what is this from?
want to see more great first lines?
> tcc home > jobs / college
This page has moved!


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Remember the IBLCE Exam application deadline for 2015 is March 2, 2015! You need to plan early to get your application in on time!
Prepare for your IBCLC career with our 90-CERPs All-Inclusive Format. This format is ideal for first-time IBLCE candidates, especially those without a healthcare background. It provides comprehensive coverage of breastfeeding management, and whether you are using Pathway 1 or Pathway 3, all of the credits required to sit for the IBLCE exam.
Locations for 2014/2015 - Registration NOW OPEN!!
Get $100 off the regular price by registering before the early-bird deadline. Need to make payments? Call us to get on our flexible payment plan - 703-787-9894.
|Early-bird Deadline
|Sept 29 - Oct 2, 2014
|Sept 15, 2014
|Nov 3-6, 2014
|Oct 6, 2014
|Nov 17-20, 2014
|Oct 20, 2014
|Jan 12-15, 2015
|Dec 25, 2014
|Feb 23-26, 2015
|Jan 26, 2015
|Mar 23-26, 2015*
|Feb 23, 2015
|May 18-21, 2015*
|April 20, 2015
Don't miss any important dates and deadlines! Get What You Need When You Need It!
Pathway 1 Mother Support Counselors - Check out our Health Sciences Continuing Education Package
Register now and tell your friends that Marie's new 4-day course offers these benefits:
- 90 hours of lactation-specific education that cover all 13 disciplines and 12 chronological areas of the IBLCE exam blueprint
- Combination of 4-day in-person seminar with flexible online study using a series of webcasts and a course study guide
- Convenient payment plans available (call for details)
- Scholarships - The 2014/2015 Felix Biancuzzo Memorial Scholarship application deadline is July 31, 2014.
- Your satisfaction is guaranteed! (See Guarantee below)
The Comprehensive Lactation Course covers the following topics as they relate to breastfeeding and lactation:
|Analgesia & Anesthesia
|Anatomy & Physiology
|Autoimmune Conditions
|Basics of Lactational Pharmacokinetics
|Biochemistry of Human Milk
|Breast Pumps & Pumping
|Breastfeeding the Older Baby
|Breastfeeding Twins & Multiples
|Cleft Lip & Palate
|Common Concerns in the First Month
|Common Concerns Beyond the First Month
|Contraindications to Breastfeeding
|Counseling and the Feeding Decision
|Defense Mechanisms and Human Milk
|Developmental Milestones
|Down Syndrome
|Environmental Toxins
|Factors Influencing Success
|Feeding Cues, Behaviors and Reflexes
|Ethical Considerations
|HIV and Breastfeeding
|Hormones of Lactation
|Growth, Weight Gain and Weight Loss
|Hypoglycemia & Hypothermia
|Impact of Maternal Intake on Milk
|Induced Lactation & Relactation
|Infant Formula Risks
|Infant Nutritional Needs
|Infections & Diseases
|Insufficient Milk Supply
|Jaundice & Dehydration
|Lactation Suppressants
|Latch & Positioning
|Legal Considerations
|Milk Banking
|Nicotine, Alcohol, Illicit Drugs
|Nipple and Breast Trauma
|Nutritional Needs of Mother, Fetus, Infant
|Nutritional Deficiencies
|Postpartum Depression
|Premature & Sick Infants
|Professional Development
|Psychology, Anthropology & Sociology
|Research Study Interpretation
|Sexuality, Contraceptives, Fertility & Amenorrhea
|Shells, Shields, & Other Devices
|Ten Steps to Successful Breastfeeding
There is approximately 60 hours of homework to complete prior to the course. Upon registration, you will receive an e-mail from us with instructions for completing the homework. Most work is done online on our website.
Fees and Credits
The course is approved for 90.0 L-CERPs for lactation consultants (IBLCE), 90.0 contact hours for nurses (ANCC), and 27.5 CPEs at Level II for dieticians (CDR).
Sale! Through July31, 2014: $899
Early-bird registration fee: $999
Regular registration fee: $1099
Use our flexible payment plan! Register for just $100 down and get started on your homework immediately! Call us at 703-787-9894 to get started.
We know your time is important, too. By the end of the first day, if you are not completely satisfied, just let us know before you leave and we'll refund your registration fee. Attendees must sign a written request for the refund and return all course materials before 5 PM of the first day of instruction.
Only written cancellations received prior to the cancellation deadline (see brochure) are eligible for a refund; no refunds can be issued after that date. All refunds are subject to a $100 administrative fee and will be issued within 30 days of the receipt of written cancellation. Substitutions are allowed, but please notify our Registrar at 703-787-9894 as soon as possible. In the unlikely event that a program is canceled, Breastfeeding Outlook will refund the registration fee in full, but is not responsible for any travel, hotel, or other costs you may incur..
Listen to what people are saying about Marie's live courses:


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Obesity, Smoking Linked to Teen Migraines Study Shows Lack of Exercise Also May Also Increase Chances of Migraines in Teenagers WebMD Health News By Salynn Boyles Reviewed by Laura J....
Click here to read the full story.
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Nishiki Floor Air PumpItem Number: 11279144
Price: $19.99
Free Shipping Eligible on Qualifying Purchases Over $49! Up to $15 Shipping Credit. (See Promotion Details)
Product Information
Customer Reviews
Buying Guide
Quickly and easily inflate your athletic balls or tires with the Nishiki Floor Air Pump. The durable steel chamber pumps air through the dual head that fits Schrader and Presta valves. Be sure you inflate to the correct pressure using the easy to read 160 PSI gauge.
- Durable steel chamber
- Dual Schrader and Presta valve head
- Easy to read 160 PSI gauge
- External ball needle
- Cone storage
- Nishiki
Country of Origin: Imported
Customer Reviews
Rated 2.2 out of 5�by 53 reviewers.
