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Invicta Women's Summer Angel Quartz Watch w/ Five-Piece Leather Strap Set
Choices: Gold-tone or Silver-tone case
A different look for every occasion, this Invicta Summer Angel has you covered with five charming strap choices!
Light as a feather with powerful prowess, a round stainless steel case supports this timepiece. In your choice of gold-tone or silver-tone, the case features a case coordinating push/pull crown topped with a captivating crystal. The fixed bezel in your choice of gold-tone or silver-tone boasts a traditional design for effortless fashion. A reliable Japanese TMI PC21 Quartz movement keeps time at your fingertips.
Poised beneath a Flame Fusion crystal, the round white metal dial presents dependable design features. Roman numerals prominently line the dial in black for an unencumbered view. Luminous Tritnite hour and minute hands shed light on the dial as they guide you along. Accented in gold-tone with the gold-tone bezel or black with the silver-tone bezel, the hour and minutes hands never let you down. The seconds hand contrasts brilliantly in solid gold-tone with the gold-tone bezel or black with the silver-tone bezel. Bringing this timepiece to a close, the Invicta name and logo stake their claim below 12:00.
Changing your attitude with the change of a strap, this Summer Angel boasts the right strap for any outing. In your choice of aqua, black, orange, pink or white; this genuine leather strap keeps up with you by including quick change pins. Affixing with a case coordinating buckle clasp, the strap features two strap keepers for additional security. The Invicta name and logo appear alongside "Genuine Leather" on the back of the straps. Fitting a wrist up to approximately 8", the strap tapers ever so slightly from 16mm to 14mm. Altering you look has never been easier with Invicta's Summer Angel timepiece and five-piece strap set!
Additional Features: Watch comes packaged in Invicta Angel custom watch box with instruction manual, extra straps, and warranty information. Movement and timepiece made in Japan.
To view the actual case size, Click Here.
Analog-Digital Display (ana-digi): Watch that shows the time by means of hour and minute hands (analog display) as well as by numbers (digital display).
Arabic Numerals: Popular counterpart to Roman numerals consisting of 1,2,3, etc; Became popular during the 18th century and typically allow for more space on the dial for complications.
ATM: Commonly used measurement in water resistance; Stands for "atmospheres" or the amount of pressure a watch can withstand before leaking; One atmosphere is equal to 10 meters of water pressure.
Automatic Movement: Type of movement where the mainspring is wound via the movement of one's own arm; Movement of the arm causes the rotor to rotate, which in turn winds the mainspring; Similar to mechanical movements, except winding is not manual.
Bezel: Retaining ring surrounding the case and securing the crystal; Sometimes incorporates unidirectional or ratcheting movements, as well as additional benefits such as chapter markers.
Case: Timepiece's container; Protects the movement from dust, dampness and injury; Common case shapes are round, tonneau, rectangular and square.
Chronograph: Timepiece capable of both timekeeping and stopwatch functions; Chronographs are a unique and valued complication due to their ability to measure increments of time.
Chronometer: High-precision timepiece that has been tested and is certified to meet precision standards; Chronometer watches often come with certificates indicating their certified status.
Complication: Any feature added to the timepiece that does not indicate hours, minutes or seconds. Popular complications include chronographs, tachymeters, date windows and exhibition backs.
Crown: Small, cap-like device located on the side of a case that allows the user to set time or manually wind watch.
Crystal: Transparent cover on a watch face that gives view of the dial; Sapphire and mineral are the most common crystals used today.
Date Window: Reveals the numeric day of a given month.
Deployant: Type of clasp that keeps the closing mechanism hidden, creating an uninterrupted look for your bracelet or strap.
Dial: Plate beneath the crystal showcasing the timepiece's features; Sometimes referred to as the face of a timepiece, the dial indicates hours, minutes and seconds, as well as complications such as date windows and sub-dials.
Dual Deployant: Similar to a deployant clasp, except it uses two hinges to fasten or open, as opposed to one.
Dual Time Zone: Timepiece that simultaneously gives time in two time zones.
Exhibition case: Unique complication wherein a crystal is implemented into the case back, allowing view of the timepiece's movement.
Greenwich Mean Time: Refers to the Royal Observatory in Greenwich, England where mean time is kept; Located at the prime meridian of the world, GMT is thought of as "the world's time".
Jewels: International term referring to the rubies, sapphires or other gemstones used as bearings in a watch movement; These bearings are set to reduce friction in a movement and help the delicate parts of the movement work smoothly and with great precision.
Mechanical Movement: Type of movement where the winding crown is used to power the movement; Needs to be manually wound after an elapsed period of time; Sometimes accompanied by a exhibition back to display its old-fashioned sensibilities.
Mineral Crystal: Technical term for glass; Standard crystal used in timepieces today.
Minute Repeater: Timepiece that sounds hours, quarters and minutes as requested.
Moon Phase: Complication on a timepiece that displays the various stages of the moon; Stages include new moon, first quarter, full moon and last quarter.
Mother-of-Pearl: Dial material that has been cultivated from the inside of certain shells; Provides an iridescent surface and gives timepieces a rich aesthetic.
Movement: Assembly making up the principal elements and mechanisms of a watch or clock; Includes the winding and setting mechanism, the mainspring, the train, the escapement and the regulating elements.
Perpetual Calendar: Complication that exhibits the days in a Gregorian calendar, the most common calendar used today; Automatically adjusts to months with different amounts of days in them.
Power Reserve: Time a watch will continue running based on the movement's residual winding of its mainspring; In quartz and digital watches, this can also refer to the amount of energy left in the battery.
Push Button Dual Deployant: Similar to deployant clasps, with the addition of two small hidden push buttons that spring your clasp open.
Quartz Movement: Most common type of movement used in modern timepieces; Vibrating at a high frequency and placed under an electric current, quartz movements provide accurate time without the need to wind.
Repeater: Complex watch mechanism that sounds hours, quarters or minutes, or repeats them on request; Originally designed to help the wearer to tell the time in the dark.
Retrograde: Hour, minute, second or calendar hand that moves across a scale and resets to zero at the end of its cycle.
Sapphire Crystal: High-end crystal that adds greater value to a timepiece; The only natural substance able to harm a sapphire crystal is a diamond.
Skeletonization: Cutting away unnecessary metal from the movement to allow the wearer to actually see through the movement; Any part that is not needed is carved out, leaving only the movement's skeleton.
Subdial: Smaller dials located on the main dial of a timepiece; Used to measure seconds, minutes or days.
Tachymeter: Popular complication that measures distance based on speed; Typically located along the outer rim of a dial.
Water resistant: Watches described as simply "water resistant" can handle light moisture, such as a rainstorm or splashes from a sink, but they should not be completely submerged in water for any length of time; A commonly used measurement in water resistance is ATM, which stands for "atmospheres" or the amount of pressure a watch can withstand before leaking. About Leather:
Commonly acquired from cattle, leather is animal skin that is typically a byproduct of the nation's meat industry. Animals such as bison, deer, elk, moose, pigs, goats, rabbits, sheep and caribou can also be used. Once the skin is removed from the animal, it is quickly preserved in salt. It is then cleaned, put into a chilling machine to lower the hide's temperature, and tanned to prevent deterioration. Upon completion of this process, the leather is ready to be made into retail items. Leather goods are strong, flexible, supple and long lasting.
Warranty: This timepiece comes with an automatic one-year limited warranty from Invicta. Evine customers have an exclusive option to extend the warranty to five years, free of charge (which represents a savings of $65).
To activate the extended warranty, please either register on Invicta's website (see URL below) or complete and mail the application included with your Invicta watch to Invicta along with a copy of your invoice. Please note that registration should be completed within 30 days of the invoice date in order for the extended warranty to take effect. Offer to extend warranty is nullified after the 30-day time period from when the invoice date has expired.
Under either warranty option, should your watch require warranty service, please include a copy of your original Evine invoice with your returned item. Product owner is responsible for shipping and handling to and from Invicta, a flat rate charge of $28.00.
To register your warranty online:


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If we have a linear subspace of projective $P^n_k$ where $k=\bar k$ that contains all the points $[0:\ldots:0:x:0:\ldots:0]$ with the nonzero $x$ in the $i$th slot for all $i$, how can we see that this is actually the whole space.
E.g. in $P^2$, suppose $L$ is a linear subspace which contains the points $[x:0:0]$ and $[0:x:0]$ and $[0:0:x]$. How do we see that $L$ is in fact equal to $P^2$.

subset: commoncrawl


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I have a feeling that my camera isn't metering as well as it used to, and I think it is now over exposing by about a stop. Whilst this can be counteracted by using exposure compensation, it's not a critical issue; but how can I check the calibration of the inbuilt metering?
I'd suggest to take an image of evenly lit area without details (wrong focus is a great way to reduce details) and check the histogram. You should see a peak in the center or just a bit left from the center if your meter is correct (left image on the example below, default exposure) and more to the right if your camera overexposes as you suspect (right image on the example below, overexposed 1 stop).
If you have control the light, the easiest way to do it would probably be to compare the camera meter against a hand-held meter and see if they agree or not. Your other option would be to take it in for servicing and have them check it with their computerized gear.
You could try following the "Sunny 16" rule to determine the correct metering during bright midday sunlight. The rule generally follows as such:
1/ISO shutter @ f/16 aperture = bright daylight, distinct shadows, midtoned subject
If your ISO setting is 100, you would use a shutter speed of 1/100. Take a shot, then compare that shot to one metered by your camera under the same conditions. Under aperture priority mode, your camera should choose a shutter speed of 1/100, maybe 1/125. Under shutter priority mode, your camera should choose an aperture of f/16, or maybe +/- 1/3 of a stop.


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Vegan food near 2169
m (Leif moved page Vegan food to Vegan food near 2169)
Revision as of 23:02, 23 September 2012
So you're at 2169 Mission and hungry, AND you're vegan? Boy do we have things for you!!
Fear not! The mission is full of vegan friendly joints!
Om Shan Tea - 233 14th street, on the corner of Natoma (between Mission and South Van Ness); noon-midnight daily. Unlimited tea for $5 at the bar, all food is organic, vegan, soy free, gluten free, nightshade free, and tamil free (don't worry if you don't know what that means... basically it's hypoallergenic and in line with satvik and jain ayurvedic traditions). Oh, they also stock raw vegan chocolate truffles with low glycemic sweeteners, z0mg noms!
Minako - 2154 Mission St - organic Japanese food with many explicitly vegan options, across the street a bit $$$, slowish service, and not always open; but super duper good & Judy & her mom are hella awesome http://www.yelp.com/biz/minako-organic-japanese-restaurant-san-francisco
Cha-ya - 762 Valencia -is vegan organic Japanese food http://www.yelp.com/biz/cha-ya-vegetarian-japanese-restaurant-san-francisco
Big Lantern - 16th just past Valencia - passable chinese, their salty spicy fried tofu is pretty delish
Sunflower - Valencia and 16th - some vegan options, lot of food for the $
Osha - kinda expensive but good, open until midnight?
Udupi Palace - 1007 Valencia Street all veg, great, helpful with vegan requests, cash only. Dosa - 995 Valencia [1]] (see they have a dietary needs pdf, wow, seems usable for gluten free too!)
The mission obviously has a ton of amazing burrito joints - but here are some that are vegan friendly without hassle:
Papalote - 3409 24th Street - http://www.yelp.com/biz/papalote-mexican-grill-san-francisco
(some say the best vegan burritos in SF) Pancho Villa -3071 16th St - http://www.yelp.com/biz/pancho-villa-taqueria-san-francisco
Mariachi's - 508 Valencia St - http://www.yelp.com/biz/mariachis-taqueria-san-francisco
Ike's Place - 3506 16th St - FUCK YEAH!! http://www.ilikeikesplace.com/ (super big vegan menu no on board but in binder/onweb)
Gratitude - 2400 Harrison St. - Raw type food, super vegan friendly, makes people reactionary with unique Cult-Sabor. Another SF location on 9th Ave in the Sunset as well as San Rafeal, Healdsburg, Oakland, Berkeley.
Herbivore - 983 Valencia Street - all vegan, good for breakfast/brunch until 2pm http://www.yelp.com/biz/papalote-mexican-grill-san-francisco
Weird Fish - 2193 Mission Street - don't let the name fool you, great vegan brunch until 3pm http://www.yelp.com/biz/weird-fish-san-francisco
Monk's Kettle - 16th and Valencia - vegan chili, veggie burger are awesome
Frjtz - 590 valencia Street - belgian fries, fake chicken sammich by request, vegan sauces available, play like you are David Bowman in the back of the Hayes street location.
More, you fill in some more!
Stuff that's not in the mission:
El Balazo - 1654 Haight St - (415) 864-2140 - fantastic burritos including "Joe's Burrito" for vegans
Herbivore - Divisadero Street - another location
Ananada Fuara - Market Street
Millennium upscale vegan dining - some of the best in the world, helps to make reservations $$$$
Saha - 1075 Sutter Street - http://www.sahasf.com - Same caliber as Millenium, but not as expensive.
Gestault House - bar that serves Tofukey sausages, etc
Rosamunde's - on Haight -
Citris Club - Upper Haight - pan asian
King of Thai Noodles - 5th and Mission - open until 2am
Sparky's Diner - open 24/7 with some vegan options
Naan N' Curry - O'Farrel - will make vegan food upon request
Zante's - Cortland and Mission - vegan pizza options (indian pizza??)
Lucky Creation - 854 Washington St - (415) 989-0818 - awesome wheat gluten and generally good chinese. vegan.


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Marvel Assembles an Official Title for Third "Avengers" Movie
Comic Books, Film
No links this week, sorry!
Continue Reading »
Yes, it's time for the Mother of All Con Reports! No panel coverage, no breaking news, no fascinating interviews – just stories from the convention trenches! See: Superheroes struggle to text! Read about: The man with no sunglasses! Behold: Your humble author's clothing! Nothing is sacred, not even the reputation of our newly-minted Eisner-award-winning Grand Poobah!
Continue Reading »
Comics Should Be Good accepts review copies. Anything sent to us will (for better or for worse) end up reviewed on the blog. See where to send the review copies.


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- Quick Links
- Other Helpful Links
*PDF files require Adobe Acrobat Reader to view - Download here
Contact InformationKate Dunnigan
Department Chair
Tel: 401-825-2169
Lolita Villanueva
IS Tech II, Website Content Manager
Tel: 401-825-2171
Main Office:
Knight Campus
Room 3099A
Tel: 401-825-2171
Fax: 401-825-2370
With a diverse and experienced faculty, the Department's mission is to prepare students to continue their academic careers as they transfer to four year institutions or begin careers in their chosen fields.
The following list of goals explains how the Social Sciences Department sees it role in the institution's broader academic mission:
- To provide freshman and sophomore transfer courses in the social sciences to students with a wide variety of academic backgrounds and expectations
- To foster in students the ability to critically read college level interpretations of historical and contemporary societies in the western and non-western world
- To give students knowledge of the nature of social science methodology and an appreciation of its strengths and limitations as an instrument of analysis
- To assist students to develop subtle judgments about inherently complex issues and to present that understanding in effective writing
- To help students understand themselves and others better so they can problem solve successfully and be more fulfilled.
We offer college level courses in the following:
ANTHROPOLOGY is the study of human development, particularly the development of human physical characteristics, culture, social interactions, and communication through analysis of the artifacts and remains of past cultures as well as through the observations of current cultures.
GEOGRAPHY studies the physical and environmental characteristics of the planet and how those characteristics in turn shape human development.
HISTORY is about what it means to be human in an ever-changing context. Studying the problems and/or solutions of past individuals, nations, and cultures provides some insight into the current human condition.
PHILOSOPHY seeks to aid students in developing skills and habits of logical thought and analysis, to introduce students to sustained reflection on basic questions of human nature, and to examine the practical and theoretical considerations relevant to human morality.
POLITICAL SCIENCE is the study of politics, political ideas, and government, locally, nationally, and internationally.
SOCIOLOGY is the scientific study of social groups and how they change over time. Sociologists examine the relationship between individuals and the society in which they live. Culture, socialization, deviance, social problems, education, social inequality, and family are studied.
This page developed and maintained by Social Sciences. Send comments and suggestions to firstname.lastname@example.com.


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10 Scenes of Brutal Violence Guaranteed to Make You Laugh
There's a thin line between horror and hilarity. Some film makers go stumbling across that line with such reckless abandon that they wind up crashing through a window on the other side of the room.
Here are 10 brutally violent scenes that are entertaining for all the wrong reasons:
#10. Bulletproof: Busey Slays A Butt-Horn
Gary Busey has proven time and again that he is the cinematic equivalent of everything that has ever been awesome in the history of forever, molded into one semi-unstable, frightening man. Put him in a warehouse full of bad guys, and magic happens:
"Your worst nightmare, Butt-horn!" is how Busey introduces himself to the gang. To think that for many men in that warehouse, those were among the last words they heard before entering the afterlife. Including the dude at 1:30 who apparently gets shot in the anus. Worst nightmare, indeed.
We should note that Busey is playing a badass named "McBain" in that film, just like Christopher Walken did years before. Oh, if only the two could have wound up in the same movie. Though there's probably some international treaties against that.
#9. Marked for Death: Steven Seagal Triple-Kills A Man
The final fight in Marked for Death shows us Steven Seagal in all his egomaniacal glory. Every Seagal movie features his character as a humble, soft-spoken guy who just gets pushed too far, to the point that he has to go on an ass-kicking rampage, standing up for the little guy with each arm he breaks.
Marked for Death seemed to want to drive this point home by having Seagal beat the ever-loving shit out of some guy who looks sort of like Bob Marley and kill him no less than three different times.
Seagal first puts his fingers inside the man's skull, goes through a wall with him, breaks his spine over his knee, throws him through another wall, then down an elevator shaft onto some kind of spike.
Presumably in the director's cut he pisses gasoline on his corpse, lights it on fire, waits for it to burn out, collects the ashes, eats them, shits them into a blender before whipping them up with some mulch and planting roses.
#8. The Streets of San Francisco: Arnie Destroys An Unusually Fragile Woman
A mid-'70s crime drama, The Streets of San Francisco was a show where future governor Arnold Schwarzenegger made his TV debut as a bodybuilder (he didn't have a whole lot of range back then). He wasn't just any bodybuilder, though, he was the kind of emotionally unstable man-child you just didn't want to fuck with:
As Arnold flexes and perhaps shits himself, the woman with him bursts into uncontrollable laughter. "Ha ha, you giant man! Your intense muscle mass amuses me for no discernible reason!" she seems to say.
Arnold responds by giving her the fiercest case of Adult Onset Shaken Baby Syndrome ever, as the camera gives a nice close shot of his scrunched closed eyes and pained expression as he tries to shut out the terrible words of the heartless crone. Finally he storms out while muttering to himself, possibly in search of more women to savage. Clearly after this episode aired, no woman felt safe making fun of foreigners with D-cup pecs for many months.
#7. Cabin Fever: "Pancakes!"
The brainchild of Eli Roth, whose movies get the word "torture porn" tossed at them these days, Cabin Fever was a little horror flick involving college kids and horrible skin conditions, set in the kind of deep South location most of us have nightmares about getting stranded in.
It achieved some mild fame and notoriety, but didn't blow many minds. For the most part, anyway. One scene, however, stands out, a flower of awesome in a vacant lot of mediocrity:
This scene is akin to a religious experience: It can't really be explained in any satisfying or logical way. But it happened, and cannot be denied. A kid screams "PANCAKES!!!" and does some kung fu at the air. Then bites a dude.
Even the director Roth admits it was made on the fly. Apparently that kid with that hair just showed up one day during casting, doing some kung fu shit and Roth did what any man would have done: rewrite the scene to include him. Hell, if the kid had shown up to the set of Schindler's List, we like to think Spielberg would have done the same.
#6. Enter the Ninja: The Death Star
One of several million films that tried to cash in on the martial arts craze that Bruce Lee started in the '70s, Enter the Ninja already had several things working against it. First of all, the lead actor had no knowledge of martial arts whatsoever. And while, say, a thespian with no medical knowledge can play a doctor, one with no martial arts training trying to play a ninja is like a porn star with no anus playing the Mayor of Buggersville in the sequel to Back into Buggersville, a film that may or may not really exist.
What we're trying to say is it's a bad idea. But from the soil of that bad idea grows scenes of pure unintentional awesomeness:
Demonstrating the exact level of awesomeness that permeates Enter the Ninja, the white pajama-wearing ninja (a camouflage that indicates he was expecting a snowstorm in the brutally hot factory where he was fighting) takes out this thug with one single throwing star to the chest. The assault not only kills the man, but appears to make him lose faith in even trying to survive. After a moment's shock at the realization he's been stabbed in the heart with a ninja star, he just stares wistfully, shrugs and then kicks it.
We like to think the star was coated with some kind of special poison that just instantly makes a man not give a shit about anything.


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The key in my 2010 Chevy HHR automatic will not turn back to the OFF position. It is stuck in the RUN position with the car on.
What is the cause of this problem? How can I shut off the car?
Shift out of and back into park a few times, and try to wiggle the shifter around park while you try to turn the key out. This would be the 'usual' reason the key would be stuck in.
Next, try moving the steering wheel slightly, while again trying to back out the key.
If that's not it, is there a button you need to press to release the key? If so, push it in and out a few times while trying to remove the key.
All of these should lock the key between Accessory, Run, and Start though, and none of them should stick it in the On position.
If it's really stuck running, and you can't remove the key, you have a few options:
It looks like there is an open bulletin on the 2010 Chevy HHR. The sensor that reports whether or not the vehicle is in park (inside the gear shift) can easily break.
Took it into the chevy dealership, they fixed it for free.
GM has a recall on your 2010 HHR.Take it to your local GM dealership and they will replace your key switch,keys,and reprogram your keys at no charge to you.Hope this help.You can goggle the recall and you can read up on the recall


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(Related with this question)
I have recently started to hear audiobooks in my daily commute, giving me 40 minutes a day of "book listening". However, though it's my first time on the audiobook world, I have started noticing some advantages and disadvantages and I would like to be prepared for these in the future.
Still, I want to extend my scenario of car-driving to any other situation where we can use audiobooks, probably while doing something else. So, what advices can you give regarding audiobooks to boost up our productivity while listening to them?
Example of the advices I'm looking for:
- Try to get audiobooks in separate chapters, so that any problem in the playing does not throw you off completely of where you are
- Try to avoid highly technical books unless they are easy for you, much data is harder to listen tan read those
Things I haven't figured out yet:
- How to approach note-taking if you're in some other activity?
- How to properly perform a good analysis of the book if you don't materially have it?


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How do you choose a framerate for an animation project? In this case I know the exact context where the video will be displayed (company's head office, on a 51" HD TV) and it needs to look really slick.
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You have specified the output device, a 51" HDTV but I don't know what camera, animation software, or video editing gear you plan to use.
Here are the standard video frame rates for HDTV as quoted from this WIKI page: http://en.wikipedia.org/wiki/High-definition_television
Standard frame or field rates
ATSC table 3 defines the following frame rates for digital high-definition television.[24]
The optimum format for a broadcast depends upon the type of videographic recording medium used and the image's characteristics. For best fidelity to the source the transmitted field ratio, lines, and frame rate should match those of the source.
Although PAL, SECAM and NTSC frame rates technically apply only to standard definition television, not HD, with the roll out of HD, countries maintained the heritage of their former systems. HDTV in former PAL countries operates at a frame rate of 50 Hz and HDTV in former NTSC countries operates at 60 Hz.[25]
How to choose?
First identify the process by which you are going to animate your subject. Is it software or a stop action camera or both or something else.
Next, you want to learn what are the compatible frame rates and formats across all the animation tools you are using in your workflow.
Next, select the highest resolution and frame rate that is compatible with all your gear.
Next, make a short sample and then test it on a close if not same model HDTV that is in the "company's head office."


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The Kiowa County Mavericks dropped their first playoff game 54-42 to the Solomon Gorillas on Friday, ending their 2012-2013 season. On a night when the Mavericks needed either their defense of offense to 'kick it up a notch, BAM!' neither were able to overcome a hungry Gorillas squad.
Trever Powell opened scoring for both teams, turning an opening seconds interception into the Maverick's first touchdown. At the end of the first quarter KC had a 12-6 lead, thanks to an as-expected offensive performance by Powell, who put the Mavs ahead with a 75-yard kickoff return for TD.
The Gorilla's dominated in the second quarter, marching methodically down the field, pushing through on key third and fourth downs. When their back was against the wall, Solomon went to the pass play. The Mavs pass coverage has been tentative all season and the Gorillas took advantage early and often.
Solomon's Colton Shirack passed for 74 yards and three touchdowns, throwing only one interception, a late first half touchback to Powell that fizzled in the red zone. Mason Demars, aside from reeking havoc on KC's offensive line all night, received a 33-yard Shirack hail Mary, rushed for 62 yards on 15 carries with an interception.
The Gorillas couldn't shut down the offense or the defense completely, but crippled both significantly. They stymied the Mav's rushing game on early downs and found routes through an inconsistent KC defense.
The Maverick Nation loyalist that made the 6-hour round trip could smell a come back victory in the fourth quarter when the Gorillas were forced to punt from midfield on fourth down. The Mavs were down by six, with more than a minute and a half remaining on the clock, but a soon-to-follow Solomon interception suffocated any remaining chances.
The Mavericks finished their season with a pair of losses, including last Friday's 32-28 loss against the St. John Tigers.
The final regular season contest between the Tigers and the Mavericks lived up to the high expectations.
A key defensive play, inside of the Tigers red zone, swung the momentum when #58 Aaron Heft jumped the gun and gave the Tigers a first down on a five-yard penalty. Powell rushed for 130 yards on 28 attempts, and Keenan Behee rushed for 140 yards on 18 attempts for an average 7.78-yard per carry. Creighton McDonald had a lower than average performance, rushing 48 yards on only 7 carries.
The Mavericks finish their season 6-3 overall and a 2-1 league record, going 4-0 on the road and 2-3 at home.
Look for our season wrap up in next week's Signal.
Location, ST | website.com


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Ballet in GreeceWhat is going on there?
Posted 24 July 2008 - 10:34 AM
So then, what place has ballet had historically in Greece, and is there an important company in Athens today? I know that there are people here who will know!
Posted 24 July 2008 - 04:24 PM
Posted 24 July 2008 - 04:48 PM
I could be wrong but last I heard that Irek Mukhamedov is the acting director of the National Ballet of Greece.
One can only hope so, the combination is almost too attractive to believe. But I could find little about it Googling, only a Hellas Competition. Even 'National Ballet of Greece' turns up no major website. There were some other Greek dance matters, but the competition the only place I saw any pointe shoes.
Posted 24 July 2008 - 05:30 PM
Its first "Ballet Evening" was presented in 1960; this is aside from its participation in operas and operettas, so the company prepares several evenings of ballet each winter season and performs at the Athens Festival each summer. In addition to the standard classic and romantic repertory, contemporary dance by Greek and foreign professionals is established as a feature. With help from the state, the Ballet acquired its own fuller rehearsal studio for training purposes and consequently has improved its artistic standard. Particularly important in her contribution to the development of ballet at the National Opera was Tatiana Mamaki.
So I went to GNO's website, clicked Ballet and got -- . . . oh, my! I hope only because it's August.
Under the Opera's subhead for Artists, I clicked Ballet. Much more encouraging! Yes, Mukhamedov is AD.
Posted 24 July 2008 - 05:37 PM
Posted 25 July 2008 - 03:52 AM
I recommend the Athens Festival at the Herod Atticus, the most beautiful summer setting I can think of. I've seen the Royal Ballet and the Bolshoi dance there. The last time I saw Rudolf Nureyev alive was in the summer of 91 when he was sitting in the audience watching the Bolshoi, I had my camera with me and changed to a telephoto lens. The picture I got was a gem, he looked so happy. The entire audience rose to its feet when he walked into the auditorium. A very happy memory.
Posted 25 July 2008 - 06:46 AM
So that I can see that while we want to see a Greek ballet company, there is also something special about seeing some of the great international companies in this most rare and rarefied, mythical and real country.
Posted 25 July 2008 - 08:08 AM
I love Greece, it's really magical. You feel the hot breath of Apollo through the heat of the sun and you hear the hooves of Pan as the goats scamper by. Myth and reality, past and present all merge into one there, it's not the only beautiful country in Europe but it is the most unique.
Posted 25 July 2008 - 12:17 PM
papeetepatrick, i hope the following ramblings will answer some questions:
While ballet as we know it spread through 19th century Europe, Greeks were busy with a 10 year independence war, forming the structures of modern government (still working on that one, not too successfully ), acquiring monarchs, later deposing them, getting the state bankrupt, participating in wars, revolutions, political movements and generally various kinds of upheaval. Money was in very short supply, especially for 'frivolous' and costly enterprises like ballet. Until the late 1920s theatrical dance was limited to revues and other such haphazard spectacles.
The catalyst for theatrical dance was Isadora, whose appereances captured the imagination of a public heavily invested in a Greek identity and the Greek past (understandably so, after four centuries of Ottoman/Turk rule). Simple choreographies first appeared in the Chorus part of ancient drama revivals and Duncan's influence was evident (with a fair amount of Dalcrose eurithmics thrown in for good measure)
In the years to come modern dance continued to be perceived as the most suitable language to convey the unique perspective of greek dance creators. The most popular genre for most of the 20th century has been horotheatro, literally dance theater. Ballet was always something of a foreign language and something for which most dancers were thoroughly unprepared for.
The local non-classical dance scene is going through a renaissance at the moment. Ever since the 90s there has been an outpur of interesting new work produced, a lot of creative energy, numerous small groups (more than 50), some very good ones among them, interesting dancers. It's a very lively contemporary dance scene and there's a sizable audience that follows it.
The ballet company was created as a part of the Opera in 1939-1940. Evenings with all-ballet programming started in the 60s. The company is perennially underfunded and struggling with limited means, limited vision and a certain parochialism. It has no theater, which means huge sums are spent each year to rent unsuitable venues. But the most important issue affecting the level of the company is the quality of dance education in Greece. Someone we know once said "But first, a school!". Well, that here was kind of an afterthought.
Dance schools are designated by law as either Professional or Amateur. There are about 10 professional schools, most private. Until very recently you had to be 18 to audition for one of the professional schools(!) A bit late by then to get serious, even if meanwhile you hone your craft at a decent amateur school (not many of them either). Recently this changed. Students aspiring to be dancers can now audition for a place at a professional school at 16 years old, while students aspiring to be teachers still audition at 18. The students audition before a committee from the ministry of culture (I'm not making this up)
The quality and content of education at different schools varies considerably. Many professional schools focus on modern/contemporary dance. This is both an artistic and a practical choice. There is no employer for classical dancers except the National Ballet which has about 60 dancers. About two thirds of the dancers have permanent contracts (places open when someone retires), the rest have short term contracts. Salaries are so low that most are forced to take second jobs. There have been urban ballet legends of soloists working nights at the bouzoukia (and they're probably true)
Mukhamedov is not the first well known dancer to collaborate with the NBoG. There have been occasional stagers and teachers from abroad, but no one stayed for long or had a lasting influence. Igor Zelensky was here in the early '00s. He staged (and danced) some very ambitious productions: Sleeping Beauty, Raymonda, Don Quixote. Too ambitious perhaps for this company - they exposed a host of flaws and limitations. It was generally agreed at the time that the strength of the company lies in dramatic dance and not in the classical repertory. Think Cranko rather than Petipa.
So Lynn Seymour who arrived in 2006 was considered an ideal fit. Who better than a great dance actress to direct a company depending mainly on its dramatic ability? Yet somehow it didn't work out. The official version of the story is recounted in this old thread.
The decision to program almost exclusively contemporary works tanked at the box office (while opera tickets sold out, the ballet danced for audiences of 50 people). Apparently people expect to see ballet when they go to the ballet, even if they have spent the previous night looking at Pina Bausch.
Mukhamedov came with Lynn Seymour, as an "artistic coordinator". He later said that he was not given any responsibility. As always with such cases it's hard to know what actually happened. He became AD a few months after Seymour's resignation.
A year is too short a time for any significant improvement but it seems the NBoG is indeed lucky to have him. Not only was he an outstanding dramatic artist and very knowledgeable but I can think of few people who can unblinkingly face all the bureaucracy, the intrigues, the unions and the irrational organisation of things... Talking about that stuff, he sounds almost unperturbed while the average western-european is shocked to the core. I imagine growing up at the old Bolshoi must help
Four programs have been staged since he took the post. The first, selected by the previous administration, was a felicitous mixed bill of Paquita/Moor's Pavane/Napoli divertisments. Mukhamedov came out of retirement to dance Othello for a couple of nights. His dramatic power is undiminished. But time is cruel to dancers... What most impressed me was that Bournonville was danced with an effort at stylistic accuracy. That's more than can be said for much better companies that the NBoG and despite the various technical faults, it made me so happy I almost cried.
The second program was Van Dantzing's Four Last Songs and a new work. The third program was Giselle, staged by Mukhamedov, with the dancers giving strong dramatic interpretations all around.
In July they danced Zorba at various places, with Mukhamedov as Zorba. "If it sells more tickets I will perform" he said, and to me at least that sounded ominous, a bit like the late Nureyev. I haven't seen the Zorba, just the Moor. I'm a long time fan of Irek, the dancer. But as i said time is a cruel thing.
The struggle for power over the National Opera that had Seymour's departure as a side effect is still playing out at this time. A new law that would significantly limit the power of the National Opera's artistic director has been proposed. If it passes it will influence the way things work at National Ballet as well.
The festival that Mashinka mentions has undergone significant changes in the last three years under the directorship of George Loukos. It now takes place in various other venues besides the Herodion and Epidavros and is entirely contemporary in character. At first that looked like the end of ballet performances but that was not the case as it turned out. Ballet performances still take place, independent of the festival, at venues like the Lycabetus theater or the Pallas, while the festival offers contemporary dance at a world class level.
Mashinka, if you plan to visit please PM me, I can help. The Megaron site is useless anyway, I don't know anyone who can navigate that mess. But the events are known almost a year in advance. This year there will be a long visit (10 days) from the Cuban ballet around Christmas with Don Quixote and Giselle. Also visits from the Martha Graham Dance Company and the Eiffman ballet doing Red Giselle. There are events outside the Megaron, such as a Zakharova and friends gala. Ivan Vasiliev is reported to dance in it. I'll believe that when I see it though.
Posted 25 July 2008 - 01:33 PM
Quite a tapestry you've given us! I can't thank you enough.
Posted 05 November 2008 - 12:18 PM
In Greek
Automatic Translation
An interview with one of his Tatianas, one of the very few greek dancers who have made a career abroad.
In Greek
Automatic Translation
The programs they'll give this year are the new production of Onegin in November, a gala program in late January, a series of Giselle performances in February and the Ashton La fille mal gardee in May. La fille is a new acquisition - IIRC some past director had tried to acquire it but the proposition had stumbled because back then they only used recorded music.
Posted 06 November 2008 - 05:54 AM
I was interested to see that there was, as one would expect, a kind of Duncan influence, but surprised to learn that, although audiences support modern dance, they do not seem to want it on ballet programs.
There certainly seem to be a lot of high-profile ballet travelling to Athens this year.
Mukhamedov sounds, in the interview linked by chrisk217, thoughtful, intelligent, and very able. I loved the following:
"Neoklasiko!" Is he using this in the sense that a Balanchine fan would use it? Mukhamedov's comment made me wonder whether Balanchine's work based on Greek themes or allusions -- Apollo, Orpheus, even Agon -- have, or might have, any particular resonance for Greek ballet audiences. How about reviving Balanchine's staging of Stravinsky's Persephone? O Metastaseis and Pithoprakta, set to music by Xenakis, a Greek composer? Is there a history of Balanchine performances in Greece?
My wish of is the 50% of work that we will present to emanate from the [neoklasiko] repertory. Ballets where the team can say a history, it can elect their characters. This is one from the possible points of this team. Express through a history and no simply through the technique.
Posted 06 November 2008 - 01:59 PM
Most were in the years right before 2004, when the pre-Olympic cash flow made it possible for an unprecedented number of touring companies to visit. In those few, glorious pre-Olympic years we saw Agon (NYCB, 2001), Agon (SFB, 2002), Rubies pdd (Mariinsky 2002), Theme and Variations (Vienna Ballet, 2002?), Apollo (Mariinsky with Zelensky, 2003), Brahms-Schoenberg Quartet (Bavarian Ballet(?), 2004), Agon again (SFB, 2004). Tchaikovsky pdd several times. Zelensky danced Apollo in the ancient theater of Delphi.
Unfortunately the pre-Olympic cash flow was followed by a severe post-Olympics capital shortage. Then Loukos took over the festival and that was the last we saw of Balanchine apart from the Mariinsky. They danced Rubies pdd and Tchaikovsky pdd in 2007 - I think the only performances of his work after 2004
In September of 2007 it was announced that Roberto Bolle would dance Apollo on the island of Delos, birthplace of Apollo. Visiting Delos is controlled in the daytime and not permitted after sunset, but for this night a small audience was allowed. The performance would be filmed and broadcast live. Bolle like most dancers trained in Europe has phrasing that's different from a Balanchine dancers' But I can't think of no one else who looks the part of a Greek god more - he simply looks magnificent And for once his reticent stage personality could have been used in the service of the role. The performance, like all theater performances, was canceled after wildfires burned a large part of Greece, leaving about 60 dead and thousands homeless in Peloponnesos.
The audience is open to new things and very accepting but it is a matter of expectations, a matter of ticket prices and of course the particular works chosen. Also 100 people per night might be a respectable turnout for an experimental group performing in an old warehouse somewhere west of Iera Odos; but in a theater that sits a thousand (correction: a rented theater that sits a thousand) it's dismal...
but surprised to learn that, although audiences support modern dance, they do not seem to want it on ballet programs.
Posted 22 June 2009 - 10:39 AM
I was looking for some info on ballet in Athens and I found this thread. i happen to be a great fan of Irek Mukhamedov so I was wondering if you
can tell me how is he doing at the Greek National Ballet...if he's still there....did he manage to improve the situations...I'm very curious I think a dancer like him deserves every success!
Thanks for the great info you provided on your previous threads
Posted 16 January 2010 - 02:10 AM
From 10.1 to 15.01 2010
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text:
25 U.S. Code § 352 - Cancellation of trust patents within power or reservoir sites
§ 352.
Cancellation of trust patents within power or reservoir sites
The Secretary of the Interior, after notice and hearing, is authorized to cancel trust patents issued to Indian allottees for allotments within any power or reservoir site and for allotments or such portions of allotments as are located upon or include lands set aside, reserved, or required within any Indian reservation for irrigation purposes under authority of Congress:
Provided, That any Indian allottee whose allotment shall be so canceled shall be reimbursed for all improvements on his canceled allotment, out of any moneys available for the construction of the irrigation project for which the said power or reservoir site may be set aside:
Provided further, That any Indian allottee whose allotment, or part thereof, is so canceled shall be allotted land of equal value within the area subject to irrigation by any such project.
(June 25, 1910, ch. 431, § 14, 36 Stat. 859.)
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Anthony's big second quarter helps Knicks end skid
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E-Learning Capacity Building Training Modules
Below are in-depth e-learning trainings covering various topics that are pertinent to many nonprofit staff and/or volunteers who work in leadership with nonprofits. Please feel free to take and retake trainings as needed. In addition, many of the topics have guidebooks that can be downloaded to be used per your discretion.
Conducting a Community Assessment
Conducting a Community AssessmentCreating and Implementing a Data Collection Plan
Going Virtual
Going Virtual: Collaborating and Sharing Resources OnlineGoing Virtual: Virtual Meetings and TrainingGoing Virtual: Online Tools for Project ManagementOnline Tools for Web 2.0 FundraisingGoing Virtual: Recruiting and Engaging Volunteers OnlineGoing Virtual: Online Tools for Data ManagementEffective E-learning
Leading a Nonprofit Organization
Leading a Nonprofit OrganizationManaging Crisis
Managing Public Grants
Managing Public Grants
Developing a Plan for Outcome MeasurementCreating and Implementing a Data Collection PlanEvaluating Training and Technical AssistanceIdentifying and Promoting Effective PracticesAnalyzing Data and Communicating ResultsPartnerships
Partnerships: Frameworks for Working TogetherEstablishing Community PartnershipsVolunteer Recruitment and Management
Creating Your Sustainability PlanBuilding Multiple Revenue SourcesAcquiring Public GrantsUnderstanding Fee-for-Service ModelsIdentifying and Developing DonorsValue-Driven Donor DevelopmentPlanning For, Securing, and Documenting In-Kind DonationsWorking with ConsultantsOther Topics
Identifying and Promoting Effective PracticesDesigning and Managing a Subaward ProgramIdentifying and Promoting Effective PracticesList of Additional Resources
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YOKLIC, Monna Spencer, 89, of Tucson, AZ, passed away Thursday, December 20, 2012.
She was born December 14, 1923 to David and Claudia Spencer in Tyler County, WV. She was also preceded in death by her husband, Martin J. Yoklic.
Surviving are her sons, Michael and Martin (Deborah) and her grandsons, Simon and Max, all of Tucson, AZ.
She passed quietly and comfortably with her family by her side. She is remembered for being a compassionate and caring friend to all she met.
A memorial service will be held at St. Cyril's Church on Thursday, December 27, 2012 at 10 a.m. In lieu of flowers, the family requests donations in her memory to a charity of the donor's choice.
Obituary provided by Steel & Wolfe Funeral Home, Inc., Weirton, WV. www.steelandwolfe.com


text: I don't know why I chose to do this tutorial on "how to draw a stitched teddy bear"? I guess I felt in the mood to draw a little cuteness with some flaws. Anyone who has owned a teddy bear and owned it for more than ten years knows they start to get tattered and worn. I personally never grew attached to stuffed animals when I was younger, but I know plenty of people who have. This bear is drawn for all you folks out there that has loved a teddy bear in your lifetime and may even still have it to this day. This bear has some visual repairs, but it has managed to keep it's adorable cuteness. I really enjoyed drawing this stitched teddy bear because it was fun thinking up what I imagine a child's teddy bear to look like. Adios people and enjoy!


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RILEY COUNTY, Kan. (WIBW) -- A drug dealer who provided the gun used in a deadly shooting in Riley County has been sentenced to life in prison.
Domingo "Diablo" Soto, 42, was sentenced by Riley County District Court Judge Meryl Wilson Monday afternoon.
In October, Soto was convicted of Aiding and Abetting First Degree Murder for the part he played in the death of Steven Freel, 31. He was also found guilty of several drug charges, including Possession of Cocaine With the Intent to Distribute, Possession of Methamphetamine With the Intent to Distribute and Possession of Marijuana.
Soto admitted to lending his gun to the murder suspect, Michael Blake Layne, 20, who sold drugs for Soto.
Layne took a plea deal in November after Soto's trial, entering a plea of no contest to Second Degree Intentional Murder, Aggravated Robbery and Kidnapping. He faces 24 years in prison and his sentencing is also this week.
Steven Freel's body was found at 11 AM on December 7, 2011 in the 5400 block of North 48th Street, just north of Manhattan. A passerby found him on the dirt road and called police. Detectives say an autopsy showed that Freel had died from a .45 caliber gunshot wound to the upper right chest. It is believed he was killed the day before his body was discovered. According to police, a .45 caliber casing was later found during a search warrant at Layne's house on Pottawatomie Court.
Riley County investigators say Layne admitted to the deadly shooting but claims he did it to protect himself. Layne told investigators that Freel was at his house on December 6, 2011 with a .22 caliber handgun looking to buy another gun and Layne told him to get in the car so they could go to a friend's house to get a weapon. Layne said that he was just going to drop Freel off somewhere and pulled down the dirt road and told Freel to get out. But when Freel got out of the car, Layne thought he was reaching for the .22 caliber gun and shot him. Layne took the gun from Freel's pocket and tossed it in Tuttle Creek, police said.
Prosecutors say Layne and Freel had been committing robberies together and that the investigation into the crimes was starting to heat up after police convicted two other people the men had been working with. Assistant Riley County Attorney Barry Disney says Layne became paranoid that Freel would talk to authorities and panicked, killing him.
Authorities say after Layne shot Freel, he drove away, leaving Freel on the side of the road to die. Layne later told several people what had happened and when his friend's didn't believe him, detectives say he drove them back out to the scene of the crime to show them Freel's body.
The state maintains that Domingo Soto gave his gun to Layne, knowing that it would be used to murder him.
Soto told police he didn't think Layne would actually go through with the killing when he gave him the weapon.
During his sentencing hearing, Soto told the judge that he did not know Layne's intentions with the gun and claimed that he was just trying to sell the gun so he could make some extra money. He said he doesn't understand how he is responsible for the killing by selling a gun and that if he had known what it would be used for, he would never have gone through with it. Soto also denied getting a text from Layne that stated "I want him under," referring to Freel.
"I'm not that kind of person to take someone else's life," Soto told Judge Wilson.
Soto's attorney, Richard Seaton, asked for a new trial saying Soto's rights were violated because he was not allowed to confront Layne through cross examination but Layne's "hearsay" statements to police were admissible. The motion for a new trial was denied and Judge Wilson sentenced Soto to life with a minimum of 25 years in prison.
Assistant Riley County Attorney Barry Disney said Soto is responsible for ruining several lives, including the life of Steven Freel and Layne "who looked up to Soto."
In response the the defense pointing out that Soto faced more prison time that the actual killer in the case, Disney said that Soto was offered a plea deal as well but turned it down, opting to go to trial.
Michael Blake Layne is scheduled to be sentenced on Wednesday, December 19, 2012 at the Riley County Courthouse.
No members of Steven Freel's family were present for Soto's sentencing hearing.


text:
Do Throwing Weapons (by using a grenade) attacks require opposed 1/2 Fray tests to connect and damage enemies within the explosion area, like every other ranged attack?
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Yes – but only for the initial throw:
For grenades the initial opposed ½ Fray test is to determine if the grenade hits the target, otherwise the grenade will scatter (p. 204).
Damage is therefore resolved for anyone in the area of effect without any further roll to hit (they're already hit – they're in the area of effect) unless there is cover in the way from the blast point (i.e. it scattered to the other side of a wall or something) in which case said object will provide armour points to soak the blast until it hits the character.
Grenades are nasty, but bear in mind some need an oxygen atmosphere in order to work, and if they miss there could be some very nasty consequences for hapless bystanders.
There is also the possibility of both…
Throwing Back Grenades (p. 200)
… and Jumping On Grenades (p. 200)
(Page numbers are quoted for the PDF Second Printing One)


text:
I always use
System.out.println(...) to debug my code, and it works pretty well. In which cases do you use the eclipse java debugger? I never had to use it and the little bug symbol is still ab bit mysterious to me. Are there cases where the debugger helps me that I can´t solve with a println?
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I always use
Every case...
Granted, I'm not 100% sure about Java IDEs (and would welcome any corrections that aren't consistent with Java IDEs) because I use Visual Studio over C#/F# but adding variables to the watch list and using conditional breaks completely practically replaces println...
And hell, I'm not even that great with the debugger, but it's still light years ahead of console debugging or digging through logs.
The problem with println debugging is that the printlns themselves are a problem.
When you're debugging using
If your println diagnostics turn out not to give you useful information, or not to give you useful enough information, you need to close the program, change the code, recompile, and then get back to the point you were at to reproduce the bug.
Once you're done with finding and fixing the bug, you then have to change your code again to remove the println statements. (Let's hope you don't miss any and then ship the product with debug output left in!)
An interactive debugger doesn't have these problems. You don't need to know what you're looking for ahead of time; you can examine the values of any arbitrary variable at any time it's in scope. You don't need to modify your code, because the debugger is external to your program. And therefore you don't need to stop debugging, change your code and recompile to look at something new.
That principle alone--inspecting the code from the outside instead of having to instrument it (and then un-instrument it) manually--is the reason interactive debuggers have become the favorite method of debugging among modern programmers.
There isn't really any information a debugger can give you that you could not gain through print statement as well, but...
it's just so much faster and more flexible. Words can't describe the power you get when you can freely look at what the code is doing while it's running.
All in all, I'd estimate that using a debugger typically speeds up the debugging process 10 times. Probably 100 times in cases where there's a lengthy build or deployment between the time where one print statement gives you information about where to next, i.e. where to add another print statement, and the time you can see the output of that new print statement. In a debugger, all it takes is a single click, maybe half a second. If you have to do a full rebuild and deploy to an app server, it could take half an hour.
in my experience, the eclipse debugger (or any step-by-step debugger, for that matter) helps a lot more than println statements, because:
(these are just the most basic advantages I found)
However, the debugger is not always that nice:
in short: for small, handable projects a debugger is your largest friend. For large projects (which you often work on with a lot of people), an extensive write-time logging is your even larger friend. Or at least mine.
You should have googled it first. Debugger in Eclipse already contains a lot of functions that you don't need to define. Other than that, System.out.println() statements might do for you in a simple small project but in a project where many members are working or you have large number of files, you just can't keep adding these statements. It is good to have breakpoints.
I hardly ever find that I need the debugger - but when I need it, I really need it.
One nasty case is where you use
In the debugger, you will find immediately that the object is not
The debugger lets you explore a wider range of questions, more quickly, than using


text:
I've searched here, and on The Google, but I can't find any good close-ups or an explanation of the shape / dimensions of the stainless 'lip' that is supposed to keep the body from rotating. I want to use it on a Canon S5 is and it needs to allow the screen to open / close without interference. I don't mind grinding some of it off . . . I just can't find a better picture of it or any specs about how far it can slide.
Here's some pictures and a bit of an article that mentions it on the nikonians:
Anybody got a profile view close-up of the stainless steel part ?


text:
The Volvo FE was introduced in 2006, as a very efficient heavy-duty truck intended for heavy local or regional distribution, for transport over larger distances with modest combination weights, for construction site transport or for services like garbage operations or as a tanker truck.
The FE is available in a very large number of various executions, with two or three axles, with one or two driving rear axles. For maximum flexibility, the chassis can be supplied in three different heights, and with a very wide choice of wheelbases, from short semitrailer tractors to long rigid trucks.
Wide range of cab options
The FE presents a wide range of cab options; from the Day cab which gives maximum payload and platform length to a more spacious Comfort cab or a Sleeper cab which provides overnight accommodation.
The performance of the FE is high, thanks to the powerful D7E engine with from 240 up to 320 hp, mated to all-synchronized gearboxes with 6 or 9 forward gears, or to an automatic transmission.
Volvo has always been in the forefront when it comes to environmental care. The FE conforms to the new Euro 4 exhaust emission rules, and is also available in versions which fulfills the future Euro 5 regulations.
The FE is a truck which offers very good transport economy, based on low operational costs, high payload thanks to low chassis weight, together with quality and availability which make sure that the FE is always available for daily transport!


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All-New Ford 9-Inch UpgradeWritten by on September 24, 2001 Contributors: Currie Enterprises As the Supply of Used Rearends Dwindles, Currie Offers a Stronger Alternative
The days of going to your local wrecking yard and picking up a good Ford 9-inch rearend for your hot rod project are coming to an end. That sturdy and versatile unit was last produced for passenger cars in 1981 and in pickup trucks in 1986. Considering that 9-inchers are the most used rearends in nearly every form of racing and most high-performance street vehicles, it's not hard to see why they are becoming scarce commodities.
Even when you do find one, you have to determine whether the tubes are straight or the axles bent. When you figure in the time that it takes to refurbish an old rusty hulk and transform it into a usable unit for your rod, you might wonder if there's a better way to find a rearend. One answer would be to use a 9+ rearend from Currie Enterprises.
Despite the dwindling supply of salvaged 9-inch rearends, Currie's main business is remanufacturing them for hot rods, race cars and off-road vehicles. The company refurbishes more than 200 used Ford 9-inch rearends a month. Currie began in 1959 rebuilding rearends for electric industrial carts, and started specializing in 9-inch Fords in 1964.
By the mid-'70s, the company had a stockpile of over 50,000 used rearends spread over two storage lots. Today, it has only about 2,500 backup units left on hand. It buys them in Mexico, Canada and from all over the Midwest US. Passenger car rearends are preferred over those out of pickups because the car rearend in most cases still look new. Even though truck rearends' center section and the gear case are usually usable, because they run more miles and haul heavy loads, the axles, brakes, and gears are trash. Three years ago, Currie was paying $20 for a core housing. Now, it has to pay $60 and it's going to keep buying them until there are not anymore left. Currently the company can only obtain about a quarter of its needs. Supplies are about dried up and there are simply not enough Ford rearends left to meet demand.
About two years ago, Currie could see the writing on the wall and decided to start manufacturing its own rearends. "At the time, all the aftermarket parts that were available were for high-end drag racing," explains Ray Currie, one of four sons who now works in the business. "There were no new stock replacement parts for street use; everything was used. So we decided to make two new rearends. The first was the early-style, smooth-cover "hot rod" housing that was used from '57 up to '64. It is the most difficult to acquire right now. In addition, we also make the Torino/Ranchero (notched) heavy-duty housing. We beefed up both housings by making it out of thicker material. The Ford units were 0.180 inches and ours is 0.200 inches. The cover is also about 0.020 inches thicker than stock. The profile and basic shape is almost identical to the original. We also use a little bit better steel than stock Ford units do.
"The original Torino/Ranchero housings used a 3 1/4-inch tube that was swedged to fit the housing. We wanted to use a three-inch tube because that is what all the mounting brackets are designed to fit. We remade the housing to except the three-inch tube without any swedge. Some people like the round cover; some like the new style coverso both are available on this housing."
When Currie Enterprises decided to make the gear case, it did not want to re-invent the wheel. Ford's basic design was good, but Currie wanted to make it better with a few small changes. The most obvious one is the use of stronger nodular iron instead of gray iron used by Ford. Gray iron has a tensile strength of 30,000 psi, while nodular iron is 65,000 psi. Currie also used nodular iron in the double-ribbed carrier cap. Ford used gray iron in all its single ribbed caps, even on the factory nodular iron cases.
"Most of the failures that happened on stock gear case were in the carrier cap or the pocket bearing," notes Currie. "So those are the two areas where we added extra material. We also extended the rib on the outside that supports the carrier caps. This gear case is designed to be a stock replacement. It is not directed to high-end drag racing. It is targeted to people with 500 horsepower and less."
Currie Enterprises also manufactures a 9+ "Race Case" for street cars that are in the 500 to 900 horsepower range. It too is made of nodular iron, but completely reengineered to handle the higher power demands. It also uses billet spanner nuts and chrome-alloy carrier caps.
Currie pointed out, though, that many of the late-model racers (a 3200-pound car with 500 horsepower) running at Irwindale Speedway are using the companys street case because it is made of nodular iron and lighter than some racing cases.
As part of the 9+ manufacturing program, Currie also makes two pinion supports. The stock support and the big-bearing, Daytona-style pinion support. The company also manufactures both open and posi-traction carrier assemblies and two different yokes available, the 1310 and 1330 series and soon a 1350 series. In addition, there are two different styles of housing ends.
For its refurbished 9-inchers, Currie does not waste any parts of the used unit. For low horsepower applications, the company will re-machine every dimension on the axle, weld up and re-drill the boltholes, change the register diameter, change the flange diameter, regrind the bearing journal, and cut and re-spline the axle. Currie is basically using the axle as a forging and re-machining every aspect of it.
For higher horsepower applications, Currie makes all-new axles on CNC machines. The company is said to be the largest aftermarket axle manufacturer in the world, making over 30 specific axles for different applications. Currie offers a remarkably wide range of gear ratios as well. Just try and find that sort of selection in your local junkyard.
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The popular 9+ "Hot Rod" housing (bottom) is similar to the early style 9-inch Ford stock housing, which is now nearly extinct. Its tight shoulders are perfect for hot rods, street rods, kit cars and smaller muscle cars because it allows the chassis builder more room for springs, shocks and exhaust systems under the car. The 1957 and 1958 Fords came with a smooth round back. In '59, the back cover had dimples. On the 1960 to 1964 Fords, there were dimples and an oil level hole. Starting in 1965, the Torino/Ranchero newer style housing was bigger and had a notched back. Currie's version (top) is made from premium-grade forming steel with a slightly thicker gauge of steel than the original for increased strength and rigidity. The original Ford units measure 0.180 inches and the 9+ are 0.200 inches.The 9+ "Race Case" on the left has chrome-alloy carrier caps, billet spanner nuts and a beefed-up area around the pocket bearing. The factory Ford nodular iron gear case on the right has carrier caps made of gray iron. The only stock nodular iron gear cases that had nodular carrier caps came in big-block Mustangs and some high-performance cars, and are very rare. The main difference between these two cases is the amount of material around the pocket bearing, the area that supports the pinion head. Under hard acceleration and hard shifting the pinion head wants to flex away from the ring gear. The stronger that area is, the less it flexes. The 9+ gear case weight six pounds more because it is thicker in all the critical areas.The standard Ford cases are gray iron while the 9+ is made of nodular iron. Gray iron has a load rating of 30,000 psi while nodular iron is 65,000 psi. By extending the single rib on the left side of the case that runs directly under the carrier cap, it adds support to the pinion bearings and helps to keep them square under heavy loading.The pinion support holds the bearing that the pinion shaft rides on. The stock standard size (bottom right) and a factory Daytona pinion support (top right) are compared to the 9+ units on the left. Currie made its supports out of nodular iron and on the bigger bearing unit added external ribs for additional support. The Daytona bearing is 50 percent larger than the standard bearing so it better stabilizes the bearing under extreme loading. The larger pinion support is worth the few extra dollars.The 9+ yokes are on the left and the factory yokes on the right. Currie makes the 1310 and the 1330 series short yokes. These are the most common yokes used in high-performance street applications. The 9+ 1310 series is a little beefier than the stock part. The 1330 is basically identical. The Daytona-style pinion support yoke requires modifications. Currie pre-machines the yoke for your application.Curries offers three set-up kits, depending on the size of the pinion support. Because the 9+ pinion supports comes with the bearing race already installed, you do not have to press the race into the pinion support. Currie's bearing kits have exactly what you need to do the final assembly on the third member. The kit includes Timken bearings and National Oil seals.About 90 percent of Ford 9-inchers came with an open carrier assembly. On used units, the insides are generally worn out. The side bearings and pinion bearings are made of very hard steel and the factory case is made of gray iron. The bearings eventually wear into the metal and allow the side gear to slap around and generate extra backlash. The Currie unit on the right is made of nodular iron. It is stronger and more wear resistant. It is available in 31 and 28 splines.The Ford traction lock carrier assembly on the right had problems with the clutch blowing out of the side of the case. When machined for the boltholes, the machine marks would go through into the clutch housing and start to crack. The Currie traction lock uses a billet steel replacement cover and the factory bell. The billet cover is beefed up around the perimeter and the shoulder is thicker, which allows the radiused areas to be less susceptible to cracking.
The Currie housing ends are made from an investment casting and CNC-machined so they are more consistent and have thick flanges. The factory ends could vary in thickness. Currie makes the early style (bottom left) and the large bearing style (top right).Currie uses all-new, three-inch, 0.188-inch-wall DOM tubing. The Ford factory 0.177-inch wall steel tubes were hot rolled and welded, while DOM tubes are truly round and wall thickness is more consistent. Also, the factory tube (bottom) needed to be swedged to fit.To finish off, new rearend drum brake assemblies are available as well. These are replacements for the '57 to '86 brakes.This is one of three CNC lathes that add the splines to the axle. They run all day everyday. Currie is the largest aftermarket axle manufacturer in the world.This stack of rearends, numbering about 2,500, are all that is left of over 50,000 units Currie had a few years ago. The company brings in over 200 units a month and they are getting very hard to find.Currie will build any rearend to your specs. All rearends are welded on a jig to ensure that the tubes are straight in the housing.