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Book Preview - Roy Brizio Street Rods: Modern Hot Rods Defined
Roy Brizio Street Rods: Modern Hot Rods Defined
by Bo Bertilsson
Hardcover: 160 pages
Publisher: Motorbooks; July 10, 2009
Retail: $35.00 US
Fans of Roy Brizio's gorgeous, high-quality street rods probably won't need a review of this book to know that they want it; they just need to know that it exists. For those people, consider this your notice. If there was any doubt as to Brizio's skill, the glowing foreward by hot rod legend Vic Edelbrock should put it to rest. Brizio's work is spectacular, and Roy Brizio Street Rods highlights a wide range of projects, from Model T's to mid-century Mercuries. While many of these cars could easily fill an entire book individually, this survey of Brizio's work provides more of an overview. That's not to say that it's lacking specific, detailed information, though. The introductory chapters on Brizio's early life and shop provide background on the man behind the cars, and each car featured includes background on the build, including the owner and the modifications.
The glossy, high-color hardback looks like a coffee table book, and the photos are plentiful. The photo quality, however, is uneven. While some images are absolutely gorgeous, there are others that are grainy, or that have a bizarrely dark, apocalyptic fade added to the sky. While I appreciate the author's attempt to include as many of Brizio's creations as possible, I did find the quality of some of the photos to be distracting. Their inclusion did add to the overall view of Brizio's body of work, but I would have preferred that some of them were omitted to make room for more of the higher-quality images.
Overall, I found that this book did a thorough job of profiling Roy Brizio, both through his history and his creations. His work quality and attention to detail are absolutely stunning, and it was good to see the breadth of material covered here. He is a master of his craft, and this book serves as an in-depth introduction to his work, though the broad overview of his many projects will still be of interest to those already familiar with him as a builder. I did find myself wishing for more information on some of the cars, but that's more of a credit to his skill as a builder than it is a criticism of the book.
Brizio is most famous for his 1932 Fords, but, spanning 33 pages of the book, the chapter focused on his '32s was a bit too robust for our limited excerpt. Instead, we'll take a look at his work on Model A's and T's, including both a very special restoration and a couple of Brizio's original creations. If you take the time to familiarize yourself with Roy Brizio's work, you definitely won't be disappointed. However, a word of warning: with workmanship of this quality, you just might want to order a car of your own.
Chapter 3
Model A's and T's
Even though Roy Brizio Street Rods is best-known for its '32 and '34 Fords, the shop has also built plenty of other beautiful machines over the years, including models that predated the Deuce. One of Brizio's finest achievements was a restoration of the famous Ala Kart that George Barris built for Richard Peters in 1958.
Hershel "Junior" Conway did the finish work on the original car and painted it in white pearl. George Barris topped Junior's paint job with purple and gold scallops. Ala Kart won the prestigious America's Most Beautiful Roadster award at the Grand National Roadster Show in 1958 and 1959, prompting toy model kit company AMT to lease the car from Peters and eventually buy it to use at car shows. However, in 1963, the car had an electric short that resulted in a fuel line fire. The damaged icon seemed to disappear for a long time . . .
Then, in 2001, one of Junior Conway's customers turned up at his shop with the old Ala Kart and asked him to restore it. Junior started by stripping the sheetmetal down to bare metal and finishing it with new lead. After Conway had finished the pickup bed and some of the body pieces, the owner decided to sell the car. Roy Brizio and Steve Coonan convinced John Mumford to buy it. The car was eventually delivered to Brizio's shop, and Roy put one of his guys, Bill Ganahl, in charge of the project. Bill invested countless hours in research and physical work to prepare the Ala Kart for the Grand National Roadster Show and consideration for the America's Most Beautiful Roadster award.
The Ala Kart was based on a stock '29 roadster pickup. Peters modified the frame with chrome brackets for coil springs in all four corners. He had the chassis, body, pickup bed, and fenders delivered to the Barris shop in Lynnwood. Peters had removed a '54 Dodge Red Ram Hemi from his race boat and bolted it to a '39 Ford transmission with Lincoln gears. The rearend came from a '32 Ford with bolted-on '40 Ford hydraulic brakes. Peters installed a dropped I-beam axle on the front with '39 Ford spindles and '40 Ford brakes. At the Barris shop, the crew modified the body with a '27 Model T back panel, shortened and modified the pickup bed, bobbed the fenders, and made a new front end with a round grille and dual headlights. A new aluminum hood was fashioned with a sunken hood scoop. Conway, who was working for Barris at the time, finished the paint job, and Roy Gilbert crafted the upholstery and special seats.
For the restoration, Roy's crew repeated the original buildup bolt for bolt. Mickey Galloway did the metalwork, Darryl Hollenbeck painted the car, and Howdy Ledbetter re-created the interior perfectly. The restored Ala Kart debuted at the 2008 Grand National Roadster Show in a display just like that used in 1958. George Barris and the car's original owner, Richard Peters, attended the show to commemorate the car's return.
Cliff Hanson's '31 Roadster Pickup
Cliff Hanson of Zephyr Cove, Nevada, wanted a fenderless roadster pickup and sat down with Roy Brizio to get his ideas on paper. They put together plans for a '31 Model A Ford roadster pickup.
Brookville Roadsters makes an open steel-body replica of the Model A for half the price of a similar '32, so Cliff's project began with an order for a pickup body and shortened bed from Brookville. Roy and Jack Stratton used a set of American Stamping '32 frame rails to build the chassis. New tubular crossmembers were made for the transmission bracket, and the front of the frame was pinched to fit behind the '32 grille shell. The front crossmember was also flattened to get maximum front-end drop.
The front end has a 5-inch dropped Super Bell mono-spring axle held in place with a set of Pete & Jake's hairpins. The Dutchman quick-change rearend has an early Ford axle with hairpins and a set of coil-over shocks. The wheelbase was stretched to 110 inches—4 inches longer than a stock '32 Ford.
With the basic chassis complete, a Mullins Vega steering box was paired with Pete & Jake's shocks and Panhard bars. Late-model Ford rear drum brakes work in combination with a set of So-Cal Speed Shop disc brakes hidden in finned, Buick-style drums. The roadster is powered by a 350 Edelbrock crate small-block connected to a five-speed Tremec transmission with overdrive and a 4.11:1 gear ratio. The Edelbrock engine was delivered with 10.5:1 compression; Edelbrock aluminum heads, cam, and intake manifold; and dual Edelbrock four-barrel carburetors under a Moon air cleaner. With 410 horsepower, Cliff has all the hot rod power he could want.
Even a brand-new steel body needs finish work before it can be painted. Mickey Galloway took care of the body and pickup bed, and the aluminum hood was then crafted. In Concord, Darryl Hollenbeck painted the bodywork in House of Kolor blue candy. With the car bolted together, the chassis parts were chromed and painted, and the wiring was installed. The car was then trailered to Sid Chavers—Brizio's main man for interiors—in Santa Clara. Sid stitched a 1950s-style interior in red-and-white Naugahyde, and local pinstriper Rory Pentecost pinstriped the exterior. Cliff showed off his hot little pickup at the L.A. Roadster Show, and among the 900 roadsters at the show, Cliff's was a crowd favorite.
Carlos Lara's '29 Lakester
Hot rodder Carlos Lara moved from Mexico to Alberta, Canada, just before he contacted Roy Brizio Street Rods about building a roadster with set a Deuce frame rails and a replica Brookville 1929 roadster pickup body. Carlos delivered a Jaguar six-cylinder engine to power the hot rod.
Classic lakesters were built on Model A or '32 chassis with Model T bodies—just a basic '29 roadster pickup body (without the pickup bed) with a tank in back on top of the frame. Roy Brizio and his crew formed the '32 frame rails after the body, and the rails were cut in the front and rear for a bobbed style. While the shop was working on the chassis, Jag specialist Jim Griffin took apart the 1968 4.2-liter XKE engine and put it back together with a high-lift cam, a ported and polished head, and Isky valve springs. Three chromed 40-millimeter DCOE side-draft Weber carburetors from Inglese were mounted on a Jaguars Unlimited intake manifold. A Mallory Unilite distributor was selected for ignition, and a Tremec five-speed transmission was installed with a Brizio-made bell housing. Power is fed to a Dutchman quick-change rearend with 3.50:1 gears and a high Model A–type leaf spring from Betts Spring Company in Oakland. The front end was built on a 5-inch dropped Super Bell tube axle with Pete & Jake's radius rods and a monoleaf front spring. For an old-style racing look, Brizio selected a set of Wilson Welding finned backing plates and Buick aluminum drums with Ford hydraulic brakes all around.
To give Carlos some extra leg room in the little '29 Ford roadster body, the Brizio boys dropped the floor in front of the seats and used a slim backrest. Kustom Classics painted the body in DuPont British Racing Green, and Jim Vickery wired the car. The '32-style dash has Classic Instrument Hot Rod Series gauges, and the three-spoke Bell-style steering wheel was wrapped in tan Jaguar leather by Sid Chavers. Sid stitched the entire interior, including the carpet, with matching leather edges. The lakester rides on American Racing 17- and 20-inch wheels with low-profile 205 and 295 BF Goodrich tires. The Model A has six short straight pipes, making for a very short exhaust system—great for shows, but not so great for the street.
Like most of Roy Brizio's work, the Carlos Lara Model A roadster is not a show piece—it is very much a driver and has a lot of unusual parts, including a Jag motor with Weber carburetors. Steve Coonan
The Ala Kart was a big success as soon as it was shown at the 1958 Grand National Roadster Show. Richard Peters toured with it, and the model company AMT showed it for some years in the 1960s. More than one million model copies were sold.
Richard Peters took the Dodge Red Ram engine out of his race boat for the Ala Kart. The car was featured on the cover of Hot Rod magazine in 1958 with a Hilborn fuel injection system. The restored 266-cubic-inch Hemi motor was finished the same way.
It was a great moment at the Grand National Roadster Show when the fully restored Ala Kart was uncovered in 2008. It was accompanied by a complete replica of the display from the 1958 show, including the car's setup with foil-covered stands and a mirror under the car.
The original Ala Kart was shown at the 1958 show on a white carpet, with a big mirror under the chassis and foil-covered stands. The car's original owner, Richard Peters, was at the 2008 show to see the restored car.
It was a big moment when Roy Brizio took the Ala Kart out for a spin; few people have seen this famous old show car on the road.
The swing pedals came from a '54 Ford, and the dash panel has a set of '57 Corvette gauges, just like when it was first built. The steering wheel, with a gold bullet in the center, came out of a '57 Lincoln.
Darryl Hollenbeck copied the original Junior Conway Barris paint job down to the smallest detail, and Art Himsl matched the purple and gold candy colors. The same scallops are painted on the underside of the fenders.
After a wiring and fuel fire, the Ala Kart was parked in a garage until 2001, when Junior Conway began its restoration.
A '32 Ford rear end was chromed, along with many of the other chassis parts. The coil springs and air bags were new ideas in 1958, and the four pipes sticking out under the Frenched license plate added to the custom style.
In this prerestoration picture of the Ala Kart, some of the upholstery is still intact, which made it easier for Howdy Ledbetter to replicate the original upholstery.
Steve Coonan
Junior Conway had started to restore the Ala Kart for one of his customers before it was sold to John Mumford. This photo shows how the car looked when the Brizio team took over and completed the restoration. Steve Coonan
The Ala Kart was nearly all intact, parked in a garage for more than 30 years before it was sold and Junior Conway was hired to restore it. This street rod gave George Barris notable publicity; it won the America's Most Beautiful Roadster award in 1958 and 1959.
Steve Coonan
Two very famous Sam and George Barris–built cars are back together after all these years. The Ala Kart Model A roadster pickup appears with the Sam Barris '49 Mercury, which also can be seen in Chapter 6. Steve Coonan
With the new hood a little longer than stock and the 1932 frame pinched in to be cut and hidden behind the grille shell, the front end gets a very clean look. The grille and grille shell are new replicas in steel.
The stance of the car, with its front-end drop, screams "hot rod." With the blue candy paint, red and white accents, and the wide whitewalls, it's easy to see why people love this car.
More and more hot rod builders do what Cliff did for his car: order a brand-new crate motor to get some fresh horsepower. Cliff selected an Edelbrock-built, 410-horsepower 350 Chevy with plenty of goodies, including aluminum Edelbrock heads and cam, a polished intake manifold with dual four-barrel 500-cfm carburetors, and a Moon air cleaner.
Roy Brizio is one of the best in the business at building good-looking drivers, and most of them have a Sid Chavers stitched interior like this one in red-and-white, 1950s-style tuck and roll. The 1932-style dash has a Brizio insert and a set of Classic Instrument gauges. Because a hot rod should be driven like a sports car, owner Cliff Hanson wanted a five-speed manual with a Hurst shifter.
The deeply dropped front end has a 5-inch dropped Super Bell tube axle with Pete & Jake's spindles, hairpins, and shocks. The Buick-style So-Cal Speed Shop brakes have hidden disc brakes inside.
The car was based on the old lakester style with some modern touches, including a Jaguar engine and a set of big American Racing 17x20-inch wheels with low-profile BF Goodrich tires.
To keep a clean look, everything possible on the 1968 Jaguar XKE engine was polished or painted silver. Jim Griffin completely rebuilt the 4.2-liter engine. With 9:1 compression, high-lift cams, and a ported head, the engine was topped off with three Weber carburetors on Jaguars Unlimited manifolds. The straight-pipe exhaust was installed for show, and it looks very good with the rest of the polished valve covers and carburetors.
The lakester has a quickchange rear end built by Dutchman, with 3.50:1 gears. The aluminum pieces were polished before the rear end was assembled, and it is held in place by a set of Pete & Jake's ladder bars, plus a Model A leaf spring.
The Sid Chavers interior was stitched in tan Jaguar leather, and the seats were kept slim to give owner Carlos Lara some extra leg room in the car. The 1932-style dash is filled with Classic Instrument Hot Rod Series gauges, and the Hurst shifter is hooked up to a Tremec five-speed transmission.
The old race car–style look included a set of Speedway Motors friction shocks in the front and 1929 Model A headlights with modern halogen inserts. The headlights were mounted extra low and out in front of the Model A grille shell.
Jim Stroupe owns this little '27 T original-bodied roadster with a narrowed body, 1960s Alfa Romeo engine, four-speed transmission, Halibrand quick-change rear end, and rare Kinmont brakes all around. The owner had the parts and the ideas, and he then hired Brizio's to build his dream car.
Brizio's built the little T with a square tubing chassis and a Wescott '27 T fiberglass body. Under the body were a Halibrand quick-change rear end, a 302-cubic-inch Ford engine with dual Edelbrock four-barrels, and a T five-speed transmission. The tube front axle had coil-over shocks fitted inside the track-nose front end.
Chip Foose came up with the idea to build a clone of the first Hot Rod magazine cover car to celebrate 50 years of the magazine. Foose also made the rendering of the updated version of Regg Schlemmer's '27 T roadster, which Brizio built in 1998.
Published Dec 7th, 2015


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Reader Question: Can my neighbor put up a 4 x 12 "for sale" sign on my property without my permission? What do you suggest I do about it? Monte
Monty's Answer: Hello Monte, thanks for your question. No one can put a sign up on your property without permission. My advice is to see, call or write to the neighbor and share your believe the sign is on the wrong property. After that conversation, your course of action will become clear. There are several different possibilities here, so approach the neighbor with caution:
1. Assuming you have seen the sign with your own eyes, and you believe it to be on you property, have you ever had a survey completed? If so, is there a hard copy of it? It is possible the neighbor placed the sign on the property because they believe they own it. A lead pipe in the ground is not proof of the boundary; stakes get moved, but a legally recorded survey is proof.
2. Sign companies can and do make mistakes. Your neighbor or their real estate agent may have orally communicated the location to the installer and was misunderstood. If someone called about the sign and shared the information over the telephone, it is possible they mis-communicated the sign location to you.
3. The neighbor may have a survey that demonstrates they own the property.
4. The issue could be with a surveyor or the survey itself. As and example, many years ago I sold a home only to discover months after closing the "lot line" went right through the home's living room. A surveyor made an error 80 years earlier.
Property owners subdivide the land, selloff chunks to neighbors, grant easements and more. Occasionally, vital documents were not recorded. Either of you could have an outdated document, or the surveyor could have erred. These issues are uncovered when an action like installing a sign, or building a fence take place.
5. It is possible the neighbor deliberately placed the sign on your property. Could the neighbor be conspiring with one of your friends? For a practical joker, this would not be out of the ordinary.
Review your survey, make a phone call and take it from there. You should be able to work with the neighbor to resolve the issue.
I hope this information is helpful, Monte. Ask me if there are more questions. I would be curious to learn what caused the error or if you still need advice. Good luck.

subset: commoncrawl


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Notice: This Wiki is now read only and edits are no longer possible. Please see: https://gitlab.eclipse.org/eclipsefdn/helpdesk/-/wikis/Wiki-shutdown-plan for the plan.
Virgo has a strong emphasis on testing. Unit tests check the behaviour of individual classes or small groups of classes. Integration tests check the behaviour of groups of Virgo bundles running together in Equinox. System verification tests (SVTs), including some simple performance tests, check the behaviour of packaging builds of the kernel and web server from a user's perspective.
JUnit is used for all these types of tests. Each testcase is structured as a class with class name ending in Tests. Tests typically reside in the src/test/java folder of a project.
If you need a thorough introduction to Test Driven Development, we recommend "Growing Object-Oriented Software Guided by Tests". This book makes the important point that unless test code is as clean as the code under test, the tests will inevitably end up slowing down the whole project. Good test coverage enables changes to be made with confidence, so test code should be refactored and kept clean just like the code under test.
We find that an emphasis on testing has a strong beneficial effect on code design. Writing tests is much simpler if the code is well-structured and modular. Designing for testability encourages good structure and small modifiable pieces.
Unit Tests
Each unit test tests a small unit, typically a single class. Dependencies are usually stubbed or mocked out.
Stubs are hand-written, dummy implementations of interfaces just sufficient to simulate the behaviour of a full implementation of the interface and in some cases to check that the interface has been used correctly. Stubs for several standard OSGi interfaces are provided in the OSGi Test Stubs git repository. Other projects may supply stubs for commonly used interfaces. For example, the Quasi Framework interfaces have stubs [add link once kernel checked in] provided.
Mocks are generated on the fly from interfaces. EasyMock is typically used. Expectations of how an interface is used can be set and checked. It is important not to code expectations that are too specific to an implementation otherwise the resultant test will be fragile and is likely to break if the implementation being tested is refactored.
Some tests of complex classes use a combination of stubs and mocks.
In general, unit tests aim to provide at least 80% coverage of Virgo code, but some components fall short of this and more tests need to be written. The precommit ant target used to check coverage using Clover, but this check is not currently supported as the Eclipse Hudson server does not support Clover.
Some complex classes are simply too messy to unit test and refactoring is required to enable maintainable unit tests to be created. So if significant refactoring of existing code is planned, that is often a good time to add a suite of unit tests.
New code should be written with unit tests from the start. This is the only way to make sure that code can be thoroughly unit tested.
Integration Tests
Integration tests install a collection of bundles into Equinox and then run the testcase as part of a bundle. Some integration tests install sufficient bundles to start a Virgo kernel or web server, but others install a relatively small subset.
Virgo tests are implemented using JUnit and EasyMock. In addition, integration tests which require an OSGi environment use the Virgo test framework, described below.
Note that integration tests can be run under Eclipse provided the containing git repository has been freshly built using Ant. If Eclipse rebuilds some projects, integration tests may fail with an "invalid plugin" error. The solution is to do a full build under Ant and then re-run the test under Eclipse without refreshing or cleaning projects.
Automated Testing
Test dependencies are either checked in to src/test/resources or are downloaded into an Ivy repository when the tests are built.
The unit and integration tests of a Virgo git repository can be run by changing into the build-xxx directory and issuing:
ant clean clean-integration test
This will halt when the first test fails. To run all the tests and not halt on failure, issue:
ant -Dci.build=true clean clean-integration test
and, since this will always report "build successful", remember to open target/test-results/index.html at the end to see which tests passed and which failed.
Running a Subset of the Tests
To run the tests in a particular project, change directory to the project directory and then issue:
ant test
To run a single test case, change directory to the project containing the testcase (not strictly necessary, but saves time skipping all the other tests in other projects) and issue:
ant -Dtestcase=fully.qualified.ClassName test
Known Issues
Sometimes on Windows machines a number of kernel repository tests can fail with the following error:
org.eclipse.virgo.kernel.deployer.core.DeploymentException: listFiles() failed for file ...
This is due to a limitation of the Windows FS - it is not supporting filepaths longer than 260 characters. In order to solve that issue it is recommended to either always execute the tests with -Dci.build=true option or move your kernel repository closer to the root and shorten its folder name.
Here's an example. Instead of:C:\myDir\org.eclipse.virgo.kernel\<repo_content>use
That way the tests will pass and you won't have to include -Dci.build=true.
System Verification Tests
SVTs are present in the Virgo Kernel System Verification Tests and the Virgo System Verification Tests repositories. Building these repositories runs the tests.
Manual Steps for Virgo System Verification Tests
The Virgo System Verification Tests repository requires a certain amount of manual hand-holding.
You need to copy a packaged Tomcat server zip file into build-svt/target/artifacts/ and then run the following ant target:
ant test-svt
At the (successful or unsuccessful) end, some processes are typically left running: the Virgo web server ("Launcher") and/or a database ("Server"). This is convenient if you want to run some specific SVT test in Eclipse but not if you want to do other work, such as run the tests again, in which case you must kill these processes, e.g.:
$ jps 29925 Launcher 29908 Server 29955 Jps $ kill -9 29925 29908
Performance Tests
A small number of SVTs in the Virgo Performance Tests git repository check that the performance of Virgo does not worsen. These tests are very approximate since it is impossible to enforce precise performance goals when tests are run in a general CI server which may be subject to fluctuation in its load and performance.
Ignoring Tests
Ignoring a failing test is always a last resort. If this is required, then a bug must be raised and the failing test method or, in rare situations, the whole test class should be annotated using the org.junit.Ignore annotation:
@Ignore("bug <bugzilla number>: <reason for ignoring the test>")
The bug should also detail which test or tests are ignored.
Virgo Test Framework
The Virgo Test Framework is designed to ease the construction of integration tests that require an OSGi framework. It is maintained in its own git repository. It is fairly primitive, providing just two test runners and an annotation.
Test Runners
The test framework provides the following test runners.
The OsgiTestRunner is for testing components that need a simple OSGi environment. It is invoked via the JUnit @RunWith class annotation, for example:
import org.junit.runner.RunWith; import org.eclipse.virgo.test.framework.OsgiTestRunner; @RunWith(OsgiTestRunner.class) public class EventLogIntegrationTests { ...
OsgiTestRunner launches Equinox, installs the project containing the testcase class as a bundle, starts the bundle, and then runs the testcase class from inside the bundle using a standard JUnit runner.
The DmKernelTestRunner, which should probably be renamed to VirgoKernelTestRunner, is for testing components that need a Virgo kernel environment complete with kernel and user regions. It must be used in combination with suitable configuration to launch the kernel bundles and the bundle on which the kernel depends.
It is invoked via the JUnit @RunWith class annotation, for example:
import org.junit.runner.RunWith; import org.eclipse.virgo.test.framework.dmkernel.DmKernelTestRunner; @RunWith(DmKernelTestRunner.class) public abstract class AbstractKernelIntegrationTest { ...
The DmKernelTestRunner extends the function of the OsgiTestRunner to wait for the user region to start before running the testcase.
Annotation | Type | Purpose | Default Value |
ConfigLocation | class | Specifies the location from which the test framework should load its configuration | META-INF/test.config.properties |
Test Configuration
The test configuration file specifies a list of bundles to be installed and optionally started as well as kernel and other properties. It is an extended form of the kernel launch properties configuration file.
The Virgo web layer has a fairly typical test configuration file.
The following properties may be specified which would not normally appear in a non-test kernel launch properties configuration file.
Property name | Definition | Default value |
A comma separated list of "file:" URLs relative to the current working directory each referring to a properties file. Properties files may provide property placeholders in other configuration files. | Empty list |
The standard OSGi utility class FrameworkUtil is used to obtain the test bundle context as in the following example:
protected final BundleContext testBundleContext = FrameworkUtil.getBundle(getClass()).getBundleContext();
Certain test properties may be set for all the projects of a given git repository in its build.properties file. For an example, see the kernel's build.properties.
Property name | Definition | Default value |
test.forkmode | "perTest" if a new JVM is to be launched for each test class. "perBatch" if a new JVM is to be launched for each project. See "forkMode" in the Ant JUnit task. | perBatch |
test.java.dir | The directory containing the source code for a project's tests. | <project>/src/test/java |
test.resources.dir | The directory containing resources for a project's tests. | <project>/src/test/resources |
test.output.dir | The directory in which a project's compiled tests are stored. | <project>/target/test-classes |
test-results.output.dir | The directory in which a project's test results are stored. | <project>/target/test-results |
test.vm.args | JVM parameters for running the test classes. See the "jvmarg" nested element of the Ant JUnit task.
test.vm.args= -Xmx1024M -XX:MaxPermSize=512M -XX:+HeapDumpOnOutOfMemoryError The property is useful for debugging tests which either cannot be run in Eclipse or which do not fail in Eclipse. The following values are then added to suspend the JVM ready to attach a debugger: test.vm.args= <as above> -Xdebug -Xrunjdwp:transport=dt_socket,address=8000,server=y,suspend=y |
<the empty string> |
ci.build | Set to "true" if the build should continue after errors are encountered. When needed, this property is passed on the Ant invocation by specifying "-Dci.build=true" and is otherwise left to default. This property is used to specify the "haltOnError" and "haltOnFailure" parameters to the Ant JUnit task. | false |
Virgo build drives JUnit for unit and integration tests in the "test-run" macro in common/quality.xml. The above properties parameterise the macro.
The properties are defaulted in common/common.properties and are typically overridden for all the projects of a given git repository in the build.properties file.


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Prices vary depending upon the size of your tank. A contractor might need to charge more if modifications to your existing plumbing or wiring must be done ahead of time. If you have an old tank that must be removed and disposed of, this could add to the cost of installation as well. Buying a good quality boiler may cost you more money initially, but will actually save you money in the long run. That's because it will last longer, require fewer repairs, and save you money on your energy bills.
Electric boilers are often slightly smaller than their gas-powered counterparts, and they're simpler to install because they do not require a flue or chimney for the expulsion of combustion gases. Because they're smaller, you'll have more flexibility in the placement, as well, which can add to your home's aesthetics.
Get an idea as to what Bradford electric boiler installation will cost by filing out the form you see above. After that, up to four free estimates will be provided to you direct at no cost whatsoever. Compare these estimates in the comfort of your own home, knowing you are never obligated in any way by using our service. Getting started will only require a minute or so of your time, but will provide you with tremendous rewards.
20 Jun Electric Boilers: The electric boiler at my place of business is very old, and I would like to purchase a new, more energy efficient model. My business is one level and 7,000 square meters. Please provide a quote for a new electric boiler and installation services.
20 Jun Bradford: We are in need of a new electric boiler. We would also need to have our old boiler removed. Will you please offer a quote for various electric boilers that you carry in your line?
19 Jun I would like to replace my aging electric boiler unit and need to have it done as soon as possible. Can you give me a price to do the job and also an estimate of how long it will take to do? Thank you.
19 Jun We would like some information on your electric boilers. We must replace our old boiler with a newer, more modern version.
More: We had a conversation with a friend who said that an electric boiler might be more suitable for our needs and would like to know more. We're currently creating a self-contained annexe and need to isolate a heating system from the main house.
June: We typically see a steady stream of quote requests coming in June as people carry out necessary maintenance work to their properties. This month is no exception as we are seeing numerous requests for free boiler servicing, repair and installation quotes.
Still considered a very specialist boiler choice, if you're considering a new electric boiler installation then these are some currently popular choices.
Boiler Model | Manufacturer | Output (KW) | Price |
Slim Jim 4KW | EHC | 4 | Best Price |
Electromax | Heatrae Sadia | 6 | Best Price |
eGlow | Advance Appliances | 6 | Best Price |
Slim Jim 14.4KW | EHC | 14.4 | Best Price |
Fusion Comet 6KW | EHC | 6 | Best Price |
Electric boilers are good for areas where gas or oil boilers are not permitted, but they can cost up to 3 times more than these other options. This will depend on the gas and electricity prices in your current area. These prices tend to fluctuate frequently.
Electric boilers are easy to maintain and operate nearly silently. They are also a bit more environmentally friendly, as they do not release any waste or carbon dioxide. As a backup system, an electric boiler can also be linked to solar panels.
The average lifespan of an electric boiler is 8-10 years. A high quality boiler that is well maintained can extend that lifespan to up to 20 years, but it may become less efficient even with proper maintenance.
If you already have an electric boiler and are just switching out the old one for a new model, it can be installed for around £1,000. Entirely new installations can cost upwards of £2,000, depending on the details of the installation.
You may do this only if your electric and plumbing lines are capable of supporting it. We recommend an inspection beforehand, which can be performed very affordably by any of the knowledgeable Bradford professionals in our extended network.
Installing your boiler unit as a DIY project is strongly advised against because you may not possess the necessary knowledge and expertise to ensure that the unit is installed and set up correctly.
Like gas boilers, electric boilers come in many different styles and sizes that can heat a one-bedroom flat or a three-storey home. Your local boiler installation company can help you choose the right boiler size for your unique needs.
If you have multiple bathrooms and you anticipate that you'll need hot water delivered to more than one tap at the same time, an electric system boiler is your best option. These boilers allow for the rapid heating and delivery of unlimited amounts of water to every radiator and tap in your home.
If your existing home has never been fitted with a boiler, choosing an electric model can actually save you money in terms of installation. That's because installers won't need to run gas lines, which can become very expensive and require tearing up walls and floors for placement, and there's no need to install a flue pipe or chimney. What's more, it's smaller than a conventional gas boiler, so it takes up far less space.
Each manufacturer will provide different warranties depending on the make, model and size of the electric boiler that is being installed.
In many cases, electric units aren't able to provide the amount of hot water required to suit the needs of larger families. When chatting with one of our network of professionals, they will be able to provide you with information regarding the type of boiler unit that will be most suitable for your needs.
It couldn't be easier to apply for your free electric boiler quotes. All you need to do is complete our online quote application form with a little information about your boiler requirements. It only takes a minute of your time to save.
Let us arrange for up to four local boiler engineers in the Bradford area to get in touch direct to provide you competitive quotes direct. All quotes come with no-obligation making our service completely risk-free!
For exclusive June electric boiler deals complete this form now!


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Perfecting Images in Photoshop CS5
For photographs that have been edited in Lightroom or ACR but need further fine-tuning before creating print or web output, Photoshop CS5 offers an impressive array of tools, adjustments, and transformations. It would be easy to fill this entire book with only Photoshop tips, but of course the idea is to provide a full picture of the digital workflow.
In that spirit, I've identified over 50 tips designed to help you work more efficiently with existing tools and functions, and to apply creative effects with new features like Puppet Warp and improved features like Merge to HDR Pro.
The beauty of digital editing is that experimenting with Photoshop usually feels more like fun than work. Books and videos are important guideposts, but ultimately the best way to master Photoshop is to really dig into the tools and see which tools best suit your photographic or creative goals. If you recently upgraded from Photoshop CS3 or CS4, you may wonder what you can do with CS5 that you can't also accomplish in ACR or Lightroom. The following list covers just a few examples:
- Seamlessly blending photos to create HDR and panoramic images
- Nondestructively warping and transforming subjects in an image
- Creating photo illustrations that mimic real paint media
- Selectively blurring a composition to refocus the viewer's attention
Chapter 4 starts with important tips for customizing your workspace and setting up Photoshop for better performance. You will also learn useful shortcuts for working with various tools and for quickly finding images using the new Mini Bridge panel. The rest of the chapter covers a wide range of tips designed to help you maximize the quality of your photography. A general familiarity with basic imaging concepts, such as layers, channels, and selections is assumed. Where necessary, tips that are specific to Photoshop CS4 or CS5 will be noted.
#50 Setting Preferences
Once you have installed Photoshop CS5 and you're ready to explore the application or start working with your photos, you may want to take a few minutes to customize your preferences.
General Preferences
You can open Photoshop's Preferences dialog box by pressing Command-K (Mac OS) or Control-K (Windows). Alternatively, you can open the Preferences dialog box by choosing Photoshop > Preferences > General (Mac OS) or Edit > Preferences > General (Windows). Any of these techniques will display Photoshop's General preferences (Figure 50a).
Figure 50a Photoshop's General Preferences is a good place to start.
The settings shown in Figure 50a are what I typically use. The key settings follow:
Color Picker (Adobe)—This is the default value and ensures all the features and tools, which provide a means of choosing a color, use the Adobe Color Picker (Figure 50b), rather than the Mac OS or Windows color pickers, which are somewhat less capable in my opinion.
Figure 50b The Adobe Color Picker provides additional options and more precision when compared to the Mac OS and Windows color pickers.
HUD Color Picker (Hue Wheel [Medium])—This is a new capability in Photoshop CS5 that allows you to choose colors by calling up a temporary color picker that hovers over your document at the location of your cursor (Figure 50c). The HUD picker concept is covered in detail in Tip #57.
Figure 50c The HUD Color Picker is new in Photoshop CS5 and provides a more efficient means of selecting colors while working on your photos.
- Image Interpolation (Bicubic Sharper)—This setting determines the default method of image scaling or resizing for features like the Crop tool and Image Size command. If you choose a suboptimal method here, it can result in degraded details or artifacts when you resize your images later. Because I reduce the size of my original photos far more often than I enlarge them, I choose Bicubic Sharper. If you frequently enlarge photos, choose Bicubic Smoother.
Use Shift Key for Tool Switch (On)—When selected, this option ensures that the Shift key must be held down in order to switch among tools that are grouped together in the Tools panel. For example, the Brush Tool, the Pencil Tool, the Color Replacement Tool, and the new Mixer Brush Tool are grouped together in the Tools panel (Figure 50d).
Figure 50d You can switch among tools that are grouped together in the Tools panel by pressing Shift and the tool's shortcut key (for example, Shift-B cycles through the tools that are grouped with the new Mixer Brush).
- Resize Image During Place (On)—This setting is used in conjunction with the Place command (File > Place), which takes one image and adds it to another image as a new Smart Object layer. When this setting is on, and the image being placed is larger than the target image or uses the opposite orientation, Photoshop will resize the long edge of the placed photo so that it fits inside the canvas of the target photo.
- Zoom Resizes Windows (Off)—I typically deselect this preference because it can reduce the number of times I need to resize a window. For example, it's not uncommon to expand a window to leave empty space around the image canvas. This allows you to see and access the periphery of the photo when you need to precisely place a selection, crop marquee, or perform a similar task. Leaving this preference deselected ensures that the window size remains the same even if you zoom out. If zoom resizing is selected, every time you change the magnification of the image, the window will automatically shrink to fit the image, leaving no space around the edges.
- Zoom Clicked Point to Center (On)—This option determines if repeatedly clicking a specific region of your photo with the Zoom tool will automatically place that region at the center of your window or viewing area, as Photoshop zooms into the image detail. Selecting this preference can be quite helpful when you need to quickly evaluate a specific detail in the scene, because it reduces the amount of panning (or scrolling) necessary to move the targeted details to the center of your view. More zoom and pan methods are discussed in Tip #56.
- Place or Drag Raster Images as Smart Objects (On)—New to Photoshop CS5, if this option is selected and you place an image or drag one into your open Photoshop document, the new image layer that is created will be a Smart Object. This can be useful if you have to scale the layer more than once during your edits, as it will better maintain the quality of the image being placed or dragged into your open file. Smart Objects and transforms are discussed in Tip #70.
Interface Preferences
There are also user interface preferences that can be used to further customize your Photoshop experience when editing photos. To access these preferences, click the Interface heading in the Preferences dialog box (left side). The setup I typically use is shown in Figure 50e.
Figure 50e Photoshop's Interface preferences can be an important part of streamlining your workflow.
Screen Mode Colors and Borders (Set all Colors to Gray and all Borders to None or Line.)—This ensures consistency when viewing photos in expanded windows and full-screen modes, because the background will be a neutral gray, and there will be no distracting drop shadows around the edges of your image.
Show Tool Tips (On)—Selecting this option ensures that whenever you mouse over a tool icon or other clickable feature in Photoshop, a small tool tip will appear after a few seconds.
Auto-Collapse Iconic Panels (Off)—When this setting is selected, if you open a panel from its docked icon and then click somewhere else in the photo or UI, the iconic panels will close. For this reason, it may be helpful to leave this preference deselected so that as you make adjustments, you can see the changes in the panel. For laptop users with limited screen space, leaving this setting selected can save space.
Open Documents as Tabs (Off)—Unless you prefer that all the documents you open share a common window by default (much the way tabs share a single window in many web browsers), you may want to leave this setting off. This setting is specific to Photoshop CS4 and CS5.
Enable Floating Document Window Docking (On)—The combination of selecting this option and deselecting the Open Documents as Tabs option will give you the best of both worlds—the ability to dock windows together when you need to, but by default open all images in a separate window (Figure 50f). To learn more about working with tabbed documents, check Tip #58. This setting is specific to Photoshop CS4 and CS5.
Figure 50f Deselecting Open Documents as Tabs, in combination with allowing floating windows to be docked manually, provides more flexibility than always opening images as tabs inside an open window, or never using tabbed documents.
File Handling Preferences
To open the File Handling preferences, click the File Handling heading in the Preferences dialog box (Figure 50g).
Figure 50g File Handling preferences help to ensure Photoshop behaves as intended when saving or opening certain file formats.
Image Previews (Always Save)—Choosing this setting from the pop-up menu ensures that a JPEG preview will always be saved with your files so that you can look at them in other applications like the Mac OS Finder.
Append File Extension (Always Save)—Choosing this setting from the pop-up menu ensures you will always be able to see your files' extensions at a glance and determine the file format.
Save As to Original Folder (Off)—This option is new in Photoshop CS5 and allows the last folder to which you saved to be set as the default location, rather than the same folder the images were opened from. For example, you may store all your raw files from a shoot in one folder. Turning this preference off before opening the next raw file from that folder means that when you're finished with the file and ready to save it in Photoshop, the application will default to the last folder you saved to, rather than the folder with all your raw files.
Prefer Adobe Camera Raw for Supported Raw Files (On)—When selected, this setting ensures that ACR will always open your supported raw file types and DNG files when you double-click them, rather than them opening in a third-party application.
Ask Before Saving Layered TIFF Files (Off)—Since TIFF and PSD are the two most popular formats for image editing, and since using layers is often required, deselecting this option can save you the annoyance of dismissing a dialog box every time you save a layered TIFF file. You might want to leave this option selected for publishing workflows where some applications don't support layered TIFF data.
Maximize PSD and PSB File Compatibility (On)—When selected, this option ensures that Lightroom is able to recognize and display files that have been edited and saved in Photoshop CS5.
Performance Preferences
To open Photoshop CS5's Performance preferences, click the Performance heading in the Preferences dialog box. These preferences are especially important for maximizing Photoshop performance based on your computer hardware. Aside from being a fully 64-bit application, the way Photoshop handles Cache Settings has evolved somewhat, so it's worth taking a look at some typical settings, in this case for a computer that has 8GB of RAM installed and a dedicated Scratch Disk (Figure 50h).
Figure 50h Photoshop CS5's Performance preferences.
Memory Usage—This setting is system dependent. The RAM value to choose will depend on how much memory you have installed. The more you can allocate (while leaving at least 1-2GB for other applications that may use RAM simultaneously) the better. Here, slightly more than 6GB of RAM have been assigned. This is important because it means most files and operations can be carried out completely in RAM, speeding things up.
Scratch Disks—This value is system dependent. If possible, choose an internal disk that is formatted and completely empty. Alternatively, you can choose a (hopefully fast) external drive that is empty, if one is available. You can think of this as Photoshop's "scratchpad" where it can temporarily write and store information as it is calculating solutions to the edits you are performing. Having a dedicated scratch disk can greatly improve Photoshop performance.
History & Cache—These values are workflow dependent. If you often create documents that have smaller dimensions but many layers, click the Tall and Thin button. If you create files with large dimensions but only a few layers, click the Big and Flat button. For all other uses, clicking the Default button should provide good results.


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Sweepstakes Official Rules Template with Web or E-mail Entry Method
Maria's Farm Country Kitchen Garden Guru
NO PURCHASE OR PAYMENT OF ANY KIND IS NECESSARY TO ENTER OR WIN. VOID WHERE PROHIBITED. A purchase or payment will not improve your chances of winning. The "Maria's Farm Country Kitchen Garden Guru" (the "Sweepstakes") starts at 7:30am Eastern Time ("ET") on July 7, 2011 and ends at 11:59pm ET on July 7, 2011 (the "Promotion Period"). Eastern Time shall control for all purposes of this Sweepstakes. The Sweepstakes is governed by these Official Rules, and is subject to all applicable U.S. federal, state and local laws, and provincial or territorial laws, and is void wherever prohibited by law.
1. ELIGIBILITY: The Sweepstakes is open only to legal residents of the 50 United States and District of Columbia (excluding residents of Guam, Puerto Rico and all other U.S. territories and possessions), and Canada (excluding residents of the Province of Quebec and all other countries, territories or possessions) who are 18 years of age or older and the age of majority in his/her state, province, or territory of residence at the time of entry. Any individuals who have, within one year prior to the start date of the Sweepstakes, performed services for Sponsors, or their respective parents, subsidiaries, affiliates and successor companies or any organizations responsible for fulfilling, administering, advertising or promoting the Sweepstakes or supplying any prize, and the immediate family and household members of such individuals, are not eligible to enter the Sweepstakes or win the prize. "Immediate family members" shall mean parents, step-parents, children, step-children, siblings, step-siblings, or spouses, regardless of where they live. "Household members" shall mean people who share the same residence at least three months a year, whether related or not. Mechanically altered or reproduced Entries are not eligible. In order to enter the Sweepstakes or receive the prize, you must fully comply with the Official Rules, and by entering you agree to be bound by these Official Rules and the decisions of Sponsors, whose decisions shall be binding and final in all respects, and you certify that you are eligible to enter.
2. HOW TO ENTER: To enter, send an e-mail to email@example.com, and state, within the body of the e-mail, your first and last name, complete home mailing address (no P.O. Boxes), daytime telephone number (including area code), and date of birth, and then send your e-mail entry to the e-mail address stated above (the "Entry" or "Entries")." ALL ENTRIES MUST BE RECEIVED BY 11:59pm ET, July 7, 2011. Limit one (1) Entry per person per e-mail address per day throughout the Promotion Period. Entries by the same person in excess of the limits stated herein will be disqualified. Entries submitted to the Web Site will be deemed to have been submitted by the authorized account holder of the e-mail address submitted at the time of the entry. "Authorized account holder" is defined as the natural person who is assigned to an e-mail address by an Internet access provider, online service provider or organization (e.g., business, educational institution, etc.) that is responsible for assigning e-mail addresses for the domain associated with the submitted e-mail address.
3. RANDOM DRAWING; ODDS OF WINNING: Sponsors will randomly select the winner(s) from among all eligible entries received on July 14, 2011. Odds of winning depend on the total number of eligible entries received.
4. WINNER NOTIFICATION: Potential winner(s) will be notified by email, using the information provided on his/her Entry, on or about July 22, 2011. Sponsors will then send to potential winner(s) by e-mail, at the e-mail address on his/her Entry, an Affidavit of Eligibility, Release of Liability, Publicity Release, unless prohibited by law, and any other documentation that Sponsors require (the "Affidavit"). In order to redeem his/her prize, potential winner(s) shall sign, have notarized, and return to Sponsors the Affidavit within fourteen (14) days from the date Sponsors sent the Affidavit. Any guest (his/her parent/legal guardian if a resident of a jurisdiction that deems him/her to be a minor) shall sign, have notarized and return to Sponsors a Liability Release, Publicity Release, unless prohibited by law, and any other documentation that Sponsors require within fourteen (14) days after receipt by the potential winner(s). In the event: (a) potential winner(s) cannot be reached for whatever reason after a reasonable effort has been exerted based on the information stated in the Entry, (b) of noncompliance with the above or within any of the aforesaid time periods, (c) potential winner is found to be ineligible to enter the Sweepstakes or receive the prize, (d) potential winner cannot or does not comply with the Official Rules, (e) potential winner's prize notification or Affidavit is returned as undeliverable for whatever reason, or (f) potential winner fails to fulfill the Affidavit-related obligations, the potential winner shall be disqualified from the Sweepstakes and an alternate potential winner may be selected, at Sponsors' sole discretion, from among the other eligible entries received. Winner selection is under the supervision of Sponsors, whose decisions are final and binding in all respects. If entrant's e-mail address, telephone number, or home mailing address changes after he/she enters the Sweepstakes, it is the entrant's sole responsibility to notify Sponsors by postal mailing notice to the address stated below to be received before the end of the Promotion Period.
5. PRIZES: The approximate retail value (the "ARV") of the prize is $32 and consists of one copy of Stephen Orr's book Tomorroe's Garden, and 1 pack of twelve 3" square CowPots. The total ARV of all prizes awarded is $32. There is a total of 1 prize(s) to be awarded to 1 winner(s). Prize subject to any and all applicable terms and conditions. Any depictions of prizes are for illustrative purposes only. All federal, state and local taxes on the prize are the sole responsibility of the winner. Winner will be sent an IRS Federal 1099-MISC tax form for the retail value of any prize at or above $600. No transfer, refund, substitution or replacement of prize permitted, except that Sponsors reserve the right, in their sole discretion, to substitute a prize of equal or greater value (or cash equivalent). ARV of all prizes is in U.S. dollars. All prizes will be awarded within 1 year of receipt of valid and executed winners' affidavit or prize confirmation. Any portion of the prize not accepted or unclaimed and/or unused by the winner will be forfeited and will not be substituted.
6. PUBLICITY RELEASE; USE OF PERSONAL INFORMATION: Except where prohibited or restricted by law, winner's acceptance of prize constitutes the winner's agreement and consent for Sponsors and their successors, assigns, transferees, licensees, and sublicensees to use and/or publish winner's full name, city and state of residence, photographs or other likenesses, Entry, pictures, portraits, voice, testimonials, biographical information (in whole or in part), and/or statements made by winner regarding the Sweepstakes or Sponsors, worldwide and in perpetuity for any and all purposes, including, but not limited to, advertising, trade, syndication and/or promotion on behalf of Sponsors, in any and all forms of media, now known or hereafter devised, including, but not limited to, print, TV, radio, electronic, cable, digital or World Wide Web, without further limitation, restriction, compensation, notice, review, or approval, which rights winner acknowledges and agrees Sponsors can transfer, assign, license, and/or sublicense. By entering the Sweepstakes, entrants will be sharing their personal information with Sponsors. Personal information collected by Sponsors will be used for administration of the Sweepstakes and awarding the prize. In addition, by entering, entrants agree to Rodale Inc.'s use of entrant's personal information as described in its privacy policy at http://www.rodale.com/1,6597,8-114,00.html. Please refer to Rodale's privacy policy for important information regarding the collection, use and disclosure of personal information by Rodale. Rodale is not responsible for disclosures made by any third party. Rodale uses reasonable commercial efforts to comply with Federal CAN–SPAM law and entrants may subsequently opt-out of receiving further emails by following opt-out instructions contained in Rodale's privacy policy. All entries become the property of Sponsors upon receipt and will not be acknowledged or returned. (For Canadian residents, entrants also agree that by entering the Sweepstakes, their personal information will be transferred to Sponsors in the United States of America for the above purposes, and may be accessed by the U.S. authorities in accordance with U.S. laws, regulations, and/or court orders. Entrants' personal information will not be provided to any third parties, other than as provided for in the Official Rules or in accordance with Rodale's privacy policy.)"
7. NO TAMPERING; RIGHT TO CANCEL, MODIFY: Sponsors and their parent companies, subsidiaries, affiliates, partners, representatives, agents, successors, assigns, employees, officers and directors shall not have any obligation or responsibility, including any responsibility to award any prize to entrants, with regard to: (a) Entries that contain inaccurate information or do not comply with or violate the Official Rules; (b) Entries, prize claims or notifications that are lost, late, incomplete, illegible, unintelligible, damaged or otherwise not received by the intended recipient, in whole or in part, due to computer, human or technical error of any kind; (c) entrants who have committed fraud or deception in entering or participating in the Sweepstakes or claiming the prize; (d) telephone, electronic, hardware, software, network, Internet or computer malfunctions, failures or difficulties; (e) any inability of the winner to accept the prize for any reason; (f) if a prize cannot be awarded due to travel cancellation, delays or interruptions due to Acts of God, natural disasters, terrorism, weather or any other similar event beyond Sponsors' reasonable control; or (g) any damages, injuries or losses of any kind caused by any prize or resulting from awarding, acceptance, possession, use, misuse, loss or misdirection of any prize or resulting from participating in this promotion or any promotion or prize related activities. Sponsors reserve the right, in their sole discretion, to disqualify any individual it finds to be (a) tampering with the entry process or the operation of the Sweepstakes, or with any Web sites promoting the Sweepstakes; (b) acting in violation of the Official Rules; or (c) entering or attempting to enter the Sweepstakes multiple times through the use of multiple e-mail addresses or the use of any robotic or automated devices to submit entries. If Sponsors determine, in their sole discretion, that technical difficulties or unforeseen events compromise the integrity or viability of the Sweepstakes, Sponsors reserve the right to void the entries at issue, and/or terminate the relevant portion of the Sweepstakes promotion, including the entire Sweepstakes promotion, and/or modify the Sweepstakes and/or conduct a random drawing to award the prize(s) using all eligible entries received as of the termination date. If the Sweepstakes is terminated or modified due to technical difficulties or unforeseen events prior to the expiration date of the Promotion Period, notice will be posted at www.mariasfarmcountrykitchen.com.
8. RELEASE OF LIABILITY; DISCLAIMER OF WARRANTY; FORUM SELECTION CLAUSE: By participating in the Sweepstakes, entrants and winner agree to release and hold harmless Sponsors and their parent companies, subsidiaries, affiliates, partners, representatives, agents, successors, assigns, employees, officers and directors, from any and all liability, for loss, harm, damage, injury, cost or expense whatsoever including without limitation, property damage, personal injury (including emotional distress), and/or death which may occur in connection with preparation for, or participation in, the Sweepstakes, or possession, acceptance and/or use or misuse of the prize or participation in any Sweepstakes-related activity and for any claims or causes of action based on publicity rights, defamation or invasion of privacy and merchandise delivery. By accepting the prize, winner agrees that any liability concerning or arising out of the prize rests solely with the manufacturer of the goods or their affiliates. Sponsors and their parent companies, subsidiaries, affiliates, partners, representatives, agents, successors, assigns, employees, officers and directors assume no responsibility for any injury or damage to entrants or to any other person's computer, regardless of how caused, relating to or resulting from entering or downloading materials or software in connection with this Sweepstakes. Entrants and winners acknowledge that Sponsors have neither made nor are in any manner responsible or liable for any warranty, representations or guarantees, express or implied, in fact or in law, relative to any prize, including, but not limited to, express warranties provided by the manufacturer of the goods or their affiliates. Except where prohibited, all issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or the rights and obligations of entrant or Sponsors in connection with the Sweepstakes, shall be governed by, and construed in accordance with, the laws of the Commonwealth of Pennsylvania without giving effect to any choice of law or conflict of law rules (whether of the Commonwealth of Pennsylvania, or any other jurisdiction), which would cause the application of the laws of any jurisdiction other than the Commonwealth of Pennsylvania. In addition, any dispute relating to the Sweepstakes (including these Official Rules) shall be brought in the appropriate state or federal court having jurisdiction over the subject matter located in the County of Lehigh, Pennsylvania. Entrants hereby irrevocably consent to the personal jurisdiction of said courts and waive any claim of forum non conveniens or lack of personal jurisdiction they may have.
9. LIST OF WINNERS; FUTURE SWEEPSTAKES/CONTESTS: A winners' list will be posted on the Web Site on or about August 24, 2011, or to receive a list of the winners after August 24, 2011 by mail send a self-addressed envelope, with applicable U.S. postage affixed (VT state residents only may omit return postage), to: Maria's Farm Country Kitchen Garden Guru, Rodale Inc., 400 South 10th Street, Emmaus PA, 18098, Attn: Dana Blinder, or by e-mail send an e-mail to firstname.lastname@example.com, and in the body of the e-mail type: Please e-mail me the winner's list for the "Maria's Farm Country Kitchen Garden Guru."
10. SPONSOR: The Sponsor of the Sweepstakes is Rodale Inc., 400 South 10th Street, Emmaus, PA 18098-0099.
"Tomorrow's Garden" by Stephen Orr & $32.00
1 set of twelve 3" square CowPots
1 Depend on the Total Number
Eligible Entries Received


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For a jazz trumpet player, you couldn't be more on top of the world than Ambrose Akinmusire. The 32-year-old is looking good on the cover of this month's DownBeat, and he's managed to please the jazz critics and connect with audiences. It goes without saying that Akinmusire can tear it up on the trumpet — but on his new album the imagined savior is far easier to paint, he often cedes the spotlight to other players, in particular the eclectic selection of guest singers he invited to join his own quintet in the studio.
Akinmusire spoke with NPR's Arun Rath about the unlikely influences — string quartets, documentary films, Joni Mitchell — that have molded him into one of the most talked-about names in contemporary jazz. Hear the radio version at the audio link, and read more of their conversation below.
This album has a very different feeling from your last — not only different instrumentation, but there are styles that get kind of far away from jazz. Did you set out to do something totally different, or did it just come out this way?
It just came out this way. I didn't set out to do anything different. I don't really approach my craft and my music like that. I would hope that it would be different, because that other album was recorded four years ago, and I definitely have changed a lot in those four years.
There's a broad palette of sounds, though, that you're using, like adding a string quartet and a guitarist. What is it about a string quartet that you like? Who are your favorite composers when it comes to string quartets?
Oh man. I really love Ravel; there's not so many string quartets that he wrote, but I love his sense of melodic development, and I love his orchestration. But the thing that attracts me to the string quartet is the ability to sustain a note. It sounds really simple, but in a jazz quintet — you know, with trumpets, saxophone, bass, piano and drums — you can't really sustain a note for longer than maybe 30, 45 seconds. But with strings, you can have one note into infinity. You can kind of get this hovering bubble thing that you can't get in a jazz quintet.
"The Beauty of Dissolving Portraits" really manifests that. It's almost like an organ, holding those tones.
And that's hard to do in a jazz quintet, with those instruments. Everybody has to take a breath; there's decay in piano and drums and all this other stuff.
It would be be exhausting.
Or just impossible. The way I see it is that you kind of get to cheat time — like you can press "slow motion" all of the sudden.
It's also nice to hear the way your group plays along, like on "Inflatedbyspinning" — your bass player is kind of blending with the strings, but it's a different voice, a different feeling.
Yeah, that was kind of the point. He represents the rough part of the image I had for that tune. I had imagined it as these three woman wearing white, just kind of spinning on the edge of a cliff, and one of them is holding a red balloon. And so the bass represents the cliff, and the other string instruments represent the people that are spinning. And it builds and builds, and at the end, the balloon is inflated.
There's also some gorgeous flute in the string sections; how did that come about?
Over the last year or two, I've been thinking a lot about the beginning and end of something — like a full spectrum. And so, I'm really into having the flute play in the upper register, and having the bass at the bottom, or the end, of that spectrum. The same concept is represented in "Rollcall for Those Absent."
This is the track where you have a young girl, Muna Blake, reciting the names of these people who have died in various instances of police brutality or injustice.
She's at the beginning of her life, talking about the end of the other people's lives. It's the same sort of concept. I'm really fascinated by having these things right next to each other, as opposed to seeing the whole full spectrum –- to just kind of rub them together and see how that feels, and what's produced from that.
It's really haunting.
It is.
What did you tell her?
I didn't tell her anything.
You just gave her a list of names?
Yeah. I'm good friends with her mother, Rio Sakairi — who actually does the booking at The Jazz Gallery in New York. And her father is a great jazz drummer, Johnathan Blake.
That's how it's got that really real feel to it. She doesn't know how to say "Amadou Diallo."
I love that. Trayvon Martin, though, she's at least heard that name. I like it because a lot of the names, people are familiar with. You come in, and you're just kind of like, "What is this?" And then when you hear Trayvon Martin, in the middle of the piece, you say, "Oh, okay." And then I have her read the names again, now that we recognize what's really going on. I really like the part where you have Oscar Grant's name — you know, the unfortunate situation that took place a few years ago. You have that on top of Trayvon Martin, and it's sort of saying, "This is still happening. It's the same story, just a different time."
There are lots of these kinds of references all through your songs and albums, even the tracks without words in them. A lot of the songs have these parenthetical titles, and I want to ask about one of them: "Ceaseless Inexhaustible Child." The name in the parentheses for that one is Cyntoia Brown. First off, who is Cyntoia Brown?
Sometimes when I'm practicing, if I'm not feeling so inspired to do long tones, I'll watch a documentary while I'm doing them. I stumbled upon this one documentary called The 16 Year Old Killer. This girl just had a really, really crazy life: She was a prostitute, and long story short, she ended up killing one of her clients in bed. She thought he was reaching for a gun, and she grabbed the gun, and she killed him. She went to jail, and I think she's still there. The thing that really affected me was to see the transformation she went through — because at the beginning of the documentary she's 16, and by the end she's 21, 22, and she's just so hopeless. So, that's what that's about. It's a great documentary; I would recommend it to anybody.
The recording features singing by the Canadian artist Cold Specks. How did you prep her when you talked about this song with her?
I didn't, really, so much. I really believe that music can tell you what it wants to be or what it is, if you really can tap into it and submit to it. I sent her a recording I'd made of me playing the tune while I was watching the documentary, on silent. I didn't tell her any of this. I sent that to her, and she said, "OK, I get the vibe." Then the band went into the studio in New York and tracked it, and I sent that to her. And she said, "This is a little different, but it still has the same vibe." And then I went to Toronto to record with her — and she just hit it out of the park. I didn't even tell her the story. There was no title; I didn't tell her anything. It just happened to line up like that.
There are some great examples in jazz of vocalists singing with trumpet players, like Sarah Vaughan and Clifford Brown. But I think people may not realize how hard it is to play a trumpet with a singer, because of the kind of restraint you have to have. It's wild the way you play along underneath her here.
Yeah, it's not so hard for me because I'm totally influenced by female vocalists. My biggest influence right now, and has been for a long time, is Joni Mitchell. Joni Mitchell or Björk, or before them, maybe Sarah Vaughan. I'm really into the female voice. It's sort of in the same range as the trumpet. The same reason I'm into the cello; these are things that really move me.
I want to talk to you about Steve Coleman, a great saxophone player. Would you say that he discovered you?
Um, have I been discovered? What does that mean?
You've got a second album on Blue Note now, and a host of big critiques. I think you're out there.
I was talking about this the other day with someone. I'm still really young, but I'm old enough to have new chapters in my life, to have different chapters. So, I don't know if I can say, "That was it. That was the moment." Right now, it's just a chapter, and before that, it was a chapter. There's the chapter of being taken to jam sessions and to flea markets by the local musicians, and after that there was school, and after that there was the Monk Institute, and after that there were competitions. There were always chapters, and you meet different people along the way. For me, when you look back, everybody's really important, just in different ways.
What's kind of interesting for me, as a fan, is I feel like Steve Coleman has been like a finishing school for some of the young players who are coming up with amazing new sounds these days. What is it about him as a teacher?
The same thing that I find inspiring about Joni: He's just totally committed to the music. Everything he does is related to the music, getting better, trying to get as close to that mystical thing as possible while he's here on earth. It's amazing to go on tour with him, to see him push as hard as he pushes every night, no matter what. I met him when I was 17, and I mean, he had more energy than me when I was 17. And he's so, so into me, so excited, and he's been able to maintain that for so many years.
You're going to tour this music, and it's pretty complicated, especially with all the extra instrumentation. Are you going to preserve all these concepts on the road?
We're planning on doing a bigger band — we'll have [singer] Theo Bleckmann and Charles Altura, the guitar player — but my main focus is really the quintet. These guys are really close to me, and when I'm composing, these are the people I hear inside my head, so there's that side of it. Then there's just the budget side of it: It's pretty hard to tour a string quartet, a guitar, three vocalists and a jazz quintet. That's close to impossible.
I want to ask about one more song, "Our Basement," which has the name "Ed" in parentheses. Who is Ed?
Ed is this older gentleman that I see every single day. He lives on my block; he's a homeless guy. And when you first see him you're like, "OK, a homeless guy. Whatever." But I opened up a local paper one day and there was a big picture of Ed. And I was like, "OK, this is interesting. Let me read this." I learned he was in the war, and his wife died. But the interesting part is that he would go to this church that was across the street from my house every weekend, and they would feed him. And he would save money throughout the week, throughout the month, to pay them. There's something really inspiring about that.
That song is sung by Becca Stevens. Maybe it doesn't seem strange to you, but she isn't necessarily who I would associate with this character as you described him to me. But it works.
Well, I've known Becca for a long time. When I was at Manhattan School of Music, she was at The New School. And she's someone who everybody, in my generation at least, looks up to. She's really a genius — I don't like using that word too much, she really has tapped into something in a deep way. I just wanted to work with her, so before I even knew what I was going to do for this album, I wrote her and said, "Hey, Becca, can you write a tune for my next album?" And she said, "Sure, what do you want?" I said, "Can you just write it from the perspective of a homeless man?" And she said, "OK, great." And she produced this. And then I showed her the story later.
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TORRANCE, Calif. – Jan. 11, 2018 – American Youth Soccer Organization (AYSO) is pleased to announce the addition of three new team members to our Organization: Scott Snyder, Yvonne Lara and Al Prado.
Scott Snyder joins the organization's executive team as its new Director of Programs and Education and will also serve as Technical Director. Scott has been working with AYSO for the past six years as the Player Development Specialist and is responsible for developing the new National Coaching Curriculum. He is an experienced coach and instructor, and has been in professional soccer education and management for over 20 years. He is a former professional player in both England and the USA and has represented the USA in the 20U World Cup.
Snyder co-designed the AYSO Soccer Camps program, and has recently been working with U.S. Soccer in its grassroots course design and just completed the new U.S. Soccer Instructor License. He also represents AYSO on the Youth Member Technical Leaders Working Group.
"I am delighted at the expansion of my role," Snyder says. "My priority and focus is the player by ensuring that the coaching, environment and experience is the best it possibly can be for the child's development. We have very good content, and now it is time to drive the methodology through every layer in the organization to ensure AYSO is at the forefront of player development."
Snyder is married to Allison and has two daughters, Madison and Olivia. He is a volunteer coach in his local AYSO Region 688 club program, where Olivia plays right wing.
Yvonne Lara also joins the executive team as its new Director of Marketing and Communications. Lara has been working in the marketing and communications world for 20 years, starting her career in sports marketing at California State University, Fullerton, which lead her to a nearly 12-year career at FOX Broadcasting Company, where she helped launch groundbreaking and memorable shows, such as American Idol, The OC, 24, Glee and So You Think You Can Dance.
Most recently, Lara spent the past six years overseeing the marketing and communications efforts for Habitat for Humanity of Greater Los Angeles (Habitat LA) and played an instrumental role in raising the profile of its tent pole events, including Power Women, Power Tools®, The Hollywood for Habitat for Humanity Build and the Los Angeles Builders Ball®, as well as driving market awareness of its impact in the greater Los Angeles region.
"I'm thrilled to be a member of the AYSO team," Lara says. "Sports and youth development have always been an important part of my life, and I am looking forward to using my expertise to propel the organization forward by strengthening our brand identity and leadership in the industry."
Lastly, Al Prado joins the organization as the Senior Business Solutions Analyst. Prado has been in the IT industry for more than 30 years. From UCLA Health to Diva Limousines and FOX Broadcasting, his experience spans a spectrum of companies.
Prado has also been a dedicated AYSO volunteer since 2004, from being a referee and coach to a Regional Commissioner. He is currently an Area Director for Section 1 and still enjoys refereeing when he can as well as working alongside his wife, Jane, who is also an active AYSO Section 1 leader.
"For me, AYSO has been a lifelong passion," Prado says. "When I was presented the opportunity to be a part of the team in this capacity, I knew it was the perfect fit. I look forward to using my industry expertise and volunteer experience to fine-tune our technology to meet the needs of our valued members and volunteers."
"Scott, Yvonne and Al bring a depth and breadth of experience for their positions," says Mike Hoyer, National Executive Director for AYSO. "It is the right talent with the perspective and leadership style for where we want to take the organization, and I look forward to working together to solidify AYSO's vision to provide world-class youth soccer programs that enrich children's lives."
About American Youth Soccer Organization (AYSO)
Established in 1964, AYSO is a national nonprofit organization that develops and delivers quality youth soccer programs, which promote a fun, family environment based on AYSO's Six Philosophies: Everyone Plays®, Balanced Teams, Open Registration, Positive Coaching, Good Sportsmanship, and Player Development. Today, AYSO has 1.6 million players, parents, siblings and volunteers. For more information, visit www.AYSO.org.
For more information, contact:
Yvonne Lara
(424) 221-7971
Ruben Diaz
(424) 221-7923


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Get in touch with us to receive a free no-obligation architectural design quote.
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Lots of people like to create a private office with the redesigned basement conversions in Ambleside LA22 9 where they can work quietly away from the rest of the house. Sometimes the area might be used as a home gym with different types of equipment, or maybe a fun children's playroom. It could even be used as a shower room, utility room or guest bedroom with en suite and storage facilities to keep any clutter out of the entire house.
It's totally up to what you want and how you're going to use the downstairs room after the conversion. We can offer our advice on the architectural planning to help you get the perfect finish for your budget. Let us know if you'd like to find out any further information regarding any of our services including garage conversion https://www.architectural-designers.co.uk/garage/cumbria/ambleside/ and much more!
When it comes to the cost to convert a basement, it really does vary because each project is so different. If the work requires basement excavation further into the ground level to increase the head height, this will cost considerably more than just redesigning a more habitable space.
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by Vallee Johnson
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Challenge your brain with a jigsaw puzzle designed by an independent artist! Our puzzles are made from premium 0.2" thick paper stock and include a semi-gloss coating on the top surface to make the image pop. Puzzles are available in two different sizes, and each puzzle includes a puzzle box with the artwork printed on the top for safe storage when you're not puzzling. The puzzle pieces are unique shapes.
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It took me days to capture some images of these elusive beauties.
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It took me days to capture some images of these elusive beauties.
"For The Love of Creation!" I have been drawing and painting since I was about 3 (several decades ago). I sold my first painting at the age of 13. I've been dabbling with the camera for just about as long.. Art IS in the eye of the beholder. Traditionally a realist, I've enjoyed dabbling in various other styles as well. I have always been fascinated with wildlife and enjoy sculpting, painting or sketching animals of every kind. I have a Certificate Degree in Production Art, Associate Degree in Liberal Arts & Bachelor Degrees in Psychology and Sociology from the University of Colorado at Boulder. I've traveled to fourteen different countries and hope to visit many more. In Italy, I studied the works of the great Renaissance...