Rated 3 out of 5�by Rani I would buy this product again I use this to fill up my bike tires with air. October 18, 2012
Rated 5 out of 5�by Ride for Fun Nice Air Pump Easy to use and carry while traveling. Children Friendly. My 6 year old uses it regularly. October 17, 2012
Rated 1 out of 5�by Realtor Too Hard To Use As a 5'9 gal, athlete, this is just too difficult to use. I can't even put all my weight into it and get the right pressure in my tires. Would suggest something else. October 17, 2012
Rated 3 out of 5�by Tom Air pump for bike put air in bike tires October 17, 2012
Rated 4 out of 5�by Nancy Quality for Low Cost Easy to use and lightweight October 16, 2012
Rated 3 out of 5�by A heartbeat away WORKS WELL BUT First time using it one of the feet snapped off. Make sure you are using on an absolutely flat surface. Make sure that you are lifting the handle exactly straight up and pushing it straight down or you will snap the feet right off. October 16, 2012
Rated 5 out of 5�by Boo Cheap and effective. Just like any other pump. Gauge is accurate and pumping my tires is a breeze. October 16, 2012
Rated 1 out of 5�by TX Rider Bad pump. Broke after about 10 uses The locking handle snapped off. The hinge for the locking handle in in weak plastic. September 21, 2012
Rated 1 out of 5�by Edward Broke after 10 uses The air/valve head on this model is made of plastic. My pump broke at the pivot for the valve handle. My cheep pump last over 2 years. September 18, 2012
Rated 4 out of 5�by Julio Works Like it should When using this product, it did what it was suppose to do. It put air in my bike tires! Would recommend. September 11, 2012


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MAC Wipes Reviews
Only Downfall is the PriceThese are the best makeup removing wipes I have ever used! My has never felt as clean as after I use these and then wash my face! I just wish they would cost less. — 3 years, 4 months agokaitlyn_mary_bigleywillametz | 18 reviews
Wipes me Clean!I love these wipes! Ever since I tried them out I decided to put the extra $ to continue buying these wipes. Thankfully I did not have to put the extra $ for long since I received my Pro Discount. Nevertheless, it is a good item, it is tough on the makeup but gentle on the skin and it does not leave my face feeling oily or soap-y. I carry these on my kit all of the time and people tend to grow...read more fond of these wipes, some of my usuals will even notice if I ran out and I am using other wipes lol. I do recommend, again it depends on your budget, but when it comes to makeup removal, I think it is worth it! — 3 years, 5 months agoClauE | 10 reviews
They work wellObviously they work, it's MAC. But definately not worth the money. — 3 years, 6 months agorachr195 | 16 reviews
Not worth itUse it up quickly because it dries up really fast and I think this has to do with the packaging. Expensive for daily use and there are lower end products which basically do the same thing. — 4 years, 2 months agowhite_orchid | 2 reviews
This review is: Helpful | Not helpful | Inappropriate | 1 of 1 people said helpful
Awesome productIf you have dry skin like I do you will love these wipes. They will not only remove your makeup they also leave your skin moisturized. — 4 years, 4 months agosonia1 | 1 reviews
This review is: Helpful | Not helpful | Inappropriate | 3 of 3 people said helpful
Works great, but a bit pricey.I have to say, these really are incredible! They work very well. However, they are a bit too expensive for me. But if you can afford them, they are worth the money! Using one will take off all of your make up including mascara, and your skin feels fresh and clean! — 4 years, 7 months agoHealthNut83 | 9 reviews
This review is: Helpful | Not helpful | Inappropriate | 1 of 1 people said helpful
like itthis wipes really take your makeup off. i didnt even have to tug at my eyes to get my mascarra off. little pricey though. would buy again — 4 years, 10 months agorenee22 | 127 reviews
Must Have!!! Better than drugstore makeup wipes!I always keep these in my makeup kit! They are great for lazy days when you are just super tired and don't feel like doing the whole face washing regime. One wipe is enough for the entire face, and it will remove all waterproof eye makeup and face makeup. The only thing it is not great for is long lasting lipsticks, because those need an oil based makeup remover in order to come off, and these wip...read morees are not oily. The wipes leave your skin clean and fresh. I even use them if I am doing makeup and need to clean a makeup brush so I can use it for another color, if I don't have enough time to wash and dry the brush. Simply swipe the brush against the wipe and voila...the color will come right off! — 4 years, 10 months agokajalcouture | 33 reviews
For face makeup ok but no good for eye makeup,...Not worth the moneyI love all things MAC but hadn't tried these yet. My face didn't feel clean afterwards and when I tried to take my eye makeup off the solution got in my eye. It made my eye red from all the rubbing to get the makeup off as well as the solution irriated my eyes and left a film... I still had to wash my face with my normal face wash so it took me longer I tried them for about a week and then returned them. — 5 years, 5 months agomakeupbymingles | 6 reviews
Great stuffPerfect for a late night where you don't want to wash your face. This is perfect for removing stubborn or waterproof makeup. Its also great for cleaning makeup brushes. — 5 years, 5 months agoMoosebaby | 35 reviews
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Celebrate Sisterhood during National Women's History Month
Written on March 18, 2014 at 3:55 pm , by Molly Ritterbeck
March marks National Women's History month, the perfect time to celebrate the strides we've made and get motivated to help women around the globe. Beauty companies are pitching in with products that empower women. Here, a few of our faves.
Bobbi Brown Pretty Powerful Mascara to benefit The Pretty Powerful Campaign for Women & Girls
Launched last year, the Pretty Powerful Campaign is a global initiative that celebrates the evolution of the brand's message from confidence through makeup and empowering women and girls through education. It aims to help women by supporting educational or job skills' training programs that provide them with the knowledge, skills and experience they need to overcome the inequities and disadvantages that far too many of them face every day. The Pretty Powerful Mascara ($25, bobbibroncosmetics.com) is an all-in-one formula that lengthens, thickens and defines without clumps or smearing throughout the day. It is available now and all proceeds in the U.S. benefit the Girl Rising Fund, a 501c3 fund operated by Tides Foundation, which drives resources to effective girl-empowerment programs in the developing world. If you'd like to find out more, check out the trailer to the inspiring documentary Girl Rising below:
Laura Mercier Bonne Mine Healthy Glow For Face & Cheeks Crème Colour Palette to benefit the Laura Mercier Ovarian Cancer Fund
Claudia Poccia, President and CEO of Gurwitch Products, the manufacturer and distributor of Laura Mercier cosmetics, and Laura Mercier, founder of the Laura Mercier cosmetics brand established the Laura Mercier Ovarian Cancer Fund in September 2012. Both Poccia and Mercier have loved ones who were affected by ovarian cancer, which is the fifth leading cause of cancer death among American women according to the American Cancer Society. The mission is to raise awareness, fund research and educational efforts that will help diagnose, treat and support women with ovarian cancer to prevent more women from dying from the disease. The Bonne Mine Palette ($48, lauramercier.com) is a must-have for any makeup bag. Featuring a cream bronzer, two cream blushes and two highlighters, it's the perfect product to create that "no makeup" glow that looks soft and natural. 100% of the profits from sales are donated to the Laura Mercier Ovarian Cancer Fund.
Yes To Carrots Yes to Movement Project to benefit You!
The Yes to Carrots brand is making March all about you! In honor of National Women's History month, they've launched the Yes to Movement, a year-long project aimed at encouraging everyone to spread the power of positivity by saying "yes" to something for yourself, your loved ones or for your community. Their goal is to get fans to share one million Yes Moments with the hashtags #YESTOMOVEMENT and #YESWOMEN. Simply snap a selfie on Twitter or Instagram to inspire, empower and get each other to say "yes" more by saying "yes" to yourself first. They'll choose one lucky lady and help her overcome her fear of saying "yes." She'll receive the resources (and all our support) to empower her to face it head on.
Let's hear it for the girls!
Categories: Beauty On the Go | Tags: Beauty, Bobbi Brown, charity, Girls, good cause, Laura Mercier, National Women's History Month, women, Yes To
No Comments
Favorite Find Friday: Laura Mercier Stickgloss Lipcolor in Brown Sugar
Written on February 1, 2013 at 3:17 pm , by Fitness Magazine
I love a good nude lip so I was thrilled to discover Laura Mercier Stickgloss Lip Color ($22, lauramercier.com). It's the perfect combo of a lipgloss and lipstick in one. My favorite shade is Brown Sugar: a subtle neutral color with a hint of pink shimmer. The formula glides on smoothly and the creamy texture hydrates my lips. I wear it every day—it complements any makeup look.
—Jessica Carter, beauty intern
Categories: Beauty On the Go, Favorite Find Friday | Tags: Laura Mercier, lip stick, Lipstick, nude lips
1 Comment
Makeover Monday: Spring In Your Step!
Written on March 21, 2011 at 3:04 pm , by Fitness Magazine
In the spirit of the much-anticipated spring season, I've gathered a few beauty favorites for sunshine-filled days:
FINGERS: Essie French Affair Collection Nail Polish in Nice is Nice, a whimsical, of-the-moment lilac with a flattering creamy finish.
CHEEKS: Urban Decay Afterglow Glide on Cheek Tint in Crush leaves behind a luminous, spring-y flush that brightens any complexion.
FACE: Laura Mercier Tinted Moisturizer, a classic that feels light on skin and lends a dewy look.
BODY: Jennifer Aniston Eau de Parfum, a delightfully fresh, light splash of a fragrance with hints of lily and jasmine.
What are your beauty must-haves for spring?
—By Maite Gonzalez, beauty intern
Categories: Beauty On the Go, Makeover Monday | Tags: awake, blush, dewy, essie, fragrance, fresh, glowing skin, Jennifer Aniston, Laura Mercier, spring, tinted moisturizer, Urban Decay, youthful
No Comments
Tried-It Tuesday: Prime Time
Written on March 8, 2011 at 7:27 am , by Fitness Magazine
Makeup primers may seem like just another tiresome step in your primping routine, but the skin-perfecting and makeup-maintaining benefits make them worthwhile for many. Here's our—well, primer—on primers:
- Face: Using a foundation primer like the Laura Mercier Foundation Primer as the last step in your routine before makeup acts like an undetectable spackle, filling in any crevices or imperfections so makeup goes on smoothly. Face primer also helps makeup stay on for as long as possible. There are versions of foundation primer that also treat and/or mask specific skin issues like acne, redness and dullness.
- Eyes: Using an eye primer, such as Urban Decay Eyeshadow Primer Potion, before applying your favorite shadow or liner will provide you with an even, neutral canvas so the color goes on true, and prevents pigments from disappearing, migrating or creasing.
Are makeup primers part of your routine? If so, what are your must-haves?
—By Maite Gonzalez, beauty intern
Categories: Beauty On the Go, Makeup Musts, Tried-It Tuesday | Tags: base, creasing, eye shadow, Face, Laura Mercier, long wear, makeup, primer, primers, Urban Decay
No Comments
Behind-the-Scenes Beauty
Written on August 6, 2010 at 8:36 am , by Fitness Magazine
From delivering racks of workout clothes to interviewing experts, the Fitness interns know how to work up a sweat in the city! They shared their favorite beauty products for girls on the go!
Get the look:
Urban Decay 24/7 Glide-On Eye Pencil
Laura Mercier Foundation Powder
John Frieda Frizz-Ease Secret Weapon Flawless Finishing Crème
Oscar Blandi Pronto Invisible Volumizing Dry Shampoo Spray
–Catherine Q. O'Neill, beauty intern
Categories: Beauty On the Go | Tags: Beauty, Cleansing, Dry Shampoo, Eye Pencil, Face, Facial, Fitness, Fitness Magazine, Frizz, Frizz-Ease, hair, intern, John Frieda, Laura Mercier, Lipstick, MAC, makeup, Olay, Oscar Blandi, Shampoo, Urban Decay, Volumizing
No Comments


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25 U.S. Code § 788e - Disposition of judgment funds
(a) Preparation of Indian roll; eligibility
The Secretary of the Interior shall prepare a roll of the Creek Indians who meet the following requirements:
(2) their names or the names of lineal ancestors through whom eligibility is claimed appear on either the 1857 or 1859 payment roll prepared pursuant to Article VI of the Treaty of August 7, 1856 (11 Stat. 699), or on the Final Roll of Creeks by Blood closed as of March 4, 1907, pursuant to statute.
(b) Applications for enrollment
Applications for enrollment shall be filed with the Area Director, Bureau of Indian Affairs, Muskogee, Oklahoma, in the manner, within the time limit, and on the form prescribed for that purpose. The determination of the Secretary of the eligibility for enrollment of an applicant shall be final.
Source(Pub. L. 90–506, § 1,Sept. 21, 1968, 82 Stat. 859.)
The table below lists the classification updates, since Jan. 3, 2012, for this section. Updates to a broader range of sections may be found at the update page for containing chapter, title, etc.
The most recent Classification Table update that we have noticed was Tuesday, August 13, 2013
An empty table indicates that we see no relevant changes listed in the classification tables. If you suspect that our system may be missing something, please double-check with the Office of the Law Revision Counsel.
|Description of Change
|Session Year
|Public Law
|Statutes at Large
LII has no control over and does not endorse any external Internet site that contains links to or references LII.


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Find the right product for your application with these fast, easy online tools.
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Wednesday, November 10, 2010
Black Box Corporation to Host Investor and Financial Analyst Day
PITTSBURGH, PENNSYLVANIA, November 10, 2010 -- Black Box Corporation (NASDAQ:BBOX) today announced that it has scheduled an Investor and Financial Analyst Day at the company headquarters in Pittsburgh on December 10, 2010. This event will be hosted by Terry Blakemore, Black Box's President and CEO and include presentations by members of the Black Box management team. The agenda will include discussion of the company's offerings, markets, growth strategies and financial model followed by a question and answer session. Presentations are scheduled to begin at 10:00 a.m. EST and conclude at 12:00p.m EST.
Advance registration is required to attend the event in person. Please visit http://www.blackbox.com/go/investorday2010 to register. Any inquiries regarding the event may be directed to Investor Relations at 724-873-6788 or email email@example.com.
A live webcast of the presentation will be available on the Investor Relations section of the company's website at www.blackbox.com. In addition, the webcast will be archived and available on the company's website.
Black Box is a leading technical services company dedicated to designing, building and maintaining today's complicated data and voice infrastructure systems. Black Box services more than 175,000 clients in 141 countries with 195 offices throughout the world. To learn more, visit the Black Box Web site at http://www.blackbox.com.
Black Box® and the Double Diamond logo are registered trademarks of BB Technologies, Inc.
Contact: Black Box Corporation
Gary Doyle
Director – Investor Relations
Phone: 724-873-6788
E-mail: email@example.com
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text:
German tuner, DMC, doesn't get nearly the same amount of credit as its German contemporaries in the tuning world, partly because these guys have been under-the-radar compared to their brethren. All that, however, is about to change with the launch of a pair of limited edition Lamborghini Gallardo GT3 s. The two versions, an LP540 and an LP560, were each given their own aerodynamic and performance upgrades as a tribute to Fabio Babini and Matteo Zucchi's win at the recently concluded Blancpain Super Trofeo in Silverstone just a few days ago on June 5, 2011.
Each of the Gallardo GT3s was given significant aerodynamic changes made of carbon fiber, including a new GT3 front apron, a new carbon spoiler, wide fenders, widened carbon fiber side skirts, a new rear fascia, a new bumper, a new diffuser, a redesigned rear wing that comes in a choice of either carbon fiber or fiber glass, and a set of 20" diamond forged wheels. Inside, there's plenty more carbon fiber to go around, including on the seats, the steering wheel, and the door openers.
As for performance, the Gallardo LP560 Generazioni GT3 had its ECU remapped, bumping up the power from 560 horsepower to 580 horsepower with a maximum torque of 242 lb/ft.
All in all, the Gallardo LP560 Generazioni GT3 is about as good a tuning work as can be done for the racer given the time constraints.


text:
A portable fiber optic detector that senses the presence of specific target chemicals by electrostatically attracting the target chemical to an aromatic compound coating on an optical fiber. Attaching the target chemical to the coated fiber reduces the fluorescence so that a photon sensing detector records the reduced light level and activates an appropriate alarm or indicator.
1. A fiber optic detector apparatus for use in detecting explosive molecular compounds in air, comprising:
a. a chamber operably connected to a photon sensing device;
b. a clear tube within the chamber having an entry aperture and an exit aperture;
c. an optical fiber within said clear tube, at least a portion of said optical fiber at a distal end having affixed thereto a stable coating of a fluorescent polycyclic aromatic compound, said coating comprising: a polymer, a hydrocarbon solvent, and a fluorescing polycyclic aromatic hydrocarbon formulated to interact with the explosive molecular compounds;
d. air evacuation means connected to the exit aperture;
e. a filtered light source directing light into the optical fiber; and
f. an electronic package connected to the photon sensing device comprising power supply and alarm means, such that a change in fluorescent intensity at the optical fiber coating can be detected by the photon sensing device and the alarm means can be activated.
2. The apparatus as recited in claim 1, wherein the photon sensing device comprises a detector photodiode and a band pass filter and the distal tip has a length of about 2 cm.
3. The apparatus as recited in claim 1, wherein the chamber is a sphere having a reflective inner surface.
4. The apparatus as recited in claim 1, wherein said stable coating comprises a mixture of perylene, squalane, and polyethylene.
5. The apparatus as recited in claim 1, wherein the hydrocarbon solvent is selected from the group consisting of octane, hexadecane, dodecane, triacontane, and squalane.
6. The apparatus as recited in claim 1, wherein the polymer is selected from the group consisting of polyethylene, polymethylpentene, polyethylene oxide, polypropylene, polyisoprene, and polybutadiene.
7. The apparatus as recited in claim 1, wherein the flourescing polycyclic aromatic hydrocarbon is perylene.
8. A fiber optic detector apparatus for use in detecting explosive compounds in air, comprising:
a. A chamber operably connected to a photon sensing device;
b. A clear tube within the chamber having an entry aperture and an exit aperture;
c. An optical fiber within said clear tube having a stable coating of a fluorescent polycyclic aromatic compound adhered thereto, said coating being formed of a solution of perylene, a saturated organic polymer and a saturated solvent, such that a change in fluorescence of said optical fiber is produced when in contact with the explosive compounds;
d. Vacuum means connected to the exit aperture;
e. a filtered light source directing light into the optical fiber, said filtered light source comprising a krypton lamp, a first lens adjacent the lamp, a band pass filter adjacent the first lens, a second lens adjacent the filter, and a fiber optic beam splitter adjacent the filter; and
f. an electronic package connected to the photon sensing device comprising power supply and alarm means, such that a change in fluorescence of said optical fiber can be detected by the photon sensing device and the alarm means can be activated.
9. The apparatus as recited in claim 8, wherein the photon sensing device comprises a detector photodiode and a band pass filter.
10. The apparatus as recited in claim 8, wherein the chamber is a sphere having a reflective inner surface.
11. The apparatus as recited in claim 8, wherein the fluorescent compound is selected to interact with explosive compounds selected from the group consisting of TNT and mixtures containing TNT.
12. A method of detecting explosive vapors in air, comprising:
a. providing an air passageway through a detection chamber;
b. inserting a chemical sensor optical fiber into the detection chamber, said optical fiber having a chemical coating comprising a combination of perylene, polyethylene, and squalane,
c. exposing the chemical sensor optical fiber to an air sample containing the explosive vapors;
d. measuring the fluorescent intensity of the chemical sensor optical fiber; and
e. comparing the measured fluorescent intensity with a reference level and activating an alarm means if the level of fluorescent intensity decreases below a preset limit as a result of interaction of the explosive vapors with the chemical sensor optical fiber coating;
f. comparing the measured level of fluorescence with a reference level and setting off alarm means if the level of fluorescence decreases below a preset limit as a result of attachment of a target chemical to the optical fiber coating.
The U.S. Government has rights in this invention pursuant to Contract No. DE-AC07-76IDO1570 between the U.S. Department of Energy and EG&G Idaho, Inc.
This application is a continuation-in-part of application Ser. No. 07/564,239 filed Aug. 8, 1990, and titled "DETECTION DEVICE FOR HIGH EXPLOSIVES" by Grey, et al., now abandoned.
This invention relates to a compact and portable detection device for nitrogen base explosive chemical compounds, such as TNT. The portable device can be conveniently carried by an individual, is extremely sensitive to the class of compounds being detected, and is minimally affected by potential interfering substances.
The device of the present invention is based upon the use of fiber optic spectroscopy. Sensors to detect light emitted from an optical fiber can be constructed that are sensitive, compact, readily portable, and require a minimum of training for their use. The preferred process of the invention relies upon a chemical system, and optical and electronic components to monitor a decrease in fluorescence when a subject molecule (such as TNT) interacts with fluorescent polycyclic aromatic
Fluorescence is a process by which an atom or molecule emits radiation as a result of the absorption of radiation from another source. In most cases, the transmitted longer wavelength than the absorbed radiation. In the case of most organic molecules, both the absorption and emission radiation wavelengths are in the ultra-violet to visible regions of the spectrum. A variety of materials exhibit fluorescent properties. Some examples of these include fluorescent crystals such as zinc or cadmium sulfide are used in lamp tubes, television screens, scintillation counters, and similar devices. Fluorescent dyes are used for labeling molecules in biochemical research.
Current explosive detection methods utilize neutron beams and energy detection to characterize the organic compounds under surveillance. U.S. Pat. No. 4,882,121, issued Nov. 21, 1989, discloses a neutron generator for supplying neutrons to an object which may to contain an explosive, and a germanium detector and analysis means coupled to the detector which is able to analyze the fast gamma photons emitted by the object and trapped by the detector. The system then determines the nitrogen/oxygen ratio in the object, so that this ratio can be compared with that of the explosive and establish whether the object contains the explosive. A second patent, U.S. Pat. No. 3,997,787, issued Dec. 14, 1976, discloses an apparatus and method for detecting the presence of nitrogen and oxygen-containing explosives within a container by irradiating the container with thermal and high-energy neutrons, and then measuring the quantity of thermal energy neutrons passing through the container and the quantity of radioactive nitrogen 16 generated within the container. The measurements of neutron absorption and nitrogen 16 are correlated to provide an output signal indicative of whether the material within the container is an explosive. A third patent, U.S. Pat. No. 3,146,349, issued Aug. 25, 1964, discloses a method for detecting explosives in luggage in which the explosives have been seeded with a high cross-section neutron absorber by placing a low level thermal neutron source along one side of the luggage. The source having a sufficiently low flux density as to be non-destructive to the contents of ordinary luggage including photographic film, irradiates the luggage with thermal neutrons. By placing a gamma ray detector on the other side of the luggage and comparing the amount of gamma rays emitted directly by the absorber with background gamma rays, it provides an indication of the presence of an explosive.
Although the above devices may be effective, they are too massive, non-portable, and, because of the neutron and gamma radiation, cannot be used near humans without effective shielding, i.e., lead, water or polyethylene.
Dogs can also be trained to sniff out explosives, but the drawbacks are that they require a trainer/handler and have a limited attention span.
The present invention provides a simpler, less expensive, portable device that can be used virtually anywhere including close proximity to humans.
In its most basic embodiment, the present invention functions by affixing a fluorescent PAH compound at the distal end of an optical fiber or waveguide. When the distal end is exposed to an air sample, a decrease in fluorescence intensity indicates the presence of the explosive compounds in the air sample.
The concept takes advantage of the interaction of high explosives with PAH's. A consequence of this interaction is a change of the fluorescent behavior of the PAH resulting in a decrease, or quenching, of the fluorescent intensity. Thus, sensing of a high explosive is achieved by affixing a PAH to the distal end of the optical fiber, exciting the PAH by means of radiation guided by the optical fiber, and transporting the high explosive vapors over the distal end of the fiber. As a result of the interaction of the high explosive with the PAH, the fluorescent intensity of the PAH is reduced. The fluorescent intensity is monitored by a spectrometer.
The distal end of the fiber is pretreated by removing both the outer, protective jacket and the cladding leaving the core; henceforth, this pretreatment shall be referred to as unjacketing the fiber. As a result of this pretreatment, only the core of the optical fiber is utilized as part of the chemical sensor (also referred to as the distal end). The preferred optical fibers utilized by the invention are multi-mode with 200 micrometers to 1 millimeter diameters.
The fluorescent spectra has been deermined for a series of polynuclear aromatic compounds to determine which compound produces the most resolved spectrum. Among others, fluorescent spectrum has been determined for pyrene, anthracene phenanthrene, and perylene. Perylene is preferred for several reasons: the excitation wavelength is 411 nanometer (nm) and there are a well resolved fluorescent peaks at approximately 445 nm and 470 nm. This excitation wavelength being in the visual range simplifies the light source requirements.
The chemical structure of Perylene is shown below. ##STR1##
Although PAH's have relatively low vapor pressures, it is still necessary to stabilize the fluorescent molecules on the optical fibers through chemical attachment (i.e., covalent or ionic bonding of a derivatized PAH, encapsulation or entrapment of a PAH). For example, perylene can be chemically attached to the optical fiber by silanating the fiber with 3-aminopropyl trimethoxysilane, and sulfonating the Perylene to obtain either the mono- or di-sulfonate derivative. The sulfonated derivative will then react with the terminal amine group on the silanated fiber and be chemically attached. These reactions are as follows: ##STR2## Where R is the polynuclear aromatic compound.
In a preferred optical fiber coating system, there are three components: a (PAH); a hydrocarbon solvent; and a polymer, hereafter referred to as the PAH coating. It is believed that both the selection of polymer and hydrocarbon solvent (e.g., octane, hexadecane, dodecane, triacontane, and qualane) components and their combinations are critical in the formation of stable coatings of encapsulated PAH compounds.
To date, primarily perylene/hydrocarbon solvent/polymer fiber coatings have been investigated. This work involves the preparation and fluorescence quenching testing of optical fiber coatings (encapsulating matrices for perylene) prepared from combinations of a variety of polymers and solvents. The polymers investigated are listed in the groups below:
______________________________________BEST UTILITY LESSER UTILITY NO UTILITY______________________________________Polyethylene Polyethylene oxide PolystyrenePolymethylpentene Polypropylene Polycarbonate Polyisoprene bisphenol A Polybutadiene Polyvinyl chloride Polyacrylic acid______________________________________
The solvents investigated listed in order of decreasing utility are: the linear and branched hydrocarbons, aromatic hydrocarbons, and ethers. The preferred encapsulated PAH coating consists of a combination of perylene, squalane (C30 H62) and polyethylene.
A preferred method of affixing the PAH, in general, to the optical fiber is to add a PAH to a linear or branched chain saturated or unsaturated polymer, such as polyethylene, polypropylene, polybutadiene, or polymethylpentene, that has been dissolved in a high boiling solvent, such as octane, dodecane, hexadecane, squalane, or triacontane. Dipping the fiber into this heated or gelled solution produces a thin, stable polymer coating containing the PAH.
The concentration of the PAH compound on the optical fiber is critical. If the concentration is too high, agglomeration of the molecules occurs and the fluorescent spectrum exhibits broadened peaks. In addition, the high intensity fluorescence saturates the detector which inhibits observing any spectral changes. If the PAH concentration is too low, the fluorescent intensity is week and the signal-to-noise ratio limits detection. As a result, any small incremental change due to quenching would also be too small. The optimum concentration has been experimentally determined.
The apparatus, as currently configured, can detect TNT at a calculated concentration of less than 5 parts per billion (ppb). The concentration of TNT vapor in air was calculated using the work of Dionne, et al., who used an Arrhenius plot with the Clausius-Clapeyron equation to calculate the TNT vapor pressure. The system can readily detect TNT in the pure form and when present in explosive mixtures. Two mixtures were tested: Petalite, which is a mixture of pentaerythritol tetranitrate (PETN) and trinitrotoluene (TNT), and Compound B, which is a mixture of cyclonite (RDX) and TNT.
Explosive mixtures can be made in the form of plastic explosives, which are made of an explosive chemical usually bound in a polymer matrix. Their main advantage is that they can be molded or cast into any desired shape or size. The explosive chemical is typically RDX, HMX, or PETN. The chemical structures of RDX, TNT, HMX, and PETN are shown below. ##STR3##
The vapor pressures at ambient temperatures of the above explosive mixtures are estimated as follows: ##STR4## Therefore, with the exception of HMX, the vapor concentration would be in the parts per trillion (ppt) range. Such concentrations are below the reliable detection limit of most analytical instrumentation. In the process of the present invention, this is overcome by installing a vacuum system to draw a large volume of air over the optical fiber and accumulate analytes to be detected. The optical fiber, in turn, acts as a concentrator, in the same manner as glass tubing or a filter. This technique brings the explosive vapor concentration into the detection range of the inventive apparatus.
Although, as stated above, the present apparatus detected explosives in concentrations of approximately 5 ppb, it is estimated that two orders of magnitude improvement are possible which would lower the detection range to 50 parts per trillion (ppt). This improvement can be accomplished by optimizing:
1. geometry of detector fiber to air flow profile;
2. the detector fiber coating component concentrations
3. the air flow rates;
4. the geometry of the detector and integrating sphere containing the detector; and
5. detector fiber surface area.
In order to detect the attachment of the explosive molecule to the polynuclear compound., optical and electrical components are used to detect a decrease in fluorescence. The balance of the optical fiber is used as a light pipe to transmit light, filtered to the excitation wavelength, to the distal end where the PAH compound is attached. In practice, the fluorescing PAH coated fiber is exposed to an airborne sample containing the explosive to be detected. If the explosive is present, the airborne explosive molecules interact with the fiber, resulting in a decrease in the fluorescent signal. The extent of the decrease is proportional to the concentration of explosive molecules in the surrounding environment.
FIG. 1 is a top view schematic representation of a modified fluorimeter useful in the present invention;
FIG. 2 is a schematic detail of the sensor portion of the fluorometer;
FIG. 3 is a graph of fluorescent intensity of Perylene versus exposure time;
FIG. 4 is a schematic view of the apparatus of the present invention; and
FIG. 5 is a schematic section view of the sensor head.
The process of the present invention has been confirmed using both a Perkin-Elmer Model 512 Fluorometer and a Photon Technology International (PTI) Alphascan Fluorometer. In FIG. 1, modifications of the Perkin-Elmer instrument for investigation of the chemical sensor optical fibers are shown. (Similar modifications were also employed in the PTI instrument). The fluorometer 10 can be modified with means 12 to position the optical fiber 18 in front of a focusing lens 14 to focus the input beam 16 through fiber 18. The fiber 18 provides the optical path to transmit the light to an end of the fiber coated with a stable coating containing a PAH. A chamber 20 positions the coated end of the fiber 18 in front of the detector as described below. At least two ports are machined into the holder 20 on either side of the optical fiber 18. A first port 23 is affixed through conduit 22 to a vacuum pump 24 to pull sample air over the fiber. A second port 26 permits the sample air containing explosive molecules 28 to enter the chamber 20 as at 30 and contact the Perylene-coated fiber.
Airborne explosive compound molecules 28 pass over the coated exposed tip of fiber 18 and interact with the fiber. This reduces the fluorescent intensity within chamber 20. Light intensity is monitored by a spectrometer through window 32.
Referring now to FIG. 2, the enlarged sensor assembly 40 comprises a coated distal tip portion 42 of optical fiber 18. While the length of this distal tip portion 42 depends upon the particular devise utilized, the preferred length used by applicants is about one to two centimeters. While the fiber is conventionally jacketed, the distal tip portion 42 is unjacketed to the core and treated to form a chemical sensor. A reactive chemical such as 3-aminopropyltrimethoxysilane can be used as an adhesion promotor that bonds derivatized PAH's (i.e. sulfonated perylene) to the optical fiber. A preferred method of bonding the PAH's to the optical fiber is through an entrapment mechanism. A polymer/solvent mixture is used to solubilize and entrap PAH compounds, then used as a coating on the optical fiber to form the chemical sensor.
The fluorescence of the Chemical Sensor is excited by light transmitted through the fiber and subsequently detected by light monitoring means, such as a spectrometer, through window 32, as in FIG. 2. When the particular explosive molecules enter the chamber 20, the airborne explosive molecules interact with the PAH and reduce the fluorescence. The reduced fluorescence on the tip 42 is detected by the light sensing means. The relative decrease in fluorescence can be extrapolated into a relative quantity of explosive mixture molecules in the airstream directed through chamber 20.
In FIG. 3, a quenching plot of the chemical sensor optical fiber due TO TNT exposure is shown. In this plot, the fluorescent intensity of the encapsulated PAH coating is plotted as a function of time. A baseline fluorescent intensity is established in the region indicated by A. At point B, the sensor is exposed TO TNT vapor. In the region indicated by C, the fluorescent intensity decreases as a result of interaction of the TNT with the encapsulated PAH coating. At point D, TNT exposure to the sensor is terminated. In the region indicated by E, the fluorescent intensity increases due to the desorption of TNT from the encapsulated PAH coating.
A preferred embodiment of the apparatus of the present invention is illustrated in FIGS. 4 and 5. Referring to FIG. 4, the apparatus is housed in case F and contains power supply G, vacuum pump H, vacuum connection I, 3.5 watt Krypton lamp J, 18 millimeter focal length lenses K, 10 nanometer optical band pass filter L, electronics assembly M, alarm assembly N, reference voltage O, 90:10 fiber optical beam splitter P, reference photodiode Q, fiber optic feed-through R, and electrical feed-through S. Spectrally filtered light T is focused onto the input of fiber optic beam splitter P. The 10% output of the fiber optic beam splitter U is connected to reference photodiode Q, electrical conductors V, and the electronics assembly M. The 90% output of the fiber optic beam splitter W is connected to fiber optic feed-through R, fiber optic cable X, and fiber optic feed-through Y at sensor assembly Z.
A commercially available vacuum system is used to draw air over the detector fiber. The vacuum pump H chosen has a flow rate variable from one to five liters of air per minute. This unit has its own battery and can operate continuously for ten hours before the battery must be recharged.
The electronics assembly M is comprised of two sub-assemblies, a battery pack G, and an electronic circuit board. This battery pack G contains eight 1.2 volt rechargeable batteries, allowing the unit to operate continuously for approximately four hours before the batteries must be recharged.
The electronic package provides three basic functions: low voltage detection, low light detection, and signal detection. The unit provides both audible and visual alarms at N to alert the operator when an explosive substance is detected.
Referring to FIG. 5, the sensor assembly Z comprises an internally reflective integrating sphere AA, air entry aperture AB, glass tube AC, optical fiber AD with chemical sensor AE, optical bad pass filter AF, and sensor photodiode AG. In operation, Krypton lamp J (FIG. 4) is used to excite chemical sensor optical fiber AE. Optical emission AH of chemical sensor optical fiber AE is transmitted through optical band pass filter AF and onto sensor photodiode AG. Sensor photodiode AG converts the optical signal AH into an electrical signal that passes through electrical conductors AV to electronics assembly M (FIG. 4). The operator sets the reference voltage O with the detector sensitivity adjustment AI. The electronics assembly continuously compares the reference voltage and the sensor photodiode electrical signal. If the sensor photodiode electrical signal at AV decreases below the reference voltage level at O, the alarm assembly will be activated.
During operation, the vacuum pump H is activated, thereby drawing air to be sampled into entry aperture AB of integrating sphere AA to depart the sphere at exit aperture AJ. The air sample passes through glass tube AC and contacts chemical sensor optical fiber AE. If explosive molecules AK are present, they will react with chemical sensor optical fiber AE, thereby reducing the optical emission AH. Reduced light detected by sensor photodiode AG is translated into a reduced electrical output via AV into electronics assembly M. The alarm assembly N will be activated if the electrical signal from sensor photodiode AG is reduced below the precalibrated reference voltage level O determined by the detector sensitivity adjustment AI. The sensor fibers AD and AE may be attached to fiber X via a fiber optic connector Y which permits rapid replacement of the sensor portion of the fiber.
Examples of further experimental data on preparation of the fiber coating consisted of dissolving 150 mg of the polymer (e.g. polyethylene) in 10 ml of solvent (e.g. squalane) then adding the perylene at 125� C. with stirring. Etched optical fibers are then dipped to a depth of about 2 cm in the gelled or hot liquid solution to form the coating.
An example of the fluorescence studies consist of recording a fluorescence spectrum (430-550 nm) prior to each quenching study using an activation wavelength of 411 nm. The quenching of perylene fluorescence is effected by exposing fluorescing fibers to TNT vapors. The fibers are typically exposed to TNT vapors for 60-100 sec duration while monitoring the fluorescence intensity at the peak maximum determined from the fluorescence spectrum (between 440-455 nm). Fiber fluorescence is monitored 0.5-1.5 min before and 0.5-1.5 min after the TNT vapor exposure. TNT vapors are drawn through the fiber cell using an air-flow system similar to FIG. 1.
While a preferred embodiment of the invention has been disclosed, various modes of carrying out the principles disclosed herein are contemplated as being within the scope of the following claims. Therefore, it is understood that the scope of the invention is not to be limited except as otherwise set forth in the claims.
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FAYETTEVILLE, Ark. – The University of Arkansas School of Architecture ranked 20th in the nation in the 10th Annual Survey of America's Best Architecture and Design Schools, a study conducted by the Design Futures Council and published in the November/December 2008 issue of Design Intelligence. The School of Architecture ranked 20th among the top 20 undergraduate architecture programs, sharing this honor with Cooper Union, Oklahoma State University and Rensselaer Polytechnic Institute.
The School of Architecture also was included with a rank of "notable distinction" in a new, comprehensive list of America's World-Class Schools of Architecture compiled by James P. Cramer, editor of Design Intelligence. Cramer's report listed programs that have distinguished themselves over time on the basis of rankings by professional firms, architecture deans and chairs and student evaluations, among other criteria.
This marks the first time that the University of Arkansas School of Architecture has been included on the top 20 list, although past issues of Design Intelligence have noted the number of national awards won by the school's faculty.
"It's nice to be recognized as one of the best schools in the country," said Jeff Shannon, dean of the School of Architecture. "I'm glad that our faculty, students and staff are getting national recognition for their work."
Shannon believes that the school has long merited inclusion in the survey, but was probably overlooked up to now because the survey tends to favor schools with a large alumni base in urban areas.
The survey, conducted in mid-2008, queried design professionals across the United States about the programs they considered best in preparing students for professional success. They were also asked to cite programs they considered best in educating and training for specific skills. The survey tapped more than 200 of the leading firms in the United States and had a response rate of more than 85 percent of the largest architecture and design firms in the nation. The survey also included high-caliber small- and medium-sized firms; deans and chairs from more than 100 academic programs, and more than 900 architecture students who completed surveys about their design education experience. For more information, visit the Web site for Design Intelligence.
Jeff Shannon, dean
School of Architecture
479-466-5104, email@example.com
Kendall Curlee, director of communications
School of Architecture
479-790-6907, email@example.com.


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WASHINGTON, D.C.—The U.S. Department of Energy's (DOE's) 17 national laboratories can be a rambunctious and fractious lot, often feuding over funding, prestige, and greater independence from their parent bureaucracy. But earlier this week, in a U.S. Senate committee room here, the labs were on their best behavior, presenting themselves as a well-functioning—if not necessarily happy—family.
The occasion was the first-ever National Lab Day, a brainchild of Energy Secretary Ernest Moniz designed to show off how the labs contribute to U.S. science and security. The main target audience: members of Congress who, to put it bluntly, provide most of the money to run the multibillion-dollar research network. And although it wasn't mentioned directly, the 16 September Lab Day also occurred as the labs are facing renewed scrutiny over their efficiency and purpose.
The labs "provide essential capabilities for university and industrial researchers" and have made important contributions to America's economic and military might, Moniz reminded a room packed with science policy heavyweights, including 15 lab directors, National Cancer Institute chief Harold Varmus, former White House science adviser Neal Lane, and lawmakers and staffers who serve on key committees overseeing federal research agencies. "[They] continue to advance science, clean energy, and nuclear security in this country, as they have for decades